Bhavisayatta Kaha

Author(s): Kavi Dhanpal, C D Dalal
Publisher: Baroda Central Library
Catalog link: https://jainqq.org/explore/032126/1

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jiyamahAka Gaekwad's Oriental Series No. XX BHAVISAYATTAKAHA CENTRAL LIBRARY, BARODA.

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GAEKWAD'S ORIENTAL SERIES Published under the authority of the Government of His Highness the Maharaja Gaek wad of Baroda. BHAVISAYATTAKAHA No. XX.

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dhanapAlaviracitA bhavisayattakahA BHAVISAYATTAKAHA BY DHANAPALA PARTLY EDITED BY The late C. D. DALAL, M. A., AND COMPLETED WITH INTRODUCTION, NOTES, GLOSSARY etc. ___BY The late PANDURANG DAMODAR GUNE M. A. (Bombay) Ph.D. (Leipzig). Prof. of Sanskrit, Fergusson College, Poona and Willingdon College, Sangli. BARODA CENTRAL LIBRARY 1923

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Printed by Manilal Itcharam Desai, at The Gujarati Printing Press, No. 8, Sassoon Buildinge Circle, Fort, Bombay, and Published for the Government of E. H. the Maharaja Gaekwad, at the Contral Library, Baroda, by Newton Mohun Dutt, Curates of State Libraries, Baroda. Price Rs. 6

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CONTENTS. Pages 1-69 13-23 24-29 . 29-38 39-48 48-53 Introduction... sandhiH 1 bhaviSyadattajanmavarNanam ... 2 kamalazrIdaurbhAgya-bhaviSyadattabAlyAvasthAvarNanam 3 bhaviSyadattadvIpAntaragamanam ... ... 4 bhaviSyadattatilakapuraSarNanam ... ... 5 bhaviSyadattatilakapurapravezavivAhakalyANavarNanam 6 bandhudattatilakapurapravezabhaviSyadattamelApanam... 7 bhaviSyadattapravacana-bandhudattayamunAnadasamAgamaH 8 kamalazrImunivacananizrIkaraNam 9 bhaviSyadattahastinApurapravezaH ... ... 1. bhaviSyadattarAjasabhApravezaH ... ... 11 bhaviSyadattabhaviSyAnurUpapriyAmelApavarNanam ... 12 bhaviSyAnurUpakamalAdevIgRhAgamanavarNanam ... 13 bhaviSyadattarAjyapaTTabandhaH 14 bhaviSyadattasaGgrAmajayavarNanam ... ... 15 bhaviSyadattatilakapurIdohadanimittagamanam ... 16 bhaviSyadattatilakapurIdharmAkhyAnazravaNam ... 17 bhaviSyadattamanovegapUrvabhavasambandhapremavarNanam... 18 bhaviSyadattavairAgyavarNanam ... 19 dhanamitrakItisenasambandhavarNanam 2. bhaviSyadattabhavAntaravarNanam ... ... 21 bhaviSyadattadIkSAkalyANavarNanam ... ... 22 kamalazrIbhaviSyadattabhaviSyAnurUpamokSagamanam 70-77 77-82 82-9. 97-106 106-113 113-118 118-122 122-127 127-134 134-139 139-144 144-148

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INTRODUCTION The importance of the Bhavisattakaha:-The present work, Bhavisattakaha or Bhavisayattakaha, or Suya pancamikaha, as it is variously called, is a very important literary find of the last decade. The first scholar to notice it in India was the late Mr. C, D. Dalal M.A., of the Baroda Central Library. He thus says about it in the essay that he read before the 5th Gujarati Sahitya Parisad: "qaro ofsaat auteet (fanan) 77 eftai 3. tid tak aj CIETU afras ofta . p 13. After quoting the first stanza, he closes with the remark, (TYTHI ATM ve gart (a179ant)at 9 quiae #fasy TT TETT FT. Mr. Dalal then undertook to edit it in the Gaekwad's Oriental Series from the one Manuscript of the work at Patan, made available to him by the Jain owner of it. The present edition is the fruit of his labour. The first European scholar to take notice of it and to edit it, is Professor H. Jacobi of Bonn (Germany), who, during his visit to Ahmedabad in March 1914, was shown several Mss. by Pannyas Gulab Vijaya. Among these was one of Bhavisatta kaha, which he copied in parts while in India. He subsequently published it in 1918. During his tour through Kathiawad, he was shown by the Muni Maharaj Caturvijaya, a Ms, of Neminahacariu, also in Apabhramsa, of Haribhadra, the pupil of Candrasuri, who wrote the work in Anahillavada-Pattana in 1159 A. D. The importance of the discovery of this work by these two scholars lies in the fact that this is the first big Apabhramsa work made available to the world of Oriental scholars. For, the Praksta-Pingala, which has been already known and twicel published, is, in the first place not entirely in Apabhramsa and secondly it is so tampered with, that it is almost without value' to the study of Apabhramsa. The Apabhramsa stanzas in the fourth act of the Vikramorva si of Kalidasa are too few and scrappy to enable one to form a correct estimate of the Apabhramsa language. The Aradhana of Nayanandin, mentioned by Mr. Dalal at p. 14 of his paper, is apparently bigger than the Bhavisatta kaha, as it is said to contain 114 Sandhis, as against the 22 only of our work. The Tisatthimahapurisagunalankara' of Pupphadanta, now in the Bhandarkar Institute Mss. Library, with its 27. Sandhis, has also a larger extent, as some of its Sandhis contain as many as 29 Kadavakas. The Neminahacariu of Haribhadra, too, with its 8032 1 (1) Kavyamala, (2) Candramohan Ghose, Calcutta 1902. % It is Mys. No 878 of 1879-1880 of the Deccan College Mss. Library, now deposited at the Bhandarkar Oriental Research Institute, Poona City.

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2 granthas of 32 sylables each, is larger. But all of these are yet in Manuscript form, shut out from the gaze of scholars who would utilize them. Our work remains therefore the first big Apabhramsa work yet published. Hence it is of immense importance both from the point of view of language and of literature. Its importance increases when we consider that there are now texts, based on two different Mss., to compare with each other. Such comparison has proved of immense value and has been made throughout the larger part of the notes. The Ms. of Mr. Dalat seems to have been better preserved as it does not show any lacunae, whereas Jacobi's Ms. shows many such: c. f. VIII 6, 7; IX 3, 4 to 6; X 16, 2 etc. The importance of Mr. Dalal's edition is therefore evident. It were to be wished, however, that Mr. Dalal had time to more carefuly revise the proofs; for then no necessity would have been felt of the many corrections and emendations of the text which I have had to add at the end. II The author:-The name of the author is Dhanavala, Sk. Dhanapala. It is expressly mentioned in this form in Sandhis 5, 10, 11, 17, 20, 22. The Colophon too, which in our edition is relegated to the footnotes by Mr. Dalal, mentions the same form of the name. But very often, and expressly in Sandhis 2, 4, 6, 8, 14, the shorter form Dhanavai occurs in the closing lines, evidently for exigencies of metre. In the other Sandhis the name of the poet is only suggested, through that of Dhanavai the father of the hero of the story. In one or two Sandhis, it is not referred to at all. The poet gives some information about himself towards the close of the last Sandhi. In the 9th Kadavaka of that Sandhi it is said: amcaforda angezet agenfau | aufafafa your face aragenfar. He was thus born in the Dhakkada Bania family, of Dhanasiri, from Maesara. He proudly calls himself 'son of the goddess of learning,' and says at I 4, 5 that he has obtained many boons from Sarasvati. Beyond this we know nothing about him. Jacobi rightly infers from fa faft 0 ,' that he must have been a Digambara Jain. His mention of Accyutasvarga as the 16th heaven, whereas with the Svetambaras it is the 12th, also 3 Jacobi, Bhavisattakaha, Introduction p. 2. Although published in 1918, the book became available to me through the kindness of Mr. K. P. Modi of Ahmedabad in early 1920, when part of the notes had already gone to the press. I frankly acknowledge the great advantage that I derived from Prof. Jacobi's edition. 5 iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe / buha dhanavAlakayAe pazcamiphalavaNNaNAe etc. Op. Cit. Introduction, p. 5 n. 2. 7. Sandhi V 20 8.

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points to the same fact. About the Dhakkada family we know little more than that it must be identical with the tribe Dharkata, whose name is found on an inscription of Tejapala, 1230 A. D., at the Dilwara temple built by that king on mount Abu. 3 These are the bare facts that we know about our poet, and they do not at all enable us to say when he must have lived. He should not, however, be confused with another poet of the same name, who lived at Dhara during king Munja's reign, and wrote the Rsabha pancasika, Tilakamanjari and Paialacchinamamala (the last one written for his sister Sunadri, at the time the king of Malava attacked Manyakheta in Samvat 10299). As he praises Brahmadeva (purisRttamanAbhisaMbhavaM devaM), he must have yet been a Brahmin when he wrote his lexicon. The other works were written after he had become a Jain. This fact and his father's name Sarvadeva, must once for all distinguish him from our Bania-poet. Jacobi1 has compared the language of our poet with that of Haribhadra of the Neminahacariu, and thought that it might be more archaic; but he is not ready to base any chronological conclusion on this fact. As the Nemina kacariu is not available to us, we can not pass any judgment in this matter. Jacobi however thinks that the motive of the nidana,11 which appears in Sandhi 20, has a distinct model in the same motive in Samaraiccakaha of the older Haribhadra. And as the older Haribhadra lived, according to Jacobi, in the second half of the 9th century, our author must come later, say in the 10th century at the earliest. The similarity of motive may perhaps be a good corroborative argument, but it can not be the main conclusive argument. Jacobi himself has very cautiously worded his theory. "Dhanapala konnte also, die Richtigkeit obiger Annahme vorausgesetzt, fruhestens in 10. Jahrhundert geschrieben haben-Dhanapala could have, therefore, presuming the correctness of the above hypothesis, written in the 10th century at the earliest." Again, by the bye, the older Haribhadra, as Muni Jinavijayaji1 has conclusively proved, lived and wrote between 705 and 775 A. D., i. e. a century earlier than the date accepted by Jacobi. So that until some positive evidence comes up, we can not settle the date of our author with any amount of certainty. But one or two considerations might be thrown out. (1) The Apabhramsa of Dhanpala seems 8 Jacobi, Op. Cit. Introduction p. 6. 9. vikkamakAlassa gae auNattIttare sahassammi | mAlavanarindadhADie lUDIe mannakheDammi etc. 10 Op. Cit. Introduction p. 3. 11 Op. Cit. Introduction p. 6. 12 In his paper on 'the Date of Haribhadrasuri' read at the First Oriental Conference, Poona, Nov. 1919, and printed in the Jaina Sahitya Samsodhaka I.

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4 to be somewhat more archaic13 than that of Hemacandra. There is a mul tiplicity of form and flexibility of grammar, not seen in Hemacandra; it can only mean that Dhanapala wrote when the language had not quite ceased to be a spoken language; and by Hemacandra's time it had already become a dead language, surviving perhaps in the literature of the days. This might require a difference of a couple of centuries at least between the two authors. Hemacandra is known to have flourished at the Court of King Kumarapala of Patana in the 12th Century A. D. 3. Not much can be said at the present stage of research about Desi words of Dhanapala which are not found in Hemacandra'a Desinamamala or found in quite a differet sense; (c. f. fas XIV 20, 17). For, perhaps the fact that Hemacandra handles Desis of a region other than the one of our author, will be able to account well for the difference. The same has got to be said with regard to the Paialacchinamamala, which does not contain many Desi words that are used by Dhanapala. III The story:-Much need not be said about this, as almost every Kadavaka has been summarised in the Notes. It is to be noted, however, that although the author seems to have looked upon his work as consisting of two parts, c. f. faft deft adtafe fait XXII 9, 8, the Katha falls clearly into three parts as Jacobi has rightly seen. (1) The fortunes of Bhavisatta, a tradesman's son, who suffers twice by the deceit of his half-brother but becomes in the end quite happy. (2) The war between the Kuru King and the King of Taxilla, in which Bhavisatta takes a leading part and is victorious. He gets half the Kuru Kingdom in reward. (3) The previous and later births of Bhavisatta and his people, until they get Nirvana. (1) The first part is a very good domestic legend, illustrating the tragic features of bigamy. A merchant marries a second time, neglecting his first wife and her son. The son from the second marriage, while in youth, sets out on a journey for business and is accompanied by his elder half-brother. The two, with five hundred other young tradesmen, land on an island. There the younger half-brother treacherously leaves his elder brother alone and sets sail. The latter discovers a deserted but rich city and a beautiful princess, whom he marries. After a long time they take much wealth with them and go ashore with the hope that some casual merchant-ship might take them up. They again meet with the half-brother, who has returned unsuccessful. The latter feigns repentance and offers to carry his brother and the princess with their wealth home. But when all is ready, he sets sail with the wealth and princess before the elder brother has time to come up to the ships. He returns home and declares the princess to be his 13 See Apabhramsa Grammar below.

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bride. The elder brother has also returned and is awaiting his opportunity of revenge. When the marriage is about to be celebrated, he lodges a complaint against his half brother and convinces the king of his perfidy. The king punishes him and rewards the elder son of the tradesman and almost makes him his heir-apparent, promising him the hand of his own daughter, (2) A rival king sends emissaries to the above king, demanding ransome, his daughter and the young merchant's wife on pain of war. This is naturally indignantly refused and a war ensues in which kings of different countries take sides. Owing to the vigilance and bravery of the merchant-prince, the enemy is defeated and the leaders taken prisoners. These are later on released and sent to their countries, after they have sworn allegiance. The king there-upon bestows upon him half of his kingdom. (3) The young merchant-king's first wife has a longing to pay a visit to her island-home once. They all visit it-her husband, his parents, and her co-wife. There they meet a Jain monk who advises them on principles of conduct, with the illustrative story of persons, two only of whom, in one of their births, are connected with the young merchant's story. They then return. The king gets some sons and daughters. A sage once comes to his capital and advises him on various things. He also tells them about their previous births. The king with his wives leaves the kingdom to their sons and retires. After death, they all go through some further births and ultimately get Nirvana. Although the first part of the story appears to be complete in itself, there is nothing inherently incompatible in the story of the war and its cause and it might be looked upon as having lived in popular legend along with, and as a continuation of, the first story. In fact, therefore, Dhanapala may be justified in dividing his story into two parts only; the first dealing with the vicissitudes of Bhavisayatta's life, until he became king and the second dealing with his previous and future births. Dhanapala's first part ends with the fourteenth Sandhi, i. e. with the great war. He summarises the story in the last Kadavaka of that Sandhi as follows:-'Born in the family of a great Bania, he (Bhavisa) was brought up in his maternal uncle's house. He went out for trading and was deceived by his half-brother. Smarting under the calamity, he appealed to the King, who honoured him and raised him to a high position. He then became a king surrounded by vassals and exalted his family and relations.' He also draws a moral. 14 "Knowing this, do not be inflated under prosperity in this world. This combined part and the following part of the previous history of the hero and others, are not very naturally connected together. They appear to be brought together with some conscious effort. Then there is one 14 get erofag Heagle A Fra og Aqufacts XIV 20, 16.

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great and marked difference between the two; it is, that while the second is typical Jain in character, the first might pass for a Hindu or Buddhist legend, if we drop the reference to the Jain temple in Tilayadiva (Tilakadvipa) and the Suyapancami vow. We shall therefore not be far wrong if we believe that the original story had no religious colouring, but was only a popular legend or romance of a middle-class tradesman's life, just as the Kadambari is of court-life, and it was subsequently turned to religious account by the Jains. It is, however, not quite possible to say if the Jain colouring was already there when Dhanapala put his hand to it, or whether it was he himself who did so. The former alternative seems to be more likely, if we believe the poet when says at the end of Sandhi XIV qripi fata HS Hs gfas athafer 3-Hving obtained different old poems (presumably on the same subject), I have composed this with the help of Saraswati.' There is nothing strange in this, for we know how the Buddhists and Jains have from the beginning drawn upon Hindu fables and legends for illustrating their own doctrines. The Paumacariya of Vimalasuri is a great illustration in point. Jacobi refers to the Kathasaritsagara where the Yaksa Maaibhadra is mentioned as the tutelary deity of tradesmen and travellers and suggests15 that the temple in Tilayadiva might have been the Yaksa's own temple and that originally it might have been the Yaksa himself who appeared to Bhavisayatta in a dream, and not the lord of Accyutasvarga. This change, and the metamorphosis of the Yaksa temple into one of Candraprabha Jina, must have been made when the story was caught hold of for their purpose by the Jains. Jacobi gives expression to a hard truth when he says16 regarding the previous births; 'An derartigen Vorgeschichten ist die Erzahlungsliteraturder Jainas uberreich. Meistens sind sie klagliche Erzeugnisse einer durren Pfaffenphantasie-The story-literature of the Jainas is over-rich in such fore-histories. Mostly they are the miserable productions of a barren priestcraft-phantasie.' Lastly there is this important fact to be borne in mind that nowhere does the Suyapancami-vrata appear inevitable. In fact, of the two places where it is mentioned, viz. Sandhi VI 2, 10 ff., and Sandhi XX 11, 9, on the first occasion it is advised to be done by Suvrata, when Kamalasri's son was already being helped by the lord of Accyutasvarga and his servant Manibhadra. In fact it was Bhavisaytta's own good conduct that had turned into his friend and helper the Raksasa, who had come to devour him and Princess Bhavisanuruva. On the second occasion it does not concert main persons of the story at all. This clearly establishes the fact that the 16 Op. Oit. Introduction p. 13 and 14. Op. cit. Introduction p. 20.

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story existed first and was turned into an illustration of the merits of Suyapancami afterwards. The name Suyapancamikaha is therefore less appropriate than Bhavisayattakaha. The author himself in his introductory or rather benedictory stanza? says 'farurefoot fang fa furtifact-I shall spread broadcast in the world the story of King Bhavisa.' Of course in the 4th Kadavaka he gives the story a religious stamp and historical background by saying18 pucchaMtahu suyapaMcamivihANu tahiM Ayau eu kahAnihANu-When the King Seniya asked the Ganadhara Gotama about the performance of the Suyapancami, there occurred this precious story.' IV The war and the politico-geographical conditions:-- (1) The war-The war is introducd in the thirteenth Sandhi, rather abruptly as one would like to think. For the particulars of the several compaigns that took place, and the fortunes of war, the summary of the Kadavaka's in the Notes should be referred to. Apparently the war is fought on account of the princesses Bhavisanuruva and Sumitta, who are sought by the lord of Poyana i. e. the king of Taksasila, probably for the sake of his son. This motive would appear neither extraordinary nor very fabulous, when we remember how disasters were wrouglit upon royal families and wars waged, on account of beautiful princesses. The most typical example of this Allauddin Khilji's perfidious action, due to his passion for Padmini, wife of Bhimsing the king of Chitod. In more recent times, Krsnakumari, a Rajput princess, gladly drank poison in order to save her father from the disasters of war. That there was some old score to be paid between the lords of Poyanapura and Gayaura, does not appear likely from the preamble to the former's strange demand-harSa navara tudhdu ekaho na vaMku acchahi kurujaMgali niravasaMkuxiii 3,10. (2) Kuru-side-How were the two inimical sides composed ? This is father an involved question, as the author himself does not appear to have a clear notion about it. On the Kuru side are Pancala, Maccha, Kaccha or Kacchava-as is once stated in Ch i ang XIV 4, 8, i.e. the Pancalas, to the North and East of the Kurus in the Upper Doab, the Matsyas to South-west of the Kurus, and the Kacchas or Kacchavas. Who the latter are is again a vexed question. They could not be the people of what is today called Kaccha. The Kacchahiva of our story occupies a central or at any rate a very important position between the two kingdoms of Poyana and Kuru. His position perhaps is strategically as important to both, as was that of Belgium to France and Germany during the recent European war. Thus only can we understand Bhavisayatta's anxiety to reduce to submission the king of the Kacchas before the Poyana army arrives. of Xestean 17 I 1, 12 of the Text. 18 1 4, 8 of the Text.

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rajju so tau aNihu khalu akykjju| jaMpai poyaNapuravaihiM pakkhu paDigAhivi thiu maMDalu asaMkhu XIV 1, 7-8. The same idea is conveyed by the speech of Anantapala, when he offers to the King Bhuvala his own views on the difficult situation. jai kacchAhivai paiThTha ityu tA ane keNavi gagaNa kitthu| aha kacchAhiu saMvarivi thakku to hammaI paracakeNa Il XIII 7, 8-9. The suggestion of Jacobi,1deg based upon the alternative form Kacchava that hereby Kashmir is meant, is really genial. For, Kashmir was in old days called Kasyapadvipa. 2deg But is the position of the king of Kashmir so strategically important ? From the third Kadavaka of the thirteenth Sandhi, we learn from Citranga, Sindhupati's son, that while he is delivering Poyanapurapati's message to the Kuru King, the son of Poyanapati has already entered the Pancaladesa with a large army, jatoate aer afar XIII 4, 3. It is after this that Anantapala tenders his advice that they should wait and see, until the intentions of Kacchahiyai are definitely known; 894 34EUR3ET Hey all. XIII 7, 7. It is also after this that Bhavisatta proposes to go and attack Kacchahiva. Possibly therefore, the Kacchas or Kacchavas lay on the borderland'-literal meaning of kaccha-between the plains of the Punjab and Northern U. P., and the lower Himalayan ranges. From the rapid march of events, the distance between Gayaura and Kaccha country can not be supposed to be very great, nor the communication between the two difficult. There are the five Samantas mentioned twice thus:-fafoofa qayag EAGL fatty fogh for IFTI Targ arhaic etc. XIV 3, 9; and at 9699afta franquiqaraditi qafas afic etc. XIV 13,1. The two mountain kings are perhaps to be identified with Simhauramallu and Kantiuranahu, mentioned in XIV 2, 6 and 7. The two towns may be those referred to by Jacobi as being in the Salt-range and Nepal respectively. "I There is a Khasapahanao-chief of the Khasas mentioned in Tagay sag CF9ET07341 XIII 6, 2. Pavyayaghanu may be his name, or only an adjective, but the fact remains that as lord of the Khasas he is also a Pavvayanarinda. He is spoken of as a 'Mandalavai' and must have been reckoned among the five Samantas. He was one of those who were present at the court of Bhuvala, when Citranga delivered his message; the former also gave his advice. From tisahaM saMcalliya bhaDamaIda pNcaalmicchkcchvnrind| pihamaiharivAhaNalojaGaH atra vi naravai je for 3759 XIV 17,9-10 one would like to think the Pancalas, Macchas and Kacchas had their kings" in Pihumai, Harivahana and Lohajangha respectively. But on close examination this view would be found untenable. Lohajangha, for instance, can not be the lord of Kaccha, for he was present in the Council . 19 Op. Cit. Introduction, p. 15. 30 See Mahabharata Jambukhandanirmanaparva. 21 But the latter is more likely Kotwal, 20 miles North of Gwalior, according to Cunningham. 1722 Jacobi, Op. Cit. Introductior p. 15 actually identifies them thus.

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of the king of Gayaura when Citranga brought Poynavai's miessage, and spoke very strong words against the latter XIII 5,12. Kacchahiva's attitude was on the contrary so doubtful that Bhavisatta had to threaten to attack him. Moreover Anantapala's reference to Kacchahiva leaves the impression that the latter was not present in the assembly at Gayaura, while Lohajangha was present. On hearing Bhavisa's threat of attack, Kacebabiva sends a messenger to Gayaura XIV i, ii explaining his position and promising help if Poyna's son actually begins the attack. Again the following references make it clear that Lohajargha and Kacchahiva were quite different persons:-(1) harivAhaNalohajaGghakacchAhivapaMcAlahiM XIV 4, 1; (2) pihumailohajaDapaJcAlahiM kacchAhivanaridiha gofag etc. XIV 12, 1; (3) 8 of ang gulaator XIV 13, 7 where Lohajangha is expressly called a 'mantrin,' A few lines above it is stated that his word was respected by all at TTS AU ag tea. (4) Kadavakas 12 and 13 in the fourteenth Sandhi contain addresses of a similar type to Bhavisatta by Kacchahiva and Lohajangha. These were highly out of place if the two had been one and the same person. Similar considerations make the other two identifications doubtful. (3) Sakeya or Sakkeya side-The opposing army belonged to the King of Poyanapura, Avaninda (with variations) by name. He sent a large army under his son's command, strongly supported by the army of Sindhu (sagara) pati, led by Citranga. So that Sindhupati is an important ally of the king of Poyana. Other people on this side are Ekkavaya, Kannapargurana, Saddulavayana, Narasiha and the Abbhottas XIV 7. 6. These are described by their appearances as "dadhadadha,' "karalamuha,' 'lalantajiha' etc. XIV 15, 1 and 2. Lambakanna, a few lines below, is the same as Kanpapanigurana above. These are the same as the Gardabhilas of the Puranas. Except the Abbhottas, all these are to be supposed to be semi-barbarous mountain tribes, such as are mentioned in the Mahabharatao3 and the Puranas.94 The Abbhottas have been once previously mentioned along with the Jattas and the Jalandharas--the Jats and those of the Jalandhar Doab. The Abbhottas must be regarded as their close neighbours. An important desertion from the Kurus, and acquisition to the Poyana side was king Anantapala, called 9653 XIII 9, 7 and wagaf XIII 11, 5. He is igns and safe ATAFIS XV 4, 8. This can not be the Campa of the Bengal plains; it is a Campa situated in the mountains. If Kacchava be Kashmir, then the Campa of the mountains would certainly be Chamba28 in the Himalayas. 18 In II 52 (Dyutaparvan) Ekapadah, among others, do honour to Yudhiethira. ** V. Smith, Early History of India, p. 274 on Abhira, Gard abhila etc. 26 Jacobi's suggestion, Op. Cit. Introduction p. 16.

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10 Lastly there is the important question of the identification of Poyanapura. That Poyana was the name of a city like Gayaura, and not a country like Kuru, is clear from words like Poynapuraparamesara XIII 11, 10 and Poyanapuravara XV 9, 4. The name occurs also in XIV 5, 1 and 6, 6-12. Jacobi, on the strength of references in the Raumacariya of Vimalasuri, identifies it with Taksabila, but becomes doubtful when he finds our author referring to the army of Poyanavai as Sukeyanarindasinnu XIV 13,9 and Sakkeyajoha XIV 19, 2. This Sakeya or Sakkeya he identifies with Saketa or Ayodhya. Now it quite true that Sakeya is the correct Prakrit for Saketa and that Sakkeya is an alternative form for the same. But there is another possible phonological equivalent of Sakeya. Both these can also be Prakrit for Sakeya: Historically there is nothing against this identification. Saka Kings have ruled over Taksasila. If this be correct, then there is nothing to come in the way of Poyanapura being identified with Taksasila. The very close relations that appear to exist between the Sindhus and the Poyanas can be understood on the strength of a close geographical proximity, and not if they were as far apart as Sindh and Ayodhya. For the following statement in this connection, I am indebted to Muni Shri Jinavijayaji of the Bharat Jain Vidyalaya, Poona: _ 'potanapura' takSazilAkA dUsarA nAma pratIta hotA hai| vimalamUrike 'paumacariyaM' meM jahAM jahAM 'takkhasilA. nAma AtA hai vahAM vahAM usIke bhASAntarasvarUpa padmapurANameM 'podanapura' nAma hai-Potanpur appears to be another name of Taksasila. Whereever the name 'Takkhasila' occurs in Vimalasuri's Paumacariya, the name 'Podanpur stands (for it) in Padmapurana, which is almost a translation of it' (i. e. Paumacariya). (4) The political conditions -The political conditions, as revealed in the two Saudhis and in the whole work generally, are briefly these. The part of India that comes into consideration here is the western half of Northern India (north of the Vindhyas). This is divided into many kingdonis, some of them sovereign and independent, like that of Kurujangala, Sakeya, and Sindhu (sagara), some dependent and called Samanta, like Pancala, Matsya and Kaccha. These formed a 'Mandala', over which a sovereign state presided. The conditions described preclude the existence of a strong central power, holding undiminished sway over the whole or the half of Upper India, as was the case in the days of Asoka of Magadha, or in the time of the Gupta's at Ujjayini some five or six centuries later, or again for a short space of time during the sovereignty of Harsavardhana of Kauouj. The state of affairs described might be one which existed in India for some centuries after the downfall of the great Magadha empire of Asoka, or after the decline of the Avanti-empire of the Guptas, or after the Kauouj empire of Harsa and before the advent of the Muhammadans.

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11 Apabhramsa Grammar as construed from the Bhavisayattakaha. I Phonology (A) VOWELS 81 Vowels:-The Apbh. like the literay Prakrits possesses all the Sanskrit vowels, with the exception of , lU, ai and au. Unlike Sanskrit, and like the Prakrits its possesses a short e and o. Hemacandra's20 tRNu, sukadu and a few more Apbh. words in are unknown to our work. 52 + itself is variously represented by a, i, u, e, ara, ri. -bha amaya (amRta), kasaNa (kRSNa), ghara (gRha), maIda (mRgeMdra), maraNa (mRgeNa), viyaDDa (vikRSTa), sarai (sma) saMbhala (saMsmR) . i bhalaMkiya (alaMkRta), amiya (amRta), giNha (gRha), ghiu, (ghRta) dicha (dRSTa), pahiTa (prahRSTa),samiha (samRha), hiyaya (hRdaya) u Nivvui (nivRtti), pAusa ( prAvRS), puhai (pRthvI), puThThI (pRSTham) e gehu (gRha) ar karivi (kR), sarevi (smR or mR), riamhArisa (asmAdRza), risi (RSi) $ 3 ai & au are either weakened to t & o or resolved into ai, au, i, u. ai-e devaya (daivata ), nemittiya (naimittika), vehao (vaibhava), veyaDa (vaitAdaya) serau, (svairam ) ai airAvaya (airAvata) dahau (deva), vahari (vairin ), vaisAha (vaizAkha), baharAI (vairAgyeNa), vaisavaNa (vaizravaNa) i sinnaM (sainyaM) au-o bhosaha (auSadha), kalahoya (kaladhauta), kohula (kautUhala), kosiya (kauzika), goDa (goDa) dohaya (daurbhaga), sohagga (saubhAgya), sohamm (saudharma) . au gaurava (gaurava), paura (paura), pararisa (pauruSa), rauda (raudra) A (rarely) gArava (gArava) u (rarely) sukkha (saukhya) 84 With the exception of R,ai, o, all other vowels generally remain unchanged. But sometimes there is shortening or weakening, as for instance before conjuncts. The quantity of the syallable is however retained. This is so in the Prakrits too. akkhANa (AkhyAna), aggeya (Agneya), agyAiya (AghAta), aJcariya (Azcarya), ajA (AryA), atyANa (AsthAna), avikkhaNa (avekSaNa), ikkhaNa (IkSaNa), pikkhai (prekSate), sihi (zreSThin ). kavi for kApi and kivi for kevi are due to metre. (a) The opposite tendency of lengthening the vowel, sometimes even at the cost of quantity, is also seen e.g. neura (nUpara), aNobama (anupama), potthaya (pustaka), paohaNa (pravahaNa), pAyaDo (prakaTa), vohitya (vahitra ), sovAsiNi (suvAsinI) SS 5. The art of feminines is invariably shortened, though in some cases the shortening might be due to metre * 96 Prakrit Grammar, ed. Pischel, IV 329 etc,

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12 Ariya (AryA), kamaLa (kamalA), kIla (krIDA), bAla (bALA), lIha (lekhA), vIla (krIDA), sAla (zAlA) 6. In many words, the ending a is changed to u. etthu, jetthu, tetthu; jAsu, tAsu This change, however, does not take place when a word is added. jetthara (jethuji), tetthai (tetyu ji), tAsaha (tA ji) 7. Initial a is in some cases dropped, as also u raNa (araNya); ravinda ( aravinda), valaggI (avalagnA), hauM (ahakama), heTThA (adhastAda), vahasa (upavizati), vaThTha (upaviSTa). 88. Contraction of two consecutive a, and loss of a whole syllable, in some cases due to shortening for metre, is seen in the following ears (vamAdi through Pr. evamAi ), emeva (evameva ), bhavisatta (for bhavisayatta bhaviSyadatta ) ujjhA ( uvajjhAya), piyAra (piyayara), bhaMDArA ( bhaDAraya), vaDhAvA (vadyAvaya) $9. 'ya' zrutiH - This is not a peculiarity of the Apbh. or any other Prakrit. But the Jain scribes have always introduced a to avoid a hiatus between a preceding vowel (generally and T) and the following due to vocalization of Consonants (See SS 12). Our text has after almost all vowels. In puttiyahu = putti ahu it avoids sandhi-hiatus. aNeya (aneka ), andhayAra (andhakAra), avayAsa (avakAza), kalayala ( kalakala), mayagala ( madakala), loya (loka), pAyaDa (prakaTa) aNurAya (anurAga), Ahoya (Abhoga), nAya (nAga), bhoya (bhoga), Ayau ( AgataH ), but also AgaDa and A gaya (for Agata) aviyala (avicala ), Ayariya (Acarita), upayAra (upacAra), kavaya (kavaca ), loyaNa (locana), AyAra ( AcAra ) but also Acarai AbhoyaNa (Abhojana), gayaura, (gajapura), teya (teja), paya (prajA) vaMsayAla (vaMzajAla), sayaNa (svajana ) akattha (akRtArtha), amaya (amRta), imara (itara), tAya (tAsa), dhuya (dhuta), haya ( hUta) Amoya (Amoda), Ayara (Adara), kheya ( kheda ), cheya (cheda), pasUyaehi ( prasUnakai: rare ), avisAya (aviSAda), pasAya (prasAda) It is difficult to say if in words like vaMsayAla, khayAla, ya is due to this 'sruti or a regular represetative of ja. In yANai, yANiu it is clearly the latter. $ 10 'va' zruti. This is not a peculiarity of any Prakrit; but seems to be a feature of an Apbh. dialect in which our author has written. In some of the following examples it may be explained away as due either to assimilation as in vajuva (upayuta) for uvajaya or dissimitation as in uvaya (udaka ) for uyaya. In uvahi (udadhi) the influence of u is clearly traceable. In aMDava, kuruva it is euphonic in character. ava (a), kaMcuva (kaJcukam ), kuruvaha (kurUNAM), pasuvahaM (pazukAnAm ) ubve (udvegama), dUhava (durbhaga), juvala (yugala) also juyala ullova (ulloca), suvami ( muJcAmi ) juva (upayukta), dUva (dUta), pahUva ( prabhUta) sruva (sutA) also suya, suvapaJcami (zruta also suyamaJcami, huvAsa (hutAza ) uvaya (udaya) also uddaya, uvahi (udadhi), also uahi kheviya (khedita), rovai (roditi ) also rubhai Avas (AyAta), cintavai (cintayati), jovaha as also joyai, jobhai This hesitation between a and or shows that this is not a fixed phonetic rule of the language; but is due to momentary caprice of the writrer,

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13 of course helped by the law of assimitation. Cases like a rhyming with g show that even here the author must have spoken a a, as in N. B. for falling away of va, see $ 17 and also. (B) CONSONANTS The Apbh. shows a very varying picture of the Sanskrit consonants and agrees in a general way in this respect with the Prakrits. It shows (1) vocalisation of consonants, ( 2 ) their softening, (3) assimitation (4) splitting up or svarabhakti and simplifaction of conjuncts, and similar phenomena. SS 11 Initially all consonants remain unchanged, except and rarely others as in dihi (dhRti) dhUya (duhitA ). $ 12 Vocalisation :- (without merging with the accompanying vowels), of unaspirated consonants, when not initial. Any consonant, except the fourth consonant, the cerebrals, sibilants and may become a vowel. k and g AuJca (AkuJcayati) but also AkuMcai, mahaMda (mRgendra ) c and j aiAre (aticAreNa ), kayAi (kadAcit ), gainda ( gajendra ), rAja (rAjan ) and dU ai (ati), avaiNNa (avatIrNa ), Aesa (Adeza), uiya ( udita ), kheiya ( khedita) isarai ( pratisarati ), pariosiya ( paritoSita) very pand auvvu (apUrva ), kayannI ( kRtapuNyA ), kAurisa ( kApuruSa ), kuia kuviya (kupita), gayara (gajapura), neura ( nUpura ) and v Ausa (AyuS), Auha (Ayudha ), AohaNu ( Ayodhanam ), Aida ( Avida ), jAloli ( jvAlAvala ), tihuaNa (tribhuvana), paihu ( praviSTha ) pohaNa (pravahaNa ) is perhaps case of samprasarana. 8.13. Softening of consonants: - The hard unaspirates were in the Sauraseni regularly softened when not initial. The Apbh. like the Maharastri has vocalised them. (See above). The only examples of softening in Apbh. are the cerebrals and pa. They indicate that Dhanavala's Apbh shows traces of Saurasena Apbh. although mainly it is Maharastra Apbh. k to g mayagala (madakala) d to D kaDakla (kaTAkSa ), kaDAha ( kaTAha ), kavaDu ( kapaTam ), bhaDDa (bhaTaH ) hU~ to Dh kama ( kamaTham ), pIDha (pITham ) D to v Amela ( ApIDa), kIla (krIDA), vIla (vrIDA ) p to v ahivaha (adhipati), bhAvajjai ( Apayate ), AvIliya ( ApIDita ), pAva (pApa), vaha (patha ); sAvarAha ( sAparAdha ) p to m (rarely as in) Amela ( ApIDa ) 8 14. The aspirates of all classes, except the palatals and cerebrals, when single and noninitial retain only the . kha duha (duHkha ) but also dukkha; naha (nakha), muha (mukha), sahi (sakhi ), suha (sukha) ghU avihAya (avighAta), oha (ogha), jiNahara ( jiNaghara), dIhara (dIrgha) th aha (atha ), ahavA (athavA ), kaha ( kathA ), puhaD (pRthvI), sAha (sanAtha ) dhU ahara (adhara), ahiTTiya ( adhiSThita ), kalahoya ( kaladhauta), parihAviya ( paridhApita ), videya (vidheya), hamma (in dhammAdammiM = dharmAdharmeNa ) phU dADimahala (dA. phala ), muktAila ( muttAphala ). Exception punnaSphala (puNyaphalam ) bhU ahisiMciya (abhiSecita), nihua ( nibhRta), nihAliu, ( nibhAlita), viddUra ( vibhUti ) vihoya ( vibhoga), sahAva (svabhAva), hua (bhUtA), but rarely AbhoyaNa (Abhojana) also

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14 $ 15 , initially and when double internally, is retained as in Amg. In all other positions it becomes o. This is sheer Ardhamagadhism and not a peculiarity of the Apbh. (as the following hesitation will show) nayara (nagara), narAI (narANAM), nihuya (nibhRta), neura (nUpura), anna (anya), mannai, (manyate); NihaNu, Nau, aNNittahi, avagaNivi, NijAvaya, NibhiNNa, samaNNubNa, $ 16 L becomes ~ initially medially and in conjuncts, when not assimilated as in jogga (yogya). Initially maha (yati), jauNa (yamunA), jakkha (yakSa), jANa (yAna), juyala (yugala), jogga (yogya) Medially ajoeM (ayogema), uvajuva (upayuta), saMjama (saMyama), saMjuya (saMyuta), saMjoya (saMyoga) In conjuncts aja (aba), ajju a (bhAryaka), pajatta (paryApta) $ 17 a remains in all positions, except in many cases at the end, where it has fallen away before the 3 of the Masc and Neut. Nom.and Acc, terminations Falling away of original a at the end:ucchau (utsavaH), juvANabhAu (yuvabhAvaH), parihau (paribhavaH), pahAu (prabhAva), mahAhau (mahAhava), vAsau (vAsavaH), saMbhau, (saMbhavaH) Falling away of secondary a ahiu (adhipaH), kalAkalAu (kalAkalApaH), dIu (dvIpa), pAu (pApa), payAu (pratApaH), maMDau (maMDapaH),sAu (zApa:) This change is peculiar to Apbh. $ 18 A peculiarity of the Apbh. Phonology is the change of Sk. / into 4 (nasalised) in the first instance, and into a subsequently. This Apbh. trait has been taken up by some of the modern vernaculars, e. g. Marathi Gujarati etc, thus showing their close affinity with Apbh. navakAriya (namaskRtA), naveppiNu (natvA), nivisi (nimeSeNa), bhavaNu (bhramaNam), ravapNayam (ramaNIyakam), sAvaSNu (sAmAnyaH), vammaha (manmatha) bhavaNu (bhramaNa) (Jacobi's text clearly reads bhavaeNNu which is the original forms?). In other cases too is to be expected in place of a, which latter is found for the former in the vernaculars. Even in these, the original auunasika character of is preserved in the anuswara which in many cases is seen on the preceding syllable. e.g. M bhaMvarA Apbh. bhavara (bhramara), M bhuMvaI Pr. bhamuhA, M. nAMva Apbh. nAva, nAma, M. gAMva Apbh. gAva (grAma) In some words, in our work, the anunasika character seems to be so far forgotten, that like original a, this derived a is changed to 3 e. g. ujau (udhama), kheu (kSema), jauNA (yamunA), nAu (nAma), paNAu, (praNAma) SS 18 (a) On the contrary Sk. a sometimes becomes in Apbh. ema (eva), pihimi (pRthivI), simira (zibira) The intermediate stage to this change is perhaps to be seen in words like, jAmva (yAvata), tAmva (tAvat) $ 19 Of the sibilants z becomes s, s remains, r becomes ch initially and and a medially. saya (zata), sikkhA (zikSA), suka (zuSka), visiha (viziSTa), sihi (preSThin), soha (zobhA) sayala (sakala), sinna (sainya), 27 And according to Hemacandra's rule too IV 897.

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15 chaha (paTa), chaDhi (paSThi), chaDa (pa) but also solaya (poDap), visesa (vizeSa), visAya (viSAda), risi (RSi). (C) CONJUNCT CONSONANTS 820 Conjuncts are treated variously, as is the Prakrits. (a) If initial one consonant, invariably the second, is dropped. In any other position they are either (b) assimilated or (c) separated by Svarabhakti or Varnopajana as Yaska calls it.. (a) Conjuncts initially drop the latter consonant. The only conjuncts that come into consideration here are those (1) having a ya,ra,la,v, in the second place and such others as (2) have a before them. (1) -cAya (tyAga), cui (cyuti), joiMgaNa (jyotirgaNa), taj (tyaj ), vAvarai (vyApriyate) 18 kaya (kraya), kIla (krIDA), duma (duma), payAsa (prakAza), pAvaDa (prApnoti), pimma (prema), vaya (ta), suva (zru) When g comes after a and a few other consonants svarabhakti also takes places in some cases. kiriyA (kriyA), sirI (zrI), sumarai (smarati), sAsa (zvAsa) which is a Prakritism va-jAloli (jvAlAvali), dIva (dvIpa), bIya (dvitiya), saga (svaka), sara (svara), sAmiNi (svA. minI) sera (svaira) In some cases, however, when a a precedes a svarabhakti takes place suviNa (svapna), suvai (svapiti) usually shows svarabhakli, whether a sibilant precedes it or any other consonant. kilinna (kvinna), kilesa (kleza), silisai (liSyati), (2) with a changes to a , with a a goes into u; khaMbha (skambha), thaNa (stana), thavaa (stabaka), hattha (hasta) with a becomes nhu or Nha nhANa (snAna), nhavaNa (snapana) with a changes to pha; phAsuya (spArzaka), phaMsa (sparza), phasaha (spRzati) with a pha, is merged into the latter. e. g. phaDiya (sphaTika), phaMdai (spandate), phAra (sphAra), phuDu (sphuTa) with a p, merges the latter into itself. (jAI.) saru (jAtismaraH), also sariu (smRtam) sma also changes to v as in the following:-bharai (smarati), vibhaya vibhiya (vismita) $ 21. Conjuncts, noninitially, are assimilated. The assimilation is either progressive or regressive. If there is a long vowel before the conjuncts it is inveriably shortened. 1. Progressive assimilation: k jutta (yukta), muttAhala (muktAphala), ratta (rakta) aja (aba), uppapNu (utpannaH), ubbhaDa (udbhaTa), tappara (tatpara) p kamma (karma), jamma (janma), patta (prApta), sadAttha (zabdArtha) antasthA dappa (darpa), majAya (maryAdA), pavattiya (pravartita), saba (sarva) m acariya (Azcarya), aha ( aSTa ), sukka (zuSka) 28 Hemacandra's rule about the optional retention of adhorepha, IV 398 does not obtain in our work,

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16 2. Regressive assimilation. t agge (Agneya), davaggi (davAgni.) pa muktta mukka (mukta) antasthA-akkhANa (AkhyAna ); anna (anya ); kalanu (kalA), muccai (mucyate), minu (mitra), samujala (samujvala), $ 22 Separated by (1) svarabhakti and (2) varNopajana(1) accariya (Azcarya), arahanta (aIta ), also arihanta kiriyA (kriyA), kiliTTha (viSTa), kilina (kilana), kilesa (kleza), garaha (gahI), sukila (zukla) The vowel is generally determined by the surroundings, e. g. fafo where the g in the original Sk, has determined the facute vowel. But this is often arbitrary; e.g. arahanta, arihanta and aruha all from arDana. (2) varNopajana or addition of a letter, is perhaps a wide name (and should include svarabhakti i.e. separation by or addition of a svara.) __ ambila (Amla), tambira (tAmra) ekamekam comes in as ephonic Sandhi-consonant. 823. Special conjuncts are specially treated. jJa becomes Na ANa ( AjJA) na nANa (jJAna) na painna (pratijJA), sanna (saMjJA) kSa becomes kakha acakkhu (acakSu), akkhaya (akSaya), antarikkha (antarikSa), ikakhaNa (kSaNa), ch saccha (sAkSAt) , jh jhINa (kSINa) " (rarely) hUM nihitta (prikSipta ) dhy // jha jhANa (dhyAna),saMjhA (saMdhyA) dhv " jhuNi (dhvani), sAdhvasa (sajjhasa) cha acchara (apsarA) cha macchara(matsara), vacchala (vAtsalya) ch maccha (matsya) bhU saMbhala (saMsma), bharaha (smarati) ma sarai (smarati) mahU amhAra (asmAkam) cya gijjha (gRha) hai , bhaviMbhala (vihvala) $ 24 Sporadic double consonants-Apbh. shows double consonants where there were none in the original. In many cases they can be explained away as due to the exigencies of metre, in others as due to analogy. aparajjiya (aparAjita), the shortening of A in parA requires doubling of ji in compensation ambhoeM (Abhogena) where the shortening has caused the doubling avagaNita (avagaNita ) on the analogy of maniu, where them is from nya uppari (upari) on the analogy of parappara, when ppa is legitimate ekamikku ( ekaka) again appears to have compensatory double consonant. The shortening or weakening of g in of necessitates doubling of #. The first e too is to be regarded short, thus accounting for ka. e.g. dalaNekaMmallu also.

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17 RJ ( 970 ) V 16, 7 fagfa festa gaine, where fa must be long for metre, so fef is doubled. paJcaviha (paJcavidha) on the analogy of caubiha, chavdhiha where vva is legitimate. qarayTQUT ( gfaaal) the doubling is metri causa. GFH ( TEI) where the doubling may be regarded as due to the shortening of 5 garche (gogne ) the change of * to copy is also metri causa. goafka ( cena) where the doubling is due to metre only. ayut ( taggor ) This doubling is entirely due to metre. faler (at), on the analogy of fafor (itfor) where the doubling is legi. timate. ___rucai (rocate) where perhaps the double consonant is due to the change of conjugation, being regarded as of the 4th class. Sagt (agfa) in afor sauce where the for has got to be long metrically. aftos (Hafesa) appears metri causa only, if not regarded as change of conjugation as in ruccaha. sakkeya as an an alternative tosAkeya. The quantity is preserved. fic (#) One would think that the Svarabhakti was sufficient. But metre requires the doubling aefaqafH AT EHTEET VIII 17,3 yang (at ) which ought to be yas, owes its conjunct to metre. fazlafa is the only intial conjunct not due to metre. Others are feris and aur. SS 25. In a few cases, when the coujunct is simplified, the preceding syllable gets an anuswara as a compensation. 19 ( raia ), E ( 978 ), TSIA ( at ), ( fa), HOT ( Esta), (a ), f ( fag(r) ), faye ( farnu), II. MORPHOLOGY A INFLECTION $ 26. e bases Masc. and Neut. This also includes the Consonantal bases in Sanskrit, which have lost that character in the Prakrits either (1) by the addition of 37 to their final consonant, or (2) by the dropping of that consonant. In the latter case they belong to that class, to which their final vowel also belongs. Sometimes, however, consonantal bases become vowel bases in both the ways. e. g. manti and mantiNa, kamma, and kammaNa. Nom. singular Plural M bhANaMdu, kaMpu, ciMtatuM, bhavisanu, mau, bAla, M amariMda, kalasa, chaDaya, aNaviMda, dohalabha FICT, aiatie, S, Tos, Taurs afta, fty, TT These have got their anunasika on the analogy of corresponding neuter forms. Not observed in Hc. who prescribes it only of nouns in e derived from * IV 854. 2 Tendeney to drop inflection. Not mentioned in Ho. Gr.

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___18 Plural cintantA' pikkhantA, bhamantA, yantA, loyA Singular gao, ghoso, thAio, bhAsibho, vaNiMdo, suo bhAya, sAvaNNa N avaloyaNu, cAritu, jammataru, phalla, vayaNu kahANau~, pahANau~ kamma, kalattaM, dhamma Acc. M ujjau,' ujjou, NAhu, gehu, puttu, viyAsa, hAtu, seNahu, sou savattivehao (XII 5, 2) N kajju,' kAraNu, gharu, vayaNu, sauNa N. aMgaha, kAi~, khaMDaI, toraNaha, paesaha, rasai~, vayaNa, suhaI kusuma, caraNa toraNa, M kAla , ninmiNNa, poya, bhoya, viyappa, vilAsa Inst. aviyAri, dhaNavAli, bhavisi , paritosi muNiNAhi, visati, savisasitaraMgaI, avarAhisadahANi, kajje, kAleM , gave, payatte, bappe, bAle', viNoe, (siu) putte (X 3, 2) kariNa, gaNahariNa, puNNodahaNa, siriNa, haribaliNa ahammeNa,11 dhammeNa, kajjeNa, chaleNa, vaNivaraNa kevaleNaM,1 dohaeNaM, haeNaM Ab1. dosahu4 (VI 21, 12), vaMcaNamaihu (III 21, N kuMbhai~, kurulai~, thaTavaTTai~, dosara, bhAsaha, naMdaNai, sanA~, hAraI lAiya' (for lAiyaI), vohitya / aMsaMvahiM 13 kindubhahi , puNNahi., vayaNahiM kulehi 13 guNihi, diNehi , saMcaehi durAcAriehi, vahanohiM caupAsihi " (VIII 5, 3) 8) adattAdANaho (V 15,5) jaMpANaho (VIII 5, 2) nayaraho hontau~ (IX 16, 2), paradesaho (Avau VIII1, 5), saNehaho (uttarahaVII 5,2) 3 These occur where metre has changed generally at the end, and in passages that are in Maharastri e.g. V 17. See however He. Gr. IV 332. 4 In passages of mixed language and changed metre c. f. VI 18. 5 Prakritisms. 6 The Masculine has totally discarded inflection and the Neuter partly. 7 One would expect the anunasika, at least more frequently in the Neuter. 8 Change of gender is very common in Apbh. cf. Hc. Gr. IV 445 1 taraMge would have equally suited metrically. The lengthening therefore is sporadic. 10 The anunasika would not have spoiled metre. Hence dropping sporadic. Or is it due to carelessness of the scribe? 1. These occur in a passage almost in Maharastri and changed metre, III 26 although allowed by Ho. Gr. III 342. 12 Prakritisme, occuring in a Kadavaka of changed metre and mostly Maharastri . III 26. 13 Hc. Gr. IV 395. 14 Hc'st of the Abl. is not corroborated by our text; Hc. Gr. IV 386. 15 This Ft is common to the Gen. Not in Hc. 16 Hc mentions 3 instead in IV 337

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Singular Gen. kulaharaho, jaNaho, Naraho, dhaNaho, bhavisattaho, hariyattaho bAhu, 17 sappurisa paramesarAsu 18, loyassa 18 hariyattahokerI Loc. aggai," aTTamai, kAli, gayauri, diNi paMguraNi, rahahari, loi, sAli 3 kILantA hU~" (for tahU~), tautaNahU~, pakai~, vaNi, vayaNai~, velA ulai~ kAle, 22 pAuse, sammatte, sohagge acchantae, unhAlae titthesara, nacvaMtae, pasaratara, sasikaMtara, pANie kAlammi, gottammi, ghArammi, mANammi, vayaNammi, vihimi Abl. Gen. kaIhi", dhaNavaddahi Voc. paramesara, putta loha, vaNiutto $ 27 i bases Masculine are not very numerous in our Apbh. Nom. gaThi, diNamaNi, ghaNavai, mahArisi dahIyaM Acc. pai (aNuaMcivi) Instr. vaNavaNa, dahie~, maMtisiuM X 3, 2 Nom. pahu, pahuM, 33 (confusion of case) Acc. aMsu, guru, pahu, bandhu ( paNaviSpiNu), seu Instr. 19 Abl. Gen. guruhu Loc. Voc. Plural gayaha~, 19 Naraha~, puNNaha~, suyaNahU~ 19 vacaMtAe~, vikkamaparAha~ jiyaMtaha, mahaLada, viLasaMtaha appamattANa, bhattANa, mihuNANa, varNidANa vaMdiNa, loyaNANa, koyaNANaM (AruDha III 22, 11) vahaNahiM 39 bhAihu~ tuhi Loc. Voc. hayabuddhi $ 28 u bases, Masculine and Neuter are also not numerous. gurU (adj. of mAhuliMga) cakkhihi " 90 31 dhaNu, dhaNUNaM 38 pahu 18 17 Not in Hc.; but it appears to be a weakening of ho. Very rare in our text although corroborated by Hc. Gr. IV 338. The latter at any rate is a Prakritism. 19 Hc. Gr. IV 389. The lengthening before termination in rare cases is due to metre. 20 Dropping of the anunasika is probably a vagary of the scribe. 21 These occur in passages with changed metre and in Maharastri e. g. IV 1, IV 7. 22 These are prescribed by Hc. Gr. IV 334. 23 On the analogy of Inst sing. 24 Splitting for Metre. 25 In accord with Hc. Gr. IV 847. 26 Hc. Gr. III 346. 27 Dropping of termination as Hc. also prescribes in IV 344. 28 Hc. Gr. III 348 prescribes Na, hU~ and eN siuM is the progenitor of M. zIM. 29 H. Gr. III 338 su, ho, ssu appear to be for all Maso. bases. hi is not included. 30 Hc. Gr. III 340 prescribes both huMand hUM for masc. i, u bases. 31 In accord with Hc. Gr. IV 847. 32 Seems to be alternative form for ho, whioh only is taught by Hemacandra, 33 Prakritisms.

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20 bhAyarehi $ 29 There are no #bases in Apbh. See Phonology of the vowels above $9. They have all become mostly a bases, rarely i, u bases. Nom. jaNeru (janayita), piu, piyaru, piyara, (pit), bhAyara, bhAi (bhA), mAya 4, mAyari (mAtA) Inst. piyari , bhattAri (bhartR), varaitti (varayit), bhAyareNa (bhrAtA), mAyae (mAtrA) Gen. mAyarihi (mAtuH),mAyahi bhAiha Voc. mAi, mAe mAyA is from mAtA and so a Sanskritism: Rais directly from svasA and so Sktism. $ 30 Consonantal bases have also disappeared and vowel bases are formed from them, either (1) by adding 97 to the consonant or (2) by dropping it. The former gives rise to new 37 bases, the latter to g and ? (rarely) bases. Sometimes both the processes operate, giving rise to double bases from one and the same word, e.g. rAya and rANa ... Singular Plural Nom. juvANu (yuvan), pandhu (pathina), rAya, rAya rAyA, rANau~ (rAjana) paramappau (paramAtman ), sAmiGa (svAmin) maNaI, mantiNaI, maMti Acc. sAmi, siThThi from in bases Inst. maNu (manas ), mahima (mahiman ), Gen. ayasaho (ayazas ), kammaho ( karman), bandiNaha (bandin), mantiNaha, sihiNaha(zikhin) pimmaha (pramen ), mantiNaho Loc. jammaNi (janman ), maNi (manasi) $ 31 917 bases feminine. Nom. kanna, kiya, dhaya, bAla, mAla, lIla,saMpaya tiyau, pariputrau~ pasUyau, saunnau~ Acc. kIla, ghosaNa, niMda, sAla, soha Inst. kannaI, karuNai, jIhai~, muddai~, lIla, ppasuvvayAi~, vihavappahAe37 Abl. ujjhAsAlahi 38 . Gen. kamalahi*39, dINahi , vahuahi ,sarUahi. mahilaha~' (ttaNau~), varavilayahi bAhulayaho, samavayaho, Loc. chAyahi 41, raNihi pahAe, sahAe Voc. ayANie, bhaDArie 34 Thus pitR becomes piya and piyara, mAtR become mAya ahd mAyara, bhrAtR becomes bhAi and bhAyara. 35 Hc. Gr. IV 344 teaches ageneral 'luka' of Nom. and Acc. terminations, but does not mention the shortening of a bases. 36 The anunasikaseems to be a vagary of the scribe. 37 Hc. Gr. IV 349 lays down e only and not or i. 38 Hc. Gr. IV 350 has only for Abl. and Gen. sing. te may be regarded as an alternative weakened form ? The anunasika seem to be sporadis. 39 Not in Hc. Gr. On the analogy of Mase e bases. 40 Ho. Gr. IV 351 has only. 41 Hc. Gr, IV 352 has simple fe. 42 On the analogy of the Inst.

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21 $ 32 e and & bases, Feminine. These have merged into each other so completely, that except for a few long forms in Nominative, there is nothing distinctive left of the bases. Singular Plural Nom. kAmiNi, dAsi, basaMghari, vAvi, savatti ittila, kumAriDa, juvAu, taruNiu, nArihu (IX kiyatthI, jaNerI, pasAhiyapaMthI bhaMtI, mahI, 22 4) pattiu, maMgalavalIu sahI, sasivayaNI Acc. kaMti, kamalasiri, gai (pattaH), jaNi, keli raMgAvaliu Nisi (gamanti), devi, nivvui, saMtI (obj. of desiuM IV 13, 9) Inst. juttie, parivADie, lacchie, samadidvie, (bahujasa-) kittihi, phuratiyAhi bhaNaMtiyAhi Abl. pANiyahArihu Gen. kaMtihiM+3 (mahaM for Inst.), kamalasirihi, kittihi (for Inst. I 11, 7), kumArihu (sing. or siu. IV 8,8) ghariNihi, chadvihi, jaNaNihi, jiNasAsaNedaviha (XIV 9, 11), Naihi", puhaihi, marAlihi, rayaNihi Loc. chabihi, rayaNihi aMgulIhiM (pakkhisai) Voc. bhaDArie, mahavvayadhArie B PRONOMINAL INFLECTION $ 33. First Person Nom. maha (kAvi na mai~ jehI duhabhAyaNa VI 1,11,) amhai~, amhi (I 12, 6) Acc. mai (V 13, 1) mai~ also (XXI 5, 12) amhai~ (for amhaha~, so a0 nesai (VI 15, 7) Iast. mai~, mae amha, amhai~ Gen. majjhu, mahu ajha, amhaha~-hi (II 19,7), amhANa (IV 11) taNa (tautaNiya IV 6,6) often and kera (taukerauV6,7) sometimes are possessive suffixes added toGen. of nouns and pronouns. Is amhatau (I14,3) Dat. or Abl. The Konkani hA~va is traceable to haDaM. Mar. AmhI is from amhaI. The Mar. mA of the Instr. is clearly from mahaM, as AmhI of the same case from amhai. Vul. Mar. is derivable from E. The Guj. g and set of the Nom. should be noted. Hindi # is apparently from the as of the Acc. $ 34. Second Person. Sing. Pl. Nom. tuhu~, also tuhu (V 13, 7) tuh (vinnivituhaM x 9, 6) tumha tumhaI (IV ___ 19,5 (XXI 5, 12) tumhi Acc. pa. 43 A base changed to i 44 Of these # of the Instr. sing and FETUT of the Gen. Pl. are Prakrits.

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Singular Inst. pahu~ Gen pahU~ (jaitaho) ( III 10, 8) tau, taha (Misprint for taDa III 11, 5) tu, tudu (IX 20, 9) Loc. tahU~ pahu~ tumhAra is a possessive adjective, also tuhAra 35. Demonstrative tat. Sing. Nom. so, su (X 10, 2 ) or Acc. taM ( taM saMkeDa ), so (III 13, 4) sA (sosA pikkha V 8, 8) (sA jammabhUmi samaraMtara VI 12, 1 ) Inst. tiM, teNa, F tAI tAeM Pr. ( IV 13, 10) tAhiM (for tAI I 13, 1) Gen. taho F tihiM ( II 5, 3) ta F. hi, tAhi tAsa, tAI (VI 10, 3 ) F tAsa, taho ( II 4, 4) taha (V12, 2), F. taha ( III 16, 7) F tahu Loc. tahi N, P1. tammi SS 36. The base eya Sk. etad. Nom. M. ihu, eu, eDu, F. eya, eha, N. iu, eDa, eyaM Pr. 22 Acc. M. iu, eu F. iha, eha Inst. M. eNa (vihoeM ), eNaM Pr. Gem. M. F. eyahi, eyahi N (taNauM) 37. Aya Sk. idam Noun. M. Aiu ( XVIII 4, 6), Ayau *" Instr. M. Ae~, eNa (vihoeM), eNaM F. AyaeM, Api Gen. M. Ayaho F. Ayaho J IX 21, 10 ) Ayahi VII12, 3 ) (VIII, 166) Plural tumhai~ (VI 9, 7) tumha, tumha (III 16, 7, VI 21, 12) tumhANa ( IV 13, 10) Plu. te, tA, tAe (for tAI VI 15, 8) tehi tAhu~ te Pr. M. iya, eya F. iyau (XVI 1, 10) M. M. eya M. i~ M. Aya M. Aya M. Ayahi u 45 tumai in Jacobi is due to s misreading of the line hA vihi ajuta maI sikkhaviDa (VIII 14, 9) 46 This is suspicions. It is also equal to : which suits better in all the passages where Jacobi considers Masc. and Nom. Acc. NNeut. 3 in XVI 8, 10 also means AgataM.

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23 Pl. M. aNNa, anna N. aNNahu~, anne (XXI 6, 5 and 10,4) N. aNNa aNNahi 838. The base aNNa, Skt.anyata. Sing. Nom. M. 3700 F. aNNa Acc. N.; aNNu Inst. F. annaI Gen. aNNaho Loc. annahi (VI 7, 2) $ 39. The base eha, Skt. IdRz Sing. Nom. M. ehao (XII 5, 2), ehau F. ehI __N. ehau Ins. ehara Loc. ehara $ 40, The base it, Sk, ga Sing. Pl. M. je, jAA~ F. nAu jasta Pr., F. jAhi M. kivi, kevi N. kAI N. kAI Nom. jo, F. jA Acc. jaM Inst. N. ji, je", F. jAe~ Gen. jasu, jAsu Loc. jahi, jammi Pr. $ 41. The base de, Sk. TIET Nom. M. jehau, F.jehI, jehiya 842. The base ka Sk.kim Nom. M. kovi, kavaNu, koI F. kavi, kavaNa Acc. M. koI (IV 1, 6), ko (VIII 12, 10) ___F. kavaNa (VI 7, 15), N. kiM Inst: keNa Gen. kAsu, kaho, kaDu Loc. karhi, kahiMci 843. Numerals. . (1) Cardinal eka, ekka, ekalla,kka be, vipiNa, beNNi, du0, do tipiNa, ti. pasa, cayAri, catAri paMca, cha, satta, aTTha, nava dasa, daha, bAraha, terasa, pannArasa, solaha, vaTavIsa, tIsa, aTThayAla, paMcAsaya, chavi, saya, sahAsa, lakkha fate Inst. Gen. & Loc. Pi. tihi , bihu Gen. Pl.

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24 Ara vaNa (2) Ordinal pahilaDa, bIya, taiya, cauthaya, cauttha paMcama, chaTTha, sattama, aTTama, navama, dahama, samaya, eyArahama (3) Adjectival duviha, tiviha, cauviha, paMcaviha aThThaviha, dasaviha (4) Adverbial ekavAra, tivAra 844. Nominal Suffixes. bhara paloyara alla dukkhalliya, navalla, payallaya (pada), piyalla, mahalla amhAra, tuhAra (VI 11, 7) ika pAika, pAraka kaMkhira, kaMdira, jaMpira, taMbira, duvvAsira, payAsira, rakholira, ila kuDilla, gahilla, pahilla, sohilla ula ramAula, velAula ulla abbharahulla, piyaullI, bhaMDulla, vihullI ittaDau, hiyaDaDa taNa dohattaNa, vaDDattaNu ra (svAyeM) viuNArau, vivarera pahilaya, samaggala dayAvaNu, darisAvaNu vatta (van ) maNipujAvattau (aMguliu-maNimudrAvatyaH aGgulayaH ), sivitta (asiriva sirivatta) C CONJUGATION The Prakrit and Apabhramsa Conjugation does not show a full and varied picture. The old class distinction is lost. The two Past tenses, except for a few stray forms, and the perfect are given up. 845 Present Tense Sing. Pl. 1st akkhami, acchami, ambhudarami, karau7 akkhaha~, jANaha~, jISaha~, devakhaha~, saNaI, sevaha (XIV12,12), karami, lahami, saMbhAlami 2nd acchahi avagannahi, karahi, kilesahita acchaha, avaganahu, karahu jANahiM, mannahi vaIsahi, vilasahi, sakahi 3rd acchai, asthi, aNuhuai, AyannaI, uThi, acchati, avaloyati, bhAvati karaMti, karahi karaha, cintavai, paisarai, piyai, bhaNai~, cuNaMti, jaMti, Thati, muNaMti, vahati, viSNuNaMti, mAi, vaha, saMhai, suhAi, haveha (Pr)hoi, vuccahiM (XVI 7, 5), hoti appae, khubhae, ciMtae, tANae, Niyacchara, parANae, piksae, pUsae (all in IV 7 which is in a different me- . tre and in Maharastri Pr.) bhakkhae, lubdhae, vAsae viyappae, sevae in XII 3 in Mah. 47 The progenitor of Hindi karau~, Marathi karUM.

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The Apbh has nor eal Atmanepada. Hence dummA, vaha, vaTTaMta, lahaMsa, salahai. We rarely get forms like appae, pavissamANa, picchamANa SS 46 Past Tense. This is generally expressed by the Past Part. few examples of the Past are: Sing. 1st Asi (tahu Adattu Asi ciru iMde IX 14, 6), (hauM mi arinayari Asi XXI 5,11) garma (agamaM IV 13, 10 ) 1st 2nd akkhahi, acchA, aNuhuM jahi, karahi, karehi, nivArahi, laggahi, vaMca, saMcahu, aNuhuji, uDhi, kari, kahi, ghari phusi hi accha ( II 12, 9), nisuNaDu, Usaru 3rd acchau, aNuhavaDa, eDa, nivvaNaDa, serau SS 48. Optative. 25 1st 2nd acchinahi, karijjahi, gaNijahi, dijjahi, bhaNijjahi, marijjahi, hojjahi acchijjahu, rusijja (XIX 5, 3) 3rd kijjA (kiM kijjai rAya VI 8, 9 ) SS 49. Future. 2nd Asi (Asi khalu devaru subj tuhuM VII 10,5), (aft fefe enfe II 11,5) 3rd Asi Asi ( tinivi Asi V12,5 ) A very peculiar past appears to be expressed by the Pres. Part in rANaDaM itthu jasohaoNtauM, so iu tilayadIu bhuMjatau. V 1,21. Compare Pingala piMgala hAMte sesa NAa tahi rolA utte SS 47. Imperative. 1st 2nd hosahi 3rd Avesai, esai, karesai, jAesai. gharesai nesai, bharIsaha, lesaI, varesai, visaresa, tAhI Pr. 1st. 2nd 3rd avamANai. karAvai, khIrai, dAvai, pattANai (pratyAyayati XVII 7, 2) pAyae (Pr.). vaddhAvara, vasAra, saMtAvai, Imp. karAvahu d Pl. utthallahaM, ghallaI, pauMjaI, puMjaha (VI 15,5 ), acchahu, aJcahu, aNumannahu, appahu, karahu, barahu akkhaho, uccallo, taMDavaho, dekkhaho acchaMtu, aNuhavaMtu, karaMtu, jatuM taresa desa The acchina, karija, ciMtijjahu, vaMcijjaho SS 50. Conditional. As Conditional only could karaMtu be regarded in II 12,5 so Na karaMtu tAma iya ehau and karaMtu 'and maraMtu in XXI I, jai haDaMtri teNa saha tau karaMtu to kiM asamAhie sahu maraMtu; also hetu with karaMtu in II 5, 8 jai paDhamauM ji raMtu tuhu ehau to kira ko karaMtu maNi rehaDa and in vAre dijjanti Asi. 8 51. Causal. Sing. avahArahu P1.

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$ 52. Passive Voice. Sing. 1st 2nd 3rd acchijjai, upajjA, kIyaha (=kijja III 13,4). jIdhijjA, pUrvati NajjA, dummaI, dosai, marijjai, laijjai, vaNijjai, vijjijjai, samappar3a, saMbajjhAi, supae, dijjae in IV Twhich is a Mah. Pr. passage $ 53. Participles. (1) Present Part. acchaMta, avaganaMta, asAMtI, karaMta, khaMta, gulagulaMtu, jaMta, pasaraMta, pavissamANa, (Mah. Pr. in IV 7)picchamANu, bhujaMta, lahaMta, vahaMta, hota Present Passive Part. cumbijjaMtu * Causal Present Part. avamANiyaMta (2) Past Part. This is freely used to denote the Past Tense. akkhiya, aNumaniyA aNuhaviya, aNuhaya. appAhiya (ApAdita), apphAliya, abbhaMjiya, abbhatthiya, avaiNNa, avaganniya avayariya, avaloiya ahilasiya, ahisiMciya, kariya, khaMciya, pattiya, paDivaniya, sriy| Alatta, khada (III 26,3), citra, diNNa, dina, nirutta, patta, vutta. All these are Prakritisms. (3) Causal Past. Part. avamANiya, avahAriya, ginhAviya, pAsAriu, sikkhaviya (4) Poten. Part.apicchaNijja, akkhevvau, acchivvau, appivvau, karivvaha, jANivA, pucchivvau, melebvai, lAivvai, vaMcchivvaDa $ 54. Infinitive. karaNahaM, dekhaNahaM, vaNNaNahaM, pariNevA (vachaha x 16,8) The Absolutive is often made to serve for the Inf. e. g. karivi (ko sakA tau kalaMkau ), gharevi (na sakai), nievi (na sakiu), (samuhu~ na sakkiu) joivi, mANivi (taho ANivi sakovi asakau) kAuM (IV 13 Mah. Passage), gAuM, NieuM, toDiuM (IV 7 Mih. Passage), desiu~ (IV 13) $55. Absolutive. aJcivi, aNumannivi, apAhivi, apphAlivi avaloivi evi, ahi sivi, uppamivi, karivi, karevi 'Niyacchivi, dekkhivi, jumivi, pariyacchivi, pariyANivi, dumivi, maMbhIsivi, saMcivi kareppiNu, as also kareviNu neppiNu, paNavipiNu, gaMtUNa, giNDiUNa, picchiuNa, pujiUNa are Prakritisms, Causal Aboslutive avamANivi, avahArivi, vaisArivi $ 56. Denominative. muddAi VI Metre:- Apabhramsa poetry was originally and essentially popular' poetry, like ballad poetry of the commonest people. It is therefore natural that it should have broken loose from the stereotyped classical form and adopted for its outward expression such metres as were supple and lively; such See section VIII below.

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27 for instance, as an ordinary artisan would hum with pleasure while working. That is also why most of the quotations from Apabhramsa in Hemacandra and other Prakrit authors, look more like popular proverbs and snatches from popular love-poetry. There was, however, one way of breaking from the rigid, rule-bound classical Sanskrit and Prakrit form, which is essentially bound up with what are colled ganavrttas; and that was by reverting to the old (1) aksaravrtta, and (2) the matravrtta and by avoiding (3) ganavrtta as far as possible. An (1) aksaravstta is metre defined by the number of letters in a line; such for instance, are the Vedic Gayatri, Anustubh, Tristubh, Jagati etc. The more essential factor here is the number of syilables and not the quantity, although even in Vedic metre the tendency is observable of determining in a particular manner the quantity of the last four syllables or so of every foot. But here the division of a foot into a number of ganas or syllabic instants consisting of three syllables of stated quantity, is entirely absent. It was a later invention, perhaps of the sanskrit epic period, logically developed and completely carried out during the Sanskrit classical period. With this also synchronised the Prakrit classical period commencing with the Gathasaptasati of Hala, perhaps even earlier, and still continuing after its last bloom under Siddharaja and Kumarapala of Asahillavadapattana. The (2) matravrtta depends entirely on the number of the matras in a foot. Matra is measured by the time or effort required in pronouncing a syllable, the short syllable forming the unit. Thus all long syllables, those having an anus wara or visarga, those preceding conjuncts, and those at the end of a foot optionally, have two matras.: An Arya, for instance, has twelve matras in the first foot etc. The number of syllables may vary. Thus yasyAH pAde prathame and yadi rAmA yadi ca ramA are correct instances of a first foot of Arya, although the first contains seven syllables only, and the second nine. Nor is the quantity of the last three or four syllables determined, although the examples given, accidentally seem to agree in that respect also. The metre of our work is mainly characterised by the number of matras in each foot. A (3) ganavrtta is a rigid succession, following with mathematical precision, of a stated number of syllabic instants. The basis of the ganavrtta is of course again the matra; for, a Sanskrit gana consists of three syllables of varying quantities long and short; and the resulting number of ganas by permutation and combination, of two different quantities taken three at a - time, is naturally very large. The Apabhramsa also, when it became a ? See section VII below. 3 Pingala Ed. Ghosh p. 4. dIho saMjuttaparo biMdujuo pADio a caraNaMte / sa gurU baMka dumatto aNNo lahu hoi suddha ekalao // 2

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28 vehicle of literature, began to make use of some classical ganavrttas, as the sequel will show. Metre of the Bhavisattakaha. The metrical unit in our work is the Kadavaka. It consists most usually of from ten to sixteen lines of two feet each. There are however Kadavakas running over twentysix lines like V 9 and even as many as thirty like XII 3. Sometimes there is an odd number of lines in a Kadavaka. The body of the Kadavaka is in a metre which consists of sixteen matras to a foot and is either Pajjhatika or Alillaha and the last two lines are in what is called Ghatta metre. Of the three hundred and fiftyfour Kadavakas in our work, almost all with the exception of about seventeen are thus uniformly either in Pajjhatika or Alillaha. The remaining seventeen or so are in different metres, some of them classical. Each Sandhi is headed by two lines in of different metre, and each Kadavaka of Sandhis XIII and XIV and the first three of Sandhi XV, i. e. thirtysix Kadavakas in all; are headed by a Duvai. (A) APABHRAMSA OR POPULAR MATRA METRE. (1) Prajjhatika is thus described in Pingala*: "Have four ganas consisting of four matras each in the four feet, with a 'payodhara' (i. e., according to commentator) at the end of each. That is Pajjhatika consisting of sixty four matras in four exactly similar feet." Thus sixtyfour matras equally distributed over four feet (two feet are written in one continuous line in our work) with at the end of each, is the feature of Pajjhatika and it is borne out amply by our text. The principal Pajjhatikas are found in I Kad. 1 to 11; IV 4, 5, 6; XII 6 to 11, 13 and 14; the whole of XIII; XIV 1 to 7 and 12 to 20 (i.e. end); XV 2 to 9; XIX 12 to 16 (i. e. end); XX 6 to 10; XXI 1 to 10; XXII 1 to 3. (2) Alillaha or Adilla: This is strictly speaking a variety of Pajjhatika, having as it does sixteen syllables to a foot and every two feet rhyming with each other. The difference however lies in the treatment of the last three syllables. In Pajjhatika the last but one must be guru or of two matras, in Alillaha the last two must be laghu alike. Pingala expressly says that there must not be a 'payodhara' at the end of Alillaha but a 'supiya' i. e. two short syllables according to the commentators. A comparison of the two from the text will make this clear. 4 Ibid p. 217. uttama karaha~ gaNa ThAi~ ThAi~ Thai aMta paohara pAi~ pAi~ / causaThThimatta pajjhalai iMdu sama cAri pAa pajjhaTibha chaMdu // 125 5 Ibid 220. solaha mattA pAu alilaha bevi jamakA bheu alillAha / ho Na paohara kiMpi alilaha aMta supia bhaNa chaMda alilada // 127

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29 (1) etthaMtari bhaNai aNaMtavAla hau~ Ae~ devasvami palayakAla / avaNIsaha parivadviyapayAu sAMmatasaya I. millevi aau|| (2) aha savvaMgaha~ bharivi jiNidaho kahai nAi bhviyaaynnviNdho| aho maho ajju nAU~ muha pattau jaM evaDa mahattaNu pttu|| The four feet in (1) are composed of sixteen matras each and show the scheme~-~in the last three syllables. In (2) also they have sixteen syllables each, but the scheme at the end is - ho at the end of the first two padas of (2) is short, according to the rules of Prakrit prosody that s, hi with an anuswara, y and at alone or in combination with a consonant and conjuncts with or are short. Another differenee, mentioned in Pingala, but not particularly pressed, is that the sixteen matras of a Pajjhajika may be split up into ganas of four matras each. That however does not mean much, as the number of syllables for Pingala's gana may vary. But the tone of the two metres seems so different that they must be examined closer. A striking point of difference seems to be that a slight Yati' or caesura is felt at the eighth matra of a Pajjbatika, while such is pot necessarily the case in Alillaha. Thus (1) above may be written with a(,) to indicate the 'Yati', thus:-- (1) etvaMtari bhaNa, hU~ aNaMtavAla hau~ Ae~ dek, khami palayakAla / ___avaNIsaha pari, vaviyapayAu sAmaMtasayara, millevi Au // 13,6,9-10 though at the risk of 'Yatibhanga' in the first two places. And there appear to be two laghus vu always preceding the 'Yati'. The same may be noted for instance in maggevi laiya, sA tena kana nivasihi bhaNivi, harivaliNa dinna / paramocchavi A, raMbhiDa vivAha pariosiu puru, puravaisaNAha 1,8,7-8 Thus then a Pajjbatika, besides having sixteen matras to a foot and the scheme v-v at the end of a foot, appears to have a slight caesura at the eighth matra and the scheme w at the caesura. In (2) too there appears to be a caesurain each foot, viz, a slight one almost unfelt at the eighth matra in feet one and three and a caesura of a pronounced character at the sixth matra in feet two and four. Thus (2) may be read (8) aha savvaMgai~, bharivi jiNidaho kahai nAi, bhviyaaynnviNdho| aho maho ajju, nAu~ sahu pattau jaM evaDDa, mahattaNu pattau // 16,3 12-13 Moreover the 'Yati' in padas two and four appear to be preceded by v-v. The same may be observed in rukkhaho jAmi, phalla saMbajjhai kiM aMbai~, Amalau Nibajjhai / jo tautaNa, aMgi uppaNNau~ tAsu sarIri. hoDa dinuN|| 2.3.7- 6 Ibid p. 7 ihiArA bidujuA eo suddhA avaNNamilibhA vi lh| raha baMjaNasaMjoe pare asesaM vi hoi savidAsaM // 5

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30 The Alillahas are more numerous in our work. The principal places of their occurrence are: I Kad. 12 to 16; the whole of II; III 1 to 21; IV 9 to 12; V1 to 16 and 18 to 23 (i.e. end); the whole of VI; VII 1 to7 and 9 to 14 (i. e. end); VIII 1 to 6; VIII 14 to 20 (end); the whole of IX, X, XI, and XVIII; XIX 1 to 5; XXII 4 to 9 etc. (a) But in a few places, instead of the usual scheme at the end of the Alillaha, viz -, there occurs either - -, or -, orv-. These are aberrations and are used possibly for the sake of variety. A few examples may be given: (1) ekamAsa gaDa eNa vinnoeN| puNu jiNamahimANaMdavihoeM 1,16,4,---,(7) baMdhuyattu kulakittiviNAsu / gau vohityaI levi hayAsa 4,1,4-5, - - (3) taM nisuNevi bhnniissivynnii| mukAharaNa prmmuhvynnii|| 6.3.1 .--- (3) Duvai:-A Duvai or Doai, as it has been named in Pingala, is thus described? : " Where there is an Indra (six mnatras according to commentator) at the beginning, then two Dhanurdharas (four matras each), and a Madhukara (six matras) at the end, that is called Doai by the wise." That only means that a Dovai should have twenty eight mattas to each foot, or fiftysix in all. Piigala does not say how the matras are arranged or where the Indra should end and Dhanurdharas begin. A commentator says that an Indra indicates six kalas (matras), the middle two of which are short.s That would give for the opening of the pada the scheme-~~-, or~~~ ~-etc. where the middle two matras are always short. This is rather vague as it is psssible to have more combinations of six matras having two shorts in the middle, and sometimes the shorts may not be quite in the middle. It is, however, possible from the Duvai of the definition and the Duvai-example itself, to infer that there is a big division in each pada owing to the Yati, into 16+12, and that the first half of the pada corresponds exactly to a pada of the Alillaha in having two shorts near the end of the pada of 16 matras. Examples from our text will make it clear: (1) to maMgalasaehi gharu Ayaho, sasayaNa kayapayattaho / caukaMdha sihari vAsaharu, pasAhiu bhavisattaho // 12,12, 1-2 (1)pANiggahaNi jAe jAmAyaho, ahiyamaNANurAiNA / jaMciMtiu maNeNa nIsesa vi, taM tahAM dinu rAiNA // 15,2,1-2 7 Ibid p. 257. 'Aiga iMdu jattha ho paDhamahi, dijahi bevi dhaNuharaM / taha pAhaalla parivaha, vivihacittasaMdaraM // 152 sarasai lai pasAu tahi puhavihi, karahi kaitta kaiaNA / mahubhara caraNa aMta lai dinahu, dobhai bhaNahu vuhamaNA // 153 Ibid p. 258. madhyadvilaghuSaTrakalAvAcI indrazamdaH

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31 There is a Yati at the end of sixteen matras, indicated by the comma, and the scheme at the Yati is, in both the verses,- and in (1), andand in (2). So that there is agreement in the last two syllables only and the scheme reduces itself to as in the Alillaha. The similarity, however, ends here. The foot after the yati has twelve matras and the scheme at the end is (for the at the end of the foot has to be pronounced long), --in (1), and in (2). The ending thus shows a classical Ra-gana. We can therefore define a Duvai as a metre of two padas-the name means that, having 28 matras to each, with a big pause or Yati at the end of 16 matras, and the schemes and 7 at the Yati and at the end of the pada respectively. Duvai occurs at the beginning of every Kadavaka of Sandhis XII, XIII, XIV, and the first three of XV. The whole Kadavaka XII 5 is in Duvai. XII 3 has two in the beginning. (4) Marahattha is a matravrtta, having twentynine matras to a foot and one hundred and sixteen in the whole stanza. "The learned Pingalanaga1 says that in this well-characterised metre there is a pause at ten, eight and eleven matras, the first gana has six matras, the next five have four matras each, with a guru (~) and laghu (~) at the end. The total number of matras is one hundred and sixteen. This is called Marahattha." There is one Kadavaka, III 24, in this metre (1) ate qvagantia aqunqchia ieefa a afora | ? (2) parivajjiyapamAya parimukkacAya cakaliyagIDhaviMda | 2 (3) jaMpara baMdhuyattu kaMTakiyagattu kiM sayala itthu bhAya / 3 at the end and All these lines have 10+8+11 syllables and the scheme are thus in agreement with Pingala. But on closer examination they appear to have the scheme - also at the two 'Yatis what is not mentioned by Pingala. His definition appears to have at the 'yatis while his example has -- at these places. (a) In XIII 8, lines 3 to 10 almost read like Marahatha, with the difference that they have 10+8+12 matras, i. e. one more than it. No other metre in Pingala corresponds exactly to it. Jacobi calls it Gitisamam after Hemacandra. (5) Simhaaloana or sinhavalokana is a metre of sixteen matras, divided 16 Ibid p. 336 ehu chaMda sukkhaNa bhai vibhavakhaNa jaMpara piMgalaNAu / bisamai daha akkhara puNu aTThakkhara puNu egAraha ThAu // gaNa Adi chakala paMca caukkala aMta gurulahU dehu / usolaha aggala matta samaggala bhaNa marahaTThA ehu // 208

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32 into fur groups of four Matras each, with a proviso?? that the groups don't show a 'Bha-gana' and a 'Jagana', or Karna (--). What remains therefore is all laghu ( uy i. e, a "Vipragana', or antaguru ( -) i. e. a 'Sa-gana'. One Kadavaka, VIII 13, is in this metre. (1) hA puSvajammi kisa kAI maI nihiMdasaNe jaM nayaNaI hyaaN| 1 (7) hA putta hou dihi dujaNaho kima vayazu nihAlami dujnnho| / The opening of the two lines appear to be against Pingala's rule. The apparent contradiction disappears when the first syllable is resolved into The rest is proper. The last syllable of all the padas has to be regarded long, otherwise there would be only fifteen 18 syllables to a foot. Several Ghattas in our work are in this metre. (6) Kavva or Kavya is a metre of twentyfour Matras. It is thus described : 19 "There are two ganas of six Kala at the beginning and end (of a pada); there are three "turangama' (i. e. gana of four matras) in the middle; the third gana i. e. 2nd of the two turangamas being either a Jagana (-) or Vipra ( UU). Know this to be the definition of Kavva." This only means that there are in all twenty-four matras in this metre. There is one instance only of this in VII 8. (7) Paangama or Plavangama is a metre of twenty-one syllables. There are three different definitions given, one of which suits exactly to one Kadavaka XII 12, 8 and the others in the number of Matras only. It is thus:30 "In every foot the first should be guru, so Pingala says without doubt. This is the metre Plavangama, with twenty-one Matras. (1) paDivannaI viyAli varavilayahi sijAvatti kiya / 3 (1) paNNu phachu hariyaMdaNu ghusiNu samAharivi / 7 In (1) only we have a laghu leading, but the rest are regular like (2). 17 Ibid p. 298 2 faca anu af 9218 gai bhaNa siMhaaloaNa chaMdavaraM / guNigaNa maNa bujjhahu NAa bhaNA Na hi jagaNu Na bhagaNu Na kaNNa gaNA // 183 18 Jacobi probably regards the last syllable short and therefore thinks our Kadavaka to be in Hemacandra's Paranaka metre. 19 Ibid p. 187 8115 itaat SE 3 3 fafor gina 4591 tIe jagaNu ki bipagaNu kavaha lakkhaNa bujjha // 109 Jacobi regards it as Kubjakusa mam after Hemacandra. 20 Ibide p. 298. 937 937 of 9537 fara quos geras forjati chaMda pavaMgama diTTo mattANaM ekabIsati // 187 Jacobi is doubtful if this is Rasaka of Hemacandra.

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33 (8) Kalahamsa is a metre of twenty-tour Matras, with a Caesura at 10. Unfortunately Pingala has not got it. Prof. Jacobi has found it in Hemadra's Chandonusasana."1 It occurs at IV 1, the first line being pikkhaI maMdirAI ugghaaddiyjaalgvkkhii| (9) Gatha occurs at X 12, 9, 12. It is quite of the ordinary type. (B) MATRAVRTTAS IN GHATTA. Ghatta in our work is ageneral name for the strophe ending a Kadavaka. It corresponds to Dhruva or Dhruvaka. Any metre can therefore be used in that position, besides the legitimate Ghatta of Pingala, which consiste of 62 Matras. (10) Ghatta, legitimate, occurs at the end of several Kadavakas. It has thirty-one matras in each half, arranged like 10+8+13. Pingala says:9: "A Ghatta has sixty-two matras. There are seven Ganas of four inatras each in both the feet, with three laghu (uu) at the end of each." Thus this Ghatta is Dvipadi. The places of its occurrence are all the Kadavakas in Sandhis XII, XIII and XIV and the first one of XV. It also occurs in the Mangala verses of the same Sandhis. (11) Ullala has 15+13 twice. Pingala thus describes it.'3 "Have three Turangama (four matras) and three natras; in the same way six, four and three at the end. Thus can Ullala be composed. The matras of the feet together are fiftysix." It occurs at the end of I 16, II 1 to 4, and 6 to 11 13 and 14; the whole of III; IV 1 to 6 and 8 to 10; etc.; as Mangala in II, III and IV. (12) Abhisarikadeg4 is also a Dvipadi having twenty-two syllables in each pada divided as 9+13.35 This is the most common Ghatta in our work and comes oftener as a Margala-sloka. The principal places of its occurrence are 1 1 to 9 and 11 to 15, V 1 to 8, and 12 to 23 (i. e. end), VI 1 to 9, the whole of IX, X and XI, XV 2 to 17 (i. c. end), the whole of XIX, X, XXI and XXII; as Mangala in I, V, VI, IX, X, XI, XVII, XVIII, XIX, XX, XXI and XXII. 21 Op. Cit. Introduction p. 49. 22 Ibid p. 170 fotos fazu gefags 9 HT araft afii caumatta satta gaNa nAvi pAabhaNa tiNi laha aMta dhari // 91 23 Ibid p. 205 fafoor gira faza al 36 a3 faer ag ajai ema ullAla uThavahu bihudala chappaNa matta // 118 24 This and the following names are form Hemacand ra, for which I am indebted to Jacobi's edition. 25 XVII 1 has 8+13 and 9+13, but need not for that matter be regarded as & different metre. The second foot is regular, and the flaw in the first may be regarded as & Variation, or carelessness of the author.

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34 (a) Manmathatilaka is a variety of the above, having 8+14 matras in a pada: i. e. the total number of matras is kept up. This occurs in XVII 3 and 5 to 10. (b) Kusu manirantara shows 9+14 and occurs only in XVII 4 (13) Vibhramavilasitavadana has 11+13 matras and occurs in XVI 1 to 8, and 10. (a) Navapuspandhaya which has 11+14, can be regarded as a variety of the above. Occurs XVI 11 and 12... (14) Kinnaramithunavila sa has 11+15 in XVI 9. (15) Markati having 11 Matras for all four feet occurs at IV 11. Simhaaloana, 26 see (5) above. The Ghattas in the whole of VII, VIII 1 to 10 and 12 to 20 (i. e. end) and a few more are in this metre, as also the Mangalas of VII and VIII. See, however, footnote 18 on (5) above." Alillaha, 36 see (2) above, occurs as Ghatta in IV 7. (C) CLASSICAL METRES OR GANAVRTTAS Camara. Of about the ten Kadavakas in different metres, IV 6 is in a sort of Camara. There are five verses of four padas each and one of two only. It is thus described by Pingala." "Camnara consists of (four) padas that have fifteen syllables and twentythree matras in each. There are eight 'haras' or long syllables and seven saras' or short syllables, and a 'hara' or loug syllable at the beginning and end." Thus the Camara, besides having fifteen syllables and twentythree inatras to a Pada, must have a successiou of long and short syllables, so that there will be eight longs and seven shorts, provided that the beginning and ead are always long. Thus taking the verse that defines the metre (and Pingala's definitions are very often in the same metre) and the illustrative verse, we can put down the following scheme of long and short syllables: - - -- -- -- - --- When we examine our Kadavaka, however, we find that the treatment of the metre by our author is more elastic. Thus (1) a gi gfenfitpor ar fazi gives-v-v-v-v-U-V-U () aranacaga Tauracuri ,,-v-vou-U-V--VBut (3) galardgtre og i rqoute >> vuurvovavov-v-v (4) gyferiefs Tangic mi , wwwwwww-w-v-v-v25 These have not been renumbered. 27 Ibid p. 484 cAmarassa vIsa matta tINi mata agglaa| aThTha hAra satta sAra ThAi ThAi NimmalA / Ai aMta hAra sAra kAmiNI munnijje| akrA dahAipaMca piMgale bhnnijje|| 158

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35 Is (1) and (2) our author agrees quite with Pingala, but in (3) and (4) there is a complete disagreement, not only in the scheme, but also in the number of syllables, (3) having sixteen and (4) as many as seventeen. (17) Bhujangaprayatam:-Our poet seems to be fond of the classical Bhujangaprayatam, which occurs at III 26, IV 328, V 17, XII 3 and XV 1, XV 15. He calls it a metre that charms wise men". It does not necessarily require four feet. Thus in III 26, XV 1 and XV 15 we have four verses of four feet each, and one of two only. It is thus described : 30 "With Dhvaja (a gana of three matras, the first being short i. e. 2) and and Camara (-) four times repeated, and twenty matras to a pada, Bhujaigaprayatam can be worne round the neck like a necklace." Bhujangaprayatam therefore has twenty matras to a foot and the scheme -- (i, e, the classical 'Ya-gana') four times repeated. Our author mainly conforms to this, with slight variations as in: (1) bhamaMto nahe hiMDae suravimANaM has w--,---,---, ..-, (2) fai fat forcat am , --,-v, UV-,--, In (1) 'Ya-gana' occurs only twice, being supplanted in the latter half by 'Ja-gana', 'Sa-gana' and a guru; in (2) it makes place in that half for Sa-gana', Ra-gana' and a guru. (18) Sankhanari is only a variety of the above, the only difference being that the stanza of a Sankhanari consists of two Bhujanga-padas only. We have it in XIV 8. Pingalas definition is as follows31 : "Sankhanari is said to consist of six 'varnas', the half of Bhujanga, and four (such) feet." Thus the foot is half of Bhuganga, i. e. consisting of six syllables only, Four such feet are required. Our poet's Sankhanari however, has one verse of two padas only, if we are to consider that there is no lacuna of a line at the end of XIV 8, which is in this metre. (19) Lacchihara or Laksmidhara, of four 'yodha' Ganas i. e. - - the classical 'Ra'-gana. It occurs at IV 13. Pingala's definition is thus:"A Hara (-), a Gandha (), a Karna (--), again a Gandha (), then Karna (--), and Sabda (), then Ta-gana (-- ) and Guru; 28 This appears to have escaped Jacobi's notice. 29 yani guisont oth 47 XII 3, 28 30 Ibid p. 440 ghao cAmaro rUao sesa sAro Thae kaMThae muddhae jattha haaro| caucchaMda kijje tahA suddha deha bhuaMgApaAraM pae bIsarehaM // 124 31 Ibid p. 868. 81 2007 at yeim gerent pA pAbha cArI kahI saMkhaNArI // 52

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36 (thus) Nagaraja says that there are four 'yodha' ganas (-- -). Of this form is to be known a Lacchihara." Four - - to a pada, and four such padas constitute a Laksmidhara therefore. Our auother has, however, variations in the begining of a pada thus: (1) facetrato 4096 has vuv--------- fefecaraffa sagte qe has wow-, --,---,-vIn both the cases, the initial guru (-) is split up into two laghus (w). (20) Mandara occurs only in one line of a Kadavaka in IV 1, 3. It is in fact a couplet and should have been written in two lines one below the other: aho jiNu aMcahu maM para vaicahu // 1 // iMdiya khaMcahu sakiya saMcahu // 2 // Pingalas definition runs thus. 33 "That is the beautiful Mandara, Oh friend, where there is a 'bha' (-)" i. e. at the beginning. The context is of three-syllable feet. Hence Mandara consists of four feet of three syllables, each headed by a'guru' or long syllable. VII Apabhramba Literature." (1) What is the extent of the Apabhramsa Literature ? Just a decade ago such a question would have seemed very ridiculous, for, until recently the only literature in Apabhramsa known to scholars and recognised by them as such was, what was found? (a) in the fourth act of Kalidasa's Vikramorava si, (b) in Prakrta-pingala attributed to Pingala, (c) in Hemacandra's Grammar IV 329 to 446, where he quotes from various sources, (a) in Hemacandra's Kumara pala-carita, otherwise called Prakrta-dvya sraya-kavya, Sarga VIII vs. 14 to 82, which professedly illustrate his own grammatical rules, and lastly (e) in Jain-legends like the Kalakacaryakaha and that of the destruction of Dvaravati and stray verses here and there in Alankara works like Sarasvati-kanthabharana, the commentaries to Dasa32 Ibid p. 447 hAra gaMdhA tahA kaNNa gaMdhA uNo kaNNa saddA tahA to gurUA gnno| cAri johA gaNA NAarAA bhaNo ehurUeNa lacchIharo so muNo // 127 30 Ibid p. 351 afe at afg RFI got II 33 Jacobi does not seem to have noticed this. The following is from my essay of this name read at the First Oriental Conference, Poona, Nov. 1919, with modifications and additions. 2 Pischel, Materialien Zur Kenntnis des Apabhramba 1902, has put together and translated the Apbh. verses in Hemacandra, Sarasvali-kanthabharana and Vikramoroafi. This book was kindly lent to me by Dr, Zimmermann of St. Xavier's College, Bombay,

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ripa aud Dhvanyaloka. Besides, some verses are to be found in the Vetalapancavim satika, Simhasanadvatrim sika, and the Prabandhacintamani. To the Apabhramsa verses in the Sara svati-kanthabharana mentioned by Pischel in his grammar and wonderfully reconstructed and translated in his Materialien are to be added those at pp. 74, 174, 348, 373. Pischel has not mentioned the Kumara pala-carita as it was published in 1900, when his Grammatik was also in the press. (2) The genuineness of the 4th act of the Vikramorvas, which was called into question by scholars like S. P. Pandit and Bloch, is not generally accepted even now. Prof. Jacobi is the latest champion of the theory of the spuriousness of the Apabhramsa in the fourth act. He has adduced no new grounds, but corroborated Bloch, in pointing out 7 more Apabhramsa verses which contradict the prose that precedes them. The contradictions may be due to the fact that the scribes, not knowing Apabhramsa, were from the beginning suspicious of it and therefore grossly neglected it, and put the Apabhramsa songs which foreshadowed the King's speeches hopelessly out of their context. But the fact remains that the act has suffered by the dictum of the above mentioned scholars. It requires to be again edited with care by one who knows Praksit and especially Apabhramba well. The Prakrta-Pingala has been edited again in the Bibl. Ind. by Candra Mohan Ghosha in 1902; but it is apparently no inprovement upon Sivadatta and Parab's Kavyamala edition. As the one is based on North-Indian Mss. alone, and the other on West Indian Mss. exclusively, both are defective and unsatisfactory. (3) Since Pischel's time there has been a considerable addition to our knowledge of Apabhramba literature. I The Bhavisayattakaha or shorter still Bhavisattakaha of Dhanavala i.e. our present work, (1) edited by Prof. Jacobi, in the Abhandlungender K. B. A. W. at Munich in 1918, (2) undertaken by Mr. Dalal, in the Gaekwad's Oriental Series and now finished by me. II The Sanjamamanjari of Mahesvarasuri No. 1359/1886-92 of the Deccan College collection at the Bhandarkar Institute, is written entirely in Apbh. It contains 35 verses in an or let metre, and is quoted below. The author must have probably lived a couple of centuries before the fourteenth,see III below. namiUNa nmirtidsiNdviNdsirimuddliiddhpyviireN| Tafat ( 8 (99) 486aeferoj llllll saMjamu surasasthihi Suau saMjamu makkhiduvAra / jehiM na saMjamu maNi dhariu taha duttara sNsaaru||2|| 3 His Bhavisattakha Intr. p. 58 Note 1. 4 My article in the Annals of the Bhandarkar Institute I 157 where the small work has been published.

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38 sajamabhAradhuraMdharaha sahucchaliu na jAha / / niajaNaNIjuvvaNaharaNu jammu niratthau tAI // 3 // viramaNu paMcaha Asavaha iMdiyaniggaha jattha / sakasAyahaM daMDaha damaNa satarasa saMjamu tattha // 4 // nidhiNa niTTara duzmaNa je pANi bahu karaMti / te AvajiapAvabhara nicchaya naraya padaMti // 5 // aji ma japahu dugvayaNu para dUmida jenn| vA naravai naraihiM gayau aliumbhavadoseNa // 6 jai pANaI saMsaha padaha jaha nivvAhu na asthi / tahavi adintu ma saMgahasi jaM dUsiu jiNasatthi // 7 // jA nivinau duipacuri nivasaMtu saMsAri / mehuNasahi samiNaMtariNa maNa pasaraMtu nivAri // 8 // gAdaparigrahagahagahiu naru hArai apavaggu / miliha parigrahaduvvasaNu sivasahakAraNi laggu // 9 // paMcAsavaviramaNu karahi karahi ma nighaNa pAu / siddhipuraMdhihi uvari jaha tujjha paii bhAu // 10 // kakasi pharasi ma uvviasi niru komalai ma rajju / majmatthiu () vittharahiM jia jai maNi nivvuikajju // 11 // sANidiu duima damiu rasi rasi gidau jeNa / avara ya iMdiya visayagaya lIlaI nijiya teNa // 12 // gaMdhasugaMdhiraM raha karaI duggaMdhihaM saMtAu / dhANidiyakayaukarasi jIva ma vaMdhai pAu // 13 // je jiNanAhaha muhakamalaavaloaNakayatosa / panna tiloahaM koaNaI muhamaMDaNapara sesa // 14 // pararamaNI je rUvabhari pikkhivi je vihi (ha) saMti / rAganibaMdhaNa te nayaNa jiNa jammavi nahu hunti // 15 // jIva ma raMjahi maNarayaNa muNavi maNohara geu| vasari mA kari maNi uvveDa // 16 // gaya maya mahuara jhasa salaha niyaniyavisayapasatta / ikrikeNa i indiyaNa duHkha niraMtara patta // 17 // ikiNi iMdiya mukkaliNa kabhai dukkha sahassa / jasa puNa paMcai muklA kaha kusalattazu tasta // 18 // iMdiyasakkhi meM raI karahu saMbhAvahiM apavaggu / jia khaNabhaMguravisayasahamaggi alaggi ma laggu // 19 // vayaraparaMpara saMghaDai bahu uvveya karei / koDa viyaMbhiDa bhaMti nahu jIvahaM duggai nei // 20 //

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39 risasahastihiM jaM kiyaDa tavu saMjamu uvayAru / koha mahAna saMgamiNa so dahi kijai cchAru // 21 // mANa maDapphara viSphurai viNai na vahai koi / vijayaviGkaNaha niThuraha nANavidatti na hoi // 22 // vizu nANeNa caritu nahu viNa caraNeNa na mukkhu / mukhavihINA (Na) kahavi nahu hoi niraMtara sukkhu // 23 // tA mildeviNu mANabhaDa viNaya nivesarhi cittu / ava sahesahi dukkhaDAM bhavapaMjari nikkhistu // 24 // mAyA (mAmA ? ) paravaMcaNu karahiM paravacaMtaI pAu / jIvahaM pAvaparavvasaha naraya tirikkhau ThAu // 25 // utI lohaha lahari jhaMpiya jeNa jhaDatti / tasu bhavajalahisamuttaraNi phurai samaggalasatti // 26 // jIva kasAya na nijja (ji) gai anu (Nu) viSphurai sarosa kAI nihatthara nIsasihiM karai sarIraha sosu // 27 // jeNi na ruddhau visayasahi dhAvaMta maNumINu / teNi bhameva bhavagahaNi jaMpaMtai jaNa dINu // 28 // saMjamabaMdhaNi baMdhi dhari dhAvanta maNahatthi / jara kAditi ahu sukkala tA pADihara aNatthi // 29 // jIha ji vana jiNaha gaNa daMsaNa nANa carita / sA salahijja sajjaNihiM payaDiyapavayaNatatta // 30 // jA paradosa samuhavai micchapavattaNasajja // sA jIhA maha muhakuhari jiNa jammavi ma karija // 31 // jiNacaMdagurujaNaviNau tabu saMjamnu uvayAru / jaM kijjai khaNabhaMguriNa dehaha ittiu sAru // 32 // jo saMtAvara aNudiyahaM chavijIvanikA | narayanibaMdhaNakammara bali kijjata so kAu // 33 // ( daNDa damavima) Nu vasi karahu dhari saMjami appANu / * moha mahAbalu nijjiNihi jima pAvahi niravANu // 34 // samaNaha bhUsaNa gayavasaNa saMjamamaMjari eha / (siri) mahesarasUri guru kanni kuNaMta khaNeha // 35 // III The Commentary on this work by a pupil of Hemahamsasuri is also important for the Apabhramsa. The commentator must have lived before A. D. 1505, the date of the copy of the Sanjamamanjari together with its commentary. It contains lots of Apabbramsa quotations, some of very con siderable length. The smaller ones are generally of the nature of Subhasita verses that must have been very common in the days of the commentator. cf. diThTha jo na vi Alavai kusala na pucchara vatta / lAkhata na vi jAII re iyaDA nIsasa //

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40 rAsaha kaMdhi caDAviyaha kabbhaha latta sahassa / ApahaNe kari kammaDAM hiyA visarahi kassa // maraNa ti bihaI bappaDA dhammi ji mukkA rNk| mukiA susaMciA jehiM para te tiNivAra nisNk|| Here is a description of a city and its suburbs: ahirAmArAmavaNAulAI surasurahisamANa ya goulaaii| jahiM sayavara bAvIsa varAI vaNasirIa ramaNi kelIharAI / mayamattaya mayagala gulagulaMta varataralaturaya dhapamapadhapaMta / jihiM rahavara dhoraNi dhaDahaDaMta pharaphAraka pAika dhamadhamaMta // jahiM kUva maNohara saravarAI naranArIjaNa-ghaNa-suMdarAI / ramaNIaramaNi jaNu accharAI jahiM vahaI saribha kirijalaharAI // jahi vasahi loya aTThArahavanna jahiM pauNa-bahattari-navaranna / jahiM pavaracahuI manavahuha jalathaladIvaMtarasatthaghaTTa // jahiM nAgara-sAgara-kirinivAsa jahiM ThIka karaI lIlAvilAsa / jahiM suMdaramaMdira-dehurAI jaNu sicchaiM lacchIhara-gharAI // At fol. 106 (b) begins the story of a king of Taksasila named Trivikrama. This runs over three folios, and is given as an illustration of the merits of obeisance to the Jina. The beginning of the story, which is interesting in itself, is quoted below: asthi nAmiNa nayaha takhasila / paDi-vakkha-vachayalasilamaNisiloha-saha-basarahara / hariNacchiharizaMkasahamahilacakkacaMkamaNamaNahara / dhaNakaNa kaMcana-rayaNa-nihi surapurasarisAyAka / sesu-phaNAvali kiM Thiyau pariraMbhivi paayaah|| tahiM tivikkama 2 atthi naranAhu / tialoavikkhAu / jasi daliya-sayaka-balirAyavikkama sarapaMkayasaMgahiya maMkhanAvaha tivikam / tAsa maMgaladevi piya komalakamalapayacchi / rUvi viNijiya rairamaNi kaNayacchavi naM ucchi|| __Apabhramsa quotations like rAsahu kaMdhi caDAviyaI etc. or divasi pahillA pAhaNa sonAsamuvIkAra look like stray subhasita verses, current in the author's time and show that there must have been a rich literature in Apabhramsa upon which he has largely drawu. The long story that he has quoted also cor this view. IV The Tisatthimaha purisagunalankara of Pupphadanta is an important work in Apabhramsa. It forms No. 370 in section x of the catalogue for the search of Mss. for the years 1879-80, and is entered as an incomplete Prakrit work in 304 foll. The Ms. is to be found in the Deccan College 5 That it was possibly Apbh. was kindly suggested to me by the Muni Maharaj Jinavijayaji of Poona. I am in search for other Mys of the work with a view to publish it.

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41 Mss. collection now deposited at the Bhandarkar Institute. The work is divided into Sandhis or chapters, as most Apabhramsa works are, and bas 27 such Sandhis. How many more Sandhis the work really has, I have not yet been able to ascertain. The number of stanzas in a Sandhi varies from 15 to 25. Sometimes however, a Sandhi has only 9 stanzas, (e. g. Sandhi VI) or as many as 29, e.g. Sandhi IX. . The work begins: siDivahamaNaraMjazu paramaNiraMjaNu bhuvaNakamalasaraNesaha / paNavivi vigdhaviNAsaNisvamasAsaNu rimahaNAra prmesk| suparikkhiyarakkhiyabhUataNuM paMcasayadhanugNayadivvatayaM / payariyasAsayapayaNayaravayahaM prsmybhnniydunnnnyrvhN|| muhasIlaguNohaNivAsaharaM devidadhuaM divvAsaharaM / / juiNijjiyamaMdaramehalayaM pavimukkahAramaNimehalayaM // etc. etc. etc. etc. pattA abaruvi paNavivi sammaI viNihayadummaI kovapAvavihaMsaNu / jAsu tithi maI lahara Na,Nasamiddha Nimmala sammasaNu // 1 // Every sandhi ends with the following words: iya mahApurANe tisaTTimahApurisaguNAlaMkAre mahAkajhupphadaMtavirapae mahAbhadhvabharahANumaNNie mahAkagne sammaisamAgamo NAma etc. (the name and number of the Pariccheda or Sandhi.) The poems is said to be approved by the most noble Bharata; but it is not clear who this Bharata is. The seventh stanza in Sandhi I is important as it contains an explicit reference to the Setubandha of Pravarasena, side by side with the Ramayanai siyadaMtapaMtidhavalIkayAsa tA jaMgai vrvaayaavilaas| bho devINaMdaNa jayasirIha kiM kijA kancu suparisasIha // govajjiehi NaM ghaNadihiM suravaracAvehi va NigguNehiM / mailiyacittahiM NaM jaragharehi chidaNNesihi Na visaharehiM // jaDavAif NaM gayarasehi dosAyarehi Na rkkhsehi| AcakkhiyaparapuThIpalehi varakaDa NindijA hayasalehi // jo bAlavuDasaMtosaheu rAmAhirAmalakSaNasameuM / jo sammai kaDvai vihiyaseu tAsa vi dujaNu kiM pari na hou // Nau mahaM buddhipariggahu Nau supasaMgahu Nau kAsavikerau balla / bhaNu kiha karami kaittaNu Na lahami kittaNu jagu ji pisuNasayasaMkula // The reference in line 7, by the words area IATE is to Valmiki and his work the Ramayana; and that in line 9, jo summai kaivaha vihiyaseu, is clearly to Pravarasena of the Setubandha fame. In the ninth stanza the poet mentions several predecessors of his, sonie, like Kapila and Vyasa, almost mythical, others like Bbaravi and Bana of living memory. It is important to note that Puspadanta mentions Rudrata

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42 and not Hemacandra, when speaking about his knowledge of poetics. Had Hemacandra, who was looked upon as a literary colossus by all his Jaina successors, lived before him, he certainly would have made respectful mention of his name, as for instance Somaprabha has done. The fact that he is a Digambara while Hemacandra belongs to the Svetambara sect, can not fully account for this differenciation. The passage which deals with this subject is worth quoting and reads thus:-- akalaMkakavilakaNayaramayAI divasamayapuraMdaraNa yasayAI / daMta visAdiriyAI NaDa NAyaI bharahaviyAriyAI // urs pIyaiM pAyaMjalijalAI aihAsapurANaI vimmalAI / bhAvAhiGa bhAravi " bhAsu vAsu kohalu komalagiru kAlidAsu // face sayaMbhu siriharisa doNu NAloiDa kaiIsANu bANu / paDu laDDu jaDaNiSNAsayAru paDiyacchiu NAlaMkArasAru // finerend agft qfez a gate agicg fafa afes | araig fergastofug or aufs fes forfey 11 Many names in this passage are familiar to us, e. g. Vyasa, Kapila, Kanayara (Kanada), Bharata, Patanjali, Bhasa, Kalidasa, Bana, Harsa, Rudrata, and Pingala. Akalanka, as the unknown author of the marginal notes (sometimes so useful to editors of Jain-Prakrit works) says, is Nyayakarakarta. He is evidently the same Akalanka' as has commented on the Aptamimamsa of Samantabhadra, and was the preceptor of Prabhacandra. As the latter's epitaph is older than 750 A. D., the former must have belonged to the 7th century A. D. at the latest. Akalanka is criticised by the great Kumarila which also speaks to his great age. Purandara, according to the same unknown source, is 'Carvakamate granthakarta,' and Dantilla and Visahila, like Bharata, writers on Natyasastra. The note on Kohala is queer, viz. kUSmAMDaH kazcit kaviH. Who Drona is is not mentioned. This Drona is probably the same as is quoted by Hemacandra in his Desinamamala e. g. fafa: on I, 18, fi: on I 50 etc. Svayambhu is described as svayaMbhUH kaviH pAMthaDIcaddharAmAyaNakartA ApalIsaMghIyaH from this that he is a Jain and that he has written a Ramayana in a particular metre, presumably Prakrit. It seems V. The Aradhana of Nayanandin, a Digambara, is in two parts. The first contains 56 Sandhis and the second 58. The Ms. inspected by Mr. Dalal at Patana contained only 30 and 27 Sandhis. The last verse, not in Apbh. runs as follows: 6 Three syllables have been rubbed out here, owing to twe pages having stuck together and then torn as under by some one. But they can be resorted as bhAravi. 7 Winternitz, Geschichte der Indischen Litteratur II p. 352 H. 3 Dalal, Essay read before the Gujarati Sahitya Parisad. p. 14.

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43 muNivaraNayanaMdIsaNNibaDhe pasiDhe sayalavihiNihANe etya kabve subhabve / arihapamuhasatuvuttumArAhaNAe paNiu kuDu saMdhI aTThAvaNaM sameti // Unfortunately Mr. Dalal could not get details about the date of the author or at least of the Ms. __VI. Paramatmaprkasa of Yogindradeva, a Digambara. This is a philosophical work in 330 Dohas. It was composed at the request of Bhatta Prabhakara. For, it says: bhaTTapayAhari (pahAyari ?) vinaviu vimala kareviNu bhAva / VI. The Neminahacariu of Haribhadru, Candrasuri's pupil, who completed his work in 1159. Prof. H. Jacobi, who makes mention of it at p.1 and 2 of his Introduction to Bhavisattakaha thus describes it. "This is a work of great extent (8032 granthas of 32 syllables) and is almost entirely in strophes of 9 lines called Radda or Vastu. It relates the nine previous births of Aristanemi and Rajimati and in the smaller second half, the story of this Tirthakara, which is interwoven with that of Ksspa and the Pandavas.' The work when published by a scholar like Prof. Jacobi, will add further to our knowledge of Apabhramsa language in particular and literature in general. VII. Vairasamicariu of Varadatta is in two Sandhis only, containing 12 and 9 Kadavaks respectively. There are Mss. of it both at Patana and Cambay. It begins: aho jaNa niThaNNi (Ni ) jau kanu dharijau (hu) vArasAminivaracarita / sAhaDaM sumaNoharu bhaviyaha suMdaru ji jiNarayaNu samuddharita // 1 // tuMbavananAmi puravaha pahANuM atthetyu bharahi vrgunnnihaannu| jiNabhavaNihi suMdara kiu pavittu deulavihAramaMDiu pavittu // 2 // The end: munivara varadattiM gaNaharabhattiM vairasAmigaNaharacariu / sAhijau bhAvi muMcahu pAvi jiM tihuvaNu niyaguNabhariu // No dates are available. VIII Lastly there are smaller works in Apabhramsa called Sandhi nad Rasa.10 Same of them are mentioned below. (a) Paumasiricaritrtra, in 4 Sandhis, of Dhahila son of Pariva. (b) Antarangasandhi, in 9 Kadavakas, of Ratnaprabha, the pupil of Dharmaprabha. (c) Caurangasandhi in 5 Kadavakas. (d) Sulasakhyana in 17 Kadavakas of Devacandra, preceptor of Hemacadra.. 9 Mr. Dalal's essay p. 12. 10 Mr. Dalal's essay. For others, see pp. 11-20.

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44 (e) Bhaviyakudumbacaritra, 36 Gathas in Catuspadi. (f) Sandesarasaka, in different metres, being the message of a Virahini (g) Bhavanasandhi of Jayadevaganin, puplil of Sivadevasuri, in 6 Kadavadas. IX. Besides the above, entirely in Apabhramsa, the following works contain Apbh. verses, somtimes at great length. It (a) The Kumarapalapratibodha of Somaprabhacarya contains much Apabhramsa. This is a bulky Jain work, purporting to be the enlightenment of King Kumarapala by the advice of the polihistor Hemacandra. has five Prastavas, broken by different Katha or stories, drawn as illustrations of particular merits or vices. Thus there is Nalakatha which illustratrates the evils of dice-playing, Pradyotakatha as illustrating the evils of debauchery, Tara and Rukmini Katha as examples of the virtues of faithfulness and the like. The bulk of the work is written in what Jacobi calls Jaina-Maharastri (which is not much different from ordinary Maharastri), and contains both prose and poetry. One Katha, that of Makaradhvaja, is written in Sanskrit. But the last Prastava is important from our point of view as it contains some entire Kathas in Apbh. Such are (1) the Jivamanah-karanasamla pakatha containing 105 stanzas in Apbh., (2) the Sthulibhadrakatha, having 106 stanzas (with the exception of a very few Gathas in Maharastri) in Apbh., (3) The Dasarnabhadrakatha which is half Apbh. and half Sanskrit. Besides, Apbh. Stanzas are scattered over other parts of the work, e.g. khaDa khaNAviya saI chagala saI Aroviya rukkha / paI ji pavattiya janasaI kiM buvvuyahi murukkha // and from amarasiMhakathA aha kolakularavamubhala vaNi vasaMtu payahu / bhaTTa va mayaNamahAnivaha payaDiavijayamaradru // 1 // sUru paloivi kaMtakarU uttaraditi Asattu / nIsAsu va dAhiNadisihi malayasamIru pavattu // 2 // eke dunnaya je kayA tehi nIhariya gharasta / bIjA dunaya jai kara to na milauM piyarasta // P. from abhayasiMhakathA p. 38 25. areer dAhiNadisihiM jAi vidabhihi maggu / vAma disihi puNa ko vihi jahiM rucai tahiM laggu // from zIlavatIdRSTAMta P. 3 sI dameva ju vAhira ika vi jiNihi sattu / kumari piyaMkari devi tasu appahu rajju samattu // from naradevakathA p. 39 from tocaritam p. 57

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45 The author Somaprabha, according to the Prasasti at the end of work, lived some time after Kumara pala and Hemacandra, as he says he wrote his work in Samvat 1241 i. e. A.D. 1185. __(d) Another work containing some Apbh. is the Upadesa-tarangini of Ratnamandriraganin, ed. H. B. Shah, Benares v. D. 2437. This a late work of promiscuous nature, full of Sanskrit and Prakrit quotations. The Sk. quotations are generally from the Mahabharata and Bhartrhari, and the Prakrit ones from different Agama works and other sources. There is little that belongs to the author, but that little is written in bad Sanskrit. There are about twenty-five passages that can be strictly called Apbh.; there are some more which may be on the borderland of Apbh., and old Guj. or old Western Rajasthani, as it is called by Dr. Tessitori. A few only are quoted here: pattaparikkhaha kiM karai dijaha mggNtaaii|| kiM varisaMto ambuhara joi samavisamAI // p. 1 rari gaiMda Dagamagiya caMda karamiliya divAyara illiya mahi halli yaha meru jalajhaMpiya sAyare / suharakoDi tharahariya krUra kUrama kaDakima analavinala dhasamasibha puhavi sahu pralaya palahiya // gajaMti gayaNa kavi Ama bhaNi sarabhaNi surabhaNi phaNamaNi ikdduum| mAmahi himagahimamagahimagahi muMca muMcha jayasiMha tuha // p. 64 suMdara sara amarAha hali jala pIpalaM vayaNehiM / udayanaridvahiM kahIu tIhaM nArInayaNehiM // p.70 The last passage is between Apbh. old Gujarati. (c) The Supasanahacariyam of Laksmanagani parts I and II. ed. Pandit Hargovind Das Seth, Benares 1918, contains some Apbh. The third part is not yet out. kevi mallavva sajaMti kamadaduraM avari gAyaMti sahakaMTharavasaMdaraM / kevi uttAlatAlAulaM rAsayaM kuhiM karanacciyaM avari varahAsayaM // kevi harimadurA tiyasagaladeDuraM kuNahiM hayahesiyaM kevi suibaMdhuraM / kevi gayagajiya kuhi mayabhibhalaM ani muTThIhi paharaMti dharaNIyalaM // etc p. 50 naya dhippai sasaNehi nahu viNaihi guNihi / nahu bajai naya mANiNa naya cAhuyasaihi / naya svarakomalavayaNi na vihavi na jovvaNiNa / duggejma maNu mahilahaM ciMtaha AyariNa // p. 115 kaIyAvi mahurakaLayaMThakaMThasajamAi pytttti| kaIyAvi gahiyasaaMdhakusuma devazcaNi vai / kaIyAvi bahubhavabhamaNabhAvaNa maNi bhAvai / kaIyAvi sudarammi jiNadhammi lINamaNu gavai // p.116 Besides stray verses at about sixteen places, there are Apbh. passages of considerable length at pages 50, 190, 212, 286 and 440.

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46 11 (d) The Dohakosa, published by Dr. Harprasad Shastri in his Bengali work Bauddhagana Doha, 1323, is full of Apabhramsa. The learded Shastri, however, considers it old 'Bangala, ' which is not the case. There are two collections of Dohas, (there are other metres also) one of Saroruha-vajra who subscribes himself Saraha in his Dohas, and the other of Krsnacaryapada and both are in Apbh. From Saraha: (4) Conclusion: The Section has made it amply clear, that under the so-called Prakrit literature, especially of the Jains, both published and unpublished and much valuable Apabhramsa lies burried. Some works, which in the Catalogues are simply dubbed Prakrit, might turn out to be Apabharamsa and others, rightly called Prakrit, might still contain some Apabhramsa quotations and stories of value from both the linguistic and literary points of view. It is also likely that the treasures at Patana, Khambayat and other strongholds of Jainism, might contain Apabhramsa works, yet unknown even to their blessee possessors. It is the duty of al right-minded Jains to make such works availabl to scholars who would publish them according to approved methods and subject them to literary and historical criticism. gharahi baisI dIvA jAlI konehi baisI ghaNTA cAlI / akkha nibesI AsanabandhI kanehiM khusakhusAi janavandhI // raNDImuNDI anya vi veseM dIhaNakkha je maline veseM / Naggala hoi (a) upADiyakeseM khavanehiM jAnaviDaMciyaveseM // apaNu vAhiya mokUkhauupaleM // jai naggrA vibha hoi mutti tA sunaha sibhAlacha / lomopATane accha siddhi tA juvai nitaMbaha // picchIgahaNe diThTha mokkha tA kariha turaMgaha / un bhobhaNe hoi jANa tA kariha turaMgaha // eva saraha bhaNai khatranAna mokkha mahu kiMpi na bhAvai / tatrahikAyA Na tAva para kevala sAhai // 1 // jo bhava so nivANathalu bhevu na maNNaha paNNa / ekasahAveM virahiA nirmalamai paDivaNNa // p. 118 gharahi ma thaku ma jAhi vane jahiM tarhi maNa pariANa / sabhala niraMtara bohi Thi kahiM bhava kahiM nivvANa // old. II My attention was kindly drawn to this work by Sir George Grierson a couple of years ago, but long illness prevented me from looking into it until recently. In a very few places I have departed form the printed text. I am printing it with corrections and explanations elsewhere,

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47 Nau ghare Na vane bohi Thiu eka paritrANa bhecha / nimmacitta sahAvau karaha avikala seu // p. 119 From Krsnacarya: AgamavapurANe paMDita mAna vhtii| pakka siriphala alia jima bAheri ta bhumayaMti // 2 // p. 113 varagirisihara utuMga maNi savareM jahiM ki vAsa / naDa soSipaMcAnanehiM karivara darima Asa // 25 // p 130 eka na kijA maMtu na taMtu NiagharaNilaI keli karaMtu / NiagharapariNI jAva Na majada tAva ki paMcavarga nihrij||28||p. 131 esa japahoseM maMDalakammeM avadina acchasi kAhiu dhamme / to vizu taruNi niraMtara neheM vohi ki lAhai eNa vi dehe // 29 // p.131 jima loNa vilijaha pANiehi tima ghariNi lAI citta / samarasa jAI takakhaNe jai puNu te sama Nitta // 32 // The discovery of this work in the far East of India is important and significant. It shows that Apabhramba, alongside of Sanskrit and Mabarastri Prakrit, was for some centuries the literary language throughout the length and breadth of India North of the Tapti. The literature seems to be popular-erotic and religious. The work also shows that is was a Western A pabhramsa?? niost probably the Mabarastra Apabhramsa which was raised, like the Mabarastri Prakrit, to the literary status and was thus used by poets of the West and those of the East alike. VIII Reference to Apabhramsa, its Age and Connection with the Abhiras:-(A) Literary References: There are references to the Apabhramba language, both spoken and literary. These however occur almost entirely in Sanskrit works on dramaturgy and poetics. This is as it should be: for the Sanskrit drama, which represents according to its lights, the social life of its day, has necessarily got to recognise the current spoken idioms. This is illustarted by the use of the various Prakrits. Writers on the principles underlying the Sanskrit drama have also therefore referred to the various Prakrits, of which the A pabhramba is the latest and most changed phase. (1) Patanjali, the celebrated author of the Vyakaranamahabhasya of the 2nd century B. C., is so far as we know the first great Sanskrit author to make use of the word 'apabhramsa' in connection with language. But with 12 My examination of the work from this point of view will appear elsewhere. I have stated above the conclusions only. I With the exception of an Inscription; see below. See section V.

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48 him 'apabhramba' is only deterioration of the Sanskrit word in the mouth of the vulgar; for, says he ... "Each individual word has several corruptions. For instance, the word 'gauh' has deterioration's like 'gavi', goni, gota, gopotalika and so forth."' Apabhramba here can only mean corruption or deterioration of the norm. This corresponds exactly with vibhrama' or 'vibhrastal of Bharat. Both mean by the cognate words a particular linguistic phenomenon and nothing more. The word 'apabhramba' has as yet nothing to do with the Abhiras, nor has it acquired its later connotation, viz. people's dialect or dialects and vehicle of leterature like the various Prakrits. The corruptions mentioned by Patanjali are all found in one or other of the Prakrits. (2) Bharata is the earliest writer on Sanskrit dramaturgy possibly belonging to the second or third century A. D. In his Natyasastra4 he deals with the Prakrits in the 17th chapter as vehicle of thought of certain characters in the drama and in the 32nd chapter verses 47 to 242, gives names and definitions of metres with examples, which are almost entirely in the Prakrits. Part of the 17th chapter verses 5 to 23 deals with the phonology of the Prakrits. The first allusion to what came to be called Apabhramsa from Bhamaha and Dandin onwards seenis to be in the following verse." "This should be briefly known to be threefold; by words which are the same (as in Sanskrit), by words which have deteriorated (vibhrasta) and by Desi." After this the rules of deterioration are given which obtain in the Prakrits and correspond generally to those of the grammarians. What Bharata mean by Desi is made clear in verses 24 onwards. "Thus should be known Prakrit and Sanskrit. Hence forward I shall speak of the divi. sion of the Desabhasa.!!6 And particularly in the following. 3 Ed. Kielborn, Vol. I p. 2. pah FT FTAET agats at: 1 aur I vilforget 12 rat ritof war notaires tanto vmaayo'pmNshaaH| * Ed. Kavyamala, No. 42. 5 trividha taca vijJeyaM nAvyayoge samAsataH / Antifarang unaqurfa at I XVII 3 Teufa gertatea fawat ( en ) farm: Iibid 4. 6 evametattu vijJeyaM prAkRtaM saMskRtaM tthaa| Ta sea gautifa *1979*979 II ibid 14 It is olear that it is seprrated from both Sanskrit and Prakrit can only mean spoken languages of different countries a regions. 7 ayat goa: 9f: 7: gar: 1 ibid 8EUR Apartage fe ry vafa arca l ibid xu

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49 "Or the authors should use at will (in drama) the languages of the country. Since in a drama there is poetry from various countries." Then he mentions seven languages (Bhasah), the Magadhi, that of Avanti, the Eastern language, Sauraseni, Ardhamagadhi, Bahlika and the Southern one; and several diatects (Vibhasah), those of the Sabaras, Abhiras, Candalas, the Dravidas together with the Caras (or Ceras) and Odras and inferior idioms of foresters. It is true that one does not find here the Apabhramsa expressly mentioned by name. But the reason is obvious. The literary languages of the the time, Bhasah, have got their distinctive names; but not so the Vibhasah. Yet they are recognised as dialects spoken by different tribes.9 "The Sabara idiom is to be put in the mouth of coal-makers, hunters and those living on wood-craft and contrivances (machinery would be too big a word for Yantra of those days!) and the foresters' language also a bit (Vanaukasi). Either the Abhira idiom or the Sabari is to be used in the case of herdsmen, like cow herds, shepherds, and tenders of herds of horses, camels ets." Thus the dialect of the nomadic tribe of cowherds etc. has so got the name of the tribe of the Abhiras, for itself. We shall subsequently see that it has achieved a distinct name for itself and also secured a place among the literary Prakrits. That Bharata probably had in his mind the Apabhramsa dialect, perhaps as yet in its formative and progressive stage, becomes clear when we 8 mAgadhyavantijA prAcyA zUrasenyardhamAgadhI / bAlhIkA dAkSiNAtyA ca sapta bhASAH prakIrtitAH // ibid 48 zabarAbhIracaNDAlasacaradraviDoDrajAH / hInA vanecarANAM ca vibhASA nATake smRtAH // ibid 49 Prthvidhara, on Mrechakakatika reads zakAra and zabara for zabara and sacara Possibly he wants to escape the difficult word . The . besides being included under am, would be in strange company with the dialects that are partly connected with tribes like zabara, AbhIra etc., and partly with regions ore ountries like draviDa, A. zAkArI is a name given to a dialect on account of its phonetic peculiarities and is possibly later than theft. Sir George Grierson apprently sides with Prthvidhara; J. R. A. S. 1918, p. 491. 9 aGgArakAravyAdhAnAM kASThayantropajIvinAm / zarabhASA tu kiMcidvAnaukasI tathA // ibid 54 gavAzvAjAvikauTrAdighoSasthAnanivAsinAm / AbhIroktiH zAbarI vA drAviDI vidAdiSu // ibid 55

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50 considerthe passage in which he gives, for the sake of lending dramatists, the broad linguistic peculiarities of the different provinces. * "One who knows should use a language in which the 'e' sound is predominant in the case of the region between the Ganges and the Ocean. He should use a language with a predominant 'na' in the case of the countries heard to be between the Vindhyas and the Ocean. In Surasyra and Avanti and countries north of the Vetravati, a language with profuse 'ca' should be used. Those countries which border on the Himalaya and the Sindhus and Sauviras should have a language full of the "u" sound. In countries beyond the Carmanvati and those round about the Arbuda (mountain) should always have an idiom full of the sound 'ta.' The "languages abounding in the u sound" in the above is quite mistakable. The ukara is a recognised peculiarity of the Apabhramsa. Thus without naming it, evidently because it had yet to get that nanie, Bharata refers to what is distinctively called Apabhramsa by later writers and grammarians. Another thing to be noted in the passage is the region where the dialect abounding in the u sound was at home in Bharata's time. Its home is Sindh, Sauvira and Northern Panjab. We shall have to return to this point later. This also seems to be the region where the cowherding, horse and camel-herding nomads were at first settled. At any rate, the camelherds-men could not have found a more suitable place for their ships of the desert than the sandy regions along the banks of the Indus. Bharata's acquaintance with Apabhramsa in some form is further attested by the illustrations of the metres which he has defined in the 32nd chapter. It was to be wished that a good edition of the Natyasastra were avaible to scholars, for the present one is hopeless, especially at places most important from the point of view of Prakrit studies. The chapter under consideration is especially faulty and scrappy; but such as it is, it offers something of use to the present purpose. 10 gaGgAsAgaramadhye tu ye dezAH saMprakIrtitAH / ekArabahulAM teSu bhASAM tajjJaH prayojayet // 58 // vindhyasAgaramadhye tu ye dezAH zrutimAgatAH / nakArabahulAM teSu bhASAM tajjJaH prayojayet // 59 // murASTrAvantidezeSu vetratyuttareSu ca / ye dezAsteSu kurvIta cakArabahulAmiha // 60 // himavatsidhusauvIrAnye ca dezAH samAzritAH / ukArabahulA tajjJasteSu bhASAM prayojayet // 61 / carmaNvatInadIpAre ye cAbudasamAzritAH / takArabahulAM nityaM teSu bhASAM prayojayet // 62 //

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51 (1) Alees 79703 1 H ( 7 ) Emu $147 ( ) 501481 ( 1 ) ak za af (o) ftogi i fore forcat QA ATT # Read det ta (?) silogg, , 373 (3) GATA() f (0) 11070731 vig () FECHT * TERTISSI ( 4 ) fat are ata (a) gafakta () fagm19+1 (73) faz o Huias II focul vAyadi vAdo eha pavAhI rusida iva / // 16 // It will be easily seen that (1) is entirely in Apabhramsa (a) with the ukara of the Nom. sing. at three places, (b) h for bh which it has in common with the other Prakrirs. (2) is rather obscure, but even without emending it, one finds in it the familiar u and what is more remarkable jonhau' in Neuter pointing to the existence in the peoples' language of the tendency of disregarding genders even at such an early date. 'Nei' is also to be noted. In (3) 'Kananau, ussuiya' and 'sangaiya' are peculiarly Apabhramsa. Although 'uaya' and 'Kalau' are emended in (4), there is scarcely any doubt (janantau.' In (5) eha' is Apabhramsa. Thus it is clear, that although Bharata has nowhere mentioned Apabhramsa by name, because it was yet in a crude form still to develope and going under the name Abhirokti, there is no doubt that the dialect existed in his days. It also seems clears that the home of the speakers was then in the Punjab and upper Sindh. It had yet not high literature of its own and the circle of its speakers was limited to certain nomadic tribes, who as will be seen later, penetrated southwards and eastwards and were assimilated in the Hindu civilisation. It is they, however, who seem to have given to the older Prakrits the Apabhramba form. ; (3) Dharasena: Important for the age of Apabhramsa is a reference to it in an inscription of Dharasena II king of Valabhi (in Surastra Kathiawad). Here Dharasena thus speaks about his father. "His mind was very clever in writing poetical works composed in three languages, Sanskrit, Prakrit and Apabhramsa.". Guhasena who is thus described has inscriptions between 559 and 569 A. D. Poetical works in Apabhramsa are therefore attested to in the middle of the 6th century A.D., although none has so far come down to us. (4) Bhanaba, probably of the end of the 6th century, already knows about the Apabhramsa language, to which he prefers while giving an alternative division of poetry of literature. 13 ___II Ind. Ant. saMskRtaprAkRtApabhraMzabhASAtrayapratibaddhaprabandharacanAnipuNatarAntaHkaraNaH etc. quoted by Jacobi, ). c. Intr. p. 55. 12 Bombay Gazetteer Vol I, part I p. 90. 13 zabdArthoM sahitau kAvyaM gadyapadyaM ca tadvidhA / saMskRtaM prAkRtaM cAnyadapabhraMza iti tridhA // 1.36

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52 i "Kavya is word and sense together. That (Kavya) is two-fold, proge and verse. It is again three-fold. Sanskait, Prakrit and morever Apabhramsa." Bhamaha's remark is important only as corroborating the existence of Apabhramsa at the end of the 6th century. But he does not mention either who spoke it or who should speak it. It were to be wished that like Dandin he had done so. (5) Dandin. In his Kavyadarsa, Dandin gives a fourfold division of literature, which was current amongst the literate of his days. There is thus an advance over Bhanaha's threefold division.* "Learned men say that this literature is again fourfold namely Sanskrit, Prakri, Apabhramsa, and mixed. Great sages have defined Sanskrit as divine speech. There are varieties in Prakrit such as 'derived from it (Sanskrit),' similar to it,' and 'Desi' (i, e. belonging to vulgar speech)." etc. And further "The speech of Abhiras and others in literature is known as Apabhramsa. In the Sastras (however), Apabhramba means whatever is other than Sanskrit. Sanskrit (Kavya) is divided in sargas (chapters), Prakrit in skandhakas (name of metre, according to commentator), Apabhramsa in Asara ets. Mixed (forth branch of literature) means Nataka etc. Katha (variety of mixed literature) is composed in all languages and also Sanskrit. Brhatkatha, of wonderfal meaning, consists of Bhutabhasa." It will be clear from the above that Dandin is speaking of certain languages from the literature point of view and not from the linguistic one Hence the bad logic of segregating Apabhramsa from the Prakrits, of whom indeed it is only the youngest phase just as Pali is the oldest, may be excused in his case. Be that as it may, two points stand out clearly from Dandin's discussion on literature and its divisions: (1) that the Apabhramsa language must have already been put to considerable literary usage when Dandin 1 Ed. Bibl. Ind. 1863.. 2 Op. lit. ataglazi 192: desdi giud ael apabhraMzazca mizraM cetyAhurAryAzcaturvidham // 1, 32 saMskRtaM nAma devI vAganyAkhyAtA maharSibhiH / 259RIAI ait gaa: 1954:|| 9, 33 AbhIrAdigiraH kAvyeSvapabhraMza iti smRtAH / zAne tu saMskRtAdanyadapabhraMzatayoditam // 1,36 saMskRtaM sargabandhAdi prAkRtaM sandhikAdikam / bhAsArAdInyapadaMzo nAhakAdi tu mizrakam // 1, 37 * The older Vagbhata also bas Dandina's forfold division Pischel, Grammalikider Prakrit Sprachen. p. 3.

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53 wrote. This usage is not the mere use of it by low characters in Sanskrit dramas as during Bharata's days. In that case, Dandin would scarcely have been jnstified in making a whole division of literature as consisting of Apabhramsa. He expressly mentions certain metres employed in Apabhamsa poetry, i. g. asara etc. The Apabhramba in the dramas is mostly very scanty and scrappy prose and even then, very few dramas have it as a Tule. The line 'Abhiradigisah' etc. only indicates the general nature of Apabhramba, viz. whatever in Kavya is put in the mouth of such low people as the Abhiras is that. It is hardly scientific to conclude from such references that the Apabhramba, or for the matter of that any other language, is a tribal language. In the first place there is the word 'Adi' to show that the Abbiras had no monopoly of the Apabhramba. They certainly did not. bring it with them from wheresoever they came a few centuries before the Christian era. The fact is that wherever they and others with them went, they picked up the regional Prakrit current there, and in the nature of things changed its form to a great extent. It is this change or decay that is indicated by the words 'Apabhramsa', 'apabhrasta,' even. vibhrasta' of Bharata. (2) That bebind this literary Apabhramsa, there was the language, not of small literary groups, or learned men such as philosophers, grammarians, astronomers, mathematicians, poets and professors, in short of the elite, but of the lowly, humble, commonest of the common people like Abhiras, Sabaras, Candalas etc. It goes without saying that as the region, occupied by these people changed either from time to time or at the same time, their Apabhramsa also differed, thus making up the different varieties of A pabhramsa mentioned by some later Prakrit grammarians. Unfortunately the date of Dandin is not yet finally settled. But so far is certain that he cannot have flourished earlier than the seventh and later than the eighth century. Thus, then, what was recognised as a dialect of certain tribes and named Abhiri, developed, during the four or five centuries between Bharata and Bhamaha-Dandin, into the Apabhramsa language. both spoken in various dialects and employed in recognised literature. This was also the period of Abhira supremacy over a considerable part of the country, It is natural to suppose that it was during this period, 3rd century A. D. to the 6th century A. D., that the name Apabhramsa" must have been given to the dialects which developed out of the regional Prakrits owing to the assimilation of the Abhiras in Hiduism. (6) Rudrata, who belongs to the 9th century A. D. refers to the Apabhamsa in his Kavyalamkara. After dividing 'Vakya' into prose and. See page below. 2 Ed. Kavyamila, No. 2.

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54 verse, he divides it again sixfold on the language basis. He says 3:-"A sixfold division of it is possible, based upon the difference of languages. Sanskrit, Prakrit, Magadha, Pisacabhasa, aud Sauraseni, the sixth being Apabhramsa in several divisions on account of the particular country." Here too the A pabhramba is placed on a level with the older literary Pra krits viz. the Maharastri, Magadhi, Paisachi, and Sauraseni. What is, however, more important to note, is that Rudrata recognises many varieties of Apabhramba, and records that the difference is due to the difference of the regions where they were spoken. The older Prakrits have no known subdivisions, and although they bear geographical names, they have ceased to be regional and therefore to be actually spoken by the people. The Apabhramsa differed from them in both these respects. (7) Rajasekhara:-In his Kavyamimansa , 4 Rajasekhara has severa references to Apabhramsa. Like his predecessor rhetoricians, he also looks at the language from the literature point of view. It is therefore not surprising to find the body of his Kavyapurusa thus described: -'Sanskrit is your mouth, Prakrit the arms, A pabhramsa the hips, Paisaca the feet, and a mixture of these the chest." Again when his poet-king holds his Durbar, The Sanskrit poets should be seated to the north (of his regal seat); the Prakrit poets to the east, the Apabhramsa poets to the west, the Paisaca poets to the south. The same fourfold division of literature according to its vehicle is expressed again in connection with the question, however languages? the budding poet should master. "Some object can be (well) expressed by a good poet in the Sanskrit idiom, another in Prakit, still another in A pabhramsa phrase, a fourth in Bhatabhasa; some other object can be expressed in two, three or even four languages. A good poet, whose intellet can command all these, fills the whole world with his fame." 3 bhASAbhedanimittaH SoDhA bhedo'sya saMbhavati // 2,11 jrAkRtasaMskRtamAgadha pizAcabhASAzca zaurasenIca / SaSTho'tra bharibhedo dezavizeSAdagbhraMzaH // 2, 12 4 Gaekwad's Oriental Series, no. 1, 1916. 5 Cl. Cit. p. 6 recru a arete des ge ud TIT:, 79744*, daragai, salama Ibid. p. 54 a ataca: desar: 9741 fafatica I...... gaor sikar: 6441...l afn. arqsifaa: 795: 1 qavat HT4191999: 1 7 Ibid pp. 48-49 gatu: drkalecat a gafacta: sudarte anyo'pabhraMzagIrbhi kimaparamapare bhUtabhASA krameNa / fazifa: sista arfinstafa adeft: frafafata yasvatthaM dhIH prapannA stapayati sukavestasya kIrtijaganti //

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55 More important still are two other passages, which refer to the same fourfold division, but with respect to the countries in which a particular language is preferably the vehicle of literature. "Particular languages appear to be resorted to in particular countries. Thus it is said:-The Gaudas and others take their stand on Sanskrit; the liking for Prakrit of those (poets) of the Lata-country is well-known; all the Maruregion, the Takkas, and the Bhadanakas employ Apabhramsa; the poets of Avanti and the Pariyatras, to-gether with those of Dasapura, have recourse to Bhutabhasa; and a poet who lives in the heart of Madhyadesa is well-versed in all (these) languages." Thus, then, in Rajasekhara's day's Sanskrit literature was much cultivated in Gauda (modern Bihar); Prakrit literature in Lata (Gujarat without Kathiawad); Apabhramsa literature in the whole of Maru (modern Marwar); Takka (part of eastern Punjab), and Bhadanake (?); Paisaci literature in Avanti (central Malwa), Pariyatra (western Vindhya regions), and Dasapura (upper Malwa). It must be emphasised that Rajaskhara does not say whether these were spoken languages in these regions; what he says is only that literary men in these parts conveyed their thoughts preferably in these several languages. The second passage of importance of Apabhramsa reads thus10: The Surastras, Travanas and others can with grace express the Sanskrit idiom, but always with an admixture of Apabhramsa.' To the Maru, Takka and Bhadanak literary men, therefore, we have to add the Saurastras (Kathiawad) and the Travanas (?) who, together, cultivated Apabhramsa literature. The presnt state of our know-ledge of the Prakrits and the literature in them that is being brought to light every day, apparently endorse Rajasekhara's view, so far at least as Prakrit (Maharastri and Jaina Maharastri) and Apabhramsa are concerned. It is Gujarat that has discovered and is still destined to discover a vast Prakrit literature11; and if the Jains appear to appropriate to themselves the credit of the larger lsiai: asatyn: qfefangay: mga zizizar: sApabhraMzaprayogAH sakalamarubhuvaSTakabhAdAnakAzca / enazzar: qftaar: agcagcaHamai 40-a Ibid p. 51. yo madhye madhye madhyadezaM nivasati sakaviH sarvabhASAniSaNNaH // 8 9 By Prakrit, Rajasekhara appears to mean the Prakrit par excellence of Dandiy, i. e. Maharastri, although he has no where indicated this expressly. 10 Ibid p. 34, surASTtravaNAdyA ye paThantyarpitasauSThavam / apabhraMzAvadaMzAni te saMskRtavacasyapi // II Kadalkar's Account of Mss. at the Patana Bhandars read of the First Oriental Conference, Poona; and Dala's Essay read at the 5th Gujarat Sahitya Parigad.

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56 share, it is the Svetambars who appear to be more fond of their Jaina-Prakrit, as the Digambaras seem to be of their Apabhramsa. It is a well-known fact, rightly emphasised by Jacobi; 12 that the Digambaras are more numerous in Marwar and part of the Punjab. This, however, does not mean that the two were rigid in their choice. Two more passages seem to show that although at the time of Rajasekhara, the Apabhramsa was much popular, especially in Surastra and Marwar as a literary language, it had not yet lost living touch with its main-spring viz. the spoken dialect or dialects of the common people. The passages in question are: (1) "Well-versed 13 in Apabhramsa should be all his (the poet king's) male attendants. The female attendants should also know the Magadha language. Those in the harem should know Sanskrit and Prakrit both, and his friends should know all languages." (2) "Beyond them (i. e. the Sanskrit poets) should sit those versed in Vedic lore, logicians, knowers of Puranas and Smrti, physicians, astrologers and such-like. To the east, the Prakrit poets; beyond them those who live by the arts of acting, dancing, singing, playing on Instruments, elecution, bardic lore keeping tact in music, and such others. To the wes the Apabhramsa poets; beyond them wall-painters, Jewel-setters, Jewellers, goldsmiths, carpenters, smiths and others like them. To the south the Paisaca poets; beyond them, courtezans and thelr courtiers, rope-dancers jugglers, exorcisors, athletes, those living on arms and such others.' In (1) it is significant that Rajasekhara should make the attendants, both male and female, speakers of Apabhramsa. In the first place, they are of the people and therefore must speak the peoples' language. In the Second, it is they who stand between the common populace and the king, interpreting the wishes and grievances of the former to the latter, and conveying to them the king's message or reply, and as such must know the language of the common people. The passage therefore suggests, that although long before Rajasekhara's days, the Apabhramsa had attained to the dignity of a literary language, it had not yet ceased to be a spoken language. The two were yet 12 Op. Cit. Note p. 86. 'Well die Digambaras vou ie in Hindustan and Panjab amstarkesten vertreten warm.' 13 Op. Cit. 50 apabhraMzabhASApravaNaH paricArakavargaH samAgadhabhASAbhinivezinyaH paricArikAH prAkRtasaMskRtapa faga:yfte fazifa area admonfafez Hag: 1 14 Ibid pp. 54-55 tataH paraM vedavidyAvidaH prAmANikA: paurANikA : smArtA bhiSajo mauhUrtikA anyepi tathAvidhAH / pUrveNa prAkRtAH kavayaH / tataH paraM naTanartakagAyanavAdakavArajIvanakuzIlavatAlacarA abhyepi tathAvidhAH / pazcimenApabhraMzinaH kavayaH / tata. paraM citralepyakRto mANikyabandhakA vaikaTikAH svarNakAra varddhakilohakArA anye'pi tathAvidhAH / dakSiNato bhUtabhASAkavayaH, tataH paraM mujaGgaNikAH lavakazaubhikajambhakamallAH zastropajIvino'nye'pi tathAvidhAH /

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57 in close living contact. In other words, the Apabhramsas have not yet been a dead language like the older literary Prakrits. In (2), Sanskrit is already a language of the few, the Pundits. Prakrit has no doubt a wider circle of knowers and possible speakers in those who cultivate some of the fine arts connected with the stage. But the class of those who sit behind the Apabhramsa poets, and evidently are speakers of it, is a wider class. It is the great lower class the common people, from amongst whom hail the artisans and craftsmen such as carpenters, smiths, goldsmiths. Rajasekhara's arrangement seems to suggest that this class still spoke some kind of Apabhramsa. And this also accords well with linguistic facts as discovered in the oldest literatures of the vernaculars of northern India. By the end of 9th century, which is roug ily Rajasekhara's period of activity, the vernaculars had yet to be evolved as distinct from the various Apabbramsa dialects. (8) Namisadhu, while commenting upon Kavyalankara II 12, has the following remarks on Apabhramsa: "Apabhramsa is Prakrit itself. It has been mentioned by others as being three-fold viz. Upanagara, Abhira and Gramya. The words 'of many varieties' are used by Rudrata for refuting that. Wherefore ? Owing to these being many countries. Its characteristics should be properly understood from the people themselves." The importance of the passage lies in the fact that Namisadhu (1) recognises Apabhramsa as one of the Prakrits themselves, (2) names the varieties laid down by others before him as being Upanagara, Abhira and Gramya (3) but expressly says that they are many more than three, and that is most important of all, (4) points to the people themselves as the best source to learn it. The last point is significant as showing that by the time of Namisadhu, who finished his commentary in Samvat 1125 i. e. 1069 A.D., the Apabhramsa of many dialects had not ceased to be spoken by the common people. One more sentence of Namisadhu deserves mention here as it shows the spread of the Apabhramsa as far east as Magadha. We know that by Bharata's time its germ the Abhiri was found spoken in Sindh, Moultan and upper Punjab. But the sentence means3: "The Abhiti language has been mentioned as included under Apabhramsa. It is sometimes found in Magadhi also." This can only mean I Rudrata Kavyalanikara, Kavyamala 2, 1, 15 tathA prAkRtamevApabhraMzaH / sa cAnyairUpanAgarAbhIrAmyAvabhedena tridhoktastannirAsAthamuktaM bhUribheda iti / kuto dezavizeSAt / tasya ca lakSaNaM lokAdeva samyagavaseyam / 2 Op. Cit. p. 174 paJcaviMzatisaMyukttarekAdazasamAzataiH / vikramAtsamatikrAntaiH prAvRSIdaM samarthitam // 3 Op. Cit. p. 15. AbhIrI bhASApabhraMzasthA kathitA vavacinmAgadhyAmapi dRzyate / The Dasarupa hints at the same thing when it mentions (II 42) the Abhiras among the speakers of Magadhi. The Dasarupa is a couple of centuries older than Namisadhu, h

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58 that there was a dialect of Apabhramsa spoken in Magadha; thus proving the existence of the Apabhramsa in the east of the Peninsula as late as the 11th century A. D. (9) For lesser and later writers like Prthvidhara, the commentator of the Mrcchakatika, the unknown author of the Rasikasarvasva quoted by Narayana in his commentary on Gitagovinda, Sankara, one of the commentators of the Sakuntala and two or three others, see Pischel. It is needles to refer to them here for they invariably quote others' views and because they cannot have had living touch even with the dying Apabhramsas, their acquaintance with them is only second hand. (B) The Age of the Apabhramsa: We have thus examined the references to the Apabhramsa in works on rhetoric and poetics from Bharata of about 2nd or 3rd century A. D. down to the commentator Namisadhu of the middle of the 11th century A. D. We have thus been able to put together some undisputed facts about the age, extent and varieties of the Apabhramsa. (1) Apabhramsa existed in the 2nd or 3rd century A. D. at least, under the name Abhiri, and was spoken in Sindh, Moultan and northern Punjab mainly by the Abhiras and other nomadic tribes that had penetrated into India and for a time.settled in these provinces. (2) By the 6th century the Apabhramsa was still recognised as the dialect of the Abhiras and others, had got its distinctive name Apabhramsa and had developed a literature of its own which had to be recognised by rhetoricians like Bhamaha and Dandin. (3) By the 9th century it had ceased to be recognised as a language of the Abhiras, Sabaras and Candalas only, had come to be known as a language of the great artisan class although the elite spoke Sanskrit and the stage people the Prakrits; i. e. it had become the language of the people. It had by now already spread as far south as Surastra and probably also as far east as Magadha. (4) By the middle of the 11th century, even literary people have come to recognise that Apabhramsa is not one language but many dialects, one of which had attained literary importance. It was known to have had a dialect in Magadha, east of the great Peninsula. The Dohakosa (see VII end) furnishes actual testimony. The lower limit for the age of Apabhramsa accords well with Sir R. G. Bhandarkar's opinion. In his report for the search of Mss. after noting no. 545 Pingalarthapradipa, with some extracts from the same, he says, The extracts quoted are verses 58 (Candesara); 69 (Ceipai-Cedipati); 71 (Hammira), 92 (ibid), 147 (ibid), 151 (ibid), and 199 (ibid); 72 (Sahasanka); 77 (Kasisa), 198 (ibid); 87 (Acala), 96 (Karna), 126 (ibid), 185 (ibid), in Chandra Mohan Gosh's edition. Cedipati Prince of Cedi and of the Kalacuri race; he was contemporary of Bhimadeva of Gujarat and Ahavamalla of Maharastra.

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59 "The above extracts presen varnacular speech in three forms. The older form i. e. the Maharastri Prakrit we have in I, II, III, (1), IV, and V (1). It had become classical as Sanskrit itself and could be used for literary purposes at any time. Then we have another form in VI, VII (1), (2), (3). This resembles the Apabhramsa form as we have it in the instances quoted by Hemacandra in his Prakrit Grammar and in the 4th act of Vikramorvasiya. A third stage is represented by III (2), (3), (4), (5), and V(2). This is what might be called the earliest form of modern Hindi, the forms Dhillimaha, 'Delhi' and Jakhana or Jakkhana' when,' being specimens of the new formations which became necessary after the old terminations had gradually faded away upto the Apabhramsa period. The last two forms must represent the vernacular speech of the period when the poet wrote and since they could not have praised the particular princes if they had died and been forgotten at the time when they lived, the conclusion is not unwarranted that the forms of the language used by them were the forms current about the time when the kings flourished. Thus about the time of Karna i. e. the first half of the eleventh century, the stage of development at which the vernacular language had arrived, was still that represented by the Apabhramsa, the origin of which is to be referred to about the seventh century; and they began to assume the modern character about the end of the twelfth century and the beginning of the thirteenth, when the poet Chand flourished and that was the form they had in the time of the Chouhan Hammira, i. e. 1283-1301 A. D." (C) Apabhramsa and the Abhira migrations: Now these results accord well with the history of the Abhira migration into India, which caused such a change in the spoken languages of the country. The Abhiras (now Ahirs) are mentioned in the Mahabharata1 as a people in the west of India on the Indus. They are recognised as a hated tribe, the disappearing of the Saraswati being ascribed to abhorrence of them. But they are fighters and given a prominent place in Drona's Suparnavyuha. When Arjuna returns from Dwaraka with the widows of Krishna, the Abhiras attack him as he enters Pancanada. They are here called freebooters, herdmen and Mlecchas. The Manusmrti mentions the Abbiras as having sprung from Brahmin father and Ambastha mother. These references make it quite clear that the Abhiras, who were nomadic fighters, had together with other tribes entered India and occupied part of the Punjab a little before the beginning of the Christian era (say Mbh. II 32, 1192; IV 20, 798; IX 37, 2119; XVI 7,223. Adhyaya X 15 brAhmaNAt......... AbhIrombaSTakanyAyAmU.

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60 about 150 B. C. and not later). They are also mentioned in inscriptions1 of the 2nd, the beginning and the middle of the 3rd centuries. The first one, A. D. 181 in the reign of Ksatrapa Rudrasimha, speaks of his general Rudrabhati as an Abhira. The second one, about 300 A. D. which belongs to the Nasik caves, speaks of .the reign of an Abhira prince named Isvarasena, son of Sivadatta. The third one, the Allahabad pillar inscription of Samudragupta about 360 A. D. mentions the Abhiras together with the Malavas as powerful tribes occupying Rajasthana and Malava, the southwestern and southern provinces just beyond the limit of the Gupta Empire. To the south of Jhansi there is a province called Ahriwar, corresponding to Sanskrit Abhirawata, which is thought to be the Abhira principality mentioned in the Allahabad inscription. By the 4th century therefore the Abhiras had got a permanent footing in Malva. A part of them seems thus to have given up nomadic life and to have had permanent settlements and kings, as the Nasik inscription and the Puranas show. There is also a tract called Aharaur, again equal to Abhirawata, in the Mirzapur district of the United Provinces. It is during this period and subsequently that the Apabhramsa must have begun to develope a literature of its own. This is in keeping with our literary evidence of the 6th century, when the Apabhramsa appears as a canonised literary language. In the succeeding couple of centuries the Abhiras must have migrated further southwards and eastwards, towards Surastra and the adjoining provinces and Magadha respectively. For by the 9th century Apabhramsa, the form that the Prakrits took in the mouth of the foreigners, was recognised as fit vehicle for literature in Surastra etc. History corroborates this also. For when the Kathis invaded Surastra in the 8th century and there-abouts, they found the country in the possession of the Abhiras. The Ahirs were powerful some time before this in Khandesh and Nasik also, as the significant remark of Ferishta," that the famous fort of Asirgad in Khandesh was founded by Asa Ahir, also shows. I D. R. Bhandarkar, I. A. 1911 p. 16; R. E. Enthoven, Tribes and Castes of Bombay I p. 21, (The material for the article on Ahirs is by D. R. Bhandarkar). 2 Bhandarkar and Enthoven, ibid; Vincent Smith, Early History of India, p. 286. 3 These, according to Bhandarkar-Enthoven p. 23, refer to Abhiras as paramount sovereigns after the Andhrabhrtyas. By the 6th cent. A. D. this sovereignty had already disappeared. 4 Enthoven, Op. cit., p. 24. 5 Ibid.

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61 IX The Prakrit Grammarians and Apabhramsa: (1) Vararuci is thus far recognised as the oldest Prakrit Grammarian known. In his Prakritaprakasa1 he deals with four Prakrits only, the Maharastri in Pariccheda 1-9, the Paisaci in Par 10, the Magadhi in Par. 11 and Sauraseni in Par 12. He does not deal with the Ardhamagadhi and the Apabhramsa languages and this fact is significant. The omission may either be taken to indicate superficiality on the part of Vararuci, or it may be thought that perhaps Vararuci included Ardhamagadhi partly under Magadhi and partly under Maharastri, and did not consider Apabhramsa to be Prakrit at all. The truth perhaps lies in neither of the two alternatives. It is a well known fact that the Jains regard the tradition of their scriptures as not unbroken and such of their Agamas as existed in different places, were collected together and redacted by Devardhiganin in the 5th century A. D. Possibly therefore, there was no settled Ardhamagadhi literature when Vararuci wrote his Grammar. He will thus have to be placed before the 5th century A. D. It has always been the case that grammars of langu. ages were written when literature was available in them. The same conclusion is therefore to be drawn from his non-mention of Apabhramsa. We have seen that positive evidence for literature in Apabhramsa is available only from the 6th century onwards. This is not the place to discuss the period of the Prakrits and Vararuci's position as a Prakrit grammarian, but so much is sure that he cannot now be identified with the Vartikakara Vararuci. He deals with a form of Prakrit, especially the Sauraseni, which is younger and therefore later than what is found in the Budhistic drama. Sariputraprakaranam. He may be thus tentatively placed in the 3rd century A. D. and not earlier, if perhaps also not later. (2) Canda a Jain is probably the first Prakrit Grammarian to treat of Apabhramsa in his grammar called Prakritalaksanam, although he has disposed of it in one Sutra, viz III. 37 only. Another Sutra I. 5 lays down optional form which is peculiar only to the Apabhramsa and the Magadhi; and a third one, II 19 mentioned verbal suffixes one of which is unmistakaly Apabhramsa. These three Sutras are from the text accepted by Hoernle. He, however, has relegated to the appendix a number of Sutras even when three I Ed. Cowell, 2nd Issue, London 1868. 2 Bloch in Pischel, Grammatik SS 4. 3 Pischel, Op. cit. ibid. 4 Winternitz, Geschichte der indischen Litteratur II p. 294. 5 This is being dealt with in my Prakrit Selections for the Calcutta University. Luders, Bruchstucke Buddhistischer Dramen. 7 Ed. Hoernle, Calcutta 1880. 8 They are na lopo'pabhraMze'dhorekasya, sAgamasyApyAmo No ho vA and ttu ttA cAhu taMtUNaoppipUrvakAlArthe.

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62 and two mss. were in agreement regarding them. This is rather too bold a procedure and even such an orthodox critical scholar as Pischel has pronounced it questionable. That most of the Sutras, regardig which two Mss. at least are in agreement must be regarded as Canda's own work can very well be proved. Thus (1) in the Vibhaktividhana section, he lays down the general rule that the 'cases are as in Sanskrit and mentions the individual cases with their examples e. g. fe, aat, affint etc. HR, MA, JR etc.; 37, ga, for etc. Now it is queer that Canda should have omitted to give instances of te i. e. Acc.Pl; se i. e. Abl. Sing., a i. e. Abl. Pl., a i. e. Gen. Sing, and fe i.e. Loc. Sing. But if we look to the Appendix BCD, we find three Mss. supplying the want. And there is no reason to doubt their authority. It is more likely that one Ms, has an omission here, than that three entirely independent Mss. should have conspired to add to the text. Again (2) in the same section, Canda deals with the pronouns in Sutras 18 to 31 in two sections which he calls EAEETIT (18 to 25) and STEHTETIT (26 to 31). Now while all the cases (except the Gen. Pl. and Loc.) of you are dealt with one by one, the Nom. and Acc. Sing, and Pl. of 37EUR is strangely omitted in the accepted text. Here again Appendix CD helps us in filling up both the omissions. Now in this latter section, Appendix C D, we find Sutras 26a the characteristically Apabhrmsa form . (3) One more proof of impor. tance from the point of view of Apabhramsa is furnished by Appendix 3 C D to Sutra II 27. Here it must be noted at the outset that even the accepted text where all Mss. have agreed, is a misarranged, ill-digested mass of Sutras. The whole work has the appearance of half-arranged, miscellaneous jottings for a work, rather than a well-arranged and finished treatise. Thus this part is called Svaravidbana, but the first fourteen Sutras only really deserve the name. The rest, as many as fifteen Sutras, consists of Sutras of a miscellaneous character such as at a aiga: 21; azi:: 24, u raig yte: 26, OT: 29 etc. Now CD add some more miscellaneous Sutras to this. They are: (1) saci: quaprot, (2) fe 9591 gari, (3) orale smaragii, (4) cat dacief, (5) gius, (6) er for Fami, (7) 4596 -59EUR & facta, (8) S tuartagariastato gamane DavaDava-davaDava cariyAe, (9) NaM Nau NAI NAvai jaNi jaNu maNu ivArthe-, miva piva viva dhvava via ivArthe vA bhavaMti, (10) dANiM eNhi ettahe evahiM idAnImaH, (11) yathA tathA anayoH sthAne jimatimo- dohA-kAla laheviNa joiyA jima jima moha galei / tima tima daMsaNu lahaijo NiyameM appu muNei // Of these (1) to (6) contain bare statements without instances and may be objected to, as Canda has always supplied instances. The same may be said of both parts of (9) and (10). Nos. (7), (8) and (11) are quite in Op. cit $ 34. ? Haerale Op. cit. pp. 41, 42. 3 Haernle pp. 46, 47.

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63 Canda's manner and since two Mss. attest them, they may be regarded genuine. Now in one of them there is a peculiar Apabhramsa adverb 'dadavada' with its meaning. Hemacandra bas it under IV 422 in his Grammar but he has given it an unnatural meaning viz. 'avaskanda.' No. (8) gives davadava, a peculiar Desi word, not uncommon in Apbh. But piost important Apbh. is No. (11), which lays down 'jima and tima' as substitutes of 'yatha and tatha' and gives an Apbh. Doha as illustration, For translation of the verse see Pischel, There is another Apabhramsa Doha in Appendix A but as it is supported by one Ms. only we have to leave it out of consideration. Most of these Sutras, some of them verbatim, some split up into two and some with slight change, are found in Heniacandra; but in such a manner that Hemacandra can always be called a borrower. That Hemacandra was a borrower on a large scale has been proved in other literary spheres also. About Canda's priority to Hemacandra there cannot be much doubt." But Hoernle's claim that his grammar presents a very old phase of the Prakrit language (p. XI) cannot be accepted, as it is based on the evidence of one solitary Ms. as against three that speak to the contrary. His other claims that Canda is prior even to Vararuchi and that he must have written his work at a "some-what later time than the 3rd cent B. C." are equally untenable. Canda evidently lived at a time when the Apabhramsa had ceased to be a mere dialect of the Abhiras and become a literary language, i.e. after the sixth century A. D. and not before. (3) Hemacandra:-Of all Prakrit grammarians Hemacandra a Jain like Canda is the most important from Apabhramba point of view. In his Siddhahemacandra, Prakrit part, he has dealt with it more carefully and at greater length than others and what is more important, has given Apabhramsa Dobas in illustration. He has in fact done more justice to Apabhramsa than to any other Prakrit except the Mabasastri. He deals with it in Sutras IV 329 to IV 448. The so-called Dbatvadesa-sutras IV 2 to IV 259 are also many of them really A pabhramsa Sutras as they contain roots which mostly occur in Apabhramba. So that Hemacandra may be said to have treated the Apabhramsa in about 378 Sutras as against Saurseni in 27, Magadhi in 16, Paisaci in 26 Sutras. Even if we omit the Dhatvadebas, the number for Apabhramsa still remains at 120. Cf. Kavyamimams a of Rajasekhara, G. 0. S., Notes pp. 8, 9, 13, 14, 15 and the table at the end. Some of these references attest to wholesale borrowing of chapters on the part of Hemacandra. Haernle Op. cit. p. XXII, Pischel Op. Cit. $ 84. 3 Ed. Pischel, Part I, Halle 1877.

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It is curious to note that a grammarian like Hemacandra should not have noticed any dialects of the Apabhramsa, although the rhetorician Nami-sadhu a hundred years earlier, noticed them. But that Hemacapdra is mixing up at least two dialects is clear from his Sutras and their examples. (1) Thus retaining of e. g. trnu and suktdu along with tanu and sukiu in IV 329, grhanti under IV 34, ktdantaho under IV 370, grona for graha IV 394 and grhneppinu under it, Gphanti IV 341; (2) change of non-initial hard unaspirates into soft unaspirates and of hard aspirates into soft aspirates, IV 396 e. g. vicchohagaru, sugha, kadhidu, savadhu and sabhalau; compare nadho, kadham in Sauraseni, IV 267;(3) change of non-initial m to nasalised V IV 397, e.g. kavalu, Chavaru; (4) retaining r as second member junct, IV 398 priena, prau IV 393; dhruvu IV 418; pemmadrahi IV 423; prassadi IV 393, dhrum, tram IV 360; drammu, dravakkau IV 422: Prayavadi IV 404; (5) alternature forms in u, and hu for the Present First Pers. Sing and P1, IV 385 and 396 kattau, lahahu; (6) forms in di and hi for Pres. 3rd Sing, and Pl. IV 382 (for latter); e. g. Prassadi IV 393 (indication of Saur. character) dharahi, karahi; (7) forms in i, u and e for Imper. 2nd sing. IV 387; sumari, karu (IV 330) kare etc.; (8) forms in 'sa' instead of 'ha' for Future, IV 388 hosai (indication of Sauraseni character); (9) alternative forms for Passive, IV 389 kisu; (10) forms like jamahi, tamahi IV 406. Thus side by side with the Maharastra (?) Apabhramsa, he may be said to be treating partially of Saurasena Apabhramsa. Although he does not mention any dialects, Hemacandra's treatment of the Apabhramsa is very complete. The value of his Grammar is enhanced by the quotations in verse that he has given to almost every Sutra; sometime one single Sutra has several verses as instances. Until more literature in Apabhramsa is published, it is not possible to trace the source of them; but they appear, as Pischel has rightly remarked, to be taken from some anthology like Hala's Sattasai. Although many of the Dohas (a few other metres) are erotic in character, there are: (1) about eighteen verses heroic in character, (2) about sixty didactic (3) about ten religious with Jaiu bent and (4) five legendary, Mythological,-one about Kesna and Radha, another about Bali and Wamana, one about Rama and Ravana and two about Mahabbarata. Among the erotic verses there are two which refer to Munja and might have been composed during the days or immediately, after the death of that un. fortunate king of the 10th century. Two (IV 357, 2. 3 and IV 420, 5) are found in Sarasvatikanthabharana a work some hundred years older thau Hemacandra. Possibly therefore Hemacandra seems to have culled his quotations from literature that was composed in the 9th and 10th centuries. Hemacandra's arrangement is the opposite of that of Canda; first comes Svaravidhana, then Vyanjapavidhana and lastly Vibhaktividhana, This has become the model of later writers.

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65 Hemacandra has written another work, the Desinamamala 1 of much use to A pabhramba vocabulary. By Desi Hemacandra means what is not Sanskrit and also not derived from it. Desi therefore ought to mean the foreign element in the stock of Prakrit-Apabhramba words. But that is not exactly what Hemacandra means by the work. He says "I have put together in this book such words as were not explained in the Siddhahemacandra by separating root from suffix etc. I have excluded words like 'vajjara, pajjara...' which have been explained by me as substitutes for 'katha (etc)' (in my grammar), although they have been acknowledged as Desi by others. I have put together such words also, as are not found in Sanskrit dictionaries, although they can be explained by separation into root and suffix etc. But I have not included such words as are not found in Sk. dictionaries, but as can be explained by implication etc." He mentions Padalipta in his introduction, as having written a Desi-sastra, and quotes often from Abhimanacinha, Avantisundari, Gopala, Devaraja, Dhanapala, Drona, Rahulaka, Samba, Sitanka and Satava hana. Hemacandra should not have included under Desi words like the following:aNusuttI (anusUtraH), avaacchaM (avakaccham), aggakhadho (agraskandhaH), aihArA (by met. from airAhA (acirAbhA), acchiharulla (akSi+hara+Pr. suff. ulla), abbuddhasirI (abuddhA zrIH), agujjhaharo (aguhyadharaH), aNarAmavo (an+ram), Asiao (by Met. from AasioH AyasikAH), AlIvaNaM (fr AdIm on Analogy of palitta) AyAsalavo (AvAsalayaH), irAvo (airAvataH), iMgiaM (Through AiMgha Ajighra), Isaro (IzvaraH) uttagyo (utsAghaH), upphukiA (ut+phUtkR), ukkhiNNaM (utkIrNam), UA (yUkA), UsaliaM (by Met. from jalasiullasitam), emANa (A+yA+mAna Pres. Parte Atm.), ojalla (ojas), osariA (apasa), osIsaM (apazIrSam), kaNovaaM (kad+udakam), kAyapicchA (kAkapitRSvasA), kiMjakkho (kiMjalkaH), khaggio (khagikaH), khaMdhayAThi (skandhayaSTiH), gayaNaraI (gaganaratiH), gocchA (guccha), gharayaMdo (gRhacandraH), ghAro (agAraM with dropping of initial and aspiration), caukaM (catuSkama), caMdaillo (candra+illa) Pkt. suffix), cuccha (tuccham), chidda (zudra), chiNNovbhavA (chinnodabhavA), chAila (chAyA+illa), jakkharattI (yakSarAtriH), jualo (yuga+la), joisaM (jyotiH), jhuTTha (juSTam with contrary sense of Marathi acapala), jhasibha (dhvasita), jhINa (kSINa), ThANa (sthAna), Thiviya (TIvita), Dahara (dahara), DolA (dolA), NalakaM (naLakaM-uzIram), Navasi (namasya), NiaMsaNaM (nivasanam cf M. nesaNe), tADiayaM (tADitakam), tivvaM (tIvam), teavaI (Denom. pron tejas cf. M. tevaNe), thUDhaghoNo (sthUNaghoNaH, thero (sthaviraH), daiaM (dayitam), dIhajIho (dIrghajitaH), dummuho (durmukhaH), paNhao (prasnavaH cf M. pAnhA), pariaTa (pari+aTa cf. M. parITa), patthario (prastu), pAMDukI (paryakikA), phaggU (phAlgunaH), riaM (skuritaM), phullaMdhuo (phulla+dhU), phaDa (sphaTA), bahurAvA (bahu+rAva), baphAulaM (bAppAkulam), bohaharo (bodhadharaH), bhaTTio (bhartR), bhamamuha, (bhramamukha) bhAujA (bhAtRjAyA), bhoio (bhaugikaH), mayaNasalAyA (madanazalAkA), mahAsahA (mahAzabdA), mahANaDo (mahAnadaH), mahAsauNo (mahAzakunaH), muharomarAI (mukharomarAjiH), rasAU (rasAyuH), raigellI (ratikeliH), racchAmao (rathyAmRgaH), revaIo (revatyaH), lahuavaDo (laghukavaTaH), vaU (vapuH), vamhalaM (pakSmalam), vaDaviaM (vardhApitam), vAyADa (vAcATaH), vijulA (viyullatA), sajoka I Ed. Pischel, Part I, B.S. S. 1880. 2 Ibid. p, 2 bottom and p. 3 beginning.

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66 (ares), saMdevo (saM + dvIpa), sahAla (zabda + term.) sihI (zikhI) solahAvattao ( SoDazAvartakaH), efeqsi (grim), effumarg (cftaaz:) fez (a) and many more. But these are sufficient to show that Hemacandra has included under Desi what does not deserve to be there. However, his contention1 always is, 'Is the word current in Sanskit or not? If not put it under Desi.' This procedure can hardly be called scientific. A look at the Glossary at the end is sufficient to show that Hemacandra has omitted to mention many real Desis. Many of these words quoted above are not even real 'tadbhavas' in the sense that they are darived from current Sanskrit words; but they are coined far their purpose by Prakrit literary men and poets. For instance is the 'coil,' fancifully called 'paternal aunt of the crow; ' is an 'owl' lit. the 'great bird'; is 'dog,' becaus it is a 'beast of the street.' Some Desis are clearly Dravidian, e. g. a town, is a young man, fa a the eye, e go. But a vast majority has yet got to be af at is 'mirror,' literally the 'domestic moon;' small thing, traced to their sourse. (4) Trivikrama, Laksmidhara and Simharaja:-These three authors have commented upon what Laksmidhara expressly says were the original Sutras of Valmiki. Trivikrama no doubt lays claim to the Sutras as being his own, but as against this, Laksmidhara pointedly calls him Vrttikara more than once in his work. And the difference in time between the two writers is not so great as to warrant the conclusion that Laksmidhara should forget the fact that Trivikrama was also the author of the Sutras and should attribute their authership to an ancient sage. (a) Trivikrama's sutras in his Prakrit-vyakarana are mostly identical1 with those of Hemacandra. There are 117 Sutras on Apabhramsa, showing a close correspondence with Hemacandra even in the number of Sutras. The technical terminology of the two authors is however different. Trivikrama has borrowed much from Hemacandra's commentary, even the latter's examples and quotations. The importance of Trivikrama's work lies hoever in the fact that he has given many more examples from the dramas and Prakrit literature. The importance to Apabhramsa consists in his Sanskrit translation of all the Apabhramsa quotations of Hemaeandra. * Op. Cit. p. 19 tathApi saMskRte tadaprasiddhamiti nibaddham, p. 107 atra golAzabdaH saMskRtasamo'pi kavInAM nAtiprasiddha ityupAttaH and at several other places. Sadbhasacandrika, B. S. S. V. 14 fesyouequ. 2 3 Prakritavyakarana, Grantha Pradarsani Series, Intr. V. 9 Azaraamazfanfequiq. On the word Nija, Pischel, Hultzsch, Bhattanatha Swamin, Laddu and Trivedi have written lots. 4 Pischel, op. cit. SS 88. Laddu, Prolegomena Tu Trivikram's Grammatik 5 This has been made use of by Pischel in his Materialien Tur Kenntnis Les p. 32. Apabhramea.

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67 A cursory glance at the Sutras of the two, shows how closely they resemble each other. Pischel has already showed this in his edition of Hemacandra's Prakrit Grammar by noting in the margin similar Sutras in Trivikrama's grammar. The slight difference is due to terminology and metrical form of the latter. A very few Sutras from the Apabrhmsa section are quoted in the following table as illustration. Hem. I dIrgha morasyot saupuMsyodvA eTa Ti Ginecca II triyAM Dahe yatadaH syamordhatraM idama iklIve etadaH strIpuMDI Trivi. dipa svamyataut on sau tu puMsi Ti nizca triyAM Dahe yattadrusvamoH idama isa napuMsake etadeha Hem. eha eho ehu erjarazasoH III svatakoH paNaH tavyasya evva evva evAH ktvaii ivibhavayaH eyoppiNvevye viNavaH tuma evamaNANahamaNahiMca Trivi. eries aft jazzasorei anoti tavyasya ezvai evva evvAH ktvaiie avi recorder tumaevamaNANahamaNahiMca Trivikrama's time cannot be settled with any certainty. He is later than Hemacandra, i. e. than 1172, and earlier than Kumaraswamin, son of Mallinatha Kolacala, who quotes him both by name and without it. The time of Mallinatha himself is uncertain; but he is believed, after Aufrecht,+- to have lived not earlier than the 14th century. Prof. Hultzsch an inscription has pointed out that while a verse of Mallinatha occurs in of 1532, he quotes the Vasantarajaya which was comosed about 1400 A. D. Mallinatha must therefore be referred to the end of the 15th century. Trivikrama may thus be relegated to the fourteenth century at the latest.+- Bhattanathaswamin's claim that Katayavema (circa 1400 ) quotes from Trivikrama is disproved by Trivedi, who has shown that the Sutras are One only is common to partly from Vararuci, partly from Hemacandra. This allows a sufficient time between Hemacandra Hema and Trivikrama. and Trivikrama, for the Pattana grammarian to be quoted and made free use of by a southerner. (b) Laksmidhara, in his Sadbhasacandrika, explains the same 1085 Sutras as have been commented on by Trivikrama, with the difference that 1 Bhattantha Swamin, Trivikrama and his followers, lnd. Ant. p. 228. 2 Pischel op. cit. SS 38. 3. In his edition of Prakrtarupavatara of Simharaja, p. IV. 4. 4 Pischel, op. cit. SS 38, says 'He may perhaps be placed in the 18th century.' But this was when Mallinatha's date was not made a little more definite by Hultzsch. Bhatta Po 8. naths Swamin, I. A. 1911 p. 221; Trivedi, Ed. of Laksmidhar, Edited by K. P. Trivedi B. S. S. LXXI, Bombay 1916,

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68 he has changed the order of the Sutras according to subjects in grammar. His work thus corresponds to the Siddhantakaumudi of Bhattoji Diksita. The order of the dialects, however, has been preserved. He does not give copious examples, nor any quotations and therefore is not of much value to Apabhramsa. Laksmidhara quotes Trivikrama with respect, and says "those who want to explain the difficult Vrtti of Trivikrama should look into Sadbhasacandrika, which is of the nature of a commentary on it." He is thus later than Trivikrama and earlier than Appayadiksita" who mentions him along with others in his Prakritamanidipa. As the latter lived during the latter half of the 16th century, Laksmidhara must be placed in the 15th or the beginning of the 16th at the latest. (c) Simharaja's Prakritarupavatara is a commentary on the Valmikisutras like that of Laksmidhara. The former has commented upon 575 only out of the total 1085 Sutras. He no doubt gives more forms than Hemacandra Trivikrama, Laksmidhara, e. g. under Susasoh XXII 8 he gives a lot of forms of Caduvvugha; but there is no variety in them. Nor are any quotations given. The work therefore is not of much use for Apabhramsa. Simharaja does not say to whom the Sutras belong. In fact, if we argued from his introduction to the Sutras where he says, "In order to let (people) know the scientific terminology, the names and technical terms are being described," the Sutras also will have to be ascribed to him. Such is however not the case. He simply took the Sutras as they were, and without caring to know or to mention who the author was, commented on them. Hultzsch points out that the author has two unnamed quotations, one of which is from Bhattoji's Siddhantakaumudi and the other from Nagoji's* Paribhasendusekhara. Simharaja is therefore a very late writer, scarcely a couple of centuries old. It may be mentioned here that unlike the other three writers of the school, he is a Brahmin and not a Jain. (5) Markandeya's Prakrtasarvasvac is an important work; (i) as it does not belong to the Western or Jain school, (ii) as it gives the dialects * qft afanat qai oulfagurafta a gur: 1 bhASAcandrikA taistadvyAkhyArUpA vilokyatAm // Introductory v. 16. See also I 1, 1. vRttikAra trivikramadevavacanAt / 2 Hultzsch, op. cit. p. IV; Trivedi, op. cit. Intr. p. 17. 3 Ed. Hultzsch p. 1 tatrAdI zAstrIyasaMvyavahAraparijJApanArtha saMjJA paribhASe vayete. 4 Op. Cit. VII. Bhattanathaswamin is right when he sneers at Prof. Hultzsch's rendering of graf XII 42 by eastern grammar'. Ind. Ant. 1911 p. 223. 5 Bhattanathaswamin, 1. c. is not right in placing him in the 18th or 14th century. 6 Edited by Bhattanaswamin, Granthapradarsani series, February to June 1912.

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69 of the Prakrits, and (iii) as it treats of three varieties of Apabhramsa and gives independent illustrations. It is divided into 20 chapters of which two deal with Apabhramsa. The quotations are from the (a) Brhatkatha (one only), Saplacati, Setubandha, Gaudavaho; (b) Sakuntala, Ratnavali, Malatimadhava, Mrochakatika, Venisanhara, Karpuramanjari, Vilasavatisattaka; (c) Bharata Kohala (who seem from the quotations to be a writer on poetics), Bhatti, Bhojadeva, and Pingala. The predecessors mentioned are Sakalya, Bharata, Kohala, Vararuci, Bhamaha and Vasantaraja. It is not possible to say whether Markandeya is giving a traditional suceession of teachers or simply mentioning names at random. The former seems probable and in that case we may look upon the teachers as succeeding each other. Sakalya's is a hoary name and adopted for his prestige and age, just as the name of Valmiki seems, in the present stage of our knowledge of Prakrit grammars, to have been adopted by the Western school. Bharata is well known. Kohala seems to be a historical person, as a quotation? has been given from him. He has been mentioned by Puspadanta (see ante, section VII ) and might be Vararuci's predecessor. Bhamaha is the well kuown rhetorician; but he has also written a commentary on Vararuci's grammar called Manorama. Vasantaraja wrote a Prakritasanjivani, a work entirely dependent on Vararuchi. Psichel thinks that this Vasantaraja, and a king Kumaragiri Vasantaraja, brother-in-law of Katayavema, are very probably one and the same. This Vasantaraja would thus belong to the first decade of the 15th century. Markandeya will have therefore to be placed after that. He says that he finished his work at the capital of Mukundadeva, who was then ruling over Utkala or Orissa. If this Mukunda deva is the same as is said to have ruled over Orissa about 1664, Markandeya will have to be placed in the 17th century. There is a third evidence probably over-looked by Pischel. Markandeya, besides naming Pingalapada, freely quotes from the Prakslapingala. Of all the quotations, the one at p. 50 about short and long syllables is conclusive as it gives the verse with the express additional remark iti zrImalpiMgalapAdairdIrghasya laghutvAtidezAta . Now the Prakrtapingala quotes as examples verses about the Chouhan King Hammira who flourished in the early 14th century. The Prakrta pingala therefore may be placed in the 15th and Markandeya much later than that, as Pingala to him is already 'Pingalapada.' 1 Op. cit. p. 101 TraafhY299061a artat sre: sfat lea: 1 ? Pischel, op. cit. $ 40. 3 Ibid. 4 Op. cit. p. 127 stigtrypracaayai...... TretycFahfaat......

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dhaNavAlakayA bhavisayattakahA jiNasAsaNi sAtu nnihuapaavklNkmlu| sammettavisesu nisuNahu~ suryapaMcamihi phalu // paNavippiNu jiNu tailoyabaMdhu duttaratarabhavaNibbUDhakhaMdhu / bhavvayaNavayaNapaMkayapayaMgu kayakasaNamohatimirohabhaMgu / NIsesabhariyabhuvaNaMtarAlu ukkhayadukkammatarumUlajAlu / avisAu arAu akouhalla kaMdappadappadalaNekkamalla / saMsArasamuhuttaraNaseu avirohu alohu aNAvaleu / paramesaru paramaguNappahANu saMpattu paramaNivvuinihANu / arahaMtu aNaMtu mahaMtu saMtu siu saMkatu suhumu aNAivaMtu / paramappau pahu paMDiu mahatthu paremiDhi paramakAraNakayatthu / ghattA / so hiyai dharevi pvrmhaasirikulhrho| vitthArami loi kittaNu bhavisaNarahivaho // 1 // buhayaNa saMbhAlami tumha tetthu hauM maMdabuddhi NigguNu Niratthu / mohaMdhayAri vAmohamUMDha duggharavAvAre kAri chuuddhu| kiM karami khINavihavappahAe nau lahami soha sjnnshaae| aha NiDaNu jaNu sohai Na koi dhaNusaMpaya viNu puNNahiM Na hoi| viNu tAeM jai naNi appamANu kahamuvami tovi purisAhimANu / vari karami kiMpi" NiyamaiviyAsu kammakkhayAI suvisuddhlesu| jasu jittiu buddhiviyAsu hoi so titiu payaDai mccloi| pikkhivi airAvau gulagulaMtu kiM iyarahatthi mA mau karaMtu / 1 B sAru 2 A suva0 3 B paNaveppiNu 4 B corrected into tamatimirabhaMgu 5 B parame Dhi 6 B mahANaraho 7 A cchUTu 8 A kayAricchUDha 9 B vihavappahAI 10 B sahAI 11B kaMpi 12 B tittau

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bhavisayattakahAe / 1 ghattA / mahakavvakaIhu tAhaMtaNiya kira kavaNa kaha / kiM uii mayaMki joyaMgaNauM ma karau paha // 2 // ihu sajjaNaloyaho viNau sihu jo suhi majjhatthu visihu hu jo puNu khalu khuDDe aDTThasaMgu so kiM abhatthiu deha aMgu / paracchidasaMehiM vAvaru jAsu guNavaMtu kahiMmi kiM kovitAsu / avasadda gavesai vararkeI hi dosaI abbhAsaI mahasaiIhi / eNMkkovi rayaNabhaMjaNasamatthu ekkovi karai vatthuvi avatthu / aNudiNu vAsai duvvAsavAsu appaNauM Na koivi kahiMmi tAsu / u sakka dekhi~vi paraho riddhi Nau sahai saurisahaM guNapasiddhi / jagaDaMtu bhamaI sajjaNahaM viMdu vivarIu NiraMkusu jiMha iMdu | dhattA / duvvayaNaviyaDDu ekkuvi dummaI suaNasaya / jo bhakkhara maMsu tAsu kahiMmi kiM hoi daya // 3 // 2 atthara khalayaNu kiM teNa tAma AyaNNahu kaha savaNAhirAma / jiNavANI jA gaNahariNa diTTha pucchaMtaho citu seNiyaho siha / teNa ye kiyapotthayasaMcayaehiM tatthaho vitthariya varakahiM / evvahi va dusamakAli pasaraMtae mohatamohajAli / ciMtiya dhaNaivAliM vaNivareNa sarasaibahulagDamahAvareNa / viulairipariDiGa vaDamANu jasu samavasaraNu joyaNapamANu taho gaNaharu gomu guNavariTTha tiM taiyaihuM jaM seNiyaho siha / pucchaMtahu suyapaMcamivihANu tahiM Ayau e kahANihANu / dhattA / nisuta eha NimmalapuNNapavittakaha | paccUsiM' narAhuM pubvadisA iva jaNai paha // 4 // eha bhararhaikhitti suMdarapaesa kutujaMgala naumi mahivisesu / vaNijjai saMpaya kAI tAsu jahiM nivasai jaNu amuNiyapayAsu / ArAmacchittagharavitti viDa paripakkakarlemigohaNasamiddhu / jahiM puraI pavaDiyakalayalAI dhammatthakAmasaMciyaiphalAI / 1 khuDDu 2 B sayahiM 3 A vAvAru 4 B kaIhu 5 B saIhu 6 B ikko 7 B dekhevi 8 B jaha B vi 10 Bvatai 11 B dhagavAleM 12 A gottamu 13 B taiyahaM 14 B ehu 15 B paccUse NaraNAha 16 B bharaikhetti 17 B NAmeM atthi deTha 18 B paripakkasAli 19 A saMsiyakalAI B

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ptthmosndhii| jahiM mihuNaiM mayaNaparavvasAiM avtupptuprivddiyrsaaii| uvabhoyabhoyasuhasevayAiM gAmaiM kukkuDasaMDevayAI / jahiM jalaI kayAvi na dUsiyAiM mayaraMdareNuvAmIsiyAI / jahiM saraI kamalapahataMbirAI kAraMDahaMsavaMyacuMbirAI / jahiM paMthiya tatucchAyahiM bhamaMti jatthatthamiyaI tahiM Nisi gmNti| pAmara viyaDDi vayaNaI NiyaMti puMDacchurasaI lIlaI piyaMti / ghattA / tahiM gayau~ru NAuM paTTaNu jaNajarNiyacchariu / NaM gayaNu muevi saggakhaMDu mahi avayariu // 5 // taM gayauru ko vaNaNahaM samatthu jaM puhaihi maMDaNu NaM paryaMtthu / jaM bhuttu mauDakuMDaladharehiM mehesarAibahuNaravarehiM / jahiM kIliu seyaMsAhiveNa pAraNauM karAviu risahu jeNa / mahavA cakkesatu jitthu Asi jiM bhutta vasuMdhari jema dAsi / puNu saNakumAtu NihirayaNavAlu chkkhNddvsuhsuhsaamisaalu| puNa saMti kuMthu aru tiNNi rAya cakkavaI hoi titthayara jAya / jahiM aNNavi para Naravai mahaMta saggApavaggavarasuhaI patta / jasu kAraNi NiyasuhitaMDavehiM kurukhetti bhiDiu kurupaMDavehiM / ghttaa| jahiM tuMgatavaMgi saMThiu sNkhkuNddhvlu|| jaNu suttuvi uDu dekhai gaMgANaihiM jalu // 6 // tahiM paTTaNi siyaikalayalavamAli varayari vaTuMtae susmkaali| aTThamA tithi pasaraMtaNANi caMdappahajiNapaJcakkhamANi / jahiM jaNu Nibahu saMghaDaNadhIru dhaNusaudivaDDadIharasarIru / NimmalasammattapayAvabhANu vIsaddhalakkhapuvvAumANu / tahiM kAli titthu paidRNi jayAsi bhuvolu NAMmu NaranAhu Asi / kiyavasaviheyadharavalayasAtu bahunaranihAyasaMkhuhiyavAtu / jaNavallaMha~cariu visuddhavaMsu jayalacchimarAlihi rAyahaMsu / taho dhaNavai NAmi rAyasiDhi daraviyasiyasiyakaMdoddadihi / ghattA / paurAlaMkAru bahudhaNu bahuguNu bhusynnu| suidaMsaNadehu navajuvANu suMdaravayaNu // 7 // ____1 A caya 2 A pathiya 3 B gayavaru 4 jaNamaNaacchariu 5 A vannahaM 6 B pasatyu 7 B risaho 8 B jethu 9 B je 10 B pAla 11 B bhiDiya 12 B thiyakalayale 13 B tethu 14 paTTaNe 15 B bhuAla 16 A NAma 17 B jaNavallahu

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bhvisyttkhaae| aNNekku tahiM ji puri bahuguNaDDa haribalu NAmi vaNivatu viyaDDa / taho piyagehiNi NAmeNa lacchi saMpuNNavayaNa kuvalayadlacchi / kamalasiri nAuM tahitaNiya duhiya maNaharacchaNiMdearaviMdamuhiya / dhaNavai vaNivaru gau taho ji gehi gaya dihi tAsu tahiM taNaI dehi / kiMduhi ramaMtiM NayaNaiTTa paMguraNavivarithaNakalasu diha / ahilAsu puvvasaMbaMdhi jAu parivaDiu vihiMmi maNANurAu / maggevi lakSya sA teNa karne nivesiTTi bhaNivi haribaliNa dinna / paramocchavi AraMbhiu vivAhu pariosiu puru puruvaisaNAhu / ghattA / kiya maMDavasoha ghari ghari baDhaI tornniN| ullocasayAI raiyaI jnnmnncornnii||8|| khaMciya meiNi taMDaviya vaNNu bahuparimalacaMdaNacchaDaya diNNu / do khaMDa karivi ghattiya'raviMda pUrivi NiviTTa suhisayaNaviMda / kAlAgurukhaMDaI bohiyAI varabhavaNasayaI uvasohiyAI / NiyagottamAimaMgalavalIu pUrivi mottiyaraMgAvalIu / saMbhAsiu sayaNu visiha ichu NaranAhu caukkAsaNi baiTha / puNu kiu paricittiM saMpahAtu varabhoyaNu vtthaahrnnsaatu| parihAivi ujalavAsavesu aMteuru pariyaNu piNddvaasu| puNu kiu gharavAvAraho pahANu purapauraho bahusammANadANu / bahuvivihabhakkhabhoyaNahi bhojju paisarai lou bhuMjai maNojju / taMbolu vilevaNu vatthu levi jaM jAsu joggu taM tAsu devi / puNu diNNu bhariyabhuvaNaMtarAlu ddibherisNkhkaahlvmaalu| avayariu NAI paccakkhu saggu joiu surikkhu sumahuttu laggu / ghattA / ghiu huvavahi cittu maMgalasadda smucchliu| bahutUraraveNa kennahi pANiggahaNu kiu // 9 // kayapANiggahaNi viyaDalIla taruNihiM AraMbhiya kAmakIla / suvisuddhavaMsi uppaNiyAu suviyaDuguNahiM saMpuNNiyAu / ubbhaDavarataruNiuM jAu jAu uvvaggivi dukkau tAu tAu / - 1 A aniku 2 B maNaharacchaNeI 3 B hiMduvahiM ramateM 4 B kaNNa 6 B NivaseThi 6 B diNNa 7 B paracitteM - B vAsa 9 A majja 10 A hariya 11 B kaNNaho

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ptthmosndhii| vakkarakuruDaDakaDakkhiehiM varu tajiu kannAcakkhiehiM / re re tiyalaMpaDa sauhuM ThAhi muhiyaI ji kema tiya levi jAhi / bahukAmakaDakkhavihAviosi caMgai thANaMtari pAviosi / suhayattaNagadica kau paritta daramaliu ajju kahiM jAhi mitta / haile hale lai lehu bhaNaMtiyAhi pariveDhiu ahatu phuraMtiyAhi / kavi vaMcchai siri dhammillajUDu parimusai kAvi maNivalayacUDu / kavi pIDijaMti vi bhuabaleNa avatuMDai raikoUhaleNa / / kavi mailai kajalatilau levi kavi vilasai muhamaMDaNu malevi / kavi kANakkheva Dhakkai cchaleNa vatthaI khaMpai kuMkumajaleNa / kavi khivai jakkhakaddamathavA unbhaDavayaNa bollai avakchu / ghattA / varamAlamaliyamaNimauDahau varu pikkhivi paMcAvatthu kiu / ovaggivi baMdhivi gattiyau dukka varapakkhakuluttiyau // 10 // Alaggau pINaghaNatthaNAu sohlyrmnnrNjiymnnaau| kavi kAhivi kurulaI Niddalei kavi kAhivi muhamaMDaNusiuM varei / kavi kAhivi vatthaMcalu dharei kavi kAhivi appuNursiu varei / kavi kaTTai rasaNAdAmu lei kavi cchoDai Avillau dharei / gali kAvi hAru toDai cchaleNa kavi mallajujjhu laggai baleNa / NijiNivi ema varatatuNisatthu sahuM kannaI vatu ANi kayatthu / paisAriu maMgalasaya karevi thiyabahujasakittihi gharu bharevi / bahuvallaha paipariyaNaho bAla bhamaraulaho jema suaMdhamAla / ghattA / ghatu NiyayaguNehiM sayalu tAI appaNau kiu| paDivaNNavihou~ dhaNavai muhaM joyaMtu thiu // 11 // sA kamalasiri nAuM taho pattI akhaliyajiNavarasAsaNibhattI / samacakkalakaDiyalasumaNohara viyaDaramaNaghaNapINapaohara / chaNasasibiMbasamujjalavayaNI NavakuvalayadaladIharanayaNI / thirakalahaMsalIlagaigAmiNi jaNaho dhaNaho parivAraho sAmiNi / divbAharaNavatthasaMjuttI jiNavaramaMdiri bhamaI sittii| sulaliyaguruvacchalli sohai sohagge mayaraDau khohai / 1 B suyattaNi gavveM 2 B hali hali 3 A kANakkhivi 4 B saI 5 Bheja 6 B sAsaNabhattI 7 B thiya 8B vacchale

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bhvisyttkhaae| sahiyaNu saralasahovi dekkhai pariyaNu samavisami uvalakkhai / pattA / saviyavilAsa sArabhUa puri smvyho|| aNuhuMjai bhoya hiyaicchiya dhaNavaiNa saho // 12 // sovi tAhi~ saviyArau jaMpai sarasaMsahIva saNehu samappai / karai keli pacchaNNasamAsai ohuMjai viyrddNprihaasi| saviNayakulamajAya Na millai vippiu vayaNu kayAvi na bollai / mayaNAuramaNa beu Na bhaMjai vivihavicittaguNihiM maNu raMjai / varakIlApariovaNu icchai muhamuheNa taMvolu paDicchai / sihiNahaM Nau suhAi hariyaMdaNu jaha taM suhayasaNehAliMgaNu / parisakaha pacchaNNaviyAriM jihaM Na kalijai jaNi aiyAriM / ema tAhi NavaNehaNiraMtara gaya diNa pakkha mAsa saMvacchara / ghattA / bahukAleM tAhiM puttajammi ahilasai mnnu| nipphalaI gayAiM kaNNosaNNaiM cavai jaNu // 13 // kamalasirihi samavayasaMbhUau gayauri savvau tiyau pasyau / maNi maNAu avakherai aMgau ekkahiM diNi pucchiu muNipuMgau / paramesara akiyattha kilesaI kiM avasANi amhatau hosaha / taM tahitaNau vayaNu pariyacchivi kahai mahA~risi sauNuM nniycchivi| hosai tujjhu puttu dihigArau bahuNayaviNayaparakkamasArau / taM gutuvayaNu levi savisesiM kiya paMguraNi gaMThi paritosiM / kahiu gapi dhaNavaihi payatteM teNavi pulypsaahiygtteN| sadahANi saMtosu payAsiu Na calai jaM muNiNAhiM bhAsiu / ghattA / to thovadiNehiM tivali taraMgai puuriyii| saMcaliu puraMdhu aMgai gabbhAUriyaI // 14 // taM jANivi kAraNu suhu saMciu uhayakulehiM ANaMdu paNaciu / kiu Ayaru dohalaya NivaMciya phalamaMgalaahitoe siNciy| jAu puttu jo muNivarabhAsiu vaMdhavalou sayalu AsAsiu / kokAviu suNimittuviyakkhaNu teNavi taho pariyANiu lakkhaNu / 1 B sahAveM dikkhaI 2 A sahu~ 3 B tAhaM saviyAriu 4 B saralasahAveM 5 C viyaDa 6 B taho 7B mahAsiri

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osandhI / ehu bAlu hosai bahujANauM aNNuvi bahuNaravarahaM pahANaDaM / sAreyaraviyAra jANesaha maMDai rAyalacchi mANesaha / tiM veNi puravaimaNu raMjiu nemiM tiu varavatthahiM pujjiu / toraNa maMgalakalasa dhareSpiNu motiyaraMgAvaliu bhareSpiNu / rasmaMdira gau vaDAvara suyaNahaM pesiu vayaNu suhAvau / ghattA / paDupaDaharaveNa mau parigaliu mahAgayahaM / dhaNava paritu dii dANu vaMdina~ sayahaM // 15 // viyasiyavarakamalavihatthau paisai juvaIyaNu supasatthau / uvvilai mayaviMbhalagattau paramocchavi maulAviyaNettara / vatthAharaNavihasiyasArau sarahasu parivaDiyasiMgAraDa / ekku mAsu gau eNa viNoeM puNu jigamahimANaMdavihoeM / harivaladuhiya suhiya kayauNNI puttucchaMgasaMgasaMpuNNI / vatthAharaNavihUsiyasuvaihiM parimiyasuyaNamahAkula juvaihiM / AvaNasoha pasAhiyapaMthI jiNavaramaMdiraM gaya sa kiyatthI / jiNavarapujjamahima darisevirNe bahumaNirayaNavarisu variseviNu / dhattA / parameTThi paMcamaMgalu bhaNivi kaNNaMtari dhaNavaisuaho | muNivayaNabhavIsAlaM kaeNriu bhavisayattu kiu gAu taho // 16 // prathamaH sandhiH paNavevi pAuNiNNAsayatu bhAvi caMdappahacalaNa / bhogaMtarAuM paMkayasirihiM jema jAu taM kahami jaNa // ahiNavaraMbhaganbhasomAlau dhaNavaighari parivaDhaha bAlau / kamalasirihi pINuNNayasadRhaM pillivi hAtu piyai thaNavahaI | hahitya bhaI jaNaviMdraho cariyasuhAvahu sudda gariMdaho / raNAhiM saI aMki laijjai cAmaragAhiNIhiM vijjijjai / pavaravilAsiNIhiM cuMbijjai aNNahiM pAsiu aNNahiM lijjai / 1 B teM vayaNi 2 B NimmattiGa 3 B vaMdiyasayahiM 4 B dariseppaNu 5 B varisepiNu 6 B bhavIsAlaMki 7 C iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe / vuhadhaNabAlakayAe paMcamiphalavaNNaNAe / bhavisayattajammavaNNaNo nAma paDhamo saMdhI sammatto 8 B bhoyaMtarAu 9 B hattha

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dhnvaalkyaa| sIhAsaNasiharovari muccai varavilayahi siri kurulaI luMcai / kokou hasai viyArahaM vaMkai ahatu samappaI DasaNahiM DaMkai / cuMbijaMtu kavolaI cIrai gali laggaMtu thaNahiM ahiM khiiri| komalapayahiM dalai thaNahAraI AvaMcivi toDai siyahAraI / parivaDui dihi diMtu sau~nnahaM paDhamaMkutu nAvai ihu~ punnahaM / ghttaa| cihnaI darisaMtu mahattaraI sajaNajaNahiyavau bharai / ANaMdaNaMdikalayalaraveNa ujjhAsAla paIsarai // 1 // tahivi teNa gutuvayaNaNiuttiM paramAgamakalaguNasaMjuttiM / muNiakkharasaMkeyakayatthe bahuvAyaraNasaddasatthatthe / sayalakalAkalAva pariyANiya avagAhaNasattie lahu jANiya / joisamaMtataMtabahubheyaiM dhaNuvinnANabANaguNaccheyaiM / vivihAuhaI vivihasaMvaraNai raNi htthaaphtthvaavrnniN| diNNapaharapaDipaharapamukkaiM lakkhaNacalaNacaMcalAhukkaI / mallajujjhaAvaggaNasaMcai ddhokrkttrikrnnpvNcii| gayaturaMgaparivAhaNasannaI saaraasaarprikkhnngnnii| ghattA / emAivisiMhaI aNNahiMmi aMgau guNihiM tAsu variu / jiNamahimapujjadANocchaviNa ujjhAsAlahiM nniisriu||2|| ujjhAsAla muMevi ghatu Ayaho thiragaMbhIraguNihiM vikkhAyaho / pikkhivi Niyayasuputtaho cariyaI vijAviNayabahugguNabhariyaI / dhaNavai suGa samuNNayamANauM aNudiNu diNNu NiraMtaradANauM / puttavicittaguNihiM parituTThau salahai ghariNihi purau pahi?u / pie sAvaNNa ehu Nau dIsai maMcchuDa kuli ujjou karesai / pomalacchi vihaseviNu jaMpai puNNodaiNa kAI Na samappai / rukkhaho NAmi phalu saMbajjhai kiM aMbaI Amalau Nibajjhai / jo tautaNaiM aMgi uppaNNauM tAsu sarIri hoi kiM duNNauM / ghattA / iya lIlaI kolaMtAI tahiM bevi jAma vilasaMti ri| tAvaNNahiM divasahiM thovaihiM vihaDiya pimmahaMtaNiya gi||3|| 1 B siMhAsaNi 2 B kurulaviM 3 B kokiu 4 B samappiu 5 B sauNNaI 6 B bahupuNNaI 7 A visahiM 8 B dANucchaveNa 9 A vijjhAsAlaho 10 B muiMvi 11 B parihira 12 B lai

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bhvisyttkhaa| tAsu purAiu kammu aNi? jAivi dhaNavaihiyai paicha / sA kamalasiri taM ji avaloyaNu cariyaiM taM ji tAI NavajovvaNu / taM ji tAhi cArittu suNimmalu taM vacchalla vayaNu piykomlu| Navara puvvakammaho pariNAmi kamaluvi Nau suhAi taho NAmi / jo ciru piyapesalaI cavaMtau muhamuheNa taMbolu khivaMtau / aNudiNu piyavAvArapasaMsau tehu vai AlAvaNi saMsau / jo parihAsaI keli karaMtau paNayasamiThu mANu siharaMtau / so vai paricattasaNehau tA kiM hoi Na hoi va jehau / ghattA / taM pikkhivi milliya maMdarasu caliu pimmu pariyattaguNi / raNaraNa vahaMti mahacchimai bahaviyappa ciMtavai maNi // 4 // NAhu viracamANu pikkhaMtI pariciMtai maiNi kheijjtii| eu auvvu kiMpi avisiTThau ehau maI Na kayAivi diTThau / guNihiMmi guNaattaM tihi rUsai uvayArivi duvvayeNihiM duusi| viNau vi aviNayarUviM mannaI rayaNihiM raisaMgami avagaNaiM / evahiM kAI karami hAM Ayaho nikAraNa viNaTThasaMkeyaho / ema dukkhu hiyaDai sAhAriu paNaeM kheDDu karivi paccAriu / eu kira kAI viyaMbhiu vaDuu ahiNau~ paI pAraMbhiu khii~u / jai paDhamauM ji huMrtuM tuhaM ehau tokira ko karaMtu maNi rehau / pahilau darisivi atula saNehu nimmalaguNahaM bhareviNa dehu / evvahi kakasa lIla payAsiya kiM hua aNNa kAvi piyabhAsiya / ghattA / sappurisahu eu jammasaevi Na sNbhvii| jaM viNu avarAhi sevijaMtahaM calai maI // 5 // aNNuvi suhisayaNahaM lajijai pauraloi vaDDattaNu hijai / mattaloi khalu caMcalu vAsau saMpaya jIu sarIru asAsau / jovvaNu diyahiM diyaha vilijjai aNudiNu jararakkhasie gilijh| jai maI kovi kiyau avarAhu tovi khamijada millivi gaahu| taM tahiMtaNa vayaNu avagaNNaI cirauvayAruvi tiNasamu mnnii| 1 B ji taM ji 2 B taho 3 B maNeNa khijaMtI 4 B taha 5 B duvayaNaha 6 B kheDu 7 B kheDau 8 BhoMtu 9 B bhareviNa 10 B sappurisaho ehu 11 B sevijaMtaI 12 B diyaheM diyaho 13 B avagaNivi 14 BmANivi

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bhavisayattakahAe aNNaNNaI vAvAraiM dAvai mattagaiMdu NiraMkusu NAvai / jima jima tAhi Asa Nau pUrai tima tima paNaiNi hiyai visUraha / viruvau mAi aMgi baraittaho guruvayaNaimmi Na laggahi cittaho / evvahiM eNa samau Na cavijai jaM kiu taM ji paDIvau kijai / ghattA / thiya mANagaiMdi samAruhivi avamANiM paricattarai / piya vayaNi mayaNi AsaNi sayaNiraivAsaharivi Nau milai // 6 // taM paNaiNihi paNau na samappai pimmummAeM maNu sNtppi| aMgaI virahadAhu Na sahaMti NayaNaiM jitthu NAhu tahiM jaMti / vayaNu valei maggu piya jaMtae kima Nivvahai mANu rucNtie| annadiyahi puNu puNu bollAvai NAha NirAriu maNu saMtAvai / je viNu puNuvi puNuvi na valijai tisahuM dIhakasAu Na kijai / ema bhaNaMti jAma kara pesai tAma durakkharavayaNaI bhaasi| Usaru Usaru maM kari laggahi piyahari gaMpi NivAsau maggahi / kAI kilesahi kArDa ayANie kiM ghiu hoi virolie~ pANie / ghattA / to vuccai aharu phuraMtiyaI NivasaMtihi tautaNaiM ghari / uppAiya keNavi bhaMti pahu jA sA kahi maM hiyidhri||7|| tuhaM puravaraho savvasAhAraNu jANahiM kjjaakjviyaarnnu| Navara NirAriu vippiyagArau suhiyau hoi saMgu tumhArau / sevijaMti vicittasaNehau maMcchuDa tuhuM jiNe jammivi ehau / to varaittiM vuttu avaMkau ko sakkai tau karivi kalaMkau / hauM mi NAhi tau vippiyagArau jANahiM tuhaM ji saMgu amhArau / Navara Na jANami kAiMmi kAraNu jAu astypiymmnivaarnnu| ke katipaiM maNi Na kalaMkami khaNamittavi devaNahaM na sakkami / maMDavalaMti NiyaMtaho NayaNaiM aNarAmai karaMti tava vayaNai / ghattA / acchaMtu tAma piyavippiyaI ekaMgaNivi ma rai karahi / pariyANivi ehI kajagaI jaM jANahiM taM maNi dharahi // 8 // 1 B evahiM 2 B piya vayaNa mayaNa AsaNa sayaNa 3 B jethu 4 B aNNahiM diyahiM puNuvi bullAvai 5 B tesihaM 6 B kIuM 7 B virole 8 B sevijaMtu 9 B jiNadhammi 10 B kemaI 11 B khaNamettu 12 aNarAyau

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bIo sandhI / 11 NisuNivi tAsu parammuhavayaNahaM muhaM mauliu jalabhariyaI NayaNaI / hiyavaha niru maNu sammAriu dukkhu dukkhu puNu maNu sAhAriu / thiya garuyAhimANi maNu lAivi maccharu mANu maraDu pamAivi / upahasai u Nu siMgArai tiSNi kAla para jiNu jayakArai / u kevi sehuMNayaNa kaDakkhar3a Nau kAsuvi guNadosaI akkhaI / tovi tAhaM gharavai Na suhAvai avakheraMtu puNuvi bollAvai / acchahi kAI etthu dukkaMdiri NIsaru kaMti jAhi piyamaMdiri / taM duvvayaNavAsu asahaMtI Niggaya pariyaNu AucchaMtI / dhattA / gaya lughulaMti piyamaMdirahoM suhipariyaNu pikkhaMtu thiu / laggevi kaMThi niyamAyarihi suiru virasu kAruNNu kiu // 9 // pucchiti vi jaNi jaNi Aura Na kaI kahovi kiMpi dukkhAura | taM pakkhivi jaNeru AsaMkiu thiu hiTThAmuhuM mANakalaMkiu / citai vivihaviyappaviyAraNu eu na jANahaM kAMimi kAraNu / eha ghari garuyavihoeM AvaMti ya parimiyavahaloeM / siMgAriM paDiyabahubhogI aha gaIdi aha turai valaggI / evvahi dINavayaNaviddANI dIsaha suTTa nirdennayamANI / aNuvi riore kaluNu ruaMtI kAraNu kiMpi naitthi u bhaMtI / maMcchuDu kiM duccariGa palAviu sajjaNajaNaho NAuM lajjAviu / NihaNu jaMtu tiyamaiDa hayAsau NimmalakulahaM kalaMkapayAsau / etthaMtari dhaNavaiNa mahallau pesiu vayaNaviyakkhaNu bhallau / dhattA / taM kahi eha tumhahataNiya NiyakulamaggavisuddhamaI / varaittiM vippiyapiyaguNiNa ghalliya paramAyArama~I / 3 to pariyahaM jAu pariosu parihau layau pavaDiyarosu // 10 // hariyatteNa vuttu lai bhallau gau niyaharu savilakkhu mahallau / etthaMtari kumAru kIlaMtara lIlai NiyamaMdira saMpattau / tAmatitdhuNiyajaNaNi Na pikkhai vunnaDaM diseMu NiyaijaNu pucchai / pikkha pariyaNu aMsujalolliu takkhaNi sovi hiyai Ahalliu / 1 B siMhuM 2 B tulughuti 3 B karai 4 B etthu 5 B viruNNayamANI 6 B atthi 7 B saI 8 B tethu 9 B pecchai 10 B cuNNa 11 B disaI

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bhavisayattakahAe keNavi pucchaMtaho saMbhAliu niyajaNeriparihavapajAliu / gau mAmahaM maMdiri saMpattau thiu suhiyaNu maulAviyavattau / lacchie aMki bhariu aNubiMbiu nimmacchaNauM kareviNu cuMbiu / kamalaI tAsu vayaNu avaloivi puNaravi aMsuvAu kiu joivi / mailau vayaNu mAi kiu bAliM hauM dullahau jammu dukAliM / ghattA / dullalie kAI hauM tau karami duppiyaraho ghari avayariu / mahu~ saMgiM dukkhahaM bhAyaNihi tujjhu vi putta pavAsu kiu // 11 // to loyaNaiM luhivi saI lacchie NiyayadhIya maM bhIsi vilacchie / hou putti kArunu nivArahi phusi loyaNaiM vi maNu sAhArahi / caMgau kiu dhaNavaiNa NirAriu amhahaM siTTittaNu avehAriu / vari dijaMti Asi puri aNNaho lahu vaNivaraho appasAvaNNaho / so Na karaMtu tAma iya ehau dukkhuppAyaNu dummiyadehau / taM NisuNivi vuccai hariyatteM amhi vaMciya divaaytteN| ekku juvANu aNNu dhaNayattau puri paurAlaMkArasaittau / aNNuvi laiya teNa maggevi sai ko jANaI cirayAla bhavIsai / ghattA / lai acchahu etthu karevi rai phalu vihiAyattau pariNavai / kavi hosai suMdara kajagaI kiM vihalu jAI jaM ruvai saha // 12 // taM NisuNevi payaMpai bAlau NavakuMvalayadalaggasomAlau / amhaI jaivi tAsu Nau rucaI to kiM NiyayakalAvi muccai / jaivi teNa viNu NAhiM valijai tovi mAi Nau dINu cavijai / jaivi NirAriu pANahaM muccai tovi parammuhuM dUriM mucci|| hiyavai jAsu Na sammAijai tasu kAraNi vAmohu Na kinaa| taho paMgaNu appaNauM piyArau amhavi hosai gharu vaDDArau / so appaMNa Na dei NivAsau tuhuMmi tAsu maM dehi pavesau / darisai maccaloi jo jehau tAsu puNuvi darisivvau tehau / ghattA / maM mAeM karahi maNi raNaraNauM kari dhIrima saMvarahi bhau / volaMtahi diyahahiM thovaihiM so ANivvau pAsu tau // 13 // 1 B mAmahi 2 / mahosaMge 3 B pusi0 4 B seThittaNu 5 B avayAri 6 B maggiva 7 B jAu CB kuvalayadalaMga 9 B kalAveM 10 B appaNaI 11 B mAI

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tIo sndhii| bolahu purisaparakamavayaNihiM AsAsiya jaNeri sahu~ synnihiN| savvahaM hiyai camakka paIsai ehu kovi sAmAnna na dIsai / jaMpai purisayAri paDisUrau maMcchuDDu hosai AsAUrau / pujiu vivihaguNAlaMkaraNihiM pahANavilevaNavatthAharaNihiM / rayaNanihANu jema avaloiu teNavi taM ji gehu ujjoyau / tahiMmi vicittavilAsaI mANaiM sahuM suhiyahiM taMbolu samANaiM / bahuparimalaI NibaMdhai phullaI parihai parihaNAI bhumollii| guruvacchallu karai jiNu vaidai sajaNajaNahaM maNaiM ANaMdai / duDara varaturaMga parivAhai appaDikUlu jaNaNi ArAhai / kAmiNijaNamaNaNayaNANaMdaNu bhamaiM jema NaranAhaho gaMdaNu / ghattA / dohaggu jAu paMkayasirihi puttuvi guNahi alaMkariu / ittahivi teNa dhaNavaikaiNa kavvahu saMdhipavesu kiu~ // 14 // dvitIyaH sandhiH paNavivi caMdappahu paramaguru diDhu sammatte karivi maNu / puNu kahami jema kiu gayauraho bhavisiM dIvaMtaragamaNu / ghalliya kamalamahAsiridevi dhaNavai thiu paDibaMdhu karevi / avagaNivi suhisajjaNavayaNaI mokallivi suvnnnnmnnirynniN| NiyaNayaviNayAyArapaittaho maggivi laiya dhIya dhaNayattaho / dihi vivAhamaMgala ugghosiya suhisajaNajamaNi pariosiya / piyapariyaNaparivArasaNAhiM kiu sammANadANu nnrnnaahiN| puri paurAlaMkAri bhaNAviu laggujoggu sumuhutu gaNAviu / payaiM vivihakammaMtari lAiya thaMbhiya kaM9 kaiya NerAiya / chaDatoraNamaMgalajalakalasihiM aihavasaMkhatUra~kayaghosahiM / diyavaMdiNajayajayamAhappeM kiu vivAhu bhavisattaho bappeM / ghattA / daDisaMkhatarakAhalaraveNa rahasiM gayauru ghghi| hariyattaho pariyaNi raNaraNau kamala kalaMku maNivvahai // 1 // 1 B maNa raNiraNau 2 sAvaNNu 3 B savANaI 4 B bahomullaI 5 Cadds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe / vuhadhaNavAlakayAe bIyo saMdhI pariccheo smmtto| 6 B maNa 7 B kaMdukaiya 8B tUraNigghosahi

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bhavisayattakahAe pariNiya sA dhaNayattaho dhUya ganbhesari nAmeNa saMrUa / puNNimaiMdaruMdasasivayaNI daMtapaMtipahapahasiyavayaNI / sayalakalAkalAvasaMpuNNI ahiNavalacchi nAI avaiNNI / bAlamarAlalIlagaigAmiNi sA kiya NiyaparivAraho sAmiNi / piyavallaha jaNamaNu dulAlai suvihie NiyapariyaNu paripAlai / furusharaho hu vaDIvai kamalahi paiparihavaduhu dAvai / niyasohaggu bhogu saMpAlai virahadvaggi aMgi pajjAlai | jiNamaMdira vaccai siMgAriM parimiyapaurajuvaiparivAriM / ghattA / ahimANamaraddavisagai ahiNavasirisohaggajuva / raNaraNauM diti paMkayasirihi bhamaI Nayari ghaNayantasuvaM // 2 // pariyaNi piyavayaNihiM jaNu raMjai gAhu vicittaguNehiM aNuhuMjai / jANaI piyamuha suhavAmohaNu maNi ciMtiu sai surayArohaNu / lali Isi Isi avaruMDaNu aharakavolakaMThaura khaMDaNU / muha sikkArakaNiraura kaMpaNu sarahasu salilaramaNasamappaNu / kararuhapaMtipulayaparijaMvaNu paNayarosamayarosaniruMbhaNu / vINAlAvaNigeyaparikkhaNu kuDilaviyAri sarosanirikkhaNu / dinnapahara paDipaharapaDicchaNu alayagAhapaDigAhasamicchaNu / vibhamabhAvaphuriyaaharekkhaNu maMdarAyabahurAyaviyakvaNu / piyaparihAsavAsavihaDAvaNu mayaNukkovaNaMgupayaDAcaNu / baMdhakaraNavAvAraviyaMbhaNu suhakara phaMsasamaya ra sabhaNu / dhattA | dhaNavaivi kAmabhogaMtariu tAhi mANu mANi dharai / piyavayaNakamalamayaraMdarasu paMkaI bhramaru jema sarai // 3 // tAhaM vihiMmi gaMjoliyagattahaM hiyaicchiya vilAsa mANataH / rairasavasavAvAraviNoeM kevi kUraggahasaMjoeM | ganbhesarihi ganbhu saMpajai dukkiyadukkhanihANu va gajjai / jima jima riu soNiyajala thaMbhai tima tima maNi raNaraNauM viyaMbhai / jima jima cauraMgaI cauraMsai tima tima khAmoyaru viddhaMsai / jima jima ganbhu lei savvaMgaI tima tima bhaMjai tivali taraMgaI / 14 1 B vaGkArai 2 A ya 3 B virattaguNehiM 4 B saliliGa 5 B salila

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tIo sandhI / etthaMtari suhibaMdhavaloeM ahisiMciyaphalamaMgalatoeM / puttapannu sayaNu pariosiu baMdhuyattu pieM gAuM payAsi / dhattA / paripAliu lAliu vaDhaviu saalakalAkalAvakaliu / kIlaMtu juvANubhAvi caDiu pauri mahAyaNi dullaliu // 4 // samavayavaNijuvANasyaparimiuM parivaDiyapayAvasuhakaimmiraM / rAuli saNNamANu dhaNayattau NavajogvaNaguNarUvasaittau / bhaI yari kilakIlAsattara vivihaI bahu duNNayaI karaMtara | viNaya viya suhiya saMbhAvai kuDilahaM dappasADa darisAvai / chaMdAintavayaNi rai mannaI maijjhatthai suaNaI avagannaI / paDisakai mariMga paDilUriM vAsai mayaparimalakappUriM / paTTaNi suttavimuttai cAhai dappuDura turaMga parivAhai | vaNivarakulaI seva jaMpAvara purayaNu Niravalesu kaMpAvara | parajuvaihiM parisakkai vaMkau jaMpara pahu paMgaNi samaDakkara / dhattA / jovvaNaviyAranivbharabhariu accuvbhaDasiMgAramaI / saMbohivi suhibaMdhavasayaI saMcalliu kaMcanapura || 5 || kavi huM jaNaNi u maMtu turiu tAtha parivaDDiyataMtu / maI taM kaNayadIu paisivvara acchai tAma ehu suhasevau / taM NiNivi parivaDiyamaMti karayalu vayaNi dinnu vihasaMtiM / DihiM caDivi jai taM kira kijai vayaNuvi nau karAlu jaMpijjai / bolahi putta jema aNNANiuM kiM vaNiuttaraM maggu na yANiuM / suhiyahi hiyau NAhiM apivva parimiuM thoDa thoDa jaMpinvaDa | atthu vips vivipayArihiM vaMcivi karasannA saMcArihiM / appuNu pakkhe bhaMDu salahitrvara aNNaho cittu vicittu lavau / appuNu aMgu NAhi darisivvara aNNaho tagauM parAmarisivvau / dhattA / parakaja suNaMtuvi Nau suNaI appaNa kajjaho u calai | kalAva viNiyacariu paraho aMgi paisivi kalai || 6 || aikilesa jai atthu viDhappai viusaviyahaM teNa samappai / acchijjai suhajhANaNiuttahi devadhammagurupUyapavittahi / aNNajammi putrvajjiu jaM dhaNu taM esai pucchaMtu gharaMgaNu / 1 B taho ? B seviu 3 B Niya : B majjhatyahaM suvaNahaM 5 B kalAvahi 10

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bhavisayattakAe taM NisuNivi diNNauM paDiuttaru tuhuM susAmi sappurisu mahaMtaru | paramahu maNi Na ThAi tau jaMpiu kANINahaM kAyarahaM maNapiu | eu kammu paradINavarAyahaM asarIrahaM paripIDiyakAyahaM / aha dhutta suloparibhUyahaM muhamahurahaM pacchaNNavirUahaM / jaM vettaNeNa viDhavijjai teNa kAI kiviNattheM kijjai / AsaNasayaNapamuha uvadAMNehiM bhoyaNu dei garuyasammANihiM / mitta kairiva hiyavaha tADijjai kayavikkayacchaleNa vaMcijjai / hoi atthu jo eNa vihANi teNa kAI bahudukkhaNihANi / dhattA / jaM atulu tulivi ADhattaiNa hoi jasahu AvAhaNauM / taM dhaNu vilasaMta vayaM haMmi suhaDahaM cariyapasAhaNauM // 7 // taM NisuNevi bhaNaI vaNisArau maI paDivaNNu vayaNu tumhArau | tuhuM ma karehi kiMpi kayavikkara acchahi pauramajjhi samaDakkau / maM bhaNivi kavi paDivakkahi vilasahi majjhu atthu jima sakkahi / taM NisuNevi papa NaMdaNu sajaNajaNamaNaNayaNANaMdaNu / NiyavavasAyadAya ucchallaha atulu hoi mAhappu mahallaha / pari vittu atthu vilasaMtaha kavaNa kitti jasu kavaNu jiyaMtaha | ava tAya kAi vitthAriM putrvakkiyakammaho aNusAriM / raho buDi uppajjai tema hosai pubvavihiu jaM jema / 16 tiM vayaNi dhaNavai saMvAsiu samau sarUvai maMtu payAsiu / baMdhuatu asagAhipahau NiyavavasAyadAya saMghau / lai taM karau kiMpi jaM vihiyau hosai puvvajammi jaM lihiyau / dhattA / paDivajiu taM pi sarUai sAvi suru ciMtaMti thiya / kiM suMdaru kiMtu Na suMdaru laiya gamaNavAvAra kiya // 8 // turiu gamaNasAmaggi payAsiya suisatthatthavaMta saMbhAsiya / jANAviu bhUvAlaNariMdaho samai pariTTiu sajjaNaviMdaho / hamaggi kulasIlaNiuttahaM ghosaNa diNNa purau vaNiutta / callau jo callai kayavijeM baMdhuatu saMcaliu vaNijeM / sAhumANi vaNiutta cAhai adhaNahaM bhaMDullaI saMvAhai / 1 B dINahaMmi 2 B dANaI 3 B karevi hiyaI 4 B vilasatahaM yaMtahami 5 B muhi 6 B giyaya 7 B bhaMDola

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tIo sndhii| taM NisuNevi pamAyapaMuttahaM maMtiu thovvihvvnniutthN| ahu~ purajaNamaNaNayaNANaMdaNu sevahaM dhaNavaisehihi NaMdaNu / paiisahuM ataru tarivi sahuM AeM avasiM lacchi hoi vvsaaeN| vaNitaNu ruharahaseNa samAgaya sanjiya karahavasahamahisaha saya / ghattA / ittahi vi teNa dhaNavaisuiNa piprihvmaannuvvhnni| karakamalakayaMjali saMpuDivi bhavisiM Aucchiya jaNaNi // 9 // mAi mahallamahujamavijeM baMdhuattu saMcaliu vnnijjeN| . teNa samANu maiMmi jAivvau taM vohitthu tIri lAivvau / desaMtarapavAsu mANivvau NiyapuNNahaM pamANu jANivvau / daivAyattu jai vi vilasivvau to purisiM vavasAu karivvau / taM NisuNevi sagaggiravayaNI bhaNaiM jaNeri jaladiyaNayaNI / hA iu putta kAiM paI jaMpiu siviNaMtari vi NAhiM mahu jaMpiu / eka akAraNi kuviyaviyappeM diNNu aNaMtu dAhu tau bappeM / aNNu vi paiM desaMtaru jaMtaho ko mahu saraNu hiyai pejalaMtaho / aNNu vi teNa samau tau jaMtaho Nivvui khaNu vi NAhiM mahu cittho| ghattA / ko jANaiM kaNNamahAvisai aNudiNu dummimohiyii| samavisamasahAvahiM aMtaraI duTThasavattihi dohiyiN||10|| ekumikku vavasAu karaMtahaM samasAhihiu bhaMDa bharaMtahaM / vihi paDikUla amha paDisakai atyahaM cheu karivi ko skaa| ekkavvaahilAsavicittai ko jANaiM dAiyahaM carittai / jai sarUvaduhRttaNubhAsai baMdhuattu khalavayaNahiM vaasi| to tau karai amaMgala jaMtaho mUla vi jAi lAhu ciMtaMtaho / jaMpai mAmahu mahurakalAeM caMgau vuttu putta kmlaaeN| amhahaM etthu vasaMtaho tehau ko vi Na mittu pahANu saNehau / baMdhuatu puramajjhi saittau rAuli saNNamANu dhaNayattau / ghttaa| jai jaNaNivayaNavisavisamagai dAiya maccharu maNi vahai / to tumhahaM amhahaM sayaNahami vaMcivi kuli parihau karai // 11 // bhavisayatu vihaseviNu jaMpai tumhahaM bhIrattaNiNa smppi| aiyAriM vAmohu Na kijai samavayajaNi poDhattaNu hijjA / 1B degNiuttahaM 2 B aho 3 B sevaho 4 B paisahu aMtarepi sahu Ayai 5 B dazaMtaho /

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bhavisayattakahAe aeNa jaNi kAyaru vuccai ahabhaeNa jai lacchie muccaha / aimaeNa dappumbhaDDu NAvai aghieNa bhoyaNu viNa bhAvai / aharUviM tiyarayaNu viNAsai aiyAriM savvaho guNu NAsaha | jai vavasAi dAu u dijai to NAyarahaM majjhi lajjijjai / jai so kahava savattihi jAyau to vi tAyaho sarIri saMbhUyau / ekasarI rujAu vihibhAyahiM tahiM kira kAI rAyaveyArahi / aNu vi tahiM kulasIlaniutta hosahiM paMcasayaI vaNiuttaraM / tehiM samANu paMthi pavahaMtaho kema karesai dohu vataho / aNu vi amhahaM teNa samANu kiMpi Na putrvavirohavihANu / ghattA / 'mAi cittu kAyaru karahi phuDDu kammaI kammahu kAraNu / khui jIvijai jema Navi tema akhuTTai nau bharaNu // 12 // mAmahaM sAli mahaMtaravayaNaiM suNivi muNivi aNumaNivi sayaNa | yadi vikkhAyaI jaMpivi kiyaI niruttaravAyaI / ema karevi samuca gottaho bhavisu paDhukku pAsi badhuyatta ho / so pikva teNa sakiyatthe abhutthANu kiyai paramatthe / vihaDaphaDa vimukkasiMgAriM paccAsannu khuhiyaparivAriM / aviyaladiTThipaloyaNasIliM savvAvasarasamappiyalIliM / amuNiyakajjAgamaNa viyappiM saviNayavayaNa diNNa mAhaSpiM / taNupacchaNNapihiyaparihAsaha supariTTiyaNAyariyaI bhAsaI / ghantA / paNavaMti karu karayali dharivi phuDutaDaviyaDapaDattariNa / sammA dANu pesa karivi bolliu nehaniraMtariNa // 13 // aho vaha accariu mahaMtaru eu kajjeNa keNa kiu saMcaru / etthu vi hathiyAra sammAivi vayaNu vi kahami Na karahi kayAi vi / bhavisayattu piyavayaNahiM tajjai viNu keMjeM kira ko paDivajjai / tu paripuNNu ahiDiyadacveM pahusammANadANaguNagacceM / amhaI vaNivaravaramAhRppaho jIvahaM karivi sevaM taha bappaho / ujjau tumhataNauM AyaNivi kiu amhaI cittu aNumaNivi / su virahaM pariTThiyakAyahaM sijjhai kiMpi NAhi asahAyahaM / jai ta ThAi karaMta ehau teNa vimaNNiuM NIsaMdehau / 1 B kajJeNa kopi paDivajai 2 B ANa / 18

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tIo sndhii| saviNau bhaNaI kAI kira buccai osahu guliyau kAsu Na ruccai / hauM sakiyatthu ajju hauM dhaNNauM hau paramatvaguNihiM saMpuNNauM / sijjhai kiNNa Naraha kayauNNahaM hoi savvu parivADie punnnnhN| pura paurAlaMkArasamaNNiu paiM calaMta tAu saMcalliu / AsigahaNu mahu tau amilaMtaho eyahiM tau Na visau clNtho| ghattA / saMkeu karivi suhasaMgaraya NiyaNiyaNilayaho bevi gaya / Aucchivi suhibaMdhavasayaNa bevi paramasabbhAvaraya // 14 // baMdhuyattu gaMjolliyagattau NiyayajaNerihi kahai saittau / mAe mAe diDhu kajju ahiDiu bhavisayattu mahu samau parihiu / jaMpivi guNadosaI suhiyaMtaru maiMsahuM saMcalliu desaMtaru / teNa sahAeM savvaI kajaI mahu sijhaMti ajju NiravajaI / taM NisuNevi saruvaI vuccai Ayaho saralasahAu Na muccai / ehu mahaMtu puttu tau bappaho sAmiuM pauradhaNaho mAhappaho / sahuM jaNaNie gehaho NIsAriu acchai kaDhakaDhaMtu maNi khAriu / ghattA / jai raMjivi pahu NimmalaguNihiM jaNaNivayaNu hiyavai dhrh| to paharivi kaNNamahAvisiNa amhahaM paDiparihau karai // 15 // AeMsahuM saMkeu Na kijai puvvaviruDai hiyaya Na dijai / jAma Na cittaMtariNa viyaMbhai jAma Na paurumahAyaNu thaMbhai / jAma Na Neha mahAtaru bhaMjai jAma Na maNu bhUvAlaho rNji| tAma uvAu kovi ciMtijai kalitaru varaho mUla chidijai / tema karijahi majjhi samuddaho jema Na milaI puNu vi NiyaviMdaho / taM saMkeu teNa maNi bhAviu thiu savilakkhu vayaNu maulAviu / mAi aNiTTa tumha jo thAmaho luhAmi lIha tahu taNayaho NAmaho / mANu marahu tAsu dalavadRmi rayaNAyaraho majjhi AvadRmi / karami tema parivaDiyacchAyaho jema Na milai puNu vi NiyamAyaho / ghattA / taM vayaNu suNivi puttahutaNauM harisiya baMdhuattajaNaNi / siyakusumakayaMjali piu cavai aNumagi caMpai dharaNi // 16 // avisu vi jiNavarapaDima siMcivi ahisiMcivi aMcivi priycivi| 1B pariparihau /

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bhavisayattakahAe viNayaviu paDicchiyapesaNu jaNaNihi puNu vi karai saMbhASaNu / aMgu bharevi garuyasammANaho dehi Aemu mAi patthANaho / acchijjahi suhajhANu samArivi parihavasa hiyaha avahArivi / samau sarUvaI saralu karijjahi maM duvvayaNadosu paDivajahi / aNaicchiyaI hoMti jima dukkhaI sahasA pariNavaMti tiha sokkhaI / sAvi sippi caMdaNaho bhariSpiNu ahiNavakaMcaNapatti kareppiNu / vaMda kariva va abaloivi dahiduvvakvaya siri saMjoivi / dhattA / saMvarivihiu loyaNa lahivi dukkhu dukkhu maNi saMbhavaha | jirpaDima sesa karayali karivi piyapesalavayaNaI cavai // 17 // airuhuruhiyaviralliyagatte NiyaNaMdaNu sikkhavai patteM / paI viNu majjha kAlu aiduttaru hosai diNu vi nAI saMvaccharu | ajjavi puta nirAriu bAlu dUraviesa tujjhu ko kAlu / dig hohi uttamaguNavaggaho rakkhijjahi laMchaNu kulamaggaho / hoi juvANabhAu saviyArau amuNiyakajjAkajjapayArau / calatiyamaihi pavaDDiyamANahu gayavaiyahaM dUhavahaM juvANahu / bahurai vayaNAlAu Na kijjai jaMpatihu mahiyalu joijjai / tart hoMti juvANahaM muddhau taruNivayaNadaMsaNarasaluGau / dhattA / jovvaNaviyArarasavasapasari so sUrau so paMDiyau / calamammaNavayaNullAva ehiM jo paratiyahiM Na khaMDiyau // 18 // purisiM purisivvau pAlibvaDa paradhaNu parakalattu Nau libbaDa | taM dhaNu jaM aviNAsiyadhammeM lagbhai puvvakkiyasuhakammeM | taM kalattu pariosiyagattau jaM suhipANiggahaNi viDhattau / NiyamaNi jeNa saMka uppajjai bharaNaMti viNa kammu taM kijjai / aNNu vi bhaNami putta paramattheM jaivi hohi paripuraNa mahatthe / taruNitaralaloyaNa maNi bhAviu pahusammANadANaguNagAviu / tahiMmi kAli amhahiM sumarijjahi ekavAra muhadaMsaNu dijahi / paradhaNu pAyadhUli maNijjahi parakalantu maI samau gaNijahi / pijjahi jaNaNayaNANaMdaNu jiNahu tikAla karijjahi vaMdaNu / dhattA / jiNadhammaguNujjamasaMjamiNa suhu sijjhau gamanAgamaNu / rakkha jiNasAsaNadevaehiM viDhavivi Avahi atula dhaNu // 19 // 20

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tIo sndhii| to kumAru saMcaliu turaMtau taM saMkeyabhUmi saMpattau / aNNittahi suhisayapariyariyau baMdhuyattu Nayaraho nniisriyu| aNNittahi sahAyasaMjuttahaM caliyaiM paMcasayaI vaNiuttahaM / aNNittahi kalayalasaMghaTTaiM karahavasahavAhaNaI pyttttii| apiNattahi diDhapIDiyacollaI ukkhittaiM bhaMDaI bhumollii| aNNittahi vaNivaravarapattiu piyamuhasuhadasaNu alahaMtiu / ummAhau raNaraNauM vahaMtiu puNu puNu piyamuhakamalu niyaMtau / virahavaggijhulukkiyakAyau niyaniyapai aNuaMcivi Ayau / ummuhamuhakamalau uiMDau kajjalajalalavamailiyagaMDau / ghattA / niyapaipimmaparadhvasihiM ahinnvjovnnittiyhiN| uppAyau kAsu na ruhuruhau juvaihiM sAsu muvaMtiyahiM // 20 // dhaNavai niyanaMdaNai samappai pauraho piyapesalaI payaMpai / aho vaNiuttaho taho guNagArau jo NayaviNayaparakkamasArau / dRraviesavaNijaviyaDDahaM cAidAipaDivAiguNaDDahaM / vinivi suva tumhahaM nikkhevau AyahaM cchalu savvahaM dikkhevau / jo jahiM desi pahANu nariMdaho so tahiM dekhivi ssuhddviNdho| tahu maMtiNaI karevi supujjaI darisivi piyapAhuDaI auvvii| corai caraiM aNujju avakai bhaDabhoiyacaihoDacANakA / savvai vaMcijaho avaloivi vaMcaNamaihu avaMciya hoivi / ghttaa| aibahu sammANadANu karivi saMpesiya saMpuDivi kr| caDDulaMgaturaMgihi Aruhivi saMcalliya suMdara kumvara // 21 // aggeyadisaI malhaMti jati kurujaMgalu mahimaMDalu muaMti / laMghaMti viyaNakANaNa palaMba puragAmakheDakavvaDamaDaMba / jauNAnaisalilu samuttarevi jaladuggaI thaladuggaiM sarevi / annannadesabhAsaiM niyaMta rayaNAyare velAulaI patta / / lakkhiu samuha jalalavagahIru sappurisu va thiru gaMbhIru dhiiru| AsIvisovva visavisamasIlu velaamhllkllolliilu| diTThaI viulaI velAulAI kyvikkyryvynnaaulaaii| dhammatthakAmakaMkhirasuhAi suviyddddvynnvilyaamuhaaii| 1 B juvANakulauttiyahiM 2 B cahaDocADakai /

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bhavisayattakahAe tahi thAivi jalajaMtaI kiyAiM pariharivi vasahamahisayasayAI / jalajaMtAkammataru karevi karaNai piyavayaNahiM saMvarevi / vahaNahiM ArUDha mahApahANa vaNivarahaM sayaI paMcahiM samANa / ghattA / NijjAvayavayaNujjuamuhaI kiMkhavayaI NaM NaM bhddii| saMcallai rayaNAyaraho jali kharapavaNAhayadhayavaDaiM // 22 // . diDha baMdhaI jiha mallaragaNAi NillohaI jiha muNivaramaNAi / NinbhiNNaiM jiha sajjaNahiyAI akiyatthaI jiha dujaNakiyAI / vahaNaiM vahaMti jalahararauddi duttari atyAhi mahAsamuddi / laMghataI dIvaMtarathalAi pikkhaMti vivihakoUhalAI / iya lIlaI vacaMtAhaM tAhaM ucchAhasattivikamaparAhaM / duppavaNe ghaNataruvarasamIve vahaNaiM laggaiM mayaNAyadIve / kallolavolajalaravavamAle asgaahgaahghnnNtraale| tIraMtare jaM saMghaTTa poya uttariya tarivapamuhAi loya / ghattA / so diTTa tehiM mayaNAyagiri NayaNAloyasuhAvaNauM / dullaMghu dusaMcaru duggamu naM piyAru mahilahaMtaNauM // 23 // tahiM ghaNatarusamIvi mayaNAyadIvi hiMDaMti te vaNiMda / durujjhiyapamAya parimukkacAyacakkaliyagIDhaviMda / kivi jalu AharaMti kuMbhaI bharaMti AvaMti taM ji levi / phalataru cuNaMti savvai muNaMti kusumaI khuDevi / kivi millivi baMdhuyattu so bhavisayattu paisarai taM arannu / taralatamAlatAlImAlUramAlasAlaIdumaravannu / pikkhai kahiMmi tAI paMkayasarAI sayavattasohiyAI / katthai pANiyAI avamANiyAiM krijuuhddohiyaaii| katthai NijjharAI paDiravakarAi jalareNubhUsiyAI / varataNukusumagaMdhaparimalasuyaMdhamayaraMdamIsiyAI / katthaI maNaharAI kisalayaharAI dalabahalapattalAI / katthaI muharasAiM ciMtiyavasAI karagijjhavaraphalAI / kusumai ucciNaMtu meiNi miNaMtu saMcaraI ema jAma / tA vohitthabAla nijiyakhayAla saMmiliya sayala tAma / jaMpai baMdhuyattu kaMTaiyagattu kiM sayala itthu Aya /

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tIo sndhii| 23 joivi kahai ko vi aja vi Na koviccheDa Natthi tumha bhAya / taM suNivi teNa bahumacchareNa vAvariu airauddu / / avaloiu khareNa kaDuakSareNa tajivi NiyayaviMdu / ghattA / Aesiu bhiuDibhayaMkariNa uccalaho muggrghnnii| taMDavaho pavaNadhayavaDaI khaNu vi ma dharahu paohaNaI // 24 // aho loyaho mahu Aesa mANu dhari atthi kiMpi mANAhimANu / na karivvau itthu viyAru ko vi saMcalahu turiya vohittha levi / taM suNivi tevi kaluNai sumIsa karayala malaMti vihuNaMti sIsa / hA baMdhuyatta paI kAI vuttu sappurisahaM kahiMmi Na eu juttu / uppaNNu jai vi parihau gahIru ghAijai to vi Na niysriiru| iha rattiparattivi ahiyadosu visahivvau kaha duvvynnghosu| taM vayaNu suNivi kovaggidittu panjaliu NAI havi ghieNa sittu / Navi muNahuM savattivirohu amha aNiuttahaM ko vAvAru tumha / lai karahu tAsa jalajaMtakammu pacchai ciMtijahu paramadhammu / ghattA / taM vayaNu suNivi NAyarajaNahu naM siri vajadaMDa pddiu| vohitthaI levi durAsi khalu gahiramahAsamuddi caDiu // 25 // pamukke kumAre durAyAriehiM amohe jalohe vahaMtehiM tehiM / thiyaM vibhiyaM taM vaNiMdANa viMdaM viyappAuraM karayaluggiNNamudaM / aho suMdaraM hoi eyaM Na kajaM agamma pi gaMtUNa khaddhaM akhajja / gayaM NipphalaM tAma savvaM vaNijja huvaM amha gottammi lajjAvaNija / Na jattA Na vittaM Na mittaM Na gehaM Na dhamma Na kammaM Na jIyaM Na dehaM / Na puttaM kalattaM Na i8 pi dilaM gayaM gayaure dUradese piddN| khayaM jAi nUNaM ahammeNa dhammaM viNatuNa dhammeNa savvaM akammaM / kayaM dukkiyaM dohaeNaM haeNaM suhAyArabhaTeNa duDheNa eNaM / aNiTuM kaNirTa bhuaM sappahAeM samudde raudde khayaM tumha jAyaM / ghttaa| so Nasthi visUriu jeNa Navi taM pikkheviNu ducriu| dhaNavai viNirohAyAmugau itthu vici vibhayabhari // 26 // tRtIyaH sandhiH - 1B phuDu 2 Cadds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe / buhathaNavAlakayAe paMcamIphalavaNaNAe tIo sandhI pariccheo smmtto||

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bhavisayattakahAe caMdappahu jiNu hiyavai dharivi jAsu pahAviM vimalamai / puNu kahami jema bhavisattu Naru tilayadIvi lAhau lhi|| aho jiNu aMcahu maM para vaMcahu iMdiya khaMcahu sukkiu saMcahu / baMdhuyattu kulakittiviNAsu gau vohitthaI levi hayAsu / bhavisu visari karacalaNa dhuevi jAma ei varakamalai levi / tAma Na koivi pikkhai titthu vibhiu maNi amuNiyakajatthu / suNNauM taM paesu Na suhAi kamalaI millivi ummuhuM dhAvai / pikkhai tAma samuddi vahaMtai dhuyadhayavaDaI tAI jljNtii| dukkhaho bhariu hiyai Ahallivi gau khalu baMdhuyattu maI millivi| karu mahiyali haNevi uri kaMpiu Na caliu jaM ciru jaNaNie jaMpiu / Na kajju kahiM abbhuddharaNauM vaNi asamAhie Ayau mrnnuN| pattA / aNNaNNaiM ciMtijaMti maNi khalavihi aNNaNNaI sarai / suha vi viyaDDa guNasayabhariu daiu parammuhuM kiM karai // 1 // hA haya pAvakamma maivanjiya kiu ajuttu hayabuDi aljjiy| Niyakulamaggu bhaggu jasu hAriu dujaNajaNi jaMpaNauM sambAriu / kavaDu karivi jaM paru vaMcijai AeM guNavaMtahaM ljijjaa| ettiu dukkhu majjhu nikAraNu kulaho kalaMku jAu jaM dAruNu / gayauri ayasapaDahu vajAviu tAyahotaNauM gAuM lajjAviu / aha itthu vi Na visAu karivvau maM cchuDa eNa ema hoivvau / jai taM tema ghaDiu taM teNai to kira kAiM visariya eNai / eu ciMtaMtu visAeM miliu vihuNivi bAhudaMDa saMcalliu / iu vaNu iu sarIru dhammaddhau kari khalavihi jaM paI pAraDau / ghttaa| ciMtaMtu ema ubbhaDavayaNu dUravisajjiyamaraNabhau / saMcaliu sammuhu vaNakANaNaho NaM mukkaM kusumatta gau // 2 // paiTo vaNiMdo vaNe tammi kAle pahiTTho tahiM duNirikkhe khyaale| disAmaMDalaM jattha NAuM alakkhaM pahAyaM pi jANijae jammi dukkhaM / bhamaMto vibhIsAvaNaM taM vaNaM so Niyacchei duppiccharAI sroso| kahiMcippaese sajUhaM gayaMdaM mahAlIlakallolagaMDaM saNidaM / kahicippaeseNieuMgaridaM Na NaDha Na ruTuM sadappaM maiMdaM / kAhIMcappaese ghaNaM kajalAI garya bhuDiNIsAvarAhaM varAhaM /

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cautyo sandhI kahiMcippaese samuNNoNNaghoso huo pAyaDo vaMsayAle huyaaso|' kahiMci paese maUraM pamattaM NaDataM pi appANayaM viSNaDataM / ghattA / aviyalacittu muNevi gaya ema suiru hiMDaMtu thi| aimuttayamaMDaidumaho tali viyaDasilAyali vIsamiuM // 3 // karacaraNa dhuevi varakusuma levi jiNu sumarivi pupphaMjali khivevi / phAsuyasuyaMdharasaparimalAI ahilasivi asesaI trhlaaii| thiu vIsavaMtu khaNu ikku jAma diNamaNi atthavaNahu Dhuku tAma / hua saMjhateyataMbirasarAya rattaMbaru NaM paMgurivi Aya / pahi pahiya thakka vihaDiya rahaMga NiyaNiyaAvAsaho gaya vihaMga / mAliyaraviMda vammahu vitaTTa uppanna bAlamihuNahaM mrh| parigaliya saMjha taM Nievi rAi asai va saMkeyaho cukka NAi / hua kasaNa savatti va macchareNa siri pahaya NAI masikhappareNa / hua rayaNi bahalakajalasamIla jagu giliviNAI thiya vismsiil| avarupparu payaDaMtehi gujjhu mihuNahi pAraMbhiu suryjujjhu|| ehai paDivaNNi karAli kAli ghbhuuajkkhrkkhsvmaali| vaNi visami viesi vicitta pattu taha vi hu akaMpu kamalasiriputtu / ghattA / paramiTTi paMca hiyavai dharevi duviheM paccakkhANu kiu / ahiyarivi maMttu sattakkharau paramappau jhAyaMtu thiu // 4 // parigaliya rayaNi payaDiu vihANu NaM puNu vi gavesau Au bhANu / jiNu saMbharaMtu saMcaliu dhIru vaNi hiMDai romaMciyasarIru / suNimittaI jAyaI tAsu tAma gayapayahiNaMti uDDevi sAma / vAmaMgi sutti ruhuruhai vAu piyamelAvau kulukulai kAu / vAmau kilikiMciu lAvaeNa dAhiNauM aMgu darisiu maeNa / dAhiNu loyaNu phaMdai sabAhu NaM bhaNaI eNa maggeNa jaahu| thovaMtari dihu purANa paMthu bhavieNa vi NaM jiNasamayagaMthu / sappurisu viyappai eNa homi vijAhara sura Na cchivaMti bhUmi / Nau jakkhahaM rakkhahaM kiNNarAhaM lai itthu Asi saMcaru NarAhaM / saMcalliu teNa paheNa jAma girikaMdari so vi paiTu tAma / ciMtavai dhIru suMDIru vIru lai ko vi eu bhakkhau sarIru / paisarami eNa vivaraMtareNa niviDau kajju ki vitthareNa /

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26 bhavisayatta hAe dhattA / duttaru durlaghu dUraMtariu tAma jAma saMcarahiM Neu / bhaNu kAI Na sijjhai saurisaho avagaNNaMta maraNabhau // 5 // suhisayaNa maraNabhAu pariharevi ahimANu mANu paurisu sarevi / sattakkhara ahimaMtaNu karevi caMdappahu jiNu hiyavaha dharevi / girikaMdara vivari paDDu bAlu aMtariu NAI kAle kAlu / saMcarai bahalakajjalatamAli NaM jiu vAmohatamohajAli / seiDa Niruddha pavaNucchaveNa bahiriu pamattamahuararaveNa / ciMtiu aciMtaNiivaseNa kaMTaiDa asamasAhasaraseNa / aNusaraha jAma thovaMtarAlu taM Nayaru diTTu vavagayatamAlu / caugouracaupAyArasAru caudhavalapaoliduvAraphAru / maNirayaNakaMtikabburayadehu siyakamaladhavalapaMDuriyagehu / dhattA / taM tehau dhaNakaMcaNapauru diha kumAriM varaNayaru / siyavaMtu viyaNu vicchAyachavi NaM viNu NIriM kamalasaru // 6 // taM puraM pavissamANaeNa teNa diTThayaM taM Na titthu kiMpi janna loyaNANa iTThayaM / vAvikUvasuppahUvasuppasaNNavaNNayaM maDhavihAra dehurehiM suhu taM ravaNNayaM / devamaMdiresu tesu aMtaraM niyacchae soNa titthu jo kayAi pujiUNa picchae / surahigaMdhaparimalaM pasUaehiM phaMsae so Na titthu jo kareNa giNhiUNa vAsae / parANae / pikasA lighaNNayaM paNaTThayammi tANae so Na titthu jo gharammi levi taM saravarammi paMkayAiM bhamirabhamarakaMdire so Na titthu jo khuDevi Nei tAI maMdire | hattha gijjhavaraphalAI vibhaeNa pikkhae keNa kAraNeNa ko vi toDiuM Na bhakkhae / picchiUNa paradhaNAI khubbhae Na lugbhae appaNammi appae viyappae su citae / putticajju pahaNaM vicittabaMdhabaMdhayaM vAhimicchataMjaNaM durakkhaseNa khaDyaM / putticojju rAulaM vicittabhaMgibhaMgayaM Asi itthu jaM pahuM Na yANima kaha gayaM / 1 A mau 2 B diuharehi

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cauttho sandhI 27 putticojju kAraNaM Na yANimo asaMhamaM ekkamittaehiM kassa dijae suvinbhmN| ghattA / vihuNiyasiru bharaDakkhiyaloyaNu paI paI vibhai aNimisajoaNu / NavatarupallavadalasomAlau hiMDai titthu mahApuri bAlau // 7 // pikkhai maMdirAI phladdugghaaddiyjaalgvkkhii| aDapaloyarAiNaM nnvvhunnynnkddkkhii| aha phalahaMtareNa drisiygujjhNtrdesii| addhapayaMdhiyAI vilayANa va uurupesii| pikkhai AvaNAI bhriyNtrbhNddsmiddiN| payaDiyapaNNayAI NaM NAiNimauDaI ciNdhii| ekkadhaNAhilAsapurusAiva rNdhiplittii| varaittajuvANaI NaM vaDDakumArihu cittaI / joesaravivAyakaraNAI va joiyathaMbhaI / vihaDiyaNesaNAI mihuNANa va surayAraMbhaI / pikkhai gourAiM privjiygopymggii| pAsAyaMtarAiM pvnnudduadhvldhyggii| jAI jaNAulAI ciru Asi mahaMtarabhavaNaI / tAiMmi NijjhuNAI suravaisammattaI mihunniN| jAI NiraMtarAI ciru pANiyahArihu titthai / tAI vi vivihivaseNa huaI NIsahasudutthai / ghattA / siyavaMtaNiyANaI Niivi taho ummAhau aMgaI bhri| pikkhaMtu NiyayapaDibiMbataNu saNNiuM saNNiuM saMcaraha // 8 // bhamaiM kumAra vicittasaruveM savvaMgiM accherybhuueN| hA vihi paTTaNu suTuravaNNauM kira kajeNa keNa thiu suNNauM / haTTamaggu kulasIlaNiuttahiM soha Na dei rahiu vnniutthiN| TiTAuttaehiM viNu TiMTau NaM gayajovvaNAu myrhu|| varagharapaMgaNehiM AhoyaI soha Na diti vivjjiyloyii| so varaNaiMmi rasoipaesaI viNu sajjaNahiM NAI paradesaI / 1 B jovvaNi mayaNaparahara

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bhavisayattakahAe ghattA / hA kiM bahuvAyAvitthariNa AeM duhiNa ko Na bhariu / taM kema paDIvau saMmilai jaM khayakAliM aMtariu // 9 // ema dihu taM paTTaNu bAleM khayakAlAvasANu NaM kaaleN| lIlaI parisakaMtu mahAiu jasahaNarAyaduvAru parAiu / rAulu sIhaduvAraho pikkhai daraviyasaMti NAI svilkkhii| dikkhai NiggayAu gayasAlau NaM kulatiyau viNAsiyasIlau / pikkhai turayavalatthapaesaI patthaNabhaMgAi va vigayAsaI / pikkhai sahu paMgaNauM vicittau ciracaMdaNacchaDakaddami littau / pikkhai kaNayavITu siMhAsaNu chattu saciMdhu scaamrvaasnnu| Nippahu pahuparivAravivajiu hasai va NAI vilakkhu alajiu / maNikaMcaNacAmaraI Niyacchai cAmaragAhiNIu gau picchai / ghattA / sahamaMDavi rAyajasohaNaho pikkhivi parisakaMtu Naru / muttAhalamAlajhulukkAhiM ruvai va thoraMsuvahiM gharu // 10 // AuhasAla visAla visaMtiM citta vicitta parAmarisaMtiM / agghAiu suaMdhu mayaparimalu NaM puvakkiyasukiyamahAphala / sou karivi navakamaladalacchie NaM NIsAsu mukku gharalacchie / tUrabheridaDisaMkhasahAsaI viinnaalaavnnivNsvisesii| jasahaNa sAmisAla acchaMtae purapaurAlaMkArasamattaI / evahiM amhahiM ko vajAvai thakaI mauNu laeviNu NAvai / vahuvilAsamaMdiraI paIsivi raihari bhamivi tavaMgi baIsivi / niggau bhavisayattu avisaNNau caMdappahajiNabhavaNu pavaNNauM / ghattA / taM jiNabhavaNu Nievi dhvluttuNguvisaalu| viyasiyavayaNuraviMdu maNi pariosiu bAlu // 11 // diTTa jiNAlau bhavisanariMdi NaM NaMdIsaradIu suriNdi| pavarArAmagAmapariyaMciu iMdaNariMdasuriMdahi aMciu / dhavaluttuMgasiharu suvisAlau chaNasasikaMtakaMtisomAlau / varamaNikiraNakaMtisohillau saI cittu va diDhabaddhakaDillau / AgamajuttipamANavihaMjiu maNimottiyapavAlapaharaMjiu / / bahughaNaghusiNapaMki paDiyaMkiu suhalakkhaNalakkhaNi cacaMkiu / 1 B saMgilA

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29 cauttho sandhI aggai kamalavAvi sumaNohara NaM kAmiNi sacchAyapaohara / tahiM avayarivi aMgu pakvAlivi kamalaI khuddividhueviannumaalivi| ahimuhUM caliu dhavalasiyavAhaho diGa biMbu cNdpphnnaahho| ghattA / pariaMcivi aMcivi paramaguru avaloivi savvAyareNa / samadiTTie sAmAiu karevi thui ADhatta garesareNa // 12 // tilayadIvaMtaratyeNa caMdappahaM saMthuaM bhavisayatteNa caMdappahaM / bharahakhettammi kAle cautthe jae vamANammi tasse ya titthese| sisirakAlammi unhAlae pAuse mattaloyammi dasalakkhapuvvAuse / ussamANaM dhaNUNaM divaDhaM sayaM jeNa pattaM pavittaM sivaM sAsayaM / aTThamaM jeNa titthaM pavittAiyaM jassa jamme tiloyammi vaddhAviyaM / jassa vAyAI bhuvaNattayaM moiyaM kevaleNaM tiloyaM pujjoviyN| jeNa micchattamohaM ca NiNNAsiyaM vibhAsaMtareNaM jayaM bhAsiyaM / jeNa loyassa lohattaNaM pheDiyaM duTThakaMdappadappaM ca paMceDiyaM / appamattANa bhattANa saMtI sayA desiuM dAviyA jIvaloe dyaa| NAha kajeNa teNaM mae saMthuo jeNa tumhANa pAsaM garma tkuo| dehi amhANa mANammi kAuM dayaM akkhayaM avvayaM taM mahaMtaM payaM / ghattA / tahiM tilayadIvi bhavisiM NamiuM itthu kAle dhaNavai thunnii| aNuNaMtapaDhaMtasuNaMtahami dehi bhaDArA vimalamaI // 13 // caturthaH sandhiH taM nisuNahuM jema saI bhavisANurUva vri|| bhavisattu kumAra pANiggahaNu jema karai // caMdappahujiNusAmi namaMsivi pAvakalaMkapaMku viddhaMsivi / cauvihasavaNasaMghu ahiNaMdivi appau salahivi garahivi niMdivi / hoivi bhavisayattu kayaunauM suhasijjAsaNi paTi nisannau / sovai niMda jAma thovaMtaru tAmannittahi caliu khNtru| puvvavidehi muNiMdu jasoharu saMThiu sukkajjhANi paramesaru / nANuppaNNu tAsu taM kevalu cauvihadevAgamaNu smujjlu| pucchai accuyanAhu suresaru ciru mahu mittu Asi jo vaNivaru / C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe vuhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisattatilakapuravaNNaNo NAma ghaDatyo saMdhI pariccheo smmtto|

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bhavisayatta kahAe phuDa ghaNamittu nAuM guNavaMtau aNudiNu piyavaccha karaMtara / mahu vayaNi jiNaghammi pavattiu so kahiM nAha kavaNa gai pattau / dhattA / tahu guNa sumaraMtu nAha visUrai majjhu maNu / karu kariNa dharevi puNu vi karami vayaNAlavaNu // 1 // 30 taM nisuNepiNu kahai jasoharu nimruNaI accuya saggapuraMdaru / jaMbUdIvi bharahi sasidappaNi ajjavakhaMDi susami avasappiNi / aTThami jiNavariMdi sasikaMtae paMcapayAri nANi pavahaMtae / suyaNasamiddhi samunnayamANae dIha divaDa dhaNuhaM sayamANai / suvihie sisinhAlae pAusi jaNi vIsaDalakkhapuvvAusi / kurujaMgali bhUvAlanariMdaho paTTaNi hatthinAyapuriviMdaho / aras rAyasiTThi supasiddhau pahuparivAre tivaggasamiddhau / paradhaNu pAyadhUli jo mannaI pikkhivi parakalattu avagannaI / dhattA / bhUvAlu nariMdu sapparivAu samaMtigaNu / taho vayaNu niei kiM puNu pauru sapaurayaNu // 2 // taho kamalasiri kaMta sumaNohara cakkalapINuttuMgapaohara / bAlamarAlalIlagaigAmiNi savvaho paiparivAraho sAmiNi / vieM tAI muNiMdu samAsiu teNa vi puttajammu Aesiu / suu uppannu sayaNu pariosiu bhavisayattu tahu nAuM paghosiu / parivaDiu sikkhaviu mahatthai suasatthatthagaMthasaddatthai / sA kamalasiri purAiyakammiM gurugahaNeNa viNAsiyadhammiM / sIlacarittakulakamajuttu vi parisesiM kaMtiM guNavaMti vi / viNarafts piyarulliya gharavAsaho nIsArivi dhalliya / ghatA / hariyattaho gehi jAivi thiya nivvui jaNivi / paripAliu bAlu lacchie dohittau bhaNivi // 3 // varaintiM nayaviNayapayattaho pariNiya anna dhIya dhaNayattaho / nAuM sarUvasarUvamaNohara urayaDi aDummillapaohara / tAhiM puttu uppannu manoharu sayalakalAkalAvapasariyasa ru / baMdhu nAmeNa mahAmaha dhaNaho nimitteM karivi mahAmaha / calliDa kaMcaNamahi sumariSpiNu paMcasayaI vaNiuttahaM leppiNu /

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paMcamo sandhI paMka sirio vi gayau kherihi aNaicchaMtihiM maMDajaNerihiM / niggaDa sovi bevi samahAiya girimayaNAyaradIvi saMpAiya | so tahiM teNa puvvavarohiM jaNaNihiM taNahaM savattivirohiM / duTThi dAiyamaccharu mannivi dhalliu paMcavi saya avagannivi / titthu ranni avisannu bhameSpiNu aimuttayamaMDavi nisi neSpiNu / dhattA / girivivari paTTu taM paisaMtu jAma sarai / dhaNakaNayasamiDu tilayamahApuri paisarai // 4 // taM paTTaNu paribhami ravannauM annapasattu kalattu suvannaDaM / caMdappahajiNabhavaNi pavannauM acchai AsaNapaTTi nisannauM / evahiM varatiyarayaNu lahesaha annu vi kahiu jema jaM hosaha / taM paramatthu teNa mantreSpiNu muNivarapayapaMkayAM naveSpiNu / gau suravai taM dIu ravannauM diTTu vIru jiNabhavaNi nisannauM / bhAmari devi samau AhAsivi caMdappaha jiNabiMbu narmasivi / suhiNa aMtu miMtu pikkheviNu bhittihiM akkharapaMti liheppiNu / pabhaNiuM mANibhaddu jakkhesaru ehu sumitta majjhu jAIsaru / tujjhu samapi3 maI nikkhevau sahuM kaMtaI mahaM samu pikkhivvau | gari diryarakara araviMdaho para melebvau sajaNaviMdaho / ghattA / gau ema bhaNevi accuasaggasurAhivaI / fru hoi pasanna mANibhaddu jakkhAhivaI // 5 // bhavi vi ujjhivi jAma paloai lIlaI purau bhitti avaloya | akkharapaMti jAma paribhAvai tAma nirAriu hiyai suhAvai / uTha vayaNapavAhu ravannaDaM aho bhavisatta kAI thiu bunna / jiNaharaputrvadisa saMpunnajaM jaM paMcamauM gehu sovannauM / tahiM acchai kumAri sumaNohara kakkasapINuttuMgapaohara | laDaharamaNi niyakulasovAsiNi sA tautaNiya dhaNiya piyabhAsiNi / uhi jAhi ThAhi kiM serau eu paTTaNu asesu taukerau / taM vAyaMtu karai sAhAraNu eu na jANahaM kAiMmi kAraNu / dhattA | muhiM karayalu devi paricitai vibhayabhariu / ikAI vihANu au asaMbhau acchariu // 6 // 1 B paMcasaya 2 B tAma 31

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bhavisayattakahAe ahiNau lihiu eu viNu bhaMtie dIsai paDiu cuNNu tali bhittie / kiM pacchannu ko vi veyAraha kavaDiM jiNabhavaNaho nIsArai / ahavai eNa kAI saviyappeM maraNu vi nAhi apUriM mappeM / khuTTai nAhiM jema jIvijai aNakhudRi vi tema na marijai / eu jANivi jaM sAhasu muccai taM purasattahINu jaNa vucai / emva bhaNivi so caliu turaMta paMcamu gehaMgaNu saMpattau / caDai vIru vitthayasovANaiM varabhavaNaho pikkhaMtu nivANahaM / maNikavADamaNijAlagavakkhaI maNitavaMgatoraNaI slkkhii| ghattA / jAmAu va lIla pariciMtai ahiNavasurau / muttAhaladaMtu hasai va lIlaI sAsurau // 7 // caMdakaMtipahadhavaliyadhAmahaM kahiMmi thormuttaahldaamiN| kahiMmi rayaNakuTimapaharaMjiu tamarau maNidIviyahiM parajiu / tahiM suvicittacittapayasaMcari niru savisuddhaphalihabhavaNaMtari / diTTa kumAri viyaNi sovaNaghari lacchi nAiM navakamaladalaMtari / jiNasAsaNi chajjIvadayAi va paMDiyamaraNi sugaiparimAi va / muhamAruiNa malayavaNarAi va siMhaladIvi rayaNavikkhAi va / sohai dappaNi kIla karaMtI cihurataraMgabhaMga vivrNtii| so phalihaMtareNa sA pikkhai sA vi tAsu AgamaNu na lkkhi| ghattA / naM vammahabhalli viMdhaNasIlajuvANajaNi / tahi pikkhivi kaMti vibhiu jhatti kumAra maNi // 8 // uppaladaladIharapAyahiM nahamaNikiraNakaraMbiyacchAyahiM / jaMghoruyagujjhaMtarapAsaI suNiyatthaI mijjhiinnprivaasii| potaMtaraunbhinnapayAsaI taM vihasaMti pihiyaparihAsaI / viyaDa niyaMbabiMbu sohillau rehai aDAiDakaDillau / romAvali vali aMgi vihAvai thiya pipIliriMcholi va naavd| . rasaNAdAmanibaMdhaNu sohai kiMkiNiraNajhaNaMtu maNu khohaa| samacaklu kaDiyalu kisumajjhau najai karayalamuTThihi gijjhau / tivalitaraMgaI nAhImaMDalu naM AvattAihu mhaajlu| pINunnayanibiDaiM thaNavadRhaM ninbhiTaiM hArAvalithaI / mAlaimAlAkomalabAhau rayaNakaDayakeUrasaNAhau /

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paJcamo sndhii| saralaMgulisurehakomalakara saMjhAvaya va nAI nahataMbira / rayaNAharaNavihUsiyakaMThiM velAsiri va uvahiuvakaMThiM / kiu apamANu Niuttu muhullau aharau nAvai daaddimhullu| uttuMgiM tikkhaggeM nAsiM pacchanneNa va amunniysaaseN| kannihiM kuMDalajuagaMDayalihiM nayaNahiM dIhakasaNacaladhavalihiM / bhauhAjualaeNa suvihatte bhAlayaleNa addhssiytte| mahupiyapesalamahurAlAviM siru AvaMciya kesklaaviN| so pikkhevi aNovamarUveM accheraiM vinbhmsNbhuuveN| bollAviya nAyaraparihAsahaM mnnhrkaamukkovnnbhaasiN| he mAlUrapavarapIvarathaNi acchahiM kAI itthu vajjiyajaNi / kAraNu kAI nayaru jaM sunnauM maDhavihAradehurahiM ravanna / rANauM kavaNu Asi iha rAuli dhayatoraNamaNikhaMbharamAuli / taM nisuNevi salajiyavayaNI thiya hitttthaamuhpgliynynnii| mailakavolakajalAmIsiya niyakuladevayAI maM bhIsiya / ghattA / varaittu puttiyahu tautaNau muhakamalu nihAlahi kari viNau / lai jalu pakvAlahi loyaNaiM maM ciru kari dukkhukoynniN||9|| to paMguraNu karevi samuTThiya saMbhAsaNavAsaNaiM pariTTiya / vayaNu valevi samuhaM avaloiu naM mayaNAvayAru saMjoiu / pahau kaDakkhacakkhuvikheviM naM paDhamAvayAsu avaleviM / ciMtai varakumAri gharu Ayaho pesaNu kAI karami haDaM Ayaho / bhAyarapiyaramittasuhibaMdhava hoMti paDhamadaMsaNi suhi baMdhava / eyaho puNu paranaraho visesaNu kAI karami paDhamauM saMbhAsaNu / bahuvihu ema viyappu vahaMtI Thiya mahi vAmaiM pai vilihNtii| paDhamadaMsaNAyAmaviohiM acchai jAma ema maimohiM / taM pikkhivi piyasaMgamadhuttiM vihasiu kamalamahAsiriputtiM / jaM gharagamaNAyAru muNijai taM paraitthu gehi jANijai / ghattA / tiM vayaNiM tAhi maNu ahimANakalaMkiyau / kulamaggAyAri dUsaNu sahivi na sakkiyau // 10 // saviNaya valiya kulaMkusavannaI krinnivrohviykkhnnsnnii| . 1 B saMjhA ivaya 2 B sA

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bhavisayattakahAe agdhajalohu pihiya siMgAriM dinnu suvannameNabhiMgAriM / AsaNu kaNayavIGa apphAliu suyaNu baTTa vayaNu pakkhAliu / kiu gaurau maggeM paDisUriM varataMbolu dinu kappUreM / mayaparimalaghaNaghusiNAmoiu gaMdhAmalayapiMDu saMjoiu / kaMcaNapatti karevi samappiu teNa vi sarasu viyArau jaMpiu / nhAivi kamalamahAsari Ayau paisAriu saMtiharu mahAiu / bhoyaNu bhuMjAviu suhacArihiM chaDarasalaDDuakhaMDapayArihiM / deviNu viNayavayaNu saMbhAliu cuTTiu salilu vayaNu pakkhAliu / misalivi paramAmoyavimahaNu karayali malivi dinnu hariyaMdaNu / puNu ghusiNiM mayaparimalapUri puNu taMbolu dinnu kappUriM / karapesiyaI NiyaMbaniyatthaI maNikaDayaI devaMgaI vtthii| purau niviTTha suaNu avaloiu sayalu vi niyavittaMtu niveiu / ghattA / tau kAI kahami suMdarasuyaNa amhahaMtaNiya vicitta kaha / nisuNaMtakahaMtahaM jaNiyabhaya kannaMtaraho vi duvvisaha // 11 // rANauM itthu jasohaNu hotau so iu tilayadIu bhuNjNtu| taha bhavayattu samunnayamANauM majjhu piyaru vaNivarahaM pahANauM / mAyari mayaNaveya suhaciTThI taha nAyasiri nAuM sasa jiTThI / hauM bhavisANurUva lahuArI tihimi tAhaM pANahaMmi piyArI / tinimi tAI Asi guNavaMtau tinnimi jiNavarasAsaNi bhattau / tinnimi divasammattapahAvaI tinnimi guruvacchallasahAvahaM / tinimi dinacaunvihadANaI tinnimi nayari samunnayamANaI / tinnimi tAI bahugguNabhariyaI khalavihikalikAliM aMtariyaI / ghattA / taM niyayakuDuMbu sumarivi aMgaI hlliyii| hua gaggiravAya nayaNaI aMsujalolliyaI // 12 // bahuacchariyavayaNasaMkhuktiM kiu huMkAra puNu vi vaNiuttiM / aMsu phusaMti cavai migaloyaNa hehAmuhamuhakamalapaloyaNa / Avai asuru ityu balavaMtau so paribhamaI nayaru jgddNtu| paTTaNi teNa sayalu jaNu mAriu dala vahivi samuddi saMcAriu / keNa vi kAraNeNa khaladuTiM hauM parihariya teNa pAvihiM / 1B saMvutte

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paJcamo sndhii| puNu vi puNu vimaM bhIsivi milliya acchami teNa itthu ikkalliya / suMdara tuhu vi khaNu vi maM thakkahi lahu mai lehi jAhi jai sakkahi / ahu kuladhavala eu darisAvahi annaho jaNaho majjhi melAvahi / ghattA / tuhuM dIsahi kovi dhIru vIru vikkmcriu|| nau jANahaM kema itthu dusaMkaDi avayariu // 13 // taM nisuNivi paMkayasiriputtiM vihasiu sIlakulakamajuttiM / he pasayacchi kahiu paI caMgau mahu accherayavibhiu aMgau / hau~ mi itthu daiviM saMjoiu niyabaMdhavasayaNahiM vicchoiu / jeNa samANu vaNijjeM Ayau teNa ji vaNi ghalliu asahAyau / sereu dIviM dIu bhamaMtau valaNiM tau maMdiri saMpattau / evahiM dUri duriu visajahi abhau abhau bhau sayalu vivajahi / tuhaM vaNivarakumAri kuli puMgale hauM vaNiuttu desi kurujaMgale / vihivalaNaM saMghaDiu samAgau maMcchuDDu hosai sayaluvi caMgau / ghattA / taM nisuNivi tAhe aMgaggaiM aahlliyii|| sajjhasivi gayAI mayaraDayasarasalliyaI // 14 // tAma taralataralAviyanayaNaI sajjhasavasamaulAviyavayaNaiM / vinbhamahAvakaDakkhaNasIlaI vmmhsrsNpesnnliilii| paraperiyamaNAI jaMpijai jaM Thiu turiu kinna taM kijai / pabhaNaI vIracaritu akaMpiu caMgauM paiM pasayacchi payaMpiu / aha maha muddhi paripphuDamANaho atthi nivitti adttaadaannho| jAmvahiM majhu ko vi paI desai tAmahiM savvu tema taM hosai / aha nau dei koi tau aMgau to amhahaM sAhammiyasaMgau / ghattA / to ciMtiu tAe ehu kovi sAmannu nvi| saMvariu viyAru nahi atthavaNaho Dhuku ravi // 15 // tAma tAI parihAsapavittaI nimmalasIlakulakamajuttaI / icchAvasaranirohu kilaMtaI AsaNi sayaNi vayaNi amilaMtaI / niyakulamaggAyAru saraMtaI caMdappahajiNamahima karaMtaI / thiyaI bevi gaMjolliyagattaI diyahaI kevi jAma saMpattaI / tAma thakkai vihuru pavajiu mahi tharahariya gahiru nahi gajiu / 1 B seuru

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bhavisayattakahAe bAlai kaluNu sahu kiu kAyaru lahu Ayau khalu khuhu nisAyaru / lai vadRi avasANu niraMtara niyavikkiu kayaMtadaMtaMtaru / to pikkhivi avalaMbiya dhIriM maM bhIsiya kumAri varavIriM / ghattA / AdhuTTaI tAI satta prmsiddkkhrii| sammattiM jAI kayakallANaparaMparaI // 16 // tao Agao so arAinnarAo mahAbhImabhAbhAsuro bhinnkaao| asaMto visaMto supacchannamitto kule suppahUvANa bhUANa mitto| akhoNIvalaggo asAvannabhAso ghaNaMdhAraghoro kayaMTaTTahAso / sire uddhakeso jalaMtaMtarikkho sacammaTThiseso bhisaM dunnnnirikkho| sayA bhUlayAbhaMgurAvattagatto durAloyaNo dummuho rttnitto| phuraMtAharuTTho samIraM gilaMto lalaMtaMtajIho haviM duggilNto| mahApAvakammo susaMghaTagADho kayaMtuvva kuddho kraatuNgdaaddho| narANaM varANaM va diTThIviNAso paiTTo si taM maMdire so hyaaso| ghattA / AvaMtaho tAsu dhIru vIru rahasiM bhariu / vasunaMdau levi maMDalaggu karayali dhariu // 17 // so nievi jAlolibhayaMkaru aggiphuliMditu sayasakaru / virasu mukku huMkAru bhayAvaNu kuruddkyNtliilrisaavnnu| teNa vi diva kumAru akAyaru vaDavAnaliNa nAI rayaNAyaru / na khamiuM khaNu vi bhavIsaho kaMtiM tajiu suhaDAlAva cayaMtiM / ari ari DhaMDhavAla bhaDabhoiya kahiM paisarahi kayaMtiM coiya / khalamuhi vAiosi puraloeM nihaNu nemi paiM ajju ajoeN| ema sarosu cavaMtiM bAliM dhArAyaru niruDDu jiha kAliM / dAhiNakasa karavAleM cappiu vAmauM vasunaMdaiNa jhaDappiu / taM nimuNevi nisAyaru jhakiu pariciMtai maNeNa AsaMkiu / nau sAmannu kovi naru dIsai jo mahu samuhaM bhaDattaNu darisai / ghattA / eu virasu rasaMtu maI saMghAriu sayalu puru|| paDivayaNasamatthu ehau kovi na diha naru // 18 // ehu na itthu nayari saMjAyau annu kovi pAsaMDiu Ayau / Asi etthu jo rAu jasohaNu teNa vi na kiu kiMpi AohaNu / 1 B arAINarAo

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paJcamo sndhii| annavi naranariMda maI bhakkhiya keNavi niyamajAya na rakkhiya / ehu auvvu kovi mahu bhAvai annu vi niyaloyaNahaM suhAvai / iu ciMtaMtu jAu jAIsaru bhavapaccaiNa sariu jmmtru|| nAmaggahaNu vihaMgiM jANiuM piyapesalavayaNahiM sammANi / aho bhavisatta kAiM ekallau kusalu sarIri tujjhu thiu bhallau / tAvasu putvajammi hauM hotau kosiu nAmi nayari vsNt| vajoarakhaleNa avamANiuM paI vacchalavayaNihiM sammANiuM / ghattA / taho paDiuvayAru ehu mitta maI tujjha kiu / dhaNakaNayasamiDu puru sahuM kannaI allaviu // 19 // jo tahiM Asi maMti vajjoyaru aripuranayarAhivahaM maNoharu / ciru haDaM Asi jeNa avahatthiu annaho seva karAviu patthiu / pahu puru pauru majjhu aNurAiu bhaMjivi jeNa diyaMbari lAiu / savvi haDaM nayariM avagaNNiuM paI pari kiMpi kiMpi aNumaNNiuM / taM muu teNa kasAeM tattau marivi ghoru asurattaNu pttu|| marivi ghoru asurattaNu pattau etthu vi tilayadIvi huu rANau / maiMmi tAsu paDivairu samAriu sanayaru saparivAra saMghAriu / ghattA / vairaI na kuhaMti kAliM kahimmi jaNaMti bhau / aha duggai niti asamANiyaiM na jati khau // 20 // tiM vayaNiM pariosiyagattaI binnivi takkhaNi huaiM saittaI / bhavisamahAnareNa to vuccai jai tumhahami maNaho iu rucci| jai saccau uvasamiu tamAlaho to taM karahu juttu jaM kAlaho / taM paDivaNNu vayaNu aviyAriM mAyAmaMDau kiu vitthAriM / pUriya raMgAvalijalakalasahiM chaDatoraNatarupallavakalasahiM / darisiu sajaNajaNu dihigArau vatthAharaNasohasiyasArau / vaDDiu naMdisahu caupAsahi ahihavasirimaMgalavinnAsihiM / sA bhavisANurUa suhiloeM ahisiMciya mNgljltoeN| parihAviya seyaMbaravatthaI pANiggahaNi jAI supasatthaI / ummAliya muttAhaladAmihiM maalikuNdvimiisiydhaamihiN| dasaNa cihura kararuha niSphaMkiya maNahara hariyaMdaNa cacaMkiya / 1B sovi 2 B liMti 3 B jaNaMti

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bhavisayattakahAe aharaI alayarAu saMcAriu kajalu chuDu tilau vaDAriu / sihi paJcakkhu purau pajAliu laggujoggu sumuhuttu nihaaliu| . tA suhapiyadaMsaNi aNurAiya bhavisayattakarapallavi lAiya / ghattA / ekkAsaNi tAe baisArippiNu kiu vinnu| piyavayaNu cavevi asaNiveu uppamivi gau // 21 // sohahiM tAI tetthu varaittaI saralasahAvaI suNdrcittii| nihuanehaninbharamaNamisalaI muhamAruyapariosiyabhasalaI / navasayavattasamujjalavattaI caMdappahajiNahari sNpttii| bhAmari devivi hUi saNAhaho darisivi pujamahima jinnnaahho| caMdappahajiNabhavaNaho tinnaI lIlaI niyamaMdiri avinnii| tahiMmi saMti saMtihari kareppiNu viNaeM kuladevaya sumareppiNu / ghattA / ettiyaI karevi niykulmggahittiyiN| suhapimmarayAI raivAvAri pariTTiyaiM // 22 // nijjhuNi viyaNi gehi nivasaMtahaM kAmakAmu AhAru asaMtahaM / mayaNaviyAru tAma uppajai accunbhaDavilAsarai chjji| ramahiM bhoya parivaDDiyamayaNaI ninbharadaramaulAviyanayaNaI / diyahi diyahi annannaI kIlai survrvrvijaahrliili| sarahasagADhAliMgaNapIlaI nihuasrspriuvnnsiilii| varapallaMkatUlisuhasayaNaiM avagaNiyasuvannamaNirayaNaiM / sarasarUvajovvaNamayamattaI kynhniyrklNkiygttii| unbhaDasurayamallapaDimallaI phuDiyAharaI siDhiladhammillaI / thiyaI ema parivAsiyagattaI amiyarasovvamabhogAsattaI / tAma jAma navanehaniraMtara kAlaho gaya bAraha saMvacchara / ghattA / ettiyae kahevi dhaNavAliM sarasai nmiy| bhavisattaho kanvi saMdhi samANiya paMcami ye // 23 // paJcamaH sandhiH 1 B ithiyaI 2 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamIphalavaNNaNAe bhavisayattatilakapurapavezavivAhakallANavaNNaNo NAma paMcamo sandhI pariccheo smmtto||

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___chaTTho sndhii| suvvayavayaNehiM tvvyniymgunnnniy| taM nisuNahu~ jema kamalaI suvapaMcami liy|| acchauM tAma eu akkhANauM dIvaMtari bhavisattakahANauM / kaha saMcariya vicittapayA siriMgayauri jahiM sA kamalamahAsiri / acchai dukkhamahaNNavikhittI suavioijaaloliplittii| AsaNu sayaNu vayaNu nau bhAvai siDhilavalaya vAyasu uDDAvai / . raDi vAyasa jai kiMpi viyANahiM bhavisayattu mahu paMgaNi ANahiM / kiM kaiyahami divasu taM hosai jahi so sarahasu sAiu desai / dukkara ema eu piyasaMgau evahiM khalavihi vinaDai aMgau / gayauri savvau tiyau saunnauM niybhttaarputtpripunn| kAvi na maI jehI duhabhAyaNa suhisayaNahaM bahudukkhuppAyaNa / ema ruaMti sarIru kilesai vayaniyamahiM uvavAsahiM sosai / ghattA / vihi vinaDahi kAI keNavi kiu abbhuddharaNu / aha melahi puttu aha saMkheviM dai maraNu // 1 // etthaMtari ajiyagaNasArI suvvaya nAuM mahavvayadhArI / taha vacchallu karai sA sevaya naM pacakkhamahAsuyadevaya / he kamalasiri putti maM soahi jiNavayaNAmaya maNu saMjoyahiM / kiM suhisayaNavayaNu avagannahiM caMcalajIva loiM rai mannahiM / suhadukkhaI kayadhammAhammi jIvaho hoMti puraaiykmmi| maM chuDu paI duhakammaparaMpari asuhu kiMpi kiu annabhavaMtari / kimi duhakammapayaDi saMjoiya ti paiputtamuhiNa vicchoiya / kahu gharu kahu pariyaNu kahu baMdhau maM tuhuM kari asagAhiM dhaMdhau / ajavi ema gaivi taM bhAvahi jeNa mahaMtamahAdihi pAvahi / ghattA / guru pucchivi putti suapaMcami tiviheNa li| jiM puNu na kayAvi iTTaviou na saMbhavai // 2 // taM nisuNevi bhaNaI sasivayaNI mukkAharaNaparammuhavayaNI / kamalaI vuttu mahAvayadhArie suapaMcami kima lemi bhaDArie / suvvaya kahai suNaMtahaM savvaho paDhamAgami naMdIsarapavvaho / aha kattie aha phagguNi Avai aha asADhamAse saMpAvai / 1B guNuNNayai 2 B sAyau dosai

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50 bhavisayattakahAe paDhamauM siyapaMcamihi laijjai suapaMcami sA teNa bhnnijii| akkhami jema muNiMdahaM siTThI tehiMmi jiNaparamAgami ditttthii| ciMtiyakAmadheNu jA sukkhaho suhasovANapaMtikayamokkhaho / suyaNahiM jiNasAsaNi uvasaMtihiM kinjai jimva gharavAsi vasaMtihiM / ghattA / jo tAhi phaleNa vaMcchai saasysukkhnihi| jANeviNu teNa paDhamauM tA uvavAsavihi // 3 // ekAhAru karivi tava tanhaI sumarivvau cautthia varanhaI / paJcakkhivi paccakkheM sUri visayasaMgu parivajivi dUriM / rayaNi vasivi caMcalu maNu khaMcivi puNu paJcUsakAli jiNu aMcivi / nANaho guruhu vimukkaviyArihiM pujja kareviNu aTThapayArihiM / tihiM sakkhihiM upavAsu laijjai paramajiNAgamajuttie kinjai / acchijahu suhajhANu samArivi gharavAvAru hiyai avahArivi / dasavihu dhammakkhANu suNaMtahaM jIvAjIvapayattha muNaMtahaM / dhammAhammaviyAraNu lakkhivi akhaliu baMbhaceru parirakkhivi / tinni kAla jiNanAhu naveppiNu taddiNu rayaNi vi ema gamippiNu / puNu divasayarauai paDivannaI jiNapujjAvihANasaMpunnaI / chaTThihi ekavAra bhuMjivvau tavavihi punnapuMju puMjivvau / ghattA / acchivvau ema mAsi mAsi siyapaMcamihiM / tavaniyamaguNehiM jAma samANiya sayalavihi // 4 // paDhamauM paMcamAsa uvasijjai puNu saMvacchara paMca laijai / savvaI sattasahi uvavAsaiM hoMti mahAtavariddhipayAsaI / pacchai puNu ujjavaNu karivvau paMca payAru savvu vi varivvau / paMciMdiyahaM viyAru jiNevvau maMgalu paMcapayAru bhaNivvau / paMcAcAru karuNu aNumannivi paMca laevi paMca aNumannivi / cAmarakalasachattabhiMgAraiM tAiMmi risivi paMcapayAraiM / potthai paMcamisatthu lihAivi paMcavannavatthaI ucchAivi / jAsu nAhiM ujjavaNavihou taho viuNArau taM ji niou / ghattA / suvvayavayaNAI kamalaI siriNa pddicchiyii| karamauli karevi tivihaMtariNa samicchiyaI // 5 // suvvayAi jaM kahiu hiyattiM kamalaI taM ji layau paramatthi / 1 B vivaNau vihi

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chaTTho sandhI naMdIsari paDhamAgami suddhaiM suapaMcami uvavAsiya muddhaI / darisiyapujamahima dihigArI bhviyaaynnmnnnynnpiyaarii| thiya vayaniyamasIlasaMjuttI bahuuvavAsaparIsa shtii| akhaliyajiNavarasAsaNibhattI mAsi mAsi uvvaasnniuttii| mAsi mAsi guruvayaNaiM bhAvai mAsi mAsi mahadANaI dAvai / mAsi mAsi ujavaNaiM posai mAsi mAsi sAhammiya tosai / mAsi mAsi punnapphalu saMcai mAsi mAsi iMdiyabala khNcaa| mAsi mAsi gurucaraNa vaMdaI mAsi mAsi appANauM niMdai / ghattA / vairi eNa taveNa dINahiM majjhu puttu milu| puNu pacchai hou taM siva sAsayasuhanilau // 6 // taM nimuNevi kaluNu dukkaMdira niya sA suvvayAiM jiNamaMdiru / karivi paNAu tinANapahANau pucchiu risi paramAgamajANauM / paramesara bahudukkhajaNerI eha dhIya hariyattaho kerii| bhattAri parihariya varAiya pucchai tumha kiMpi dudhaaiy| eyahiM taNauM puttu guNavaMtau so paraesi kavaNa gai pattau / taho AgamaNu kahiMmi jai dekkhaho to sabbhAvasaruvaI akkhaho / aha nau milai kahiMmi gau duggami to pariharau Asi piyasaMgami / aha kAliM aMtariu kahANauM to savvahaM avasANu pahANauM / ghattA / to bhaNaiM muNiMdu eyahiM naMdaNu nau mri| vahubhoyAsattu vivihavilAsakeli karai // 7 // annahiM dIvaMtari sakalattau acchai kAmabhoyaAsattau / etthu vi puNu AgamaNu karesai aDu rajju naravaihiM dharesai / tujjhu vi bahusammANu karesai anjavi bahuvahusayaI varesai / ajavi tuhuMmi bhaNivvI rANI hosahi bahunaravarahaM phaannii| taM nisuNevi jaNaNi pariosiya AsAvasaraviyappi posiya / suvvaya bhaNaiM muNiuM paI eu na calai muNivayaNaho saMkeu / taM nisuNivi gaya gehi saittI thiyamuNivayaNarasAyaNi tittii| baMdhuyattaho jaNeri maNi jhUrai dhaNavai pahuatthANi visUraha / ghttaa| kiM kijai rAya vai bhAriya kajagai / cirayAlapavAsi maMcchuDu kusalihiM tAhaM jai // 8 // 1 B carieNa

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52 bhavisayattakahAe aho nariMda mahu maNu saMghaTTai khalai buddhi raNaraNauM visai / binivi suya ghalliya paraesaho maMcchuDDu hauM bhAyaNu huu ayasaho / vihiM tihiM varisihiM satthu parAvai ettiu kAlu na kovi cirAvai / gayavaiyahiM vaNivaravarapattihiM ummAhau raNaraNa vhNtihiN| ghari ghari niyakammaiM paricattaI ghari ghari ovAiyaI puttii| je je sAmuhiya vANijiya te te kokivi rAeM tanjiya / aho tumhaiM na suNiuM desaMtari vohitthiyahaM pamAu jalaMtari / pucchijaMtu vinAyaraloyahiM para siru dhuNahiM vayaNu avaloyahiM / ghattA / nAyarahaM saehiM pucchiya pahi paMthiyahaM sy| para siru vihuNaMti ko vi na jANaI kahiMmi gaya // 9 // vidANauM muhakamalu sarUvahiM niyacariyahi appaM parihUyahiM / hA vihi maI sikkhaviu virUvau maMcchuDu mahumi aMgi saMbhUau / paraho sarIri pAu jo bhAvai taM tAsai valevi sNtaavi| vadRi asaraNu kAlu pautthaho dukaru kiMpi kusalu taho satthaho / kiM samuddi vohitthaI phajhivi voiya salili sayala aavttivi| kiM mahutaNauM vayaNu maNi bujjhivi mua binnivi avarupparu jujjhivi / niyaduccariya sayalu maNi bhAvai aNNu vi suaviou saMtAvai / tAhiM vi dukkhu jAu viuNArau dukahaNIu gujjhu viruArau / ghattA / puri anbharahullu sarasasahAu saNehavau / kher3e NaI kema naMdaNu hatthAvAragau // 10 // etthaMtari acchariyapahANauM tilayadIvi saMcariu kahANauM / tahiM varanayari viyaNi nivasaMtaho icchiyakAmabhoya bhuNjNtho| ekkahiM diyahiM paguNaguNavaMtae vuccai bhavisayattu niykNte| nAha taiu maI nau pairiyANiuM ettiu kAlu kahiMminauM pucchiu~ / thiya ciMtaMti suiru vaMcchibvai avasaru kahiMmi na huu pucchinvai / kavaNu desu jahiM tuhaM uppannaDa kavaNu nayara surasirisaMpunam / rANauM kavaNu titthu dihigArau kavaNa jaNaNi piu kavaNu tuhArau / dhattA / taM nisuNivi teNa Niyasahaesaho sNcriu|| jalu nayaNihiM muku hiyavau kaluNasaraho bhariu // 11 // 1 B Amvara 2 B pariyacchiu 3 B vaMcevvau

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chaTTo sandhI sA niyajammabhUmi sumaraMtara niyajaNerivacchallu saraMtara / pariciMtai parivaDDiyasoeM kAI eNa mahutaNaI vihoeM / acchai jaNaNi kahiMmi dukkhalliya bahudujjaNaduvvayaNahiM salliya / jAI suru ciMtaviu suAsaI puttajammadohalayapiyAsaI / navamAsahiM niyakukkhihiM dhariyaDa puNu rauravakAlaho nIsariyau / niyasarIrakhIriM paripAliu aNudiNu piyavayaNahiM dullAliu / tAhi kayAi na mahaM kiu caMgau Ayau dukkheM pUrivi aMgau / eu ciMtaMtu kaMtu duvvayaNauM pikkhivi aMsujalolliyanayaNau / saI vatthaMca piyakaMtae luhiya nayaNa taralAviyanittaI / dhattA / nIsAsu muvi kiu vicchAyau muhakamalu / saMbhari kuTuMba tAe vi nayaNihiM mukku jalu // 12 // avarupparu pakkhAliya nayaNaI avarupparu jaMpivi piyavayaNahaM / avarupparu niyamaNu sAhAriu soyamahAjali appara tAriu / bhAI kumAru pavaDiya maMgali pie mahu jammabhUmi kurujaMgali / hatthinAyapuri puhaipasiddha pahu bhUvAlanariMda samiddhau / dhaNavaha nAuM jaNaNu amhArau naravariMdaparivArapiyArau / mAyari kamvala suaNadihigArI haribaladuhiya sAsu tumhArI / sai cArittasIlasaMpunnI lacchihiM taNaI aMgi uppannI / aNuvi baMdhu mahu dAiu teNa samANu vaNijeM Ayau / miliyaI paMcasaya vohitthaI velAulehiM caDivi uttitthaI / duvvAeM ullUrivi bhaggaiM girimayaNAyaradIvi uvalaggaI / ghattA / hauM teNa chaleNa duTThasavattihiM macchariNa / vaNi vaMcivi mukku dunnayadosaparaMpariNa // 13 // so khalu baMdhuyattu mahaM millivi appuNu gau vohitthaI pilliva | hami titthu vaNagahaNu bhameSpiNu ahamuttayamaMDavi nisi neppaNu / girikaMdari so vivari paTThau taM laMghivi puru iu maI diu / dhaNakaMcaNasamiDu jaNavajjiu taM pikkhaMtu bhamiuM aparajiu / diTTu sayalu dhuyadhayamAlAulu sAlaMkAru sagehu sarAulu / caMdappahajiNabhavaNi pavannauM jiNu aMcivi suhasayaNi nisannaraM / akkharapaMti lihiya tahiM diTThI paMcami gehi tAI tuhuM siTThI / 43

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44 bhavisayattakahAe sA vAyaMtu etthu saMpAiu tuha muhasuhadasaNu nijjhAiu / paI akkhiu vittaMtu cirANauM paTTaNu khaDDa jema hau rANauM / puNu bhoyaNu bhuMjAviu lIlaI binnivi thiyaiM asaMgAkIlaI / Ayau asaNiveu balavaMtau so vi puvvakammi uvasaMtau / tiM tuhaM majjhu dinna sahaM vittiM maiM pariNiya pariosiyacitiM / bipiNavi thiyaI bhoya bhuMjaMtaI rirspsrmhaamymttii| ettiu kAlu jAu suhasaMgau evvahiM nitu ummAhiu aMgau / ghattA / cirumukka ruaMti jaNaNi paramasambhAvaraya / sA majjhu vioi kiM jIvai kiM marivi gaya // 14 // to vari maMtu kiMpi taM kijai jeNa niyayasajjaNahaM miliji| . kiM bahueNa vi eNa vihoeM jaM na diTu suhi bNdhvloeN| jaM suhu asaNehiM raccaMtae jaM suha aMdhArai nccNte| jaM suhu siviNaMtara picchaMtae taM suhu etthu nayari acchaMtaha / to vari evahiM eu pauMjahaM lahu mahagghamaNirayaNaiM puMjahaM / bipiNavi vAravAra utthallahaM sAyaratIri vaheviNu ghllhN| jo tahiM satthavAhi ko esai so amhahaM niyanayaraho nesai / ghttaa| jaMpaviNu tAe calavAvAri pritttthiyii| bhaMDAraiM levi rayaNapuMja puMjaI kiyaI // 15 // caMdappahu jiNavaru jaya kArivi sudiDha niviDa vAsaNaI samArivi / devitUla maNirayaNahaM bhariyau saMvAhivi gharapaMgaNi dhariyau / caliyaI bevi levi niyakhaMdhiM nIsariyaI taho vivaraho raMdhiM / puNuvi titthu aimuttAtaMDavi kiu AvAsu viuli layamaMDavi / taM millivi puNaravi saMcallai diNi diNi vAraMvAra utthllii| payaphaMsiM parimaliya vasuMdhara taM ji viNou jAu teM vAsara / saMvAhiyaiM aNeyapayAraiM bahumaNirayaNakaNayabhaMDAraI / celiyAI NANAvihavannaI jAijAi loyaNahaM rvnnii| bahuannannanAmaguNaveyaiM navakuMkumakaNisAruNateyaI / ghattA / ghaNasArajuAI myprimlhriyNdnniN|| uvvahivi kayAiM puMjaI nayaNANaMdiraI // 16 // maNikeUrakaDayakaDisuttaI maNikaMcuaI rayaNapajjutaI /

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45 chaTTho sandhI thUlAhalamuttAhaladAmaiM AharaNaiM vicittabahunAmaI / pariyalauvahivesakallolaI ujjalaMkaNayathAlakaccolaI / paTTAsaNaI kaDayaveyaDiyaI viddumadumacAmIyaraghaDiyaI / sirikulabhavaNaravaNasiMgAraiM dappaNakalasacamarabhiMgAraiM / aMjaNaghusiNatUlipallaMkaI caruyakaDAhamuvannamaDakkaI / saMkhasippibahuguNasaMbhUaI avarAimi anneybhuruaii| pariyaDDivi dhaNariddhi samAriya vaNivai sa vaNariddhi saMcAriya / ghattA / utthAmiya sAvi nAyamuddasijjaiM shiy|| ciMtiyaphalasArA jA sA tilayadIvi ahiya // 17 // dhaNu tarumUlajAle aNusaMdhivi uppari dumaho paDAya nibaMdhivi / acchami jAma titthu vaNi lIlaI surakinnaravijAhara kIlaI / tAma vahivi duppavaNiM lAiu so baMdhuattu tahiM ji saMpAiu / laggaI paMcasayaI vohitthaI panbhaTTaiM velAulatitthaI / jhINaiM 'tithi titthu bhamaMtaI kahiMmi nAhi suhi nivvui pattaI / hua vaNiutta sayala muhakAyara galiyagavvavavasAya aNAyara / luliyakesa malapaMkiyaviggaha jrkppddnevtthpriggh| siDhilacariya parivajiyasaMjama niddhaNa niralaMkAra nirujjama / taM mayaNAu dIu pikkhaMtA jhUriya thoraMsuyahiM suyNtaa| eu taM vaNu jahiM eNa aNihi~ kiu taM micchakammu pAvihiM / Dajjhai ko na mahAsaisAviM amhaI khau gaya teNa ji pAviM / ghattA / varatarusiharaggi diTTha paDAya suhAvaNiya / hakkArai nAiM sannaI siya bhavisaho taNiya // 18 // so pikkhaMtu paDAya mahAnaru vaNi paisaMti jAma thovaMtaru / binnivi tAma layAhari diTTaiM mauatUli pallaMki niviTThaI / takkhaNi kannosanniya vAyahiM gaya nAsivi pacchannahiM pAyahiM / turiu gapi baMdhuyattaho akkhiu amha deu sahuM devie lakkhiu / jAma na kahiMmi jAi AyAsaho tAma turiu tumhaI mi payAsaho / taM nisuNevi sovi saMcalliu pikkhivi jaNasamUha utthaliu / 1 B vatthaI.

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46 bhavisayattakahAe tiya bhayavihala jAya nau saMThiya eu kAI pabhaNaMti samuTThiya / dhIriya nariNa hohi bhayavajiya Aiya ittha kevi vANijjiya / ghattA / taM pikkhivi tAe baMdhuattu lajjAbhareNa / / thiu vayaNavilakkhu pahau nAI masi khappariNa // 19 // pikkhivi bhavisayattu siyavaMtau sAlaMkAruvayaNu sakalattau / jhatti lihevi phusiu naMdAiu thiu savippu kasaNu vicchAyau / kayapaNAu saMvarivi nilINauM ciru ducariu saraMtu vilINauM / sajjhasavasi vastu Ayallau bhavisiM vuttu bhAi thiu bhallau / kahiM paribhamiuM kAlu kima kheviu kavaNu paesu vaNijje seviu / kAI viDhattu vittu vavasAyaho kusalu khemu savvaho sNghaayho| . tiM vayaNiM maNAu AsAsiu aMsuvAe paDivayaNu payAsiu / kusalu kahiMmi kiM hoi varAyaho dunnayadosabiDaMviyakAyaho / hau~ pAviTu dhiTu akiyatthau bhaTThAyAru durAsu vigatthau / niyakulamaggAyAravirohau ihaloyaho paraloyaho dohau / ghattA / dohattaNasAu mahu ihaloyavi sNbhviu| duhadummiyadehu dIviM dIu paribbhamiu // 20 // evahiM karahi kiMpi jaM ruccai kittiu vAravAra kira vuccai / maI avarAhu tumha kiu dohiM keNa vi dummaimaNavAmohiM / taM jai khamahiM na khamahiM kayAi vi to amhahaM tuhuM saraNu syaaivi| taM nisuNevi payaMpai jiu jaM kiu tumhi taM ji mahu siTThau / evahiM puNu muviyappiu kijai taM na nahu jaM valivi laijjai / lai saMvaraho jAhu niyadesaho hou ccheu savvahaMmi kilesaho / sayalahaM viNayAlAva payaMpiya sayalahaM gaMdhAmalaya samappiya / sayalavi gaya taM kamalamahAsaru to jANivi ekaMtaho avasaru / bhavisaI vuttu bhavIsu mahAnaru sAmiya majjhu mahaMtu mahADaru / ciru vAvariu jeNa ninnehau tAsu na gammai nIsaMdehau / ghttaa| tuhu~ ekkasarIru eyaho bahu samUhu samau / jai dosahu jaMti to pANahami karaMti bhau // 21 // to vuccai villahalasahAviM saccau eu paramasambhAviM /

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chaTTo sandhI dIsai ikkavAra jo jehau Ajammu vi sahAu tasu tehau / paraittiu jaM pacchuttAviu dummaidosaviDaMbaNa pAviu / annuvi niMdiu garahiu tehau evvahiM jammi vi na karai ehau / paJceliu Ayo piu buccai pucchAiyau karevi na muccai / jai hammaI duvvayaNakarAliM to emahiM ji karai jaM kAliM / aha kulamaggaviNAsahaM AyahaM kavaNu gahaNu behu mahaMmi varAyahaM / piu Ayahi samANu jaM vuJcai taM kira kulamajjAya na muccai / jai puNaravi osarai pamAyaho to taM karami juttu jaM Ayaho / itthaMtara sayala vi saMpAiya nhAivi kamalamahAsari Aiya / Aesiya kammara padhAiya iMdhaNasalilasamuccai lAiya | mahisAraviyaraviMdahiM aMciya chaDaya payanna suAsaNa saMciya / dhattA / navaneharasAIM karivi vayaNasaM bhAsaNaI / dalatuMgamayAI dinnaI ucca varAsAI // 22 // sayalavi viu karivi baisAriya lahu cchDara sarasoi saMcAriya | lai vela vitthAri pariyalu kaNayathAlu kaJccolasamujjalu / vaDDhi bhojju paura paisArau sAlidAlisAlaNayapiyArau / ' lIlaI bhutu visesa vihoeM puNu kappUrakaraMbiyatoeM / cuTThi rayaNakaNayabhiMgArihiM thiya tarumUlajAli vitthArihiM / puNu vaNi gharaviha darisAviya bahumullahaM vatthaI pahirAviya / piu jaMpivi nayaviNayakayatyeM dinnu ghusiNu taMbolu suhattheM / dhattA / taM pakkhivi titthu siru vihnaNaMti bhAMti nara / aho dekho tumhi puNNahaM tagaDaM pahAu para // 23 // baMdhuatu paNavaMtu papai aho acchariyaM kinna samappai / amhaI dIviM dIu bhamaMtA mua vavasAyasayaI ciMtaMtA / kahiMmi nAhiM ekkavi laDa - pAviu paJcelliu niyamUla vilAviu / tuhuM puNu ghalliu itthu vaNaMtari thiu asahAu dupecchi dusaMcari / hima nAhiM kavi Avai pattau paceliu huu bahusiyavaMta / etthuvi vaNi vitta kima saMpaya kima siyavaMta kaMta suMdaravaya / gas puvvakiya suhakammi bhAi sayalu saMpajjai dhammiM / 1 A bahu bahumi varAyahiM 47

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48 bhavisayattakahAe ghttaa| na payAsiu gujjhu dUraviyappamahAmaiNa / ittiyaiM kahevi saMdhi samANiya dhaNavaNe // 24 // SaSThaH sandhiH sasikaMti sasippahu paramajiNu paNavippiNu bhAveM ekkamaNu / puNu kahami kavaDu dunnayabhariu tahu khalabaMdhuyattaho cariu / bhavisiM te sayalavi sammANivi niyakasamaraho saMkha pariyANivi / joivi saI hatthe saMcAliya vijaya lihiya payaDa saMbhAliya / sayalahaM niyanAmaMkaI dinnaI vAsaNatuMDaI karivi pcchnnii| nibiDaiM bahubaMdhai bahumollaI kammarayahiM ukkhittaiM collaI / vahaNahiM bhaMDArahiM saMjaviyaI aMtaragujjhapaesaha tthviyii| taM pikkhivi gaMjolliyagattahiM loyahiM nivasahaesu valaMtahiM / dUrahANu muNivi maNi jhUriu pakkhahaM kAraNi suTu visUriu / hou sumaMgala bhavisanaresaho cAliya jeNa samuhaM sahaesaho / ghattA / niyajammabhUmi sumaraMtaihiM dUraMtaru hiyai dharatiyahiM / sahaesaho savaDammuha huahiM ummAhau kiu vaNivarasuvahiM // 1 // cavai kovi saMbharivi saesaho maMcchuDDu hosai ccheu kilesaho / kovi bhaNaiM parivaddhiyamaMgalu ajavi mitta dUri kurujNglu| kovi bhaNaiM ovAiya desahaM jai duttara mayaraharu naresahaM / kovi bhaNaI bhavisayattu saunnauM jA esai vahusiyasaMpunnauM / ehu puNu baMdhuyattu siyavajiu kAiM kahesaI gaMpi alajiu / ghosaNa devi vaNijje Ayau niyamUluvi dUrAsiM khAiu / kovi bhaNaiM lai tumhi savAraho bahuduviruDu bollu avhaarho| ghattA / kovi jaMpai ccheyaho appaNauM maM karahu aNujjua jaMpaNauM / iu baMdhuyattu jai saMbhalai to tumha miriya matthai dalai // 2 // itthaMtari sumuhuttu samAriu kiu caukku caMdaNu vaDAriu / pujjiya jaladevaya vitthAriM pupphakkhayabalidIvaMgAriM / sahu~ loyahiM ArUDhu mahAnaru mukkabaMdha uccalliya moggaru / 1 Cadds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe vuhadhaNavAlakayAe paMcamiphalavaNNaNAe baMdhuyattatilayapurappavesabhavisadattamelApaNaM NAma chaTThamo saMdhI pariccheo smmto|

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sattamo sndhii| laiya pavaNa dhayavaDa saMphAliya kaMDavaihiM jalamagga nihaaliy| dinna tUra ugghosiu kalayalu chuDa chuDDu hallohaliu mahAjalu / to bhavisANurUva gamasaMkula niyakaru joivi jAya samAula / vihaDapphaDa varaittaho akkhai sA thiya nAyamudda tarupakkhai / caliu so vi taM vayaNu muNeppiNu gau vijAharakaraNu kareppiNu / Avai jAma tAma jalavammaiM huaI salili atthAhi agmmii| ghattA / pikkheviNu calaI paohaNaiM kara unbhevi dhAhAviu dhnnii| aho tumhaI kahiM saMcaliya lahu so pacchai jo bhaMDArapahu // 3 // taM nisuNivi khuhiyaI vaNiuttaI paDiu saGa dhariyaI jalajaMtaI / ubbhiya kara puralou viyaMbhiu aho iu puNu vi kAi pAraMbhiu / ajavi bhavisayattu taDi acchai kira saMcaliya tumhi kahu pcchi| kallaI bhariya garuyasammANaho kajAkajju kinna priyaannho| taM nimuNevi sarUvahi puttiM vuccai dunnayadosaniuttiM / caMgau~ dhammu tumhi vakkhANiuM aha paramatthaviyAru na jANiuM / pai millivi jA laggai jAraho sA phii niyprghrvaarho| maI dhaNu devi vaNijiM ANiya evahiM teNa tumhi sammANiya / so siyavaMtu bhaNivi aNumannaho maI para khINavihau avagannaho / varakuladhammu hoi jai ehau to kira sAmidohu so kehau / ghattA / pallaTahu levi paohaNaiM vaNi millahu kahiMmi jiyaMtu mii| bhavisattu nehu dhaNavaibhavaNi jiM hoi mahagghima tumha jaNi // 4 // jANami hoI jema jaM jehau para vihivalaNu parihiu ehau / jA nIsarai kulaMgaNagehaho sA pariyaNa uttarai saNehaho / ekkavAra jo caDiu kalaMkai jammu vi tAsu lou AsaMkai / taiyahaM harSa kulamaggaho cukkau jaiyahaM bhavisayattu vaNi mukkau / evahiM jaM suaNattaNu kinjai taM para appANauM vaMcijai / ehu ahiyavavasAyasaittau suhiu hoi kiM puri paisaMtau / jaNi appaNu payAu payaDAvai amhahaM avasu kalaMku cddaavi| to vari vaNi milliu suhu jammi marau jiyau appaNaiM sakammi / ghattA / vaNiuttahaM to avaheri kiya lai calahu calahu ghosaNa bhamiya / 1B hami

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bhavisayattakahAe mahasaihiM daDatti hiyau paDiu chuDDa gahiramahAsamuddi caDiu // 5 // vahaNasamUhu nievi jali jaMtau bhavisayattu ruNuruNaiM mahaMtau / kAI karami jaM chaliu aNiTiM vaMciu puNu vi teNa pAvihiM / vihala jAu jaM ciru pariciMtiu puNaravi dukkha mahanna vidhitiu / taM sahaesagamaNu nau sAhiu jaNaNihitaNauM vayaNu nau cAhiu / gayauri baMdhuyattu paisaMtae dhaNavaighari sohalayamahaMtae / mahu AgamaNavayaNu alahaMtI ummAhau raNaraNauM vhNtii| hayadAiyaduvvayaNabhavittie evvahiM marai mAi viNu aMtie / ghattA / hauM vaMciu baMdhuyattucariu caMgau pisuNattaNu vAvariu / khalakhuddapisuNa vivarIyavihi pUraMtu maNoraha hou dihi // 6 // aNNu vi Asi mahAdihigArau piyakalattu pANahami piyArau / na muNahaM tahimi kAvi gai hosaha aha jaM jeNa gahiya taM taasi| maI vaMcivi jo poyaI pillai so avasANi sAvi kiM milaa| icchai jai vi nAhi to phii diDhasIlaho baleNa jai chutttti| ema suiru suviyappu karaMtau puNu puNu piyamuhakamalu saraMtau / thiu joyaMtu tAma jalavammaI jAma huaI nayaNahami agmmii| piyamuhasuhadaMsaNu alahaMtau virahavisamaveyaNa asahaMtau / qNNauM rulughulaMtu parisakkivi dasavi karaMgulIu maisarakivi / caliu puNu vi savilakkhahiM pAyahiM taru pahaNaMtu siDhilakasaghAyahiM / jahiM se pieNa Asi kIlaMtau taM layabhavaNu puNu vi sNpttu| ghattA / vaNi ramiyaI bhamiyaI kIliyaI sumaraMtu snnehuppiiliyii| tarupakkhiruahaMmi jaNaMtu bhau layamaMDavi mucchAvihalu gau // 7 // dasahapiyavioyasaMtattau mucchaI pttu| sIyalamArueNa vaNi vAiu taNu appAiu / karayali nAyamudda saMjoivi puNu puNu joivi / teNa paheNa puNu vi saMcalliu virahiM salliu / pattu paribbhamaMtu dukkhAuru taM ji mhaapuru| puNaravi teM paeseM parisakkA kahiMmi na thakkA / 1 A vidhittau 2 B ruNNauM 3 B samaDakivi 4 B saha

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sattamo sndhii| dummaNu taM paiTu varamaMdiru nayaNANaMdiru / piyahiM payallayAI pariyacchai so na niyacchai / sumarivi vAravAra ummAiya paMcamu gAiya / dunnau nAhi kovi saMbhAlai disau nihaali| piyavirahAnaleNa saMtattau so hiMDaMtau / paisai caMdakaMticaitAlaI svvsuhaaliN| caMdappahu jiNu sAmi naveppiNu bhAmari deppiNu / ghattA / tailoyasiharapuragAmiyaho kiya thui bhuvnnttysaamiyho| jaya tuhu~ gai tuhuM mai tuhu~ saraNu lai evahiM dehi samAhimaraNu // 8 // itthaMtari saMcarai mahAkaha jahiM sA bhavisayattamaNavallaha / acchai vahaNasamUhi vahaMtI dUsahu piyaviou vishNtii| poyaMtara varabhavaNi ravannai pattalapihulaphalayasaMcchannai / mauatUlipalaMku mueviNu thiya jarapIdukhaMDu tali deppiNu / baMdhuattu vi karevi iktaru tAhi paDhukku phalayabhavaNaMtaru / niyaDu niviTu tArataralacchihiM cAraNapurisu nAI niyalacchihiM / bhamaru amauliyakamaladalacchihiM naM dAridakaMdu dhanalacchihiM / bollAviya kiM kAu kilesahi kiM na tUlipallaMki baIsahi / kiM acchahi maulAviyavayaNI aNsupvaahjlolliynynnii| muDi tujjhu ko parihau ANahaM jAhi aNaMgu aMgi rai maanniN| gayauri jAhi samau suhiloeM pariyaNu paripAlahi sunioeN| eu asesu kosu taukerau suhiyaNajaNaANaMdujaNerau / jima so titthu Asi piyadaMsaNu tima hauM tujjha paDicchiyapesaNu / ghattA / taM nisuNivi maNi saMghaTu kiu vihi kAI asaMbhau dakkhaviu / ciMtihi vayaNu samacchariu so aMsupavAhiM aMtariu // 9 // tAhiM sovi paDivayaNu dharaMtau niyaDakavaDacADuyaI karaMtau / aMsu phusaMtu jAma kara pesai takkhaNi jhatti palitta mahAsai / uTThiya saMvaraMti vihaDapphaDa docchiu re Usaru tiyalaMpaDa / nau naMdahi ciru AeM bhAeM gau khau sahu appaNaiM shaaeN| 1 B sAsa Niyacchai 2 B ghosiu

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52 bhavisayattakahAe ettiu kAlu Asi khalu devaru evahiM Dhake sANugaddahu kharu / caMgau niyakuladhammu samvAriu pasuvahaMtaNau maggu avahAriu / hiyavaI mahu AsaMka gurukI sA niyajaNaNi kema tau cukkI / nivaDaI kinna vajju tau matthaI kavaNa keli sahu~ maraNAvatthaI / ghattA / cheyAvasANi kuvi kiM karai jasu ru?u jIviu avaharai / haya pAvakamma vivarIyamai siviNevi eu kahiM saMbhavaha // 10 // to savilakkhu payaMpai devaru jaMpahi kAiM aNiTu asuNdru| hosai dosu saityanivAraNi eu savvu maiM kiu tau kAraNi / jaM valivaMDa karevi na cheDami taM kira kema mANu nau khaMDami / taM nisuNivi ciMtavai mahAsai khaliu kiMpi dukkammu karesai / dIsai garuAvesu bharaMtau kima rakkhiu balivaMDa karaMtau / jai parimusiu eNa mahu aMgau to para saraNu maraNu Avaggau / taM jANevi uvahiuvasevaya hUa paJcakkha mahAjaladevaya / hallohaliu lou vahaNaTiu caliu pavaNu vivarIu parihiu / gahirIjaMti salila AvattaI moDijaMti parammuha pttii| ghattA / Asanna vihura ullAvaihiM orAliu Nahi nijAvaihiM / nau jANahaM kahiMmi kiMpi caliu vahaNahaM gaimaggu paDikkhaliu // 11 // to poyahiM vivarIu vahaMtihiM uvalakkhiu bahubuddhimahaMtihiM / eha paivvaya mAi mahAsai maNi saMkhohu kiMpi Avesai / jai Ayaho nau saMti samAriya to sayala vi jali voivi mAriya / emva bhaNevi kaji asamattha sayalavi thiya oNAviyamattha / paramesari suhajhANu samArahi maM sayala vi jali voivi mArahi / taM nimuNeviNu bhaNaiM paivvaya taM navi dhamma jitthu muccai dy| tumhahaM sayalahaM eu ji osahu karahu a saMti saMti ugghoshu| aho jai keNa vi kiu mahu pacau to uvasamau eu phalu sacau / ghattA / to jAya saMti pacau miliu baMdhuattaho taNa gavvu gliu| laggaI velAuli paohaNaiM uttariyaI tIri mahAvaNaI // 12 // to kayavikkayadAyasaittaI ahimuha miliya sayalanAittaI / nAyara niravasesa saMpAiya kusalAkusalu paropparu jAiya / 1 A DhaMkhu

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aTThamo sndhii| . vikkiu ikku rayaNu tahiM kaDhivi saviyakkhaNajaNamaNi pariyaDDivi / jaM taho mulli mahAdhaNu pAviu teNa pauri jaNi siru vihuNAviu / tuMgagaiMda turaya saMcAriya ahiNavarAyalacchi avyaariy| laiyaI thalavAhaNaI sulakkhaiM karahavasahamahisaya sysNkhii| pahi paohaNaiM jANa jaMpANaiM dUsAvAsaI siyakallANaI / vannavicittacittaparivatthaI dinnaI ujalAI nevatthaI / gujjhAvaraNasIlasuniuttaI pesiya vaNi vihUi vnniuttii| kayapesaNauM pasAhiyatilayau dhariyau piMDavAsu varavilayau / AvAsiya aMtari tarujAlaho thiu khaMdhAru nAI bhUvAlaho / ghattA / taM pikkhivi sA bhavayattasuya ahiNavamuNAlasomAlabhua / pariciMtaha uttamasattamai iyakAlaho eu na saMbhavai // 13 // parihavasallu kema visahijjai jai dujaNahaM majjhi nivasijjai / piyami salilu jaM bhuMjami bhoyaNu ja loyaNahaM karami avaloyaNu / taM aviNau saMbhavai niruttau viNu nAhiM mahu eu na juttu| lai pariharami jAma paDivajaha siviNaI sAsaNadevaya tjji| visahi putti maM kAu kilesahi puNaravi ciMtiyasuhaI lahesahi / bhaMtie tAI dehu appAyau osahamittu asaNu AsAiu / jaMpai kiMpi nAhi saviyAriM sahuM sviyddddhjuviprivaariN| samuhaM saesaho dinnu payANauM vahai samUhu samunnayamANauM / samavisamaI laMghaMti mahAiya jauNAnaihiM tIra saMpAiya / ghattA / jali taraNi taraMDa pariTThaviya gayauri vaddhAvA paTTaviya / naMdaNavioimohiyamaihiM pariosu jAu maNi dhaNavaihiM // 14 // . saptamaH sandhiH paNavevi mohamayanimmahaNu caMdappahu caMdujjalavayaNu / nisuNahuM pavaMcuavisuddhamaNu gayauri baMdhuyattasamAgamaNu / suyavioyaubbAhulihUahiM vAmau loyaNu phurai sruuahiN| kuruliu vAyaseNa gharapaMgaNi bhaNaI sAvi Ahalliya niyamaNi / kurulahiM kAI aliu asuhAvau baMdhuattu paradesaho Avau / 1 B itthiyaI 2 C adds iya bhavisattakahAe payaDiyadhammasthakAmamokkhAe vuidhaNavAlakayAe paMcamIphalavaNNaNAe bhavisayattupavaMcaNo, baMdhuyattajauNANayasamAgamo NAma sattamo sandhI pariccheo smmtto|

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bhavisayattakahAe takkhaNi so paiDa vaddhAvau akkhiu sayalahaM vayaNu suhAvau / paNavai baMdhuyattu aNurAiu jauNAnaihiM tIri saMpAiu / dhAiu sayalu lou vihaDapphaDu keNa vi kahovi laiu siri kappaDu / keNa vi kaho vi chuDDu kari kaMkaNu keNa vi kaho vi dinnu aaliNgnnu| keNa vi kaho vi aMgu paDibiMbiu keNa vi kaho vi levi siri cuNbiu| ghattA / gayavaiyahiM kammaiM milliyaI nayaNaI hrisNsujlolliyii| piyakusalAkusalu karaMtiyaI cittaI saMdehaviDaMbiyaiM // 1 // vaNivai aMsujalolliyanayaNauM pucchai puNu vi sagaggiravayaNauM / aho kiM saccu eu paI jaMpiu kiMpi viyArahi karahi muhappiu / pabhaNaI vattayAru maM mujjhahiM Ayau baMdhuyattu phuDDa bujjhahi / maI milliu parihaitthu vahaMtau jauNAnaipavAhu laMghaMtau / vaha tau naMdaNaho payANauM pahukhaMdhAraho aNuharamANauM / dhara dalaMtu tukkhAraturaMgihiM paDipillaMtu mttmaayNghiN| vahai simiru sahaesAkaMkhihi karahavasahavAhaNahiM asaMkhahiM / tA dihi diMtu sayalusuhiviMdaho siTTi parAiu pAsi nariMdaho / pattA / jANAviu puttaho AgamaNu pahu pabhaNaI hrisupphulltnnu| lai caMgau jAyau paurayaNi thiu sayalu vi jaNu savisannu maNi // 2 // etthaMtari jANivi supayatteM kamalahiM kahiu gapi hriytteN| parihari putti sou saMtAvau Ayau siTThihi ghari vaddhAvau / jANAviu atthANi pariMdaho kheu kusalu savvaho jnnviNdho| taM nisuNevi sAvi pariosiya jAya uccaromaMcavihUsiya / paNi AvaNasoha karAviya toraNi maMgalakalasa dharAviya / ahimuhaM sayalu lou saMcalliu pauru sapiMDavAsu utthalliu / dihu viMdu rahaseNa padhAiya avarupparu AvIliya saaiy| suyaNahiM aMsujalolliyanayaNihiM pucchiu kusala suhAsiyavayaNihiM / jhallaripaDahasaMkhanigdhosiM paddaNi paisaraMti pariosiM / ghattA / dhaNakaNayarayaNakAmiNipauri so baMdhuyattu paisaMtu puri / bahukoUhalapilliyamaNiNa avaloiu nAyariyAyaNiNa // 3 // taM pikkhivi paisaMtu niraMtaru nAyarIu bollaMti parupparu / sahiyari ehu susiTihi naMdaNu puttu sarUvahiM nayaNANaMdaNu / 1 A jujjhahi 2 B ityu

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amo sandhI / sAhasadhIru mahAvavasAyau atulu mahAdhaNu viDhavivi Ayau / paisai suhaDaviMdapariyariyau vIracarIu mahiyali avayariyau / ema nayaranAyarihu cavaMtihu niyaniyaghari maMjariu bhamaMtihu / baMdhuyattu varabhavaNi paiTThau ukkaMThiyau jaNerahiM diu / ghattA | AnaMdasamAgamagabbhiyaI saMbhAsaNavayaNaI thaMbhiyaI / sahasatti na sakkiu joyaNihiM harisaMsugalatthiyaloyaNihiM // 4 // kayapaNavAu niviThu varAsaNi dinna diTThi suhisayasaM bhAsaNi / vahu avainna purau jaMpANaho naM paramesari siviyAjANaho / Dhukkau varajuvaiu caupAsihiM paDhamasamAgamakamavinnAsihiM / niDasamiddhasamappiyavayaNihiM cavalatArataralAviyanayaNihiM / varabhAlayalapasAhiyatilayahiM pAsi sarUahiM niyavaravilayahiM / fare karevi vi AsaNNae eha tau sAsu padasiya sannaI / thiya tahitaraM vayaNu avaloivi paccAsannu juvaijaNu joivi / nau paNavAu karai nau jaMpai hiyai aNeyara vAya viyappara / dhattA / to bahumaMgalasaMgicchaiNaI caMdaNacaukkanimmacchaNaI / darisivi muhaM joiu naMdaNaho nau navai na jaMpai kAI vahu // 5 // jaNaNihiM vayaNu suNevi aNujjeM saNNiu niyaparivAru alajjeM / nehu tAma ikkatapaesaho ajjavi maNi saMbharai saesaho / to laMjiyagaNeNa osAriya lahu ikkaMtabhavaNi baisAriya / pariveDhiya varatiyahiM suvesahiM maNikaMcIkalAvanigghosahiM / saMthua varavilayahiM tuhuM dhannI jA varabhavaNi itthu uppannI / aMgaNagaNaho samunnayamANI suhu bhuMjahi gayauraho pahANI / ajjavi kiM saMbharahi saesaho aMgu samoDahi mayaNAvesaho / luhi loyaNa mANu avahArahi vatthAharaNasohasiMgArahi / ghattA / nisuNaMtivi taM bhavisANumai niyapaivioyasaMtattamai / avagannaI piyasaM bhAsaNaI jiNabhAvaNa jema kusAsaNaI // 6 // avagaNiyauM tAma varavesau kiyaDa aNuttaravayaNavisesau / viyasivi kulajuvaiu Ahallau navajovvaNaguNarUvamahallau / daMsaNu kohalapiyaittiu sajalasamujjalavijjulakaMtiu / kAvi Niya taralAviyanayaNihiM kAvi cavai piyavayaNullAvihiM / 55

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bhavisayattakahA AI kAvi ghusi bahuparimalu kAvi niraMjaNanayaNihiM kajjalu / darisai kAvi samujjalavatthaI kAvi kuMdakusumaI supasatthaI / kavi samujjalu dappaNu dAvai kAvi nihitta citta paribhAvai / kAvi tAhi taMbolu samappai kAvi kiMpi saviyArau jaMpai / dhattA / varajuvaihiM tAi muhappiyahaM uvayArasAra bhAvaTThiyAM / 56 pikkheviNu sA bhavisANumahaM paceliu dukkha samuvvahai // 7 // etthaMtari pariosiyamaNehiM ANaMdu paNacciGa sajjaNehiM / orasaha tUru jayanaMdighosu paisarai sarai jaNu jaNiyatosu / dijjai hariyaMdaNu ghusiNu sAru pijjai piyavayaNAmoyacAru / khijjai aNigloyAhimANu dIsaha suhisaMgamu rainihANu / naca taruNIyaNu kayapayAsu mahamahai cUyamayaraMdvAsu / ramma sohalau maNohirAmu vilasijjai dijai dhaNu pagAmu / paDupaDahasaMkhakAhalaninAdu aMtarivi caDai vaMdinahaM sahu / tahiM jo ki suhisayaNANurAu so dukkaru taho jammaNi vijAu / ghattA / ettahiM mahumAsaho AgamaNu ettahiM piyaputtasamAgamaNu / paramocchavi romaMciyabhuvaho muhuM viyasiu dhaNayattaho suvaho // 8 // jima titthu tema paMcahiM saehiM kiya bhavaNasoha nivvuigaehiM / ghari ghari maMgalaI paghosiyAI ghari ghari mihuNaI pariosiyAI / ghari ghari toraNaI pasAhiyAI ghari ghari sayaNaI appAhiyAI / ghari ghari bahucaMdaNacchaDaya dinna marukuMdavaNayadvaNaya painna / ghari ghari sareNuraipiMjarIu sohaMti cUyatarumaMjarIu / ghari ghari caccarikoUhalAI ghari ghari aMdolaya sohalAI / ghari ghari kaya vatthAharaNasoha ghari ghari AiDa mahAjasoha / ghari ghari sarUvaraMjiyamaNAI juvaihiM joiyAM sadappaNAI / dhattA / ghari ghari jalamaMgalakalasa kiya ghari ghari gharadevaya avayariya / ghari ghari siMgAravesu dharivi nacci varajuvaihiM uttharivi // 9 // taM gayauru so paurasamAgamu so siyapakkhu vasaMtaho Agamu / tAI niraMtarAI cUavaNaI tAiM dhavalapuMjaviyaI bhavaNaI / so bahuparimalaDa vaNatUraMDa piyasuhasIyalu dAhiNamAruu / sA purasoha kA uvamijjaDa jA pikkhivi surahimi radda kijjai / 1 A surahami rai dijai

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aTThamo sandhI jahiM ujjANapuraMI suhasaMciya dAhiNapavaNapahayakusumaMciya / jahiM marukuMdakusumasaMcaliyau daivaNayamaMjarIu navahaliyau / jahiM AyaMbiraphullapalAsau sohai nAiM palitu hu~vAsau / jahiM bahurasavisesavasakamalaI bahukusumaI dhuNaMti bhamaraulaI / ghattA / jahiM mAlaikusumAmoyarauM cuMbatu bhamaI vaNi mahuarauM / aimuttae vi jahiM rai karai so bAlavasaMtu ko na sarai // 10 // ettahe vi sA kamalamahAsiri maggu niyai thaNapanhupayAsiri / caMdaNachaDau diNNu jaNu pesiu ahimuhu maMgalakalasu nivesiu / paMgaNi vitthariyaI sayavattahaM dhariyaI dahidovvakkhayapattaiM / keNa vi kahiu asesu gaviTThau bhavisayattu jaNi kahiMmi na diTThau / taM nisuNivi sahasatti camakkiya udviya soyavaggidamakiya / gujjhAvaraNagUDha suNiuttahaM ghari ghari bhamiya nayari vaNiuttahaM / kAraNu kiMpi kovi nau sAhai para piyavayaNu cavai muhUM cAhai / jAivi tAma saMkhvaiM jAeM jaNaNivayaNasaMkeyasarAeM / ghattA / kara mauli karevi kavaDiM paNavippiNu siriNa / saMkhuhiyamaNeNa jaMpiu kiMpi sagaggariNa // 11 // pucchiu kusalu vayaNu thiu bhallau so kahiM tumhataNauM sathillau / bhaNai kuDillu aNujju avakau so annahiM dIvaMtari thakkau / keNa kiMpi samaggalu lesai kaihiMmi diNihiM sovi Avesai / taho jaMpaMtaho vayaNu paloivi thiya kavoli karayala sNjoivi| nau suMdaraI cavaMtaho vayaNaI thoraMsuyahiM niruDaI nynnii| kiu saMghaTu vihuru ciMtaMtie akusalu kiMpi jAu viNu bhaMtie / hA vivarIu jAu vihi duTThiya rulughulaMti sahasatti samuTThiya / . gharumi na patta samubhiyavAhihiM addhavahinji viNiggayadhAhihiM / ghattA / hA putta putta ukaMThiyahiM ghoraMtari kAli pariTThiyahiM / ko pikkhivi maNu anbhuddharami mahi vivaru dehi jiM paisarami // 12 // hA puvvajammi kiu kAI maI nihidaMsaNi jaM nayaNaI hayaI / hA putta nayari vaDAvaNauM mahu dINahi vayaNu dyAvaNauM / 1B puhai 2 A davaNayamaMjarijoM 3 B suvAsara 4 B etahiM vilAsa 9 A sahaahijAeM

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bhavisayattakahAe hA putta jaMtu viNivAriyau tAeM bahuvArau vAri yau / hA ehaI kahiMmi muhutti gau jaM valivi na dihu puNanna mau / hA puri chaNadiyahu samAvaDiu mahu dINahi duvvasaMtu paDiu / hA miliya sayalasayaNahaM sayaNa harDa muddha eka para diinnmnn| hA putta bAla kIlaI suhaI evahiM tAiMmi vinaDaMtu mii| hA putta hou dihi dujaNaho kima vayaNu nihAlami sjnnho| ghattA / hA putta putta paiM dutthiyaiM khalakhuddahaM ghaNu varisiu hiyii| maha puNu para evahiM jiNu saraNu lai hou samAhie sahaM maraNu // 13 // taM kUvAru suNivi domiyamaNu vibhiu kara malaMtu nAyarajaNu / dummaNavayaNu kahai annonnahu pikkhahu eu kAI aaynnho| dAruNu ruai dhIya hariyattaho na muNahaM kiMpi jAu bhavisattaho / ko vi bhaNaiM jai ehau jAyau to dhaNavaihi cittu vicchAyau / ko vi bhaNaI eu ko paDivajai AeM vaddhAvaNau na chajai / taM nisuNivi annikiM vuccai maMchuDDu eu sarUvahiM rucci| jAya bolla dhaNavaihiM gharaMgaNi tAhi vi saMka paIsai niyamaNi / eu na jANahaM kAiMmi kAraNu rovai kamala sadukkhau dAruNu / ghttaa| hA vihi ajuttu maiM sikkhaviu AeM maMchuDu taM tema kiu / kiu vayaNu sarUvahi dummaNauM avaloiu muhaM puttahotaNauM // 14 // to puravai galiaMsupavAhiM pucchai baMdhuyattu asagAhiM / aho jai bhavisayattu acchatau to vai sohalau mahaMtau / bhaNaI sarUa putta phuDa akkhahi evaDaMtari gujjhuna rakkhahi / naMdaNu bhaNaI ammi ko jANaiM so thiu dIviM tahiM ji pyaanniN| amhahaMsiya dekhaNahaM na sakA parihau mANu vahai sakalaMkai / thakku paija karevi ayANauM nau gharu jAmi nirannayamANauM / to dhaNavai maNAu avamANiuM virUau kiyau janna samANiuM / evahiM jo avamANiM thakkara taho ANivi sako vi askaa| ghttaa| taM vayaNu suNevi tavaMgi thiya bhavisANurUa maNi pajaliya / lai kahami sayalu eyaho cariu aNuhavau kiMpi dunnayabhariu // 15 // puNu vi dIhu ciMtavai mahAsai AeM paihari kajju viNAsai / vari appANu haNeviNu ghAiu maM paibhavaNi dosu uppAyau /

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amo sandhI 59 to vari kavi diI paDivAlivi pacchai marami dehu apphAlivi / ittahi suvvayAI duvvAsiri niyamuNivaraho pAsi paMkaya siri / purau paNA karAviya sA taho sAmiya eha dhIya hariyattaho / AyahiM kaMtu rUvaguNavaMta rAyasiTThi jo pauri mahaMta / aha teNa vi parihariya na joiya acchai dukkha mahanna viDhoiya / eka puttu hiyavaI sAhAraNu tAsuvi gau saMdehaho kAraNu / ciru a parasi vasaMtaho summaI vakta na kAvi jiyaMtaho / je gaya teNa samate Aiya tehiMmi kiMpi bhaMti uppAiya / ghattA / asahaMtihi puttavioyaduhu AyahiM diNu rayaNi vi nAhiM suhu / cheyayi para maggaiM maraNu maI ANiya tumha pAyasaraNu // 16 // bhaI muNiMdu pahiyarayaNattau acchai eyahi puttu jiyaMtau / diNi tIsamaI itthu Avesaha rayaNihiM pacchilapahari milesai / sukilapaMcami jA vaisAhaho tahiM rayaNihiM tahu Agamu cAhaho / maM maNi karau kiMpi ubvevara AyaeM puttarajju bhuMjivva / ajavi eha bhaNivvI rANI hosai bahunaravarahaM pahANI / tiM vayaNi ANaMdu paNacciya nisuNiuM jehiM tevi romaMciya / suvvaya bhaI karahi didu paccara jammasae vi na hoi asaccara | taM nisuNevi jAya dihi dehaho gaya kamalasiri parANiya gehaho / dhattA / thiya lIhau diti gaNaMti dina vayasaMjamaniyamaniuttamaNa / jai na milai suu tIsamaI diNi tA paisami pajalaMtai jalaNi // 17 // to dhaNavaivi pauru saMjoivi piyapAhuDaI auvvai Dhoivi / darisa niyanaMdaNu naranAhaho aMte raho vihUisaNAhaho / teNa vi kusala bhaNivi piyavAeM kiu sammANadANu aNurAeM / sAlaMkAru pauru parihAviu piyamahurakkharavayaNihiM bhAviu / paramAnaMda puNu vikayakajjiya niyaniyanilayahaM sayala visajjiya / siTThivi atulu mahAdhaNu joivi vibhiu puttavayaNu avaloivi / nimmalabuddhi suru viyappai hiyavaI dharai na payaDau jaMpai / sukayakammaphalasaMgaituliM Ayaho ikkaho rayaNaho mohiM / jaM dhaNu suviyakkhaNahaM milIsaha taM puri pahumaMdira vi na dIsaha / 1 B bhaNevi

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60 bhavisayattakahAe ghattA / aha viMbhara kijjai kAI maNi kayannahaM sijjhai kinna jaNi / puvvakiyakammanibaMdha kiya Nau tajjai jaM tiNavaMti si // 18 // to sava taralAviyanayaNI puttavihUisamujjalavayaNI / vahuahi samuha caliya malhaMtI purau pariTThiya piyaI cavaMtI / hali hali putti kAI thiya vunnI sA sakiyattha juvai kayannI / jA mahu puttaho karayali laggai sAamiyeNa viyAliDe maggai / tau sohariMga jaNu pomAiDa jAhiM majjhu naMdaNu aNurAiu / karu karaNi dhari piu jaMpiu to vi na bahuahaM hiyau samappiDa | to savalakkha samuTThiya rosiM vRttu kumAru sagaggaraghosiM / puta eha kulabahua tuhArI amhahaM niru loyaNahaM piyArI / akkhahi kAI bhaNivi vinnappai amhArisamANusahiM na kuppai / to visevi bhaNaI suhasevau ekku majjhu avarAhu khamivvau / annahiM dIvaMtari uppanI sayaNahiM vicchoiya suhaunnI / ubbAhuliyasaesaho acchai bhAsaha tumha nAhiM pariyacchai / eyahiM viNayAlAvi' valebvau vittaI pANiggahaNi karivvau / taM nisuNevi samAulihUae jANAviu dhaNavaihi saruvae / pANigahaNaucchau pAraMbhiu appAhivi pAyaiM jaNu thaMbhiu / dhattA / ghari pesivi nayarahotaNiya siya AraMbhiya garuya vivAha kiya / Ae bhamiuM sammAiyaho puri kaMdukkai aNurAiyaho // 19 // to bhavisANurU visamaTTiya ciMtA tuMgatavaMgi pariTTiya / gayauri hau piyayamu dIvaMtari joyaNasayaI aNeyaI aMtari / in har itthu kira saMgami jahiM saMcaru vi nAhi mahijaMgami / jittiu 'dukkhu majjhu taNu bhuMjai tittiu so vi kahiMmi aNuhuMjai / acchai samasamaMtu duhasAyari kiM muu jhaMpa dei rayaNAyari / viNu AsaI kimata sAhArami lai ghallivi gharasiharaho mArami / nisuNiuM tAma kovi pabhaNaMtiu paMkayasirihi paijja thunaMtara / mAsiM jai na milai niyaputtaho to appara muhi chuhai kayaMtaho / 1 B piyAliDa 2 B viNayAviNayeM

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navamI sandhI 61 dhattA / lAeM vi paDivajjiya sajja kiya kiu nicchau diyahaM gaNaMti thiya / dhaNavaI va pasAhiyasavvasiya thiu saMdhi samANivi aTThamiye // 20 // aSTamaH sandhiH caMda pahanAhu navivi parama sanbhAvarau / puNu akkhami jema bhavisayattu niyanayari gau // bhavisaho tilayadIvi nivasaMta ho caMdapahajiNabhavaNi vasaMtaho / dahayAduhasAyari majjaMtaho phAsUya taruvaraphalaI asaMtaho / sumari mANibhaddajakkheseM accuasaggasuriMdAeseM / ciru ADhatu Asi mahu vaNivaru jiNamaMdira nisannu mahigoyaru | suyaNu samapi mahu nikkhevara ehu sahaesabhUmi pai nevvau / so thiu ma tahiM mahAnaru nau sumariu vicittu cittaMtaru | na muhaM tAsu kavi gai vaha eu ciMtivi savilakkhu payai / caMdappahajiNabhavaNi parAiu jiNu paNavivi Alatu mahAiu / aho suMdara suhakammaniuttahaM kusalu tumha sakalattasavittahaM / dhattA / taM vayaNu suNeviM bhavisayattu vibhayabhariu / kiyavivihaviyappa tAsu samuhuM joyaMtu thiu // 1 // tA saMvarivi aMgu didu vIriM pariciMtiu avalaMbiya dhIriM / aNimisanayaNu aNovamu dittie maNuu na hoi ehu viNu bhaMtie / aha suviNIyavayaNu piyadaMsaNu hiyai chivaMtu karai saMbhAsaNu / vittakalattavatta vakkhANaiM ko sAvannu annu taM jANaI / aha dIvaMtareNa jai picchai to avaharaNu kinna pariyacchai / kiM so asaNiveu iyarUviM karai keli pacchannasarUviM / ko jANa bahumAyA bhariyaI eyahaM kavaDakuDillaI cariyaI / aha siDhilattaNi ko na nihammaI tA eyaho vIsAsu na gammaI / ghattA / avaloivi saMtu sAhaMkAru samAlaviu / ko tuhuM kiM nAmu kiM kajjiM AgamaNu kiu // 2 // to vaccai mANesarajakkheM mahu Aesu dinnu sahasakkheM / 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe kamalasirimunivayaNanissIkaraNaM NAma aTThamo saMdhI paricchebho /

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bhavisayattakahA akkharapaMti jeNa ciru dAviya jeNa tumha saMpaya darisAviya / teNa puvvasaMbaMdhahaM pesiu sAhammiyavacchallu payAsiu / niddAvasaru tumha nau bhaMjiu hauM kari levi payateM tajjiu / ehu mahu mittu annajammaMtari acchai paDiu garuyaduttaMtari / hosa jai vi thAu pariosaho tovi asamatthu gamaNi sahae saho / bahughaNasahiu samujjalamANiM paraM nivvaDa niyadivvavimANi / taM vIsariu tovi mahu cittaho gau ittara kAlu asarataho / evvahiM ta puti maNoraha hua siri sANurAya jaNavallaha / dhattA / caDa divvavimANi nayaraho levi asaMkhu dhaNu / taM garu jAhi pikkhahi suhibaMdhavasayaNu // 3 // eu ciMtivi niyamaNi pariosiM sumariGa divvavimANu mahesiM / Ayau dhagadhagaMtu gayaNaMgaNi suaNi diTTu jinAlaya paMgaNi / sohai raNajhaNaMtu kiMkiNirau ghavaghavaMtu ghagvarayamahArau / cauduvAracaupurayapainnau cai sumattavAraNayaravannaDaM / jAlagavakkhapakkhapaDiyakkhahiM vivihavicittarUvaraidakkhahiM / naM niyamaNimaUhakaya bheyahiM taMjjai taruNataraNitaruteyahiM / jaM kevina khalijjai dheyaho gayaNi pavaNasaMgahaparicheyaho / jaM niyakiraNahiM timiru vihaMDai jaM nivisiM bhuvaNaMtaru hiMDaI | dhattA / taM tuMgatavaMgu pikkhivi paMgaNi jiNavaraho / romaMci aMgu hiyavai phiTTa bhaMti naraho // 4 // taM pikkhaMtu muai maiviMbhau asthi kiMpi suhakammaho saMbhau / ias saMvihANuphalu dIsai lai maMchuDa suhisaMgamu hosa / paNiuM sAhilAsu jai ehau to taM kari paDivanniyanehau / ema tehiM jaMpivi piyavayaNaI puravarasaMgahiyaI bahurayaNaI / tamarayareNuviNAsaNasIlAI riDividdhisuhasaMgamalIlaI / divvAharaNasArasupasatthaI maNikaDayaI devaMgaI vatthaI / nAyamuddamaNipamuhavariTThaddaM maNi ciMtiyaI vimANi bahaI | varapallekasijja saMcArivi caMdappahu jiNavaru jayakArivi / khayariM bhavisayattu sarvvaM pesiu ma atulipallaMki nivesiu / 1 A corrected into camacamaMtavAraNa 2 B taka 62

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navamo sandhI dhattA / to ciMtiyamitta vivihakiraNamaNiveyaDiu / upami vimANu pharaharaMtu gayaNaho caDiu // 5 // ass vimANu yaNi maNijoeM jahiM sA taho jaNeri sahuM soeN| acchai maraNapaijjaiM saMThiya muNivaravayaNAesapariTThiya / diyahaI tIsa gayaI ciMtaMtie aNudiNu puttAgamaNu saraMtie / Aiya siyapaMcami vaisAhaho darisiyapujjamahima jiNanAhaho / suvvayakamalamahAsiri saMtiu rayaNi gamaMti bevi jaggatiu / chuDDa chuDDu taiyau paharu samAyau kamalaI chaDDiu maNi ummAhau / duhu valhavioi avahAriu paraloyaho didu cittu samAriu / meuli muNivayaNo mAhappiM khohiya suvvayAvi saviyapi / etahiM muNivaravayaNu na cukkai ettahiM khalu avasANaho dukkai / eha visamakAli saMpattai suhisayaNahaM raNaraNaI mahaMtae / to ujjou karaMtu nahaMgaNi jhatti vimANu paDiu gharapaMgaNi / ttA / taM pakkhivi titthu naTTha loya viMbhayabhariya | 6 paMkasari sAvi jiNu sumaraMti samosariya // 6 // gharapaMgaNi paMkayasiri dhAvai ajjiya jiNavayaNaI paribhAvai / bhavisayattu dhaNu ghara saMpesai mANibhaddu piyavayaNaI bhAsai / suvvaya vihiMmi jAma navakAriya to savilakkhaI sanna samAriya / hali hali kamali kamali kiM dhAvahi puttaho vayaNu kAIM na vihAvahi / taM nisuNivi rahaseNa padhAiya harisiM niyayasarIri na mAjhya / sarahasu dinnu saNehAliMgaNu nivaDivi kama kamalahi thiu naMdaNu / muhadaMsaNu alahaMtaI nayaNaI aMsu muAiyAiM jiha rayaNaI / levi sahatthi sa uTThAviu nayaNahiM muhadaMsaNasuhu pAviu / kira AsIsa dei suvarisiM tAma niruddhavAya aiharisiM / uccalivi muhakamalu niraMjai sannaI pavarAsIsa pauMjai / nimmacchauM karivi niyaputtahiM vahai khIru cauvIsahiM suttahiM / suhamaMgalajalakuMbha samvAriya dahiducvakkhaya siri saMcAriya / caMdaNavaMdaNAI maMgalai ema saiMmi kIyahaM sumahallaI / bhavisiM mANibhaddu saMbhAliu bahuparimalakusumahiM omAliu / 1 B mauliyamuhuM muNivaramAhappe

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64 bhavisayattakahAe ghattA / saMpesivi jakkhu bhavaNi viyaNu ekaMtu kiu / suhu kusalu bhaNaMtu bhavisu jaNerihi purau thiu // 7 // to AsIsa devi piyavAyae akkhiu kusalu savittharu mAyae / ajju kusalu bahusokkhahaM sAiu jaM tuhuM mahu gharapaMgaNi Ayau / taM ciMtaviu Asi tau aMgaho jaM nivaDau dujaNaho dusaMgaho / mahuMmi sarIri jIu savisesiM rakkhiu munnivrvynnaaesiN| annumi tau vioi saMjamanihi suapaMcami maI laiya mahAvihi / jaMpai bhavisayattu paripuMgalu hosai ridvividdhisuhmNglu| pucchai nihuasamAsapaDAyau baMdhuyattu kiM itthu parAyau / akkhai jaNaNi tAsu savvAyaho vaha mAsu ikku ghari aayho| teNavi atula mahAdhaNu ANiu rAeM paurasahiu sammANiuM / ghattA / aNNumi jaNi ghosu summaI ANiya teNa tiy| tahi vannaI lou kAvi aNovamarUvasiya // 8 // aNNuvi jaNi acariu paMyapai navi keNavi samANu sA jaMpai / nau vihasai nau taNu siMgAraha nau loyaNahaM aMsu viNivArai / acchai paDiya garuyauvvevai jaNu saMdehu karai jiivevvi| tahavihu taha vivAhu AraMbhiu teNa sayalu purulou viyaMbhiu / suhamaMgalajaNa jaNiyAyallaho Ayaru ajju atthi tahu tillaho / to pacchannapavitti samArivi niyayajaNeri samAsai vArivi / appuNu gau rAulaho turaMtau pAhuDu rayaNakiraNadippaMtau / nevi samappiu naravaranAhaho piyasuMdari mahaevi saNAhaho / teNavi so savisesiM joiu rayaNanihANu jema avaloiu / pabhaNiuM sAhilAsu kiM kijau bhaNaiM kumAra viNayavayaNijau / deva itthu tau nayari na eNavi mahu saMbaMdhu atthi sahu keNavi / so pikkhivvau paI majjhatthi joivi guNadosaI paramatyi / pattA / to jaMpai rAu ettiyamittiM kiM ghnnu| tau maggiu demi annuvi nIsaMdehu bhaNu // 9 // to jANivi nariMdu supasAiu puNaravi bhaNaI kamalasirijAyau / jaha pahu mahu pasAu aNuvallahi to pai sAravAsa mokallahi / taM nisuNevi turiu sANaMdi tajiya niyapaDihAra nariMdi /

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65 navamo sndhii| eyaho naraho viNayanayavaMtaho na karivvau nirohu pisNtho| takkhaNi gau kumAru paNaveppiNu acchiu taNu pacchannu kareppiNu / mAmahu maMdiri jaNu saMbhAsivi paNavivi kiu saMkeu samAsivi / jaNaNie vuttu puttu dihigArau tuha piuharaho Au hukkArau / ANiya jA kumAri badhuyatteM taho tillAyaru ajju payatteM / kiM tahiM jAmi kiM ta nau gammaI to vihasaMtu bhaNahaM suMdaramaha / ghttaa| tau akkhami mAe vaha itthu mahallaha / rakkhevvau gujjhu jAma paIsami rAyasaha // 10 // taM nisuNevi jaNaNi Ahalliya paripucchai harisaMsujalolliya / maI sahu putta gujjhu nau kijai jaM vittau taM savvu kahijai / bhaNaI kumAra vayaNi didu hojaho maM bAhiri jaNi ghosu karijaho / eha kumAri loi jA summai jAhi vicittarUvi jaNu ghummai / tAhiM vivAhu jAhiM AraMbhiu jAhiM kaji purupauru viyaMbhiu / sA mahu ghariNi tumha vahuAriya eNa khaleNa harivi saMcAriya / jaM pahaM vuttu Asi vinnAsiM taM ji eNa sacaviu hayAsiM / ciru hauM ghalliu eNa vaNaMtari dusahasIhasaDUlabhayaMkari / jahiM mANusu suviNe vi na dIsai jahiM dhIrahaM mi cittu bhaya bhIsai / ghattA / jahiM dhUmaMdhAri sUru na dIsai navi gayaNu / tahiM asaraNi ranni maI saMbhariu tumha vayaNu // 11 // tahiM vaNagahaNi bahalatarutaMDavi gamiya rayaNi aimuttayamaMDavi / pasari paDDu gahiru girikaMda taM laMghivi diTThau varapuravaru / maDhavihAradehurahiM ravannauM bahudhaNakaNayariddhisaMpunnauM / tahiM paisarami jAma bhayavajiu sunnauM taMpi gAmu jaNavajiu / hiMDiu taMpi sagehu sarAulu varatoraNatavaMgatuMgAulu / maNapariosakosarisAvaNu pAyaDapaurabhaMDabhariyAvaNu / tahiM dhavalAmalakevalavAhaho dihu bhavaNu caMdappahanAhaho / tahiM thuha karibi jAma khaNu acchami tAma varakkharapaMti niyacchami / sA uddesaI suhikannaMtari puvvavAsi paMcamaI gharaMtari / acchaha varakumAri suviyakkhaNa sA kari dharahi gaMpi suhalakSaNa / 1 A pavittiM 2 B deula'

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66 bhavisayatta kahA dhattA / gau teNa paheNa taM varamaMdiru paMcamau / ArU turaMtu maNaharu savvu suvannamau // 12 // titthu kumAri eha mahaM diTThI suhalakkhaNaguNarUvavariTThI / AyaeM saviNayAesavisiTThau niyakulu nAuM thAuM mahu siu / jima puru nisiyareNa ujjADiu jima pariyaNu asesu vibhADiu / majjha kumAri eha avainnI navi paDivanniya mami adinnI / Aiu asaNiveDa maNi khAriu paTTaNu sayalu jeNa saMghAriu / tevi mahaM samANu piu jaMpiu sahu kannaDaM varanayaru samappiu / ki vivAha mahu teNa sahAeM bArahavarisa thiyaI aNurAeM / puNu taM muvi vilatarutaMDavi saMciu vahivi davvu layamaMDavi / dhattA / tahiM viyaNi araNNi niyakulamaggi ahiTThiyAM / jidhammarayAI biNivi diyahaM kevi ThiyaI // 13 // tahiM ji sovi badhuyattu parAyau hiMDivi nidvaNu nivvavasAyau | bahu nidiu garahiu appANaDaM maImi khamiuM avarAhu cirANauM / puNaravichi laheviNu dhAiu taM dhaNu dhaNiya hareviNu Ayau / thiu hauM tahiM jivaNaMtari chaMDiu puNaravi taM ji paesahiM hiMDiu / taM ji nayaru puNaravi parisakkiu thiu jiNahari ahimANakalaMkiGa / sumariu mANibhaddajakveMdeM tahu ADhattu Asi ciru iMdeM / sarivi puvvajammaMtarakAraNu sAhammiyavacchallabiyAraNu / teNa sumittattaNu maNi bhAvivi ANiuM itthu vimANi caDAvivi / dhattA / taM suNivi jaNeri siri karapallava dharivi thiya / samasajjhasi hua nAI viNimmiya kaTThamiya // 14 // dukkhu dukkhu niyamaNi saMjoiu puNu puNu puttaho vayaNu paloiu / hA tahiM kAli putta maI vuttau gamaNu na eNa samANu na juttau / hA pAviTThi janna viNAsiu maMchuDa kuladevie AsAsiu / hAkima vaNi hiMDiu asahAya mahu putta ajju puNu jAyau / hA girikaMdari kema paiTThau hA sunnauM puru bhamiuM aNiTThala / hA puru sayalu jeNa saMghAriu kaha na teNa nisiyariNa viyAriGa / hA sunnaMgaNi hoi uvahau paribhamaMti nisiyariGa rauddau / 1 B siru karapallava

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navamI sandhI / hA para baMdhuyattu mahu saMjjaNu jeNa putta taDa ne kiu vimaddaNu / tAhivi sAhu sAhu kulabahuahiM sIlacarittaguNaMtaranihuahiM / jA evaDDu kajju thiu jhaMpivi paihari duvvAvaraNu viyappivi / nayariloDa para sukkhaI mANaI khalahaM pavaMcu mAi ko jANaI / ema karevi suiru kUvArau puNu puNu siru cuMbiu sayavArau / bhavisayattu vihasivi ullAvai ammi gahillI huI nAvai / dhattA / siMgArahi soha mailahi mANu samaccharaho / lai pANiuM dehi parihavadukkha paraMparahaM // 15 // ema bhaNivi pariosiyagattiM darisiGa jaNaNihiM pulau varhati / ANi jaM taho nayaraho hoMtau vatthAharaNu rayaNupajalaMtau / jaM na caDai aMgi sAmannaho aha kurujaMgale vi nau annaho / jaM kakohalu amariMda vi jaM sohaggarAsi jaNaviMdi vi / taM dakkhaviu jaNaNi AnaMdivi uhayakarihiM payajuvalaDa vaMdivi / pahiri mAi iu tujjhu ji joggau sayaNaviMdi payaDAviyabhoggaDa | taM pikkhevi jAu suhasaMgau kuMkumeNa uvvahiaaMgau / puNu vijakkhakamiNa pasAhiu tilau samArivi dappaNu cAhiu / aharaI dinnu malivi alayajjalu loyaNajuyali nivesiu kajjalu / dhattA / niyaputtavidattu pikkhivi atula mahAvihau / afe siMgAru paiparihau pariharivi gau // 16 // kamalaI puttapayAvaphuraMtie laiDa divvu AharaNu turaMtie / baMDu Dilli alakkhiyanAmau uppari pIDiuM rasaNAdAmau / mukkara kiMkiNI nau saMkiu bharivi rayaNakaMcuvau taDakkiu / muDamalajuli u channaDaM kaMbu kaMThakaMlie ravannajaM / pINaghaNatthaNamaMDala hAriM siru dhammillakusumapansAriM / kannahiM kuMDalAI AhadahaM uppari veDhiyAI pahaciMdha | pUriu rayaNacUDu maNivalayaho dinnaI keUraI bAhulayaho / aMgulIu maNimujjAvattau vIsahiM aMgulIhiM pakkhittau / paya maNibaddhaya neurajuvalau suhasaMjaviyamahura ravamuhalaGa / jaMghAjuyali rayaNapajjatta kaDiyali rasaNa kaNayakaDisuttau / 1 B kiya vimada 2 A maNibaddha hiM

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bhavisayattakahAe muhi maNicUDaho kaMkaNajuyalau sohiu addhahAri vacchayalau / emAharaNu levi savisesiM thiya naMdaNaho niyaDi pariosiM / ghttaa| pikkhaviNu tAhi aMgaI mynnukovnnii| railaDarasAiM thiu viNivArivi loyaNaiM // 17 // najai puNuvi tAhi suhiyaMtaru ajavi eu kajju duttarataru / varatiyavihau jaivi amhArau to vaccai pavaMcu vaDDArau / evahiM eu pauru dariseviNu levvau rAyaMgaNi paiseviNu / jAhi tAhiM darisahi suhisaMgau sahuM dujaNahaM cavijahi caMgau / iha lai nAyamudda dihigArI tAhi samappahi pANapiyArI / to saMcalli karivi dihi dehaho gaya malhaMti mahAsai gehaho / nAyarajaNamaNa saMkhohaMtI thiyamaMtharaciralIla vhNtii| divvAharaNavihUsiyadehI kiM sA hoi na hoi va jehI / vijjulakaMtisamujjaladittI niyayajAyavavasAyasaittI / Ayallau jaNaMti paipariyaNi jhatti paiTa savattihiM paMgaNi / ghattA / taralAviyanitta sArabhUa varajuvaijaNi / pikkheviNu patti dhaNavai vibhiu niyayamaNi // 18 // kaMtihiM taNiya kaMti pikkhaMtaho mANu maraTha galiu varaittaho / ciravilasiyaiM vicittapayAraI sumarivi nehnirNtrsaarii| pikkhivi tahiM lAvannu visesiM khuhiya savatti smujjlvesiN| uvalakkhiu cittaMtari bhatie Ayau bhavisayattu viNu aMtie / ehAharaNasoha siMgAraho dIsai kurujaMgalivi na annaho / annuvi vayaNu suTu supasatthau maMchuDDa sovi jAu sklttu| eu ciMtaMtihiM mANu kalaMkiu taM pikkhivi parivAra vi AsaMkiu / puNu dhaNavaihiM vayaNu avaloiu puNuvi savattihiM samuhaM paloiu / ghattA / maNi saMka paiTa mailiu cittu sdullliu| hua sAmalachAya dAiyajaNaho gavvu galiu // 19 // dinnu saruvaI ucu varAsaNu kiu dhaNavaiNa kuDilasaMbhAsaNu / jaivi savatti samiDa na ruccai to niru nIsaMdehu na muccai / kamalaI na kiu vayaNu avaleviM pahau kaDakkhu pakkhu vikkheviM / vuttu saruva vivajjiyasaMkau darisahiM kulavahuyahiM muhapaMkau /

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navamo sndhii| bhaNaI savatti kAI taho dIsai nau AlavaNu karai nau viyasai / sA keNavi mANusiNa na kuppai jai paracAru lahai taha jaMpai / taM nimuNevi vayaNu vihasaMtI vahuahiM samuhaM caliya mlhNtii| tAeM ji dUraho ji pariyANiya divvAharaNavisesiM jANiya / uTThiya samuhuM karivi paNavAiu pucchiya tuDu puttu kiM Ayau / ghattA / parihAsaI tAhiM karivi sanna hiyavau bhariu / puNu vAlivi diTTi baddhamuTThi pacchannu kiu // 20 // taM nisuNivi juvaIyaNu halliu kiu vibhau avarupparu bolliu / bhaNaI saruva eu tau siddhau jaM kiu vayaNu paNAmasamiddhau / jaMpai kAvi ayANiyakaraNiM tosiya vahu anavallAharaNiM / annaI vuttu jAu niru caMgau jaM pariosiu vahuahiM aMgau / anna bhaNaI ucchaviNa bahuttiM Ayaru tilli karahu sumuhuttiM / annahiM samuhu samAsiu muddhai kiM kijai viggovau suDai / tAiMvi paMguraNaho asaMtari lAiu tilla hasivi cittaMtari / anniM tahiM paMguraNu vivattiu diTTau ciru kararahavaNapaMtiu / annaI aharau nayaNakaDakkhiu anniMvi hasivi annaho akkhiu / annaI vuttu nihAlivi aMgau Ayaho kahiMmi tillu ciru laggau / ghattA / muhi aMcalu devi hasai samubhaDu taruNiyaNu / lai lAyaho tillu bAlahiM ubhaMkhariu taNu // 21 // . anna bhaNaiM maM hasaha varAI meM kuNa macai sutta varAI / anna bhaNaI niyakavavihullI viNu suttiM kiya gali kaMcullI / anna bhaNai maM karaha vihAsaI ko jANaI viesaparihAsaI / maMchuDDa tahiM dIvaMtaranArihu savvahu ehAvatthakumArihu / anna bhaNaI pacchanna samArahu ubbhaDavayaNavAsu avahArahu / taM nisuNevi bahugguNasuaihiM kiu pacchannu mahaMtarajuvaihiM / lAiu tillu sumaMgalasahi bahu saMghaTa juvai aannNdi| gaya kamalasiri pAsi niyaputtaho kahiu savvu aNurAiyacittaho / etthaMtari nayaviNayaniuttaho ciMtaMtahu dhaNavaivaNiuttaho /

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bhavisayattakahAe ghattA / suviyappanirohi maNu saMvaraNAyAri thiu / navakArivi nAhu navamauM saMdhipavesu kiMu // 22 // navamaH sandhiH 70 : rAyagaNi gapi paDivi duTThaho duccariu / taM nisuNahu jema bhavisayatti jasu vitthariGa / dAiyaduSpavaMcu Ayannivi mANakasAyasallu maNimannivi / hariyattaho saMkeu samAsivi kamaladalacchi lacchi saMvAsivi / niyayajaNerivayaNa saMpesivi puvvAvarasaMkeu gavesivi / bahu navala pAhuDaI samArivi caMdappahu jiNavaru jayakArivi / niggau vaNivariMdu pahuvAra ho bhaDathaDanivahavisamasaMcAraho / jahiM gaya gulugulaMti pihU jaMgama hilihilaMti tukkhAra turaMgama / jahiM maMDaliyasakkasAmaMtahaM nivaDai kaNayadaMDu paisaMta / galai mANu ahimANu na pujjai niyasacchaMdalIla nau jujjai / jahiM anbhojaTTajAlaMdhara mAruaTakkakIrakha sababbara / Hodi kuMgaverADavi gujjaragoDalADakannADavi / iyaemAi auvva vasuMdhara avasaru paDivAlaMti mahAnara / ghattA / sAmaMtasaehiM jaM sevijjai rattidiNu / taM yaduvAru pikkhivi kAsu na khuhai maNu // 1 // taM bhaDathaDavamAlu AsaMdhivi tinnivi sIhabAra gau laMghivi / diTTu nariMdatthANu dusaMcaru sAvalevanaranivahaniraMtaru / naravai savvAvasarapariTThi diTTu kaNayasiMhAsaNi saMThiu / parimitaM niviDativihaparivAriM jahiM osAsu vi nau siMgAriM / taM atthANu alIDhaI laMghiu puNu pahupAyamUla AsaMghiu / karivi paNA paNayasirakamaliM pAhuDa purau samappiu amaliM / as sammANadANu saMbhAsaNu saI rAeM devAviu AsaNu / cAmaragAhiNIu avaloiDa pahuparivAru sayalu Amoiu / ghattA / to bhAI nariMdu karahi vayaNu saMkhevagaDa / so ANami itthu jeNa samau saMbaMdhu tau // 2 // 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamIphalavaNNaNAe bhavisadatta hatthiNApurampaveso NAma Navamo sandhI pariccheo sammatto //

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dasamI sndhii| to karakamalakayaMjali hatthe pahu vinnaviu viNayamukayattheM / purapaurAlaMkAraniyatteM dhaNavai kukkAvaho siu putteN| taM nimuNeviNu vayaNu kumAraho lahu Aesu dinu pddihaarho| pahuAesiM sovi padhAiu ghaNavai puttasahiu nijjhAiu / Avahu pauru laeviNu sArau rAuli asthi tumha hakArau / vAiu kovi Au sunibaddhau tahu tumhahaM samANu sNbNdhu| pabhaNaI rAyasihi avisannauM amhahaM niru vivAhu AsannauM / rAuli paurakamma saMkhevvau vittai pANiggahaNi karivvau / tiM vayaNiM viNiyattu akheiu vayaNu gaMpi naravaihiM niveiu / sihi vivAhAraMbhi samAulu na saraha khaNu vi saraMtaho raaulu| ghattA / to vayaNu phuraMtu bhavisayattu vinnavai phu| paisaMtaho itthu phusami vivAhAraMbhu tahu // 3 // taM nisuNevi camakkiu rANauM pahu Aemu sakakkhaDamANauM / pesiu kuruDDu samaccharu dUvau sovi tAhaM AsannIhUvau / dhaNavai sayalu kajju Amillaho sahuM pariM rAuli sNcllho| taM nisuNevi siddhiM Ahalliu kakkhaDavayaNaviyapi salliu / sammANivi dUvau baisAriu appuNu baMdhuyattu osAriu / dIsai kAraNu kiMpi asArau aikakkhaDDu rAuli hakkArau / jai paraesi kiMpi kiu kucchiu to kahi karahaM kajju ko Nacchiu / paisivi rAuli samau sahAyaho pahu pariosahu~ laggivi paayho| ghattA / phuDDa kAraNu kiMpi mahu niyamaNi uppannu bhau / ehaI dUeNa nau hakAriu kahiMmi hauM // 4 // taM nisuNivi pariciMtai dAiu paMcahaM sayahaM majjhi ko vAiu / jaMpai mammaccheya sahuM rAeM kavaNu gahaNu mahu teNa vraaeN| dukkami teNa samau ikaMtara iu citaMta dinu pddiuttru| caMgau vayaNu tumha paripucchiu maI paraesi kAI kiu kucchiu / ghari appaNaiM tAma kali kijai pacchai puNi rAuli paisijjaha / paMcahiM sayahiM samau jaMtara teNa samANu gaNaMti viddhttu| kovi rAuli paiDa pahu raMjivi vaMchai taM sammANu vihaMjivi / 1 B cavaMti

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bhavisayattakahA jai taM tAhaM vihaMjivi dijai tovi rAuli vi nAhi paisijjai / kavaNu gahaNu kira ehiM varAyahiM kAurisahaM aTThapaDivAyahiM / bhaMjivi paMcasayahiM jo pammuhuM paisivi rAuli karahaM parammuhuM / ghallivi paMca visaya daMDAvahu jo jaMpai taho siru khaMDAvahu / dhattA / to bhAI puresu vaha tAma eDa karahu / rAyaMgaNi gaMpi pisruNaho pisuNattaNu haraho // 5 // to naMdaNapavaMcamohiyamaha salu pavaru melAvai ghaNavai / gaurAulaho garupasaMkhohiM amuNiyakajjAkajjavibohiM / sahaM puttiM pahupura pariTThiu sAhaMkAru vi sAru aNiTThiIu / fer naravas Ave dhareviNu bhavisayattu pacchannu kareviNu / vaNivaru paNayasagaggiru jaMpai AsaMghai rAulai samappai / jai avarAhu tovi nau jujjai jai suhi to ehau kiM kijjai / kajjAraMbhi maNorahavaMtae kijjai vigghu pisruNi pavahaMtae / vihasivi baMdhuyattu paDivakkai amha riddhi jo sahivi na sakkai / so paccakkhu pura basArahi sudiDhavayaNasaMkaDi paisArahi / ki pesunnu jeNa bhayabhIsiM aMtaru tulami ajju taho sIsiM / dhattA / huMkAru muvi bhavisu pariTThiu taho samuhuM / 73 ihu so paDivakkhu karahi vayaNu jai atthi muhuM // 6 // to huMkAru karevi sunigbharu jovai samuhu jAma bahumaccharu / tAmva kumAraho vayaNu niyacchiu jhatti vilINu lihivi naM pucchiu / lajjai samuhuM nievi na sakkiu niyaduccariyahaM mANakalaMkiu / nau paDivayaNu karai nau paNavaha mauliyavayaNakamalu thiu dhaNavaha / rAeM paMca visaya hakkAriya kokkivi niyaDi purau baisAriya / tehiMvi bhavisayattu avaloivi lajjai samuhuM na sakkiu joivi / paccAriya sayalavi bhUvAliM aho kiM tumhi giliya kalikAliM / muhi saralahaM abhaMtari ghorahaM dIsaha tumha cariu jaM corahaM / pahuvayaNi ANioyaNiuttahaM pAseiu sarIru vaNiuttahaM / ghattA / hui chAyAbhaMgi thorapalaMbubbhiyabhuiNa / piyavayaNu cavevi maM bhIsivi dhaNavaisuiNa // 7 // deva deva eyahaM avihAyahaM na karivvau avarAhu varAyahaM /

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do sandhIM jAmahiM pahu avahieM parisakkai tAmahiM bhinnu dharevi na sakkai / to pucchiya piyavAyaeM rAeM tehiMmi kahiu sayalu aNurAeM / purau pariTThiya binni mahaMtara tehiM nivezya vAya niraMtara / aho rAyAhirAya paramesara amhaI kuli jANijjahaM vaNivara / suau na suNahaM na diTThau dekkhahaM kima evaDDu vayaNu tara akkhahaM / jaM ki eNa kammu aviyAriu taM jaNavailajjaNauM nirAriu / piyaritullu jo baMdhau buccai so kimva vaNi vaMceviNu muccai / tahiMmi ehu punnahiM na samattau huu sakalattu mahAsiyavaMtau / dhattA / amhaiMmi bhavaMta niDaNa nivvavasAya hua / dummaNa dummArueNa dhua // 8 // gaya taM ji pa taM piyavayaNu cavaMtaho Ayaho khamiuM eNa bahuviNayasahAyaho / NiyasajjaNasamiddhi darisAviya paMcavi saya bhoyaNu bhuMjAviya / sammANivi parihAviya vatthaI niyayadhaNaho bhariyaI vohitthaI / ravi aNu tahiM ji ghaleviNu Ayau atulu mahAdhaNu leviNu / aha pahupurau u kimva sIsai cheyaMtari pesunna hosa / binniva tu maNanayaNANaMdaNa kamalAevisarUva hi naMdaNa | hosai taM ji tema ghari tumhahaM vajjadaMDa nivaDesai amhahaM / taM niNivi vihasiu naranAhiM piyasuMdarimahaevisaNAhiM / bAlau varavilayahiM avaloiDa savveM pahuparivAriM joiu / dhattA / AliMgiDa levi rAeM nehaniraMtariNa / aDANu dinnu puvvasaNehaguNaMtariNa // 9 // puNu puNu pahu darisara niyaloyaho aho navala paDivAiu joahu / ehu su dhaNavaiputtu mahaMta kamalahiMtaNauM suThu guNavaMta / maI kAlaMtareNa nau nAyau aho loyaNaho dinnu aNurAyau / bAlau itthu ehu kIlaMtau cariyahaM suThu suhAvau hoMta / poDhavilAsiNIhiM rujjhatau ekkikaI samANu jujjhatau / bahusiyahAratAra toDatau suniyatthaI vatthaI moDatau / siMhAsaNasiharovari thaMtara cuMbijaMtu kavolaI khaMtau / vaDDhi mAmahaM sAli asaMgamu bahukAlaho saMjAu samAgamu / emvahiM karami tema savisesaNu jema kayAvi na hoi adaMsaNu / 10

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bhavisayattakahAe to piyasuMdarIhiM avaloivi thiya niyaduhiyahiM vayaNu paloivi / ghatA / tahiM kAle sumitta rAeM tAsu paridRviya / sammANivi loya niyaniyanilayahaM paTTaviya // 10 // dhaNavai baMdhuatta rakkhAviya jaNi garuyAvarAha lakkhAviya / maMdiri kaDayamudda saMcAriya vihaDapphaDa saruva osAriya / bhavisaho sayaNaviMdi dihi darisiviparamucchavighaNu hiyaI pvrisivi| rAeM paurupamuhuM bollAviu tuhmahaM aiu kajju saMbhAviu / ehu siTTi purapauri mahaMtari Ayau coru chuhivi kakkhaMtari / didu tuhmi dhiTTattaNu Ayaho taMpi karevi caDiu paricheyaho / maMDivi aMgu atulu bhayabhIsaho darisiya vihimi saMdhi niysiisho| evahiM thiya avaheri kareviNu jaM kijai taM bhaNaha milevinnu| ghattA / to bhaNiuM samUhu siru vihuNaI ghummaI cavai / aho dekhaho tumhi kammahaMtaNiya vicittagai // 11 // to kAraNu pariciMtivi bhAriu maivaMtehiM samuhaM osAriu / karaha vayaNu samavAyasamuccai ehaI kAli kAiM pahu vuccii| jaMpai kovi purAiyakammahu aiyAriM pahu jAu parammuhu / bhavisayattu ahieM sammANiuMsiTivi chAyAbhaMgaho ANiuM / kovi bhaNaiM aviyANiyakhatteM ahu ajuttu kIyau vadhuyatteM / pariNa viDhattu harevi asArau kima vuccai dhaNu ehu mahArau / anne vuttu pauramAhappeM aIkammaho kira kAI viyappeM / evahiM vayaNu kiMpi taM vucai jeNa sihi sahuM puttiM muccai / ghattA / pariciMtivi kajju ekAyAru karevi lhu| paDigAhivi siTi puNu pauriM vinattu pahu // 12 // thAivi parapamuhaM paDijaMpai deva deva pauriM vinnappai / dhaNavai kurujaMgali vipahANauM tau ghari suTTha samunnayamANau~ / so annAyakAri jaM vuccai taM pauraho na maNAu vi rucai / jaha annAu tAsu maNi bhAvai tA kiM pura pauraho vi pahAvai / eka sarIru bibhAyahi huttau tihiMmi tAhaM sAmannu viddhttu| baMdhuyattu corattaNu pAvai jai annaho dhaNu leviNu Avai / 1 B eka 2 B arkataho 3 B tibhAyavihittau

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dasamo sandhI bhAihuM puNu avihatthu haraMtahaM dAiyamaccharu hiyaha dharaMtahaM / . niggahu tuhmi tAhaM na karivvau parajIvAvahAri jIvevvau / ghattA / pariyANivi leu bhavisayattu appaNauM dhnnu| Amillahi siTTi karau puttu pANiggahaNu // 13 // jaM vinnattu paurasaMghAeM taM ji tema paDivajiu raaeN| baisahu bhavisayattu bollAvahu avarupparu saMtosu karAvahu / to saMgiliu pauru appAhivi dhaNavai puttasahiu paDigAhivi / aho aho bhavisayatta bahumANauM tuhu~ amhahaM bhUvAlasamANauM / baMdhuyattu jaM leviNu Ayau taM dhaNu ghari saMvaria vihaayu| jaM vaNagahaNi khittu aNioyaho taM avarAhu khamahiM puraloyaho / bhaNaiM kumAru kayaMjalihatthau mahu niyajammu ajju sakayatthau / jaM puraloeM vayaNu karAviu karahu kiMpi jaM mayaraho bhAviu / je gaya tahu sahAya te pucchivi pANiggahaNu karahu pddiycchivi| pattA / puru pucchai tevi karahu kajju jaM jema thiu / to tehiM milevi tajivi didu saMkeu kiu // 14 // gujjhAcaraNasIlasuniuttahiM diDhu samavAu karivi vaNiuttihiM / suaNattaNaguNeNa jaM rakkhiu taM pi abhau maggeviNu akkhiu / aho purapauri kema sAhAriu ajavi ehu kajju niru bhAriu / kahiM vivAhu kahiM suha vadhuyattaho kahiM nivvui samavAeM gottho| eha varajuvai thAi jA sArI sA gehiNi bhavisattaho kerii| aho paramesari mAya mahAsai nAmaggahaNi tAhi duhu nAsai / kAI na vuttu eNa duviyappeM tovi na caliya sIlamAhappeM / vuccai tehI nAri paivvaya hua paJcakkha mahAjaladevaya / dhayavaDa bhaggu bharivi duvvAyaho hallohaliu cittu saMghAyaho / jhallojjhalliu salilu rayaNAyari sayaluvi jaNu buDDatau sAyari / tAhiM samAsi eNa sAhAriu jAmahi baMdhuyattu osAriu / ghattA / paNavaMtai loi jai uvasamu na karaMti si|| to vuDDuiM Asi hua savvahaM khayakAlagai // 15 // ehAvattha jAya jaNaviMdaho velAuli uttarivi samuhaho / AeM amhi dharivi niru tajiya thiya kulakittikalaMkaho lajjiya /

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bhavisayattakahA kahiMmi ko vi kAmi na payAsai thiya bhoyaNu parihariSi mahAsaha / amhaI dukkhu dukkhu tanhoviya osahamita gAsu ginhAviye / . AviNu suhiyaNahiM dakkhiya kannakumAri bhaNivi jaNi akkhiya | paisAri ghari garuyavihoeM thiya saMghaTTu karivi paisoeM | gaMbhIrattaNeNa nau akkhar3a paihari kulaho kalaMkara rakkhai / eva MtareNa jA acchai sA ji ehu pariNevai vaMchai / sahiM taha vivAha pAraMbhiu etthaMtari erisau viyaMbhiu / tilamitva jai aliyau Ayaho to amhaI micchittaparAyaho / nisuNeviNu vaNiuttaho vayaNaI thiyaI kanna jhaMpivi suhisayaNa | ass garuA nariMdaho joiu samuhuM kuruDabhaDaviMdaho / osArevi bevi dubaMdhaho aNuhavaMtu phalu dunnayaraMdhaho / ghattA / gayauru savilakkhu aMsujalolliyaloyaNaI / suhisayaNasaehiM ghari ghari kiyaI abhoyaNaI // 16 // ghari ghari haTTi haTTi jaNu jUriu bhagga maDappharu hiyai visUriu | hA vihi jAu muTu vicchAyau jaM jammahovi na keNavi nAyau / jo rAula purapaure mahAyau tAsu malittu kema ghari Ayau / jaMpai kovina eyaho agge eu savvu dupputtaho saggeM / kovi vaha parivaDiyakherau eu pavaMcu sakhvahikerau / bhavisayattu bullAvirAeM sahuM mANi vaDDiyaaNurAeM / karahi kiMpi jaM jujjai AyahaM dunnayadosaviDaMbiya kAyahaM / taM nisuNeviNu vRtta kumAriM iu lajjAvaNijju aiyAriM / aha ahahaMmi eDa kiM jujjai jaM iu evaDuMtaru kijjai / ghattA / asamaMjasu kajju ehau kiMpi samAvaDai / 76 jaM thoilayaMpi duttari duppavaMsi paDai // 17 // maNamalittu kiM kAsuva bhAvai aha puvvakkiu kammu karAvai / jAmahiM kajju dusaMkaDi Avai tAmahiM suaNattaNu na pahAvai / dukkaru kajjAkajjuviyArahaM rAulu dappasADu duvvArahaM / jaM pahupurau viyAri na bhaMjai taM iharatti parattivi chijjai / 1 B saMtAviya 2 B gAhAyiya 3 B kijjai

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77 eyArahamo sandhI evahiM mahu sammANiM jujjai nikkau puraparivADie kijjaa| jaivi tumha pahusattie channai tovi suMdara jaM puru paDivajai / tau sammANu jaivi maiM pAviu puru avarAhi jaivi saMbhAviu / tovi majhu maNu eu na mANaI nau sohai viNu pauraho ANaiM / na lahami suddhi dehajaNigAriya vimuhiM pauri jaNaNiM baMdhAriya / hasai nariMdu palaMbiyasADahaM suhiyau hoi pavaMcu kirADahaM / na cavahiM kiMpiaNujjuavittihiM na calahiM euvi ikku viNu nittihiM / ghattA / suNivaDanioi ihaparaloyavisuddhamai / dhaNavAlavi hovi na karahiM khaNuvi pamAyamaI // 18 // - dazamaH sandhiH / saI carahiM laevi naranAhiM pauraho samauM / taM nisuNahu jema sammANiu dhaNavaitaNauM // pahupasAyapaDivannaniraMtara salahai jAma nariMdu mahAnaru / itthaMtari varapurisa padhAIya paddaNi cAru carivi sNpaaiy| pucchiya kahahu kema ko acchai pisuNahaM kAI kAsu ko picchai / kAI kAsu duccariu samappai ghari pacchannu kAI ko jaMpai / duvvAvAru kAI ko mANai aisayavaMtu kAI ko jANahaM / taM nisuNevi kovi caru bolliu paTTaNu sayalu deva Ahalliu / ghari ghari niyakammaI paricattaI ghari ghari aNsujlolliynittii| nayaru sabAlaviDa thiu siyahari acchai miliu thANi siriyAhari / kayavikkaya sarosa vibhADiya AvaNi AvaNi mudda bhamADiya / kiyaI devamaMdiraI apujjaI jAyaI puravaMdiNaI annujjii| jaMpai sayalu lou ikvammuhu hAhAkAra karai vaMkai muhu| bhaNivi niviDu ekkacau kijai viNu dhaNavai na nayari nivasijjai / jai avarAhu khamiGa nahu rAeM to nIsarahaM samau sNghaaeN| ghattA / taM vayaNu suNevi Aesiu karaNAhivai / / 1Cadds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisayattarAjasabhApaveso nAma dasamo sandhI priccheo| 2 B parAiya

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bhavisayattakAe kokkAvivi loya pariosai sacchaMdgai // 1 // naravai paurupamuhuM melAvaha karahu kiMpi jaM tumhahaM bhAvai / bhavisayattu savvaI avagannaI paura hotaNauM vayaNu parimannaI / evahiM ho saMti samAraho sahuM sayaNihiMmi dihi paisAraho / taM niNivi purapamuhiM vucca devasiTThi sammANivi muccai / bhavisayattu niyakuli paisAraho baMdhuantu baMdhivi nIsAraho / so khalu pAvakammu mayamatta kulaphaMsaNu duvvasaNAsattau / aharai jAsu viNAsiyadhammaho so aNuhavau phalaI dukkammaho / tAsu viDaMvaNAI jaM kijjai teNa pauri kovi na dUsijjai / jaM puNu dhaNavaha baMdhaNa pAvai eu devapaTTaNaho na bhAvai / ghattA / milleviNu siTThi pujjahi bhavisayattu bhavaNi / nava annaM deva dihi saMpajjai paurayaNi // 2 // jaM vinnattu paurasaMghAeM taM ji tema paDivajjiDa rAeM / etthaMtari karamauli kareSpiNu bhavisayattu vinnavaha naveSpiNu / aho naravai nariMdasayaparimiya aho puri pauraloi suhakammiya / annuvi kiMpi jAmba na visappai tAmva ya tumha purau vinnappa | taM navi saMvihANu hayagIvaho jaM saMbhavai nAhiM jagi jIvaho / aDasarIru loi jo sajjai jahiM erisau sovi paDivajjai / tahiM annaho kira ko vIsAsau caMcalu nehu piyammu asAsau / eha kumAri bhaNivi jA uttI amhahaM jaivi Asi kulauttI / majjha samuddaho jaivi na bhuMjiya paMcahaM sayahaM jaivi maNi raMjiya / jaivi kovi guNadosu na najjai tovi nAhiM mahu maNu paDivajjai / dummaidosaviDaMbiyakAyaho nivasiya tIsa divasa ghari Ayaho / kallaI jaNu jaMpaNauM karesai kulahaM kalaMkasaMka viyaresai / AhuM tAmasAvi sahamaMDavi bollAvaho mahalla tiya taMDavi / karahu parikkha kAvi jA jujjai ghari saMgahami sIli jai pujjai / aha khaMDiyacAritta piyammaho to aNuhavau phalaI niyakammaho / ghattA / to paurayaNeNa bhavisaho vayaNAlAva thua / 78 aho caMdaho jonha kiM mahalijjai dUri hua // 3 // to rAeM jayalacchi vilAsiNi pauriM caMdaleha piyabhAsiNi /

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eyArahamo sandhI bevi tAma pariciMtiyalakkhau kjaakjviyaarnndkkhu|| vivihaviyappasaehiMmi gUDhau kuDilavayaNu paDivayaNaamUDhau / punnimaiMdaruMdamuhavaMtau bipiNavi vihiMmi tAu aannttu| dIvaMtaraho juvai jA ANiya jA khalabaMdhuyatti avamANiya / tAhi gaMpi muhakamalu nirikkhaho vayaNiM vayaNaviyAru parikkhaho / viNaeM itthu laeviNu Avahu cariyavisesu pauri saMbhAvahu / taM nisuNivi jayalacchie vuccai saralasahAvahaM jaivi na ruccai / amhaI tovi pavaMcu karivvau sovi tumhi khalu hiyaiM dhrivvu| vihasivi hatthutthulliu rAeM vihasiu taM ji pursNghaaeN| malhaMti binivi saMcallau mayaparimalagaMjolliyagattau / kIlaMtahaM taM bhavaNu paIsivi diha juvaipariyaNu maM bhIsivi / he juvANajaNamaNaviddAraNi puru saMdehi caDiu tau kAraNi / muhai tujjhu gau cheyaho mANauM lai joyahi dappaNu appANauM / mANiNi mANi taruNu kusumAuhu valivi na dihu kajju vivarAmuhu / baMdhuattu rAeM sammANiuM bhavisayattu jaNi bhaggaho ANiuM / jAvi tujjha ciru Asi piyallau parihari tovi tAsu Ayallau / aha tau pakkhavAu tau taMDavi to kari vayaNu gaMpi shmNddvi| ghattA / to paDhamauM tAhiM savvaMgai romNciyiN| puNu jhasivi gayAiM nAI visAeM khNciyiN||4|| taM nisuNivi ciMtavai mahAsai mAi kajju vivarerau dIsai / aha ehau ji kinna saMbhAvai jaM mahu karai taM ji jaNu thAvai / lai paisarami parajaNaviMdaho vayaNu karami atthANi nriNdho| avasaru asthi maraNasaMkeyaho jai paija niviDai na cheyho| kheviu ettiu kAlu piyAsaI evahiM lajjAkajju vinnaasi| iu ciMtaMti viyakkhaNajuvaihiM olakkhiya uvalakkhaNasuaihiM / na kiu vayaNu saMcaliya maDakkA paiparihavaduvvayaNacaDakkai / ghattA / pariharivi nioi sasurajiTThadevaravi sy| paiparihavarosi vipphuraMti pahupurau gaya // 5 // to vegiM jayalacchi padhAiya sahamaMDavi atthANu praaiy| naravai niyaDa hoi AhAsai deva deva niravikkha mahAsai / amhaiM visarisavayaNaviyappiya AvaI niru aavesviyppiy|

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bhavisayattahA jAva na Dahai mahAsaha sAviM aNuNaha tAma paramasambhAvi / tahiM vayaNi naranAhu niyacchai sA sarosaphuriyAhara picchai / vihaDaphaDa nibbhara nivaDatI taM gayaghaDabhaDathaDa vihaDatI / viMdhaNasI kAmasaramuTThi va duhiduSpiccha kuiyapahRdiTThi va / ghoraMdhAra palayaghaNavuTThi va asarisarUva mahAnivatuTThi va / phADiyanittacIra jayalacchi va akayakaDakkha mahAjalimacchi va / so na titthu atthANi nariMdaho jo navi khuhiu tAhi muhaviMdaho / bhavisuvi aNimisanayaNu palovai kiM sA hoi na hoi va joyai | dhattA / asirivasirivatta sajalavaraMga varaMgaNavi / 8 muddhavi saviyAra raMjaNasoha niraMjaNavi // 6 // navara tAhiM nicchayamAhappi jayasudari saMkeyaviyapi / jayajayakAru ghuTu jaNaviMdi viNaeM AsaNu mukku nariMdi / sahaM aMteureNa pisuMdari khuhiya nAhaM gahadutthi vasuMdhara / ehu parivAru khintu vAmohai purau hoi kaMcui saMbohai / avarAhu karahi maNi sArie duravarAhu jaNu hoha bhaDArie / jaM navi ghaDai tahiM ji AsaMkai pisuNapavesu lahivi muhuM vaMkai / to rAeM dhaNavaha chaDDAviu bhavisuvi taho kamakamalaho lAviu / baMdhu sayaNihiM viNivArivi sahuM jaNaNie nayaraho nIsArivi / binni gAmacheyaMtaradesaho deviNu ghalliu khalu paraesaho / jai paisaMtu suNiuM kurujaMgali to siru khuDivi karami mahimaMDali / kamalamahAsai siyapiyavayaNihiM kokkivi sammANiya sahuM sayaNihiM / paMcahiM sayahiM niru darisAviu bhavisayattu avarAhu khamAyau / paDariM sahiu paramapariosiM diyabaMdiNajayajayanigdhosiM / sahuMsayaNihiMsaputtu sakalattau dhaNavai niyamaMdira saMpattau / dhattA / to kamalAevi puvvakheri aMtari karai / pacchannaviyAri sajjaNajaNaho hiyau bharai // 7 // gharavai gharavAvAriM cAhaha puttaho maMgalasya saMvAhai / kulavahu suyaNattaNu dullAlai paihari muhisayaNaI saMbhAlaI / itthaMtari aNurAiyacittahaM mihuNahaM bhAvayanttabhavisattahaM / 1 B Nibhaya

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rahamo sandhI | sarasapidhammabhAvi gacchaMtahaM puNu puNu gayaNamaggu picchaMtahaM / tAhaM vihiMmi piyasaMgapiyAsaha naM diNamaNi atthamiuM heyAsaha | ghattA / peDivanniyasAri paramanehasanbhAvaraya / maulAviyanitta kulavahu varavAsaharu gaya // 8 // to viSphuriyaviyakkhaNasattie kaMcaNamAla vuttu pahupattie / haile suMdari uvasoha lahi samvAraho vahu raibhavaNavAsi paisAraho / uTTiya sA visamauaravilayahiM kayamuhapattipasAhiyatilayahiM / majjaNabhavaNi tAhaM tasu aMgiya vivihAbhaMgaNehiM abbhaMgiya / bahuparimalajaleNa saMmajjiya ghusiNuvvattaNeNa uvvattiya / kuMciyakurulakesapariyattiya nimmalaparamaNeha Asattiya / kuMkumarasiNa pasAhivi aMgaI parihAviya vatthaI devaMgaI / varataruNihiM taralAviyanayaNihiM kIlai kAmukkovaNavayaNihiM / muDahiM mayaraddhau saMcAriu dappaNi toe tilau paisAriu / rasaNi aNaMgu ahari kalayajjalu loyaNajuyali nivesiu kajjalu / dhattA / siMgArivi soha kamalAevihiM dakkhaviya / AsIsa bhaNevi tAiMvi rahahari paTTaviya // 9 // sA vahu taM maNanayaNANaMdiru sahuM kaMtiM paTTha rahamaMdiru / savvAvasara jetthu suhasaMgaho lagbhai raisamiddhi dihi aMgaho / cittu vicittuvi jahiM sammANauM jitthu aNaMgu aMgi radda mANauM / jaM mahamahai ghusiNakappUriM mayaparimalaparivAsiyadUriM / jahiM taMbolakusuma supavittaraM vivikaMcivAsahiM nihittaI / jalu bhiMgAri hAri muttAhalu dappaNabiMbu kelikoUhalu | pavaNu gavakkhi saMkhi hariyaMdaNu viMbhau nayaNi vayaNi pariDaMvaNu / pula kavoli jitthu paDivajjai jarai jANu sihiNiM karu chajjai / tahiM ikkaM bhavaNi suhasannaI bevi tulipallaMki nisannaI | dhattA / sumareviNu tAeM piyavicchoyamahAduhaI | savilakmaNAI thiyai bevi mauliyamuhaI // 10 // niru gADhAliMgaNu cappivi thiya ucchaMgi caDivi muhu jhaMpivi / 1 B samAsa 2 B paDivanaviyAri 3 B lahi 11 81

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bhavisayattakahA suhakara phaMsi vayaNu paDivajjai muhi galiaMsupavAhiM najjai / nAha balikviDa mANusalou jahiM ehau khalu iTThaviou / kahiM puravaraho jAu nIsArau kahiM Ayau so dukkaliyArau / kahiM vIsariya mudda sahuM sayaNihiM kahiM gaDa tuhuM jhaDatti mahu vayaNihiM / jiNi evaDDu dukkhu visahAviu khaladuvvayaNaviDaMbaNa pAviu / eti kAlu gami viNu saMgiM diNurayaNivi DajjhatiM aMgiM / domi dehu purau suhisayaNahaM bhariya kanna dUsahadubvayaNahaM / niru lajjAvaNijju avisiu ehau maI na kayAivi diu / ghattA / aha jammivi jAya duhadummaNavicchAyachavi / maI jehiya nAri dukkhahaM bhAyaNa kAvi navi // 11 // to pheDivi vayaNaho vatthaMcala muhi taMbolu khittu bahuparimalu / phusivi aMsu loyaNaI sahattheM jaMpiu piu vayaNeM supasattheM / he suMdari maM jAhi visAyaho savvaho maNuajammi saMjAyaho / suhisaMjou vioeM bhajjara mihuNuvi suhakammeM uppajjai / riddhiviNAsiM samauM pavajjai atthakkai maraNuvi saMpajai / jovvaNu jararakkhasie gilijjai taM lAhau jaM jaNi jIvijjai / pie ciMtaviu keNa iu ehau jaM hosai daMsaNu sasaNehau / hauM jakvesareNa sammANiuM niyayavimANi kareviNu ANiuM / evahiM tau paripunnamaNoraha eyArasamai hUa mahAgaha / ciru vicchakAli muha dUsaha nisuNahiM kahahi sayala pugvakvaha / taM niNivi uvasamiyavilakkhima hua paccakkhadakkha uvalakkhima / dhattA | aNurAiyacitta viulabhoya bhuMjaMti thiya / dhaNavAli loi kavvasamuccai saMdhi kiye // 12 // ekAdaza: sandhiH 82 kuvalayasomAlahiM kaMcaNamAlahiM ukkhaMbhiu ahimANagiri / nisuhaM vaNiuttiM paNayaniutti jima pariosiya kamalasiri / duvaI / puNaravi bhavisayattu sakalattau pahubhovAlarAiNo / 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisadattabhavisANakhvapiyamelAdavaNNaNo NAma eyArahamo saMdhI pariccheo sammatto / I

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bArahamo sndhii| kokkiSi saparivAra sammANiuM ahiyamaNANurAiNo / mahaevie saiM bhavisANarUa joiya juvaIyaNi sArabhU / darasivi aMteuri piMDavAsi punjiya kulamaMgalasaya nivAsi / sammANiya vatthAharaNu devi Alatta tilayasuMdari bhaNevi / puNu diTTa kumvaru jayalacchigehu pahu paNiuM nau sAvannu ehu| dIsai paDu paMDiu guNavariSTha anumi mahu niru loyaNahaM iTTa / dekhevvau suu juarAu jema rAeM paDivajiu taM ji tema / bahuguNa pariyANivi patthiveNa niyasua sumitta taho dinna teNa / kokAviu dhaNavai suhisaNAhu pariosiM pariciMtiu vivAhu / ghattA / jayamaMgalaghosiM maNapariosiM tuMgagaiMdi samAruhiu / suhibaMdhavaloeM garuyavihoeM bhavisayattu niyagehi gau // 1 // duvaI / cuMbivi uttamaMgi sakalattau nimmacchivi savAsahiM / ghari paMkayasirIhiM ahiNaMdiu bahumaMgalasahAsahiM // dummaNamaNeNa unbhaMtaeNa niyasueNa viesi vasaMtaeNa / jiNasAsaNadeviu jAI jAiM aMtari vivihaI ovAiyAI / ciru kamalaI siTTaiM jAI jAI dinnaI paDapaDaharaveNa tAI taaii| anumi bhaviyahaM jA kAmadheNu suapaMcami ciMtiya suhanihANu / ciru cinna Asi jA vihurakAli ujjamiya sAvi suhisuhavamAli / jiNabhavaNaiM paMca karAviyAI uttuNgsihrsirigaaviyaaii| jiNahari jiNahari paMcatarAI aMtari aMtari siharaI varAI / darisiu paMcavihu bahupayAru varapattakalasabhiMgArasAru / jiNahari Nihari nhavaNahaM kiyAiM jiNahari jiNahari dinnaI dhyaaii| jiNahari jiNahari bhAviyamaNeNa nIsesarayaNi jaggiya jaNeNa / ghattA / paMcavvihavatthaI paMcamisatthaI ciNdhpddaayaalNkiyii| darisiyaI aNeyaI bahuvihabheyaI keNavi gaNivi na sakkiyaI // 2 // duvaI / eu ettiu karevi guNavaMtaho jiNasAsaNi alNghho| puNu viNaeNa dinnu varabhoyaNu cauvihasavaNasaMghaho // jo dei dayAvaru rasahiM susAru dANu tisuddhivisuddhau / so avicalu jANu surahiMpahANu hoi suriMdu samiddhau // saloNaM samiddhaM na dehe viruddhaM varaM sAlibhattaM sudhaM susiddhaM /

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bhavisayattakahAe tahA deha sussAra muggA yavattA narA pAvaho jeNa bhoyA vicittA / ghayaM dei nAsAya peyaM pasatthaM na so pAvae kiMpi bhAveNa dutthaM / puNo kacarA pappA dinnabheyA jayaM tANa ko vannae divvateyA / surAIhiM dahiehiM littaM pavittaM varaM AmurIyaM suhaM deva dattaM / varAsannaNAcAru sAhUNa dAI naro so lahuM bhoyabhUmIhiM jAI / muNINaM maNihaM guDaM seyakhaMDaM sayA ditae bhuMjae bhoyakhaMDaM / kasAbalA tIvaNA tikkhasArA guDeNaM pi gADhA jaINaM piyArA / suhAseyamaMDAyakhaMDA suacchA tumaM icchasI saggabhoggAI bacchA / guNAghAriyA laDDuA khIrakhajjA kasAraM susAraM suhAlI maNunA / sasattIe bhattIe jo dei dAyA mahImUlasaggammi sA hoi rAyA / kavitthA sudakkhA mahAnAlierA gurU mAhuliMgA varA pakkasArA / sahAraMvasaMjAyayA bhavvaaMbA aho evamAI kareviM auvvA / susAhUNa jo dei e maccaloe na chaDDati pAsaM sayA tassa bhoe / nareNecchajuttaM dahIyaMpi khIraM diDhaM nicca jo dei tAhI sarIraM / rasaM pAyae ittha e jo muNIsaM suhaM sevae kinnarANaM asesaM / muNINaM tahA pannayA jehiM dinnA sukappUradhUveNa pareNa bhinnA / o tehiM pAvijjae kinnarANaM bhamaMto nahe hiMDae suravimANaM / suhA vaccarA koilAlAvadAyA suhaM pAvae divvavANI suvAyA / jahA jeNa dattaM tahA teNa pattaM imaM succae siTThaloeNa vRttaM / supAyannavA kohavA jatta mAlI kahaM so naro pAvae tattha sAlI / sirIkhaMDakappUraelAI dinnA muhAsuddhihe poSphalA jeNa dinnA / bhave tassa vAyA alImANayArI surUveNa kAmo sirI kannadhArI / bhujaMgo buhAraMjaNo nAma chaMdo ciraM naMdao gihavaro dANaiMdo / dhattA / eu vuttau tAsu saMpaya jAsu annasabhattipamANu niruttau / bhaNu bhAvi diMta muNipayabhattau saggaho ko na pahuttau // 3 // duvaI / dasavi subhobhUmisuhu bhuMjivi saggivi jAi sammaI / puNu narapavaru hoi varadANiM pAvai siddhisaMpai // suapaMcamiujjavaNauM bharevi jiNapujjamahima dANaI karevi / 1 B bhoyA pigacchA 84

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bArahamo sandhI / pariosiu jaNu suviyakkhaNAI kamalaI navakamaladalakkhaNAI | puNu pukheri hiyavai dharevi paha vuttu puttu aMtari karevi / tuhuM majjhu puttu hauM tujjha mAya pahuANaI pesiya itthu Aya / kulamaMDaNU tuhuM dhaNavaihiM gotti dina kavi vasiu mahutAI potti / evvahiM baDhArahiM niyayavaMsu kIlahi kulasaravari jema haMsu / eti mahu dukkhu duAsi dehi jaM tuhuM na samappiu niyayagehi / bhaMDAri pAlevva niuttu na samappai taM taha jai ajuttu / iya jaMpivi niggaya gharaho devi ahimANu mANu hiyavaha dharevi / tahiM pacchai sA bhavisANurUa saMcalliya bahuguNasArabhUa / dehi Niyau bhaDArie karami kAI amhANa vihimi ekaI hiyAI / nahu sakkama sahivi savattikUli nivasivvara maI tau pAyamUli / dhattA / to kamalaI vuccai pimmasamuccara ko jANaI cheyaMtaraI / aha jai maI mannaI navi avagannaI to tau parihau nau karai // 4 // dubaI / na muvami paiMmi jAhaM jai tuDuvi maNi saMkeu hao / jANamiha mi dusaha ko sakkai sahivi savattivehao / evaM bhaNevi dovi saMcallau aharaphuraMtavattao / lIlAgAmiNIu bhavisattaho mAmahu sAlu pattao / navavahumuhanavallapiyadaMsaNasuharUveNa bhAsio / harivalayattagehi vihaDapphaDDa jaNu koDDeNa dhAio / hali hali piccha piccha mannaravahu kamalaI samau AiyA / duhiyA suyaho sunha pikkheSiNu lacchi mimaNi na mAiyA / tAhivi diTTha ratta potaMtari suevi na kahiMmi vaccae / sAsumahattarANa payajuyalau karakamalehiM aMcae / kohalavaseNa hariyattu vi vatthaMtari vilukkao / jaivi apicchaNijju to picchami kulavahuvayaNapaMkao / paDhamasamAgayAI kulavahuahiM jaM jaM kiMpi kijae / taM ki tAhi tehiM varajuvaihiM maMgalageu gijjae / to visevittu hariyanteM paha kiu putti caMgao / jaM sajaNaha majjhi naranAhaho kaDDiu nAhiM aMgao / majjha mahattarANa na kayAivi vaMkavi vaMku vuccae /

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bhavisayattakahAe pariyANevi kajju kari evahiM jaM jaM maNahaM rucce| ghattA / ettahiM viaNakkheM darasavilakkheM vuttu puttu dhaNavaiNa sai / parivaDDiyakherihiM niyayajaNerihiM diTTha puttamajjAya pai // 5 // duvaI / kuDilasahAvabhAvaparivaMkuDadukkaDavisamacittayaM / hoti viyakkhaNevi dullakkhaiM mahilattaNacarittayaM / kira vaDDau iu bhUvAlu itthu sAmaNNu anniM gaNaNa kitthu / teNavi suhisayaNaiM Aharevi abbhatthiya karasaMpuDu karevi / aho tahovi vayaNu kiu appamANu gaya gharu jaMpeviNu sAhimANu / evvahiM bhaNu kijaI kAi ityu tuhuM buddhiviNayavikkami pstthu| tuhuM kulasAhAraNu jagi pavittu hauM raMjami paratau taNauM cittu / to sahivi na sakiya ekanAri kamalahi sahi bhavisattaho bAlahAri / vitthArivi loyaNadalavisAla ullavai haseviNu kaNayamAla / Ayaho AeM kira kavaNu kajju hauM tau paDiuttaru demi ajju / ghattA / jo pahu parivAraho vikkamasAraho so kiM avahie saMcarai / parasavvu icchajjai jaNu paDivajai sAmi ajuttuvi jaM karai // 6 // duvaI / jaM jasumaNi na ThAi taM tAsu bhaNaMtahaM kema rucce| tahavi hua parivADi pikkheviNu juttAjuttu vuccae / rAulamaMDaI pimmaiM na hoMti aNuyattavaseNa ghaDaMti jaMti / nikkAraNi paI parihariya devi sohaggu mANu maMDaNu harevi / thiya ittiu kAlu aiTThasaMgi suhvirhdukkhsNdiiviyNgi| evahiM duttari paDivannakAli ANiya ghalliya suhisynnjaali| uppAyau jo akayAvarAhu so tAhi kema vIsarai dAhu / majAya tAhi sIlattaNeNa najai suputta guNakittaNeNa / pari tujhuvi kiMpi nau muNahiM mUDa acchahi sakhvaraNaraNaiM chUTu / tahiM cariu kovi nau kahai tuddha aireNa jAi duvvasaNamuddu / ghattA / maggeviNa sArau dukkaliyArau jaM tau so vadhuyattaDau / jaM vuttu saruvaI aviNayahUahaM taM tahevi matthai paDau // 7 // dubaI / niyagharamammabheyapahulajiu raMjiu tAhiM vynnhiN| 1 A duvvayaNachUTa

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bArahamo sndhii| bhavisattovi kyaNi vatthaMcalu deviNu hasiu nynnhiN| jaM hasiu tAeM ghara mammavehu pariyacchivi tAtahitaNauM gehu / lai saccau jaMpai kaNayamAla hauM vaMciu AyahiM sayalakAla / tahiM cariu majjhu keNavi na siha saralattaNeNa maiM navi gaviTu / lai hou kiMpi na viNa? kajju sAmiNi sammANami gaMpi ajju / to vuttu haseviNu kaNayamAla maMtaNaiM tuDu maI khitta mAla / hariyattagehi lai jAhuM bevi avarAhu khamAvahaM piu cavevi / saMcallai kayanicchau karevi haribalagharu saMpAiyaiM bevi / tehiMmi kiu gharagamaNAhivAsu jAmAeM paNamiya siriNa sAsu / mai na muNi kAraNu kiMpi eu kaMcaNamAlaI uvaiDu bheu / ghttaa| jaM dummaimohiM maNisaMkhohiM jaM avagaNiya tumha suy| taM rosu na kijai majjhu khamijai bhaNu paDivajaha jema dhua // 8 // duvii| to kamalaI valevi avaloiu muhaM kllaannmaalho| kayasahipakkhavAya parituTThahi niruvamagai tamAlaho / to vihaseviNu kuvalayadalacchi mahiyalu lihaMti ullavai lacchi / lIlAvilAsa jAmAya hoMti taM juttu ajuttu vi jaM krNti| pariyANivi tuhuM vi sahAu tAhi paNaeM pariosivi levi jAhiM / jaM dukiu kiMpi kiu puvvi Asi aNuhaviu tAe taM tumha pAsi / osArivi puNu niyaduhiya vutta saMvarahi mANu lai jAhi putta / kijai na mAi aidIhu rosu uppajai valivi mahaMtu dosu / eyaho Ayaho jai na gaya gehi to hoi ahiu avamANu dehi / jo ArAhijai kayavisesu taho uppAijai nAhi rosu| thiya jaM avaheri karevi bAla taM vuttu samAsaI kaNayamAla / ghattA / to tAe viyaDDhaI paguNaguNaDDaiM sahi osArivi saMThaviya / niyasanna samArivi jaNu osArivi kaMtaho niyaDi parihaviya // 9 // duvaI / sahi cittaMtarAiM pariyANivi jaMpai tAhi sakkhiNA / mA kayasAvaleu piu joai. aDakaDakkhapakkhiNA // teNavi darisivi vammahaviyAru kari dharivi payaMpiu sovayAru / mANiNi tau itthu na kovi dosu jima tuhu~ tima savvaho caDai rosu| nikkAraNi maI tuhuM niru kiliTTha nyvinnysiilgunnsyvrih|

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bhavisayattakahAe pahacariyaI cariyaI punvi jAiM mahu evahiM hiyau DahaMti taaii| cariyAlu hauMmi kammeNa mUDa uccaliu nvllpiymmchuuch| pacchai puNu kavaDu karevi tAeM mohiu saruvaduTTaiM khalAI / tahiM cariu aNujjuyadosa iha mahu kaMcaNamAlaI ajju siTu / kavaDeM maMteviNu duTThamaMtu hauM tAeM khalaI duvvasaNi khittu / evahiM pariyANi maiMmi kajju mui maccharu maNu saMThavahi ajju / ghattA / jaM majhu parAhavi amuNiyalAhavi suMdari duhu aNuhaviu pii| iya eu muhuttiM paNayaniuttiM taM phuDDu jANiuM ajju maI // 10 // duvaI / jaM emavi na dinnu paJcantara vayaNihiM saghaNanAmahi / taM duvvisahu sahivi nau sakiu salliu kaambaannhiN|| to avaloivi tahiM vayaNabhaMgu paya dharivi nivesiu uttamaMgu / taM nievi pasanna mahAcaritta jaMpiya harisaMsujalohasitta / lai khamiuM khamiuM pubvAvarAhu paya milli milli maM karahi gAhu / ukkhivaha na sakai taNu tulevi Usarai kema thiu paya dharevi / paNavaMtihi kaMThi vilaggu hAru utthalliu siradhammillabhAru / paMguraNiM milliu uttamaMgu pariciMtivi nAI navallasaMgu / karajuyalau piyabhAlayali chUTu maNicUDu kaNayakuMDalihiM gUDhu / hali kaNayamAle kIlaNapamAe vigguttaeNa dhutteNa maae| taM nisuNivi sAvi samosaraMti daraviyasiu kANacchiu karaMti / uhAvai piyavayaNaiM cavevi kiya gharasammANu pasanna devi / jaMpivi guNadosa hiyaMtarAiM tosaviyaiM bevi mhttraaii| pujiu jAmAiu gau nivAsiM bahasArivi kaMcaNamAlapAsi / sammANiya vatthAharaNu devi pariosiya vahu hiyavau bharevi / ghattA / pariyaNu appAivi dihi uppAivi saMphAsivi ahimANagiri / sahuM kaMcaNamAlae kulavahuAlaiM gaya paimaMdiri kamalasiri // 11 // duvaI / to maMgalasaehiM gharu Ayaho sasayaNakayapayattaho / caukaMdhasihari vAsaharu pasAhiu bhavisayattaho // 1 B sappaNAmahiM

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bArahamo sandhI paDivannaI viyAli varavilayahiM sijAvatti kiya nAyabhoya pallaMkatUli muhasaMjaviya / pacchAiyapaDipaTTi kuMdasamujjaleNa kaNayakiraNaparivITeM siMciya nicclinn| jA samarasaMgayamihuNaha raicaDaNu sahai jA suaMdhamayaparimalavAsiM mhmhi| sA varasijja samArivi dinna paDigAhaya dhUvavatti uddIviya dIviya knnymy| paNNu phullu hariyaMdaNu ghusiNu samAharivi sajalaMtari bhiMgArahaM savvau dhrivi| ema navara varajuvaihiM varavAsaharu kiu nisi paosi paDivannaI kumvaru __ kIleMtu gu| gAthA / evaM varavAsaharaM pasAhio sAhiUNa ghrvinno| sAmiyasuassa pattI saMjaviyA raivihArammi // 1 // to sAsuAi sunhA bhaNiyAo cuMbiUNa bhaalyle| e putti pie lalie suhae o vacca vAsaharaM // 2 // bhaNiyaM ca tao tIe amme me raisuheNa pajattaM / annAsattaM kaMtaM ko sakkai ujjuaM kAuM // 3 // bhaNiyaM ca putti mANaM no kIrai vippie aNuppanne / muDhe aisalile emeva na muccae kheDI // 4 // ghattA / aNiyaMtaho kaMtaho lajja vahaMtaho mANiNi mANauM jA karai / tahiM teNa ji dosiM aMtari rosiM so piuhatthaho uttarai // 12 // duvaI / taM paramatthavayaNu paDivajivi calliya mynnmNjrii| rasaNAdAmarAmaraMkholira gaya raibhavaNi suMdarI // niyakaMti pikkhivi vunna vunna paripucchiya paNaiNi kiM visanna / paripunnamaNoraha tau suheNa iu ittiu ciMtiu Asi keNa / paramesari jA tau ciru maNoja iha mudda eha sA nAyasenja / jaM vilasiu dUsahu duhanihANu taM vihimi puvvakammehiM jaannu| taM vayaNu suNevi varaMgaNAI savilakkhu hasiu dummnnmnnaaii| acchaMtu tAma ciru kIliyAI hasiyaI ramiyaI suhpiiliyaaii| 1 B karivi. 2 B kalattu. 3 B pairaheNa.

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bhavisayattakahA evahiM amhaI mAu visAu jAmAiDa tuhuM rAulau jAu / siMgAru sijja saMpaya vicitta aNuhavau kahaviM diyahaI sumitta / puNu paccha hosa avara kAvi anniM pillivI anna sAvi / aha suhaya kAsu nivvahai mANu pattiyai tumva jo so ayANu / dhattA / aha jaNi supahANauM loyAhANaDaM kavaNu itthu maNi Avalau / aMbara pariyaMciu jaivi susiMciu tovi niyANi murAulau // 13 // duvaI / to kaMdaSpadappamAhappeM AliMgiya kisoyarI | 90 puvvakkayasukammita chajjai jaM jaM cavahi suMdarI // mahu puNu jai annahiM kahiMmi bhAu to jiNadhammaho bAhirau jAu / paI milivi jai aNuNauM sumitta to maI caMdappahapAyachitta / aliya pariyaDUhi kAI mANu mahu pariyANi pie paI kiu samANu / labbhai sahAya sammANu kosu paNaiNi pariNaMta kavaNu dosu / jima jima bahu saMpaya hoi amha tima tima vaDDhai parivAru tumha / AlAvahiM tehiM pasanna devi palaMki sarosaI thiyai bevi / paNaiNi paDivajjai jema jema daramaliya viyaDDi tema tema / rai aNaicchaMta huu vihANu parigaliya rayaNi ummillu bhANu / dhattA / ettahiMvi viDUiM vivihaguNaDDUiM paNayarosu uvasaMghariu / dhaNava suhasevie kamalAevie puNuvi puvvasuhasaMdhi ki // 14 // dvAdaza: sandhiH caMda pahanA ho kevalavAhaho paya paNavivi niyabhuajuiNa / akkhami suhiviMdo dhIya nariMdaho jima pariNiya dhaNavaisuiNa // duvaI / sayalakalAkalAva suniuttaho puttaho sANurAiNA / ras samiddhu sammANivi pujiu puNuvi rAhaNA || varakaNayavIdu AsaNu bhaNevi baisAriu paccAsannu devi / aho jaM bhaDabhiDi joiosi kuruDahaM khalakhuddahaM Dhoiosi / AesiDa jaM mahi AhaNevi lai lehu bharahu baMdhahu bhaNevi / taM mahu ma rusijja mahANubhAva takkAlasarUviM hoMti bhAva / aha tumha ke lagga malita para dupputtiM duvvasaNi khittu / 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe budhaNavAlakayAe paMcamiphalavaNNaNAe bhavisANurUkamalA evIgahaAgamaNavaNNaNo NAma bArahamo sandhI pariccheo sammatto //

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terahamo sandhI jaM kavaDu kiMpi kiu taM khaleNa aNuhavau sovi taM taho phaleNa / evahiM samasIla samiddha jAya tuhuM mahu na siTThi hauM tumha rAya / tara naMdana sAvannu ehu kulamaMDaNU riujayalacchigehu / ciMtijjaha kijjai tema tema ahiyahiM pamANaho caDai jema / kijjai vivAha maMgalapavitta rijjhau gayauri pariNivi sumitta / dhattA / eyaI AlAvaI laliyasahAvaI cavai jAma bhUvAlu pahu / to bahuguNasAraM sahuM parivAriM bhavisayattu saMpattu lahu // 1 // duvaI / aho saMvaraho maMtu kiM kAraNa tuMgaturaMgavAhaNaM / puri pasarai saMghaTTivi bAri navallasAhaNaM // jo sayalasiMdhusAyaraho pAlu jasu poyaNapuravai sAmisAlu / jo sayalakalAkalaguNaniuttu duDaramaiMdakaMdharaho puttu / jo viusavikkhaNa saMpahAri so acchai pahu cittaMgu bAri / Ayau na muNahaM keNavi chaleNa tehiMmi paisAriu takkhaNeNa / far abhutthANu narAhiveNa ahiNau pAhuDa allaviu teNa / avarupparu kusala karevi tehiM karu karahaM samappira patthavehiM / pariosu tosu dihi tumha dehi pariyaNi parivAre nariMdagehi / paripesaNu tara naravai maNeNa kiM kAraNu kiu AgamaNu jeNa / ghattA / to pulayasaNAhiM siMdhavanAhiM paripucchivi sahuM maMtisau / atthANi nariMdo sasuhaDaviMdaho aMtari sAvaleu caviu // 2 // duvaI / aho naravai paNaTThaparacakke tara niru sANurAiNA / suNu savvAyareNa appAhiu jaM avaNiMdAiNA // aho pahu payaMDarAyAhirAya payapAlaNaparivajjiyapamAya / aNuhUyavivihakAraNakayattha duvvAravairivAraNasamattha / parivArapaurapariyaNi athaTTa kAmiNighaNathaNacaDDuNaviyaha / ahimANamANaguNasAvaleva poyaNaparamesara bhaNaI evva / maI vasaviu ki puvvaesa girigahaNu sAyaraMtarapavesu / sonatthi jo na mahu dei kappu so navi maI jAsu na daliu dappu / so navi pahu niyasaMpayavariTTu khaMdhArimajjhu jo navi paihu / ha navara tuchu ekkaho na vaMku acchahi kurujaMgali niravasaMku / dhattA / hayagayarahavAhaNu iu mahu sAhaNu pesahi jAma tAma uvahi /

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bhavisayattakahAe niyamaMDalu mellivi annaI millivi vasaviheya kari sayalamahi // 3 // duvaI / nrkrituryjohpaaikkbhyNkrkuruvkaalho| palayajalohu jema ucchalliu naMdaNu pihimipAlaho // so nAvai arivAraNamaiMdu paMcAladesi vai saviMdu / - khaMdhAru milai AvAsivAsi hau~ puNu paripesiu tumha pAsi / anuvi saMdihu narAhiveNa naravaipoyaNaparamesareNa / suhapatti kAvi dIharabhueNa ANiya dIvaho dhnnvisuenn| mahaevihi sA hiyavai paiTTa paTTavi maggeviNu gunnvrih| aNNuvi sumitta guNasArabhUa mahaevihiM piyasuMdarihiM dhUa / carapurisiM keNa vi kahiu tAsu paTTavi pujjivi naravaihiM pAsu / taM vayaNu suNeviNu patthiveNa dhaNavaihiM samuhUM joiu nivenn| bhavisattaho muhu puNu puNu nievi vihasiu sarosu kari vayaNu devi / cittaMgu bhaNiuM lahu tAma jAhu puravarabAhiri AvAsi thAhu / amhaiM ciMteviNa saMpahAru jANeviNu niyaparivAra cAru / sammANi dANi ahavai niyANi uttara devvau tumhahaM vihANi / ghattA / to gau cittaMgau avahiyasaMgau thiu saviyappu smrbhrho| pasarivi vitthAreM sahuM khaMdhAriM AvAsiu bAhira puraho // 4 // duvaI / dhaNavai bhavisayattu piyasuMdari pihumai miphaanno| sahuM annahiMmiM sakkasAmaMtahiM thiu maMtaNaiM raanno| naranAhiM tajjiya sayalamaMti aho annaho anna maiu hoMti / akkhahu paramatthe niyahiyAI cittaMgahu uttaru dehu kaaNii| piyasuMdari vutta maNohirAma aMtariu kajju kajjeNa tAma / acchau jaM taM ciMtiu visAlu khaNamitti aNNu paDivannu kaalu| aho dhaNavai tau savvAhiyAru niyamaipayAsu pAyaDahi caaru| aho bhavisayatta tuhuM maI niuttu bhaNu jaM iha kAlaho karaNu juttu / taM vayaNu suNivi naravai alaMghu siru dhuNivi payaMpai lohajaMghu / maMtaNauM kijai kiMpi tAma vitthAriu cittaMgau na jAma / atthANi deva ja teNa vuttu taM suNivi sahataha niru ajuttu / evahiM kau nivvui hoi tAma so khalu khari baisAriu na jAma / 1 B puhamI

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terahamo sandhI 93 ghattA / mehesarupuvvahaM narasayathuvvahaM rajju karaMtahaM vrnyre| . atthANi ya nayaNahiM aviNayavayaNahiM kovi na jaMpiu itthu ghari // 5 // duvaI / to ahiyAvaleu maMDalavai vijjujlkivaanno| thiru gaMbhIru dhIru pavvayaghaNu jaMpai khsphaanno|| cittaMgahu itthu na kovi dosu taho uppari amhahaM kavaNu rosu / sAmiyasaMdesau levi Au paDivayaNu kahivi Niggau varAu / suhie Na viDhappai pAriyacchi suMDIrahaM khaMDaha vasai lcchi| jo jitthu kAli raNi ahiyadappu taho titthu diti maMDaliya kappu / taho vayaNiM jai thiya karevi khaMti to laiya tumhi veDhivi na bhaMti / duvvayaNahoM paharivvau pahANu ahimANu mANu suhaDahaM pahANu / etthaMtari bhaNaiM aNaMtavAlu hauM AeM dekkhami plykaalu| avaNIsaru parivaDDiyapayAu sAmaMtasayaI mellevi aau| ghattA / taho samari bhiDaMtahaM nisuDhiyagattahaM para hosai taM phuDu maraNu / aha siDhiliyakhaggahaM payaDiyamaggahaM avasesahuM pavvau saraNu // 6 // duvaI / jaM pacchimasamuhu AsaMghivi duDaru daMDa pesio taM tumhaI samANu nau kusaliM paraunbheu tesio|| kurujaMgalu pheDivi paisaMtahaM tumhahaM viNu na chje| kacchAhivaho samare saMghaho kaho na maraTTa bhje| uccAivvau viggahu na tAma parabalaho paramANu na diTu jAma / cittaMgu visajjahu piu cavevi jaM jaM maggai taM taMpi devi / appuNu acchaho majjhattha hovi pekkhaho kiM bhiDaina bhiDai kovi| jai kacchAhivai paiTTa itthu tA anne keNavi gaNaNa kitthu / aha kacchAhiu saMvarivi thakku to hammaiM paracakkeNa cakku / mahaevi bhaNaiM iu aliu maMtu pariNaI sumitta para bhavisayattu / jaM ikkavAra paDivannu loi UsAru tAsu suMdara na hoi| annavi jaM maggiu taMpi tAsu dijjaMtu karai mANaho vinnaasu| cittaMgiM jaMpiu jaM niyANi taM vihasiu karai payAvahANi / vavagayapayAva nAsai sahatthu jaM jANahaM taM ciMtavaha etthu / . ghattA / to kuvalayadihi~ dhaNavaisiTiM Isi haseviNu allaviu / aho bahumaivaMtaho vayaNi aNaMtaho caMgau vayaNu paripphuriu // 7 // duvaI / AeM kAraNeNa bahumaMtihu vayaNi maMtu sijjhae /

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bhabisayattakahAe jeNa kayAvi kahiMmi paracakkaho vayaNiM na ucchlije|| keNavi aNiuttiM caMcaladhuttiM sanniya mAya mahAsai / na kahivvau paiputtaho savajaNasuttaho tori vasivvau maI vAsai // hauM sudda viyakkhaNu bujjhami lakkhaNu annamahila na mo rucada // thiya hiyaI ghareppiNu tumhi kareviNu uttara kiMpi na vuccai // muddhae avihAyae saralasahAyaI pucchai asivyNsiyaa| tAI vi aviyappi bahukaMdapi perivi dummai pesiyA // * tahi buddhi karaMtihi jAru dharaMtihi phalu saMbajjhai jeho| jaM vuttu aNaMtiM AeM maMtiM etthuvi taM phuDu tehao // dhaNavaivayaNiM rosiu aNaMtu jaMpiu karAlu muha vipphuraMtu / aho dhaNavai tuhuM bahubuddhivaMtu pahupaMgaNi kiM jaMpahi ajuttu / sahamaMDavi para so cavai ema jo parabali bhiDai kayaMtu jema / jo maMDai raNabharadhuraho khaMdhu jasu raNi seNAvaipaTTabaMdhu / jo vairivaraMgaNahiyayasallu samaraMgaNi jo muhalohamallu / tuhuM puNu naranAhaho jaivi mannu vANiyau vuttu puNu kAI annu / taM vayaNu suNeviNu bhavisayattu niyakulavivAyaparihaviNa tattu / AvesavesavipphuriyanayaNu jaMpiu sarosu niDuriyavayaNu / ahu diDa tumhi Ayaho agannu vANiyau uttu puNu kAI annu / ghattA / kulakittiviNAsaNu mailiyasAsaNu kiM bullAviu ehu khlu| nIsArivi ghallahu lai galathallaho pAvau niyaduvvayaNaphalu // 8 // duvaI / ekkuvi maNi sarosu cittaMgaho vayaNi thiu vicitto| annuvi niyajaNeru pariNidiu huvavahu jiha palittao // ahu ehu suTTa dUrayari cakku sahamaMDavi jaMpiu teNa mukku / maI maMDiu raNabharadhuraho khaMdhu mahu siri seNAvaipabaMdhu / sahamaMDavi maI ullaviu ema hau~ parabali bhiDami kayaMtu jema / hauM vairivaraMgaNahiyayasallu samaraMgaNi hauM muhalohamallu / ahu anuvi mahu niyamaNi viyappu pavvau mahivAlaho dei kappu / taho ANaiM bhuMjai navara desu ihu sevai caru pcchnnvesu| nIsArivi ghallaho dharahu bAri parivAraho eu payAvahAri / jai tahu gaisaMgami nau pasattu to kiM kuvi ehau dei mNtu|

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terahamI sandhI taM nimuNivi pariosiu nariMdu avaloiu niysaamNtviNdu| pariciMtai nau sAvannu ehu avayariu vIru pacchannadehu / sacau raNabharadhuradharaNakhaMdhu lai kijai Ayaho pabaMdhu / ghattA / paDivAyapamANiM sahuM sammANiM laDDu thAuM niybhuyblho| atuliyamAhappi jayajasadappeM ehu sAmi kurujaMgalaho // 9 // duvaI / sArAsArasayalaparivAraho AeM bheu bhinno| jAma na lei maMDa uddAlivi tAva ramaI ji dinno| ciMtaMtaho naranAhaho aNaMtu muhuM nievi vayaNu jaMpai phuraMtu / aho bhavisayatta tau bhaDakaDappu sAmiyasammANiM kahu na dappu / ko jANaI kajahaM gai vicitta iya vayaNahiM hojahiM sudiva mitta / aho sAmaMtaho paDibhaDavamAle gayauri kurujaMgali saamisaale| rakkhejahu hoviNu sAhimANa mahu puNu mahivAlahotaNiya ANa / pheDevvau maI duvvayaNasallu taho sAhaNi harDa muhalohamallu / nIsariu ema jaMpivi sarosu sannahivi suhaDasAhaNu asesu / cittaMgaho sAhaNi gau turaMtu kiM acchaho saMcallaho bhaNaMtu / ghattA / saMcAlahu sAhaNu hayagayavAhaNu raha saMjottivi karahu cala / thaDi milivi nariMdaho sasuhaDaviMdaho bhiDahu hoi saMjAyabala // 10 // duvaI / vihaDiu saMdhikajju naranAhaho gau saMgAmi niccho| vayaNuvi nau sahati dappubbhaDa kovipddicchio|| naravaivalaMhu dhaNavaihiM puttu deviNu sumitta raNabhari niuttu / tisaDaM japaMtahaM caDiu rosu hauM miliu tumha saMvarivi kosu / cittaMgiM so pavvayanariMdu piu jaMpivi sammANi saviMdu / pabhaNiuM tuhaM etthavi thAhi tAma hauM milivi nariMdaho emi jAma / iu bhaNivi puNuvi gayauri paiTu dIviyaujjoeM narihiM dicha / jANAviu thAivi rAyabAri tehiMmi paisAriu saMpahAri / teNavi avaloiu bhavisayattu so pamuhaM karivi naranAhu vuttu / akkhevvau kAI narAhivAsu taho poynnpurprmesraasu|| pahu cavaha gaMpi kahi ema tAsu jai saccau tuhuM bhumiviyaasu| bhaNu tumhahaM amhahaM kavaNu rosu nau dehaM na maggahaM kappu kosu / paiM maggiya jA mahutaNiya kanna sA maiM dhaNavainaMdaNaho dinna /

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bhavisayattakahAe taM vayaNu suNivi cittaMgaeNa pahu paNiuM rosavasaMgaeNa / ghttaa| aho kannaho kAraNi kAI mahAraNi jAya tumha vivarIya mai / ajavi piyavattaI eka sumittaI hauM pariosami puhaivai // 11 // duvaI / to suMDIru vIru vaNitaNuruhu taho vayaNeNa sNsio| bahugIDhavarAhu dappubbhaDe bhaDa bhesivi smuddio|| aho kAliM coiu kAI ehu khanjai jiha pavaNaMtariyadehu / khalu vAravAra jaMpai aNi? amaNUsu eu gharu eNa dihu / puNu puNuvi sumittahi kayapaNIha kappeviNa karayali dharaha jIha / ukkhaNivi nayaNa chidevi nAsu muMDivi siru khari saMjavaho dAsu / pikkhevi kumAraho vayaNu kuDu caupAsiu bhaDu kiMkarihiM ruddu| dhaNavai viNivArai mahuraghosu Ayaho uppari kijai na rosu| paDibhaDaha dRu paDisahu hoi Ayaho paharaMtaho jasu na hoi| cittaMgu navara jaMpai sagavvu mannivi tiNasamu atthANu savvu / ghattA / iyavayaNapavAhiM sahu~ naranAhiM kahiM mahu jAhi annitttthiyu| para eNa na mArami rosu nivArami jaM AesiM paTTaviu // 12 // duvaI / duvvayaNaI cavaMtu pahusannaiM dappubbhaDasakohahiM / ari ari jAhi bhaNivi galathalliu ghalliu pavarajohahiM / niggau cittaMgu aNaMtu levi juarAyakaDai saMpatta bevi / atyANi nariMdaho kahiya vatta jima gaya jima jaMpiya jema patta / na navai bhUvAlu mahApayaMDu nau dei kappu micchai na dNddu| tau pakkhavAyavayaNiM kalevi osAriu tehiM aNaMtu sovi| paMcAlavayaNu dUaiM suNevi osariu suhaDa tiNasamu gaNevi / naravaihiM navara uppannu rosu avaloiu niyabhaDabalu asesu| darisahu kurujaMgali palayakAlu kuruvai ukkhiNahu smuulddaalu| gayauri pAyArapaolibhaMgu dara malahu chuhivi balu cAuraMgu / hayabheripayANauM navara dinnu dharadala malaMtu saMcaliu sinnu / ghattA / ettahiMvi mahallaho aNihayamallaho surakarikaradIharabhuaho / gayaurapuravAle sahuM bhUvAleM baDu pa? dhaNavaisuvaho // 13 // trayodazaH sandhiH / 1C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisadattarajapabandho NAma terahamo saMdhI priccheo|

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cauddahamo sndhii| parivaDDiyagaAvahaM tulapayAvahaM gayaurapoyaNapatthivahaM / jaNa kahami mahAhau jayasirilAhau vihiMmi kaDhiNakakkasabhuahaM // duvaI / giri va dulaMghu sasi va pahanimmalu hatthi va dinndaanno| tahi kurujaMgaladdhi mahimaMDali huu bhavisattu raanno|| to karikarapavaraDuabhueNa naranAhu vuttu dhnnvisuenn| jai hauM ji deva paI kiu payatthu to niyau dehi utthalli hatthu / uddAlami kacchAhivaho rajju so tau aNi khalu akayakajju / jaMpai poyaNapuravaihiM pakkhu paDigAhivi thiu maMDalu asNkhu| lai so ji jhaDappami paDhamu tAma saMcivi paDivakkhi na milai jaam| pacchaNNu so vi gau taM suNevi Ayau asaMkhu khaMdhAru levi / saMpesiu dUu vicittabheu kacchAhiu tumhahaM vasaviheu / taho uppari pahu maM karau rosu paisarai sarai pNcaaldesu| / Avai vi na tumhahaM pAsi tAma moDiu na daMDu mahivaihi jAma / sammANiuM bhaDu ANaMdu jAu thiu kurubalu parivaddhiyapayAu / ghattA / rayaNihiM pacchannahiM viyaNiyavannihiM pikkhivi pahuparivArasiya / riucarahiM bhamaMtahiM cAru caraMtahiM avarupparu AlAva kiya // 1 // duvaI / pabhaNaiM maiMmi dihu so rANauM aMtari bhavaNi ptto| aDugghADu nievi uvalakkhiu kaMtaI sahuM cvNto|| uvahai samarasaMgamakaNeri parivaDrai raNabharabhArakheri / vilihaMtu suhaDa saMgAmasIha bhavisattaho kaDDahiM paDhamalIha / anniku bhaNaI raNi lohajaMghu pahukaji bhiDai vairihiM alaMghu / anikku bhaNaI siMhauramallu bhaDu vairivaraMgaNahiyayasallu / anikku bhaNaI katiuranAhu uvvahai smunbhddbhddpvaahu| annikku bhaNaI pahubhavisayattu maI nisuNiuM sahuM jaNaNie cvNtu| mahu tAsu aMgapAhariu ihu tahu saMgi hau aMtari paiTu / sahu maMtihi thiu maMtaNai jetthu NIsesarayaNi maiM gamiya tetthu / tahu jittiu balu mAhappu dappu tettiu naravaihi na bhddkddppu| ghattA / avaleviM vaTTai raNu pariyaTTai pariosai privaarjnnu| pahupatti visesai cara paripesai acchai parabali dinnamaNu // 2 // 1 B pavaNujhua0

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bhavisayattakahAe duvaI / jA ciru Asi mahima bhovAlaho pariNayaNayaniuttaho / parivaDDiyapayAva sA vadRi evahiM siTTiputtaho // ettahivi karivi parabalu sudihu atthANi nariMdaho carihiM siTu / pArakkau kacchAhiviNa deva thaMbhiu sukeM ghaNajAlu jem| tau ANae so NiyabhattivaMtu parabalaho parihiu jiha kayaMtu / avaruppara kaDayAlAva hua avarupparu tajiya vihiMmi ia| annika disaI paMcAlu thakku hosai saMgAmu kaekacakku / taM nisuNivi pariosiu nariMdu saMpesiu niyasAmaMtaviMdu / biNNivi pavvayavai lohajaMghu harivAhaNu pihumai raNi alaMghu / paMcahiM sAmaMtahiM pulaiaMga paDigAhivi thiya biNNivi abhaMga / ghttaa| to calakaravAliM raNi paMcAliM jhatti jhaDappiu viriblu|| taM kacchanaridiM mahaNagiridiM mahiu jema sAyaraho jalu // 3 // duvaI / harivailohajaMghakacchAhivapaMcAlahiM bhiDaMtahiM / / aggimakhaMdhu vasuha mellAviu pillivi daMtadaMtahiM // saMcAliu parabali mANasallu pADiu aNaMtu muhlohmllu| osAriu arivAraNamaiMdu thiu galiyagavvu sAmaMtaviMdu / moDiu maiMdu cittaMgu bhaggu kiu bhavaNu bhamiuM balu cAuraMgu / cUriya raha dokhaMDiya turaMga varabhaDahaM chinna karayala sakhagga / keNavi bhUvAlaho kahiya vatta paramesara vairihu kaha samatta / tau ANa vahivi savvahaM nivehi paMcAlamacchakacchAhivehiM / paisarivi jhaDappiu vairisinnu paDibhaDahaM bhaMgurAvattu dinnu / aggimakhaMdhaho moDiu maraddu kaDu Aviu vivarAmuhu paya? / nijjIva jAya karisAri sajja ohaha joha pariharivi lajja / vihaDiya raDaMta mAyaMga tuMga hiMDiya sunnAsaNa varaturaMga / jo Au Asi AsaNi rauddi so ghalliu pahuciMtAsamuddi / ghattA / to pahupariosiM vijayapaghosiM pariyaNu paramAmoe thiu / thui vayaNaraviMdaho vaMdiNaviMdaho kuruvahaM jayajayakAra kiu // 4 // duvaI / keNavi kahiu gapi poyaNapuri taho avaNiMdarAyaho / vaha deva suhaDakaDamaddaNu tahiM naravainihAyaho / tiM vayaNiM Ahalliu nariMdu saMgiliu sayalasAmaMtaviMdu / aho turiu kiMpi ciMtavaho ajju taM hosai dUsaMthaviu kajju /

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99 cauddahamo sndhii| vAraMtaho majjhu asammaeNa uccAiu viggahu samau tenn| gaMbhIru dhIru guNasArabhUu supasannakitti paTTaviu dUu / bhaNu ajavi ema gayAri vujjhu bhUvAliM sahuM kijai na jujjhu / taM vayaNu suNivi gau dUu titthu paMcAladesi khaMdhAru jitthu / to vuttu teNa avaNiMdajAu sAmaMtamaMtimaMDalasahAu / tau tAeM rAeM vuttu ema saMvarahi jujjhu kari saMdhi deva / to bhaNaiM vIru vipphuriyadehu kira saMdhihi avasaru kavaNu ehu| ghattA / jo bhiuDi nihadivi bhaDa dalavahivi AsaMghivi ahimANajau / taho mANu dharaMtaho saMdhi karaMtaho parasuhaDattaNu jAi khau // 5 // duvaI / pahacittaMgu jehiM avagaNiuM maniu gruaviggho| dei sumitta jehiM uccAyau bhavisattaho priggho| kayapakkhavAya ghalliu aNaMtu parikhuhiu uttarAvahu sataMtu / kacchAhiu jahiM uvvahivi Au utthari samari bhunrnihaau| dalavaTiu aggimakhaMdhu jehiM bhaNu kavaNa saMdhi kira samau tehiM / gau dUu kahiu taM niravasesu ahioya caDiu poyaNapuresu / pesiu asesasAmaMtacakku puri appuNu para ekaMgu thkku| saMghaTTa samarabhUmihiM na mAi khayakAle samuddajalohu naai| hayabheripayANauM dinnu jAma raNu maMDiu kacchAhiviNa tAma / sannaddhabaddhapariyarabhaDehiM pAraDu jujjhu niyaniyathaDehiM / meiNikAraNi paharaMti joha hammati haNaMti nivaDakoha / to navara kuruDakaDakkharehiM suhaDahaM poyaNapuravakkhiehiM / kaDu Aviu kacchAhivaho siNNu milliya raNamahi osAru dinu / dhattA / valivaMDaI cappivi suhaDa jhaDappivi osArivi sAmaMtasaya / jaladuggaI laMghivi riu AsaMghivi AhaNaMta gayauraho gaya // 6 // davaI / to paDibhaDavamAle nihasaMtie thirgNbhiirkaayho| takkAlANusAru pariyacchivi akkhiu carihiM rAyaho // aho pahubahumANabhaDAvaleva Ayau pArakau jiNivi deva / taho sAhaNi jaM kiu dappasADu Arosiu tahiM himagirikavADa / paTTaviya samarasaMgami amoha ekavayakannapaMguraNa joha / sahulavayaNa naranArasIha abbhobhaDattaNi dhavalalIha /

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bhavisayattakahAe paharaMtihiM tahiM kiya nara dukhaMDa raNamahi millAviya maMDamaMDa / pAsahiM haNaMti nau muhi bhiDaMti niyaDevi naTTa dUre vina jaMti / paisarai sarai parabalu aNaMtu pahu karahi kiMpi saMvarahi maMtu / taM suNivi paDiya paDivakkha kheri kiya sannasamAhaya smrbheri| niyaniyaAvAsaho gaya nariMda kaDriya turaMga sanjiya giNd| ghattA / raNarasapakkhattiM dhaNavaiputtiM paDigAhivi siya gayauraho / atthANu visajivi bhaDasaya tajivi dinnu khaMdhu raNabharadhuraho // 7 // duvaI / guDiya mahAgaiMda pakkhariya turaMgamajutta rahavarA / bhaDa sannaddha baddhaDhipariyara dUrukkhittaraNabharA // tao tammi kAle bhaDachaDavamAle mahAjohakUre duhakaMtatare / bale appamANe susannajjhamANe raNe nIsaraMte bhayaM viisrNte| mahAvANivagge pure haTTamagge samAhuttakovA payaMpaMti loyaa| aho dappayaMto pamANaM caDato pasAyaM cavaMto viyppNtcitto| ime aMtarAle raNAhuttakAle nariMdassa bAre bhisaM duppayAre / paDhukko gaiMdo milaMtAliviMdo tao bhavisayato mahAriddhi ptto| amoho pasattho gaiMdAsaNatyo adappo amAyA jasAmei taayaa| raNe ucchahaMtA samAsei sNtaa|| ghattA / sanjiyajayamaMgale ghosiyamaMgale pikkhivi puttahotaNiya siy| dhaNavaihariyattahiM pahasiyavattahiM chaDDiya vaNi vAvAra kiya // 8 // duvaI / to sumahattarANa kara maulivi naravai muhaM niyacchae / pariyaNi piMDavAsi aMteuri tumhaI thAhu pcche|| cara pesivi suvihiyasaMpahAru raNi jANivi samavisamANusAru / takAlasarUviM dharivi maMtu puri pauri karivvau suppayattu / paDivanjiya taMpi mahAnarehiM maMgalapasattha jaMpiya sarehiM / puNu jaNaNisamuhuM supaivvayAu ahiNaMdivi diTThau varatiyAu / tehiMmi jaMpiyaI suhAsiyAI nimmacchaNAI vivihaiM kiyAiM / kamalaI navakamaladalakkhaNAiM jiNasesakusuma kari dharivi taaii| avaloivi sAlaMkAru puttu navakuMdakusumadasaNAI vuntu / ghattA / ciru mahuM pucchatehiM viNau vahaMtihiM jaM Aesiu muNivariNa / taM caDau pamANaho nivvuiThANaho jiNasAsaNadevihu baleNa // 9 //

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camo sandhI / duvaI / to bhavisANurUa avaloevi saMbhAsiya nariMdiNA / accharakoDi sahiya raimaMdiraM naM saha saha suriMdiNA // to bhavisai bhaviyattaho suAI mAlaimAlAkomalabhuAI / kuvalayadaladIharaloyaNAI mAlUrapikkapIvarathaNAI | appiya cUDAmaNinAya mudda suhisamuha diTTha duriyahaM raucha / maNimauDi kuMdi kusumahaM karevi viyasaMti saMti ullava deva / toNIrahaM tuDu aNuppamANa hosaMti aNiTThiya samari bANa / saradhArihi varisivi jema mehu jasadhavaladhUli dhUsariyadehu / bhuabalabaleNa parabalu jiNevi Avahi vairiyajayalacchi levi / to calataralAviyaloyaNAI kaMdaSpaSpapiyamANaNAI | avaloiDa piu piyasaMbhamAI naravaibhUvAlataNubbhavAI / tevi bahukajjakayakkhaNeNa raisannaI sammANiya bhaNeNa / nIsariu sariu jasarasi turaMtu sajjaNadujjaNami bhau karaMtu / nijjAvao va bhaDathaDasamuddi naravaI ArUDhu mahAgaIdi / dhattA / raNabhUmi saraMhaM cAru caraMtahaM samarakajje ujjuamaihu / varakariNihu kariNiuM suhaDahaM ghariNiuM sikkha diti niyaniyapaihu // 10 // duvaI / pabhaNaI kAvi kaMta piya vahai avasaru appamANaho / nikkara karahi ajju samaraMgaNi pahusammANadANaho || 101 kovi bhaI raNi caDivi pamANaho nikkara karami sAmisammANa ho / kovi bhaNaI pie paI vi na bhuMjami jaivi na tilayanAhu raNi raMjami / kovi bhaI navi baMdhami phullaI jAma na vairimuhai ohallAI / kovi bhAI ahaM sai Avahami aha juyarAyadaMDu dalavahami / kAyaraghariNi kAvi pariveyai hou balikkiyAe pahu sevae / jitthu aUrai kAli marijjai kAI teNa vihaveNavi kijjai / sAmiNi mA e savakkhu sarijjahi mahu ketaho jaMghAbalu dijahi / sovi bhaI kiM sAmiNi vuccai mahu jaMghAbali kuvi na pahuccai / kema pamAu dUri vaggataho parasaMsau paoli niggaMtaho / ema samaruvAvAru viTTivi niggaya naravariMda saMghaddivi / dhattA / avaloiDa sAhaNu hayagayavAhaNu bhavisayatta bhUvAlapahu / thiya samaru samuDivi raNapiDDa maMDivi paDigAhivi jayalacchi lahu // 11 //

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102 bhavisayattakahAe duvaI / pihumailohajaMghapaMcAlahiM kacchAhivanariMdahi / paNaviya kuruva bevi annehiMmi bhusaamNtviNdhiN|| bhavisattu vuttu kacchAhiveNa pahu amha kuiu kajeNa keNa / kurujaMgale jo paisai asaMtu taho amhahaM vairu mahAmahaMtu / bhUvAlaho jo jaMpai aseva tahu amhahaM avasiM sAvaleva / evahiM vai ahiseu tumha dehi niyau kavaNu Aesu amha / taM vayaNu suNeviNu bhavisayattu pabhaNaiM raNarasakaMTaiyagattu / aho sAhu saccaviu saccu pakkhAliu paI dukkara pavaMcu / bhUvAlakaji saccau sahida tau cariu carehiM ciru carahiM sitttt| evahiM dhaNadhannaramAulehiM tau ANau ahivelAulehiM / ghattA / etyuvi paDivAlahi samaru nihAlahi pAsaTiu pakkhittachali / hauM jAma nihaTTivi raNi saMghahivi karau kulakkhau vairibali // 12 // duvaI / to pavvayanariMdaharivAhaNapaMcAlANurAyahiM / paNaviu kurunariMdu annehiMmi bahunaravainihAyahiM // to bhaNaiM navippiNu lohajaMghu jasutaNa vayaNu savvahaM alaMghu / aho deva deva paDibhaDavamAli nau eha nitti saMgAmakAliM / paDhamauM paharaMtae sAmisAli pribhmiyvismbhNddnnkraali| bhaDathaDa appaM parihoi jAma pAikaho pasaru na hoi tAma / taM maMtihu vayaNu suNevi teNa avaloiya nara hrisiybhuenn| diI sammANaiM joha jAma cappiya raNamahi parabaliNa tAma / pasarai sAkeyanariMdasinnu romaMcauccakaMcuapavannu / harikharakhuraravi khoNI khaNaMtu gayapayapahAri dhara dara malaMtu / haNu mAri mAri kalayala karAlu snnddbddbhddthddvmaalu| taM nievi saghaNu ahimuhaM calaMtu dhAiu kurusAhaNu paDikhalaMtu / ghattA / kalayalagaMbhIraI dinnasarIraiM hayaraNabheribhayaMkaraI / kurupoyaNavalhaM aNihayamallahaM bhiDiyaI balaI samaccharaI // 13 // duvaI / to harikharakhuraggasaMghaTiM chAiu raNu atornne| NaM bhaDamaccharaggisaMdhukkaNadhUmatamaMdhayAraNe // dhUlIrau gayaNaMgaNu bharaMtu uhiu jagu aMdhArau karaMtu / nau dIsai appu na parusakhaggu na gaiMdu na turau na gayaNamaggu /

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cauddahamo sandhI / 103 tehaivi kAli avisadRmoha huMkArahu paharu muaMti joha / kivi AhaNaMti disi bahu muNevi gayagajjiu hayahiMsiu sunnevi| kivi kokkivi paDisaddaho calaMti asimuTThie niyaloyaNa malaMti / dhAvaMtu kovi ahiyAhimANu gayadaMtahiM bhinnu apicchamANu / katthai paharAuraayasamoha gayaghaDa payaha nihaNaMti joha / rau naTTa vihaMDiu bhaDakhaleNa mahi muddiya vaNasoNiyajaleNa / ghattA / to gayaghaDapilliu suhaDahiM bhilliu avarupparu kappariyataNu / sarajAlomAliu paharakarAliu bhamarAvattiM bhamiuM raNu // 14 // duvaI / to ikvayakannapaMguraNahiM suhaDahiM naarsiNhhiN|| DhadADhAkarAlamuhabhAsuralolalalaMtajIhahiM // khajjaMtu bhamiuM karavahaM sinnu osAru niviDagayaghaDahiM dinnu / tehaivi kAli soMDIra vIra paharaMti suhaDa saMgAmadhIra / keNavi kAsuvi asidhAu dinnu uru siru sakhaggu bhuadaMDa chinnu / asi vAhai kovi galaddhasesu hattheNa dharevi paDaMtu sIsu / keNavi AroDiu laMbakannu vaMcevi pharasu kuMteNa bhinnu / keNavi raNi tajiu ekavAu vijAharakaraNiM dinnu ghaau|| keNavi DhukaMtu lalaMtu jIhu do khaMDivi pADiu nArasIhu / katthai kaDu Aviya gayahaM paMti paribhamiya suhaDasIsaI dlNti| katthai paharAura dunnivAra hiMDiya turaMga paDiAsavAra / katthai sarohu vaNasoNiyaMdhu surahiu kari narakesarihi khaMdhu / ehai vaTuMtae raNi asakki maMtaNauM jAu mahivAlacakki / aho acchai hu kAI nirAvasanna kuruvaihi osAriya laMbakanna / maMchuDu dujau bhUvAlarAu dIsai dhaNavaisuu bhupsaau| taM maMtivayaNu hiyavai dharevi uTThiya sayalavi samaharu karevi / ghattA / mahivaisAmaMtihiM samari bhiDaMtihiM kuruvaisAhaNu osariu / DhipaharakarAliu samarasajAliu raNamahi millivinIsariu // 15 // duvaI / bhaggai sAmi sinni paisaMtae pasarivi niyayamaMDale / niru khalabhaliya gAmapurapaTTaNa tahiM kurubhUmijaMgale // gayaurajaNu hallohaliu suTTha nAyariyahiM hAhAkAru ghuch| vihaDapphaDa dhAiya payaasattha parimukkakesa vihaDiyaniyattha /

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104 bhavisayattakahAe niyaniyaghara siharahaM caDiu lou jaMpai aNi saMpayavihou / lai nahu kajju atthamiu rAu balu bhajjai nIsAhAru sAu / parabalu gahagahai mahocchaveNa dIsaha na kiMpi dhUlIraveNa / dhaNavai paricitivi appasAu sannaDa suhaDasAhaNasahAu / parirakkhaNu kiu puravari sakosi pariyaNi aMteuri piMDavAsi / itthaMtari paisivi varihiM sihu amhehiM sayalu saMgAmu dinu / vihaDiu sayatthu uppannu bhaMgu vairihu balu moDiu cAuraMgu / parathakkau parivadviyapayAu tara naMdaNu bhUvAliM sahAu / sannaddhu karivi karisArisajju nau jANahaM hosai kema ajju / dhattA / ettahivi NariMdiM vairimaiMdi avaloivi niyabalu naviu / vihuNiyabhuMDi raNabharacaMDi appuNu saI sannAhu kiu // 16 // duvaI / sannajjhati tilayadIvAhivi samari sumittatAiNaM / ghallivi kavau lai kuMtAuhu pahubhUvAlarAiNaM // paNa viSpiNu paMkayasirisueNa naranAhu vuttu harisiyabhueNa / tuhuM tAya tAma pikkhaMtu hohi didu pavaNu hauMmi parabalajalohi / jo aggimakhaMdhi anaMtavAla taho karami ajju raNi palayakAlu / annumi cittaMgaho dalami dappu ciru paisivi maggiu jeNa kappu / annahaMmi asannahaM karivi sanna moDivi mahivai ukkhiNami kanna / paMtu ema cali nariMdu ArohiM kannAriu gaiMdu | tiM sahuM saMcaliya bhaDamaiMda paMcAlamicchakacchavanariMda | pahumaiharivAhaNalohajaMgha annavi naravai je raNi alaMgha / dhattA / naravarehiM parajivi guNa nimmajivi dhaNuharasara saMghANu ki / akkhayatoNIriM raNi suMDIriM parabalu sarahiM kaDantariu || 17 | dubaI / niyabalu nievi sarahiM bhir3aMta raNasaMgari payattaho / varadugghoTTi caDivi uDAyau mahivaha bhavisayattaho // juarAeM tajiu siTThiputtu aho tumha gotti euvi ajuttu / pahu raMjivi jaM pariNiya sumitta avasANu tAsu ittaDau mitta / vihasaMtu papaI tilayarAu hauM pheDami tuDu sumittavAu / taM vayaNu suNevi viruddhaeNa pesiya saradhoraNi kuDaena / te lIlaI dhaNavasuNa chinna annekkasarahiM payarakkha bhinna /

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uddahamo sandhi hau cAvadaMDa pADiyu dhayaggu varNitaNuruha bhaeNa gaiMdu bhaggu / annahiM gayauri Aruhai jAma siri lauDipahAriM hayau tAma / dhattA / gayaghAu saheviNu ceya laheviNu uTThi asivaru levi kari / to kheyarakaraNiM asivAvaraNaM jhatti jhaDappiu vairiari // 18 // duvaI | naravai jIvagAhi jaMpAviu saI bhavisattarAiNaM / 105 to sajoha raNu milavi jhUriu maNi visAiNaM // jo jAsu bhiDiu so teNa mukku thiu parabalu sahuM saMkeyacukku / viNu ikkiM paDiu tamohajAlu kahu sahu visamaTThi sAmisAlu / pahupAsi paDhukka nariMda savva niSkaMda nirAuha galiyagavva / pariosiDa pahu bhUvAlurAu gayauri loyahaM sohalau jAu / nAyarajaNu raNu pikkhivi saviMdu jayakArai jaNavallaha nariMdu | to navara teNa dhaNavaisueNa raNasirirAmAliMgiyabhueNa / saMvarivi layau bhaMDAru kosu pariyaNu aMteuru piMDavAsu / parivAra salu kiu ikkavAsi dummaNu niviDu naravaihiM pAsi / viNu camarahiM cAmaragAhiNIu jali sukkai jaM jalavAhiNIu / ts sohai dumma piMDavAsu kajjalajalamailiyagaMDavAsu / thiya chattadhAra chattaI muevi tUriyavAittaI pariharevi / ari cora jemva cAlivi saviMdu pariosiM gau gayauri nariMdu / to maMtimaMtu mahAnarehiM AyahiM dijjahiM niyalaI parahiM / dhattA / bahunarapariyariyau maNi macchariyaDa acchai mauliyamuhakamalu / jai kahavi vilughi to dalavadRha sayaluvi amhahaM taNa balu // 19 // duvaI | aho jaNa maNi sayajju pariciMtaho maM gharavAsi dammaho / khaNapariyattavisamasamasaMkulagai saMsAra dhammaho // tithaMkaru risahu jiNiMdu Asi taho puttu bAhubali teyarAsi / naraloyakoDipuvvAumANu sayapaMcasavAyaghaNuppamANu / jiu samari jeNa bharahesarovi jasu caraNihiM paDiu suresarovi / jo tahiM satANi mahAnariMdu jasu siriNa navai sAmaMtaviMdu | maMDalavai jAsu karaMti seva baMdiggahi pAviu sovi kemva / jogii geyaviyakkhaNehiM paribhama sovi sahuM rakkhaNehiM / 1 B jhaDappavi dhari ari 14

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bhavasantakahA jasu pariyaNu mahimaMDalu pavAsu so aNNeM sahuM ahilasai gAsu / kIlaMtau jo ramaNihiM sahAsi so niMda lahai kaha baMdivAsi / taho darisiya ehAvattha jeNa kiM buccai tAsu kulakameNa / uppaNNauM ciru vaNivarahaM gotti parivaDiu mAmahaM sAli putti / vANijje gau savvAyareNa vaMciu sAvattiM bhAyareNa / parihaviNa gaMpi naranAhu diTTu teNavi sammANiuM kiu vari / hu bahumaMDalavainaravariMdu uccAi niyasuhisayaNaviMdu | yes jANeviNu maJcaloi maM karahu gavvu saMpayavihoi / pAraMparakavvahaM lahivi bheu maI jhaMkhiu sarasaivasiNa eu| dhattA / jhANi saMgAmaho duSpariNAmaho avasiM nAsai appahiu / dhaNavavaNiuttiM ravi NiuttiM puNuvi tassa micchA mi kiDeM // 20 // caturdazaH sandhiH / 106 saMgamaniyattae visamisamattae dIharathorapalaMbabhuu / ahisiMciurAeM maNi aNurAeM ajja rajji dhaNavaihiM suu // duvaI / ahisiMcivi kumAru varajuvaihiM pujiu sevAsahiM / siyacaMdaNavilittu pariaMcivi jayamaMgalasahAsahiM // tao daMsiyaM sajjaNANaM suhaddaM sughosaM samupphAliyaM naMdisaddaM / samAosio posido vipakkhA vihoeNa bhoeNa kAuM samakkhA | pasAhA viyAdA vidyAsA sumittA pasatthehiM vatthehiM sittA pavittA / aviddhA visuddhIkayA koilAvA samAlIDhagholaMtakaMcIkalAvA / samiMdIvaracchI samuttuMganAsA samAvattajaMghA varorUpaesA / niyaMbe visAlA suvitthennamajjhau ghaNaMghatthaNA dakkhiNAvattagujjhA / juvANaM jaNaM vammahaMtI mahaMtI mahAmattamAyaMgalIlA vahatI / salAyavva lAvannanIre taraMtI jaNe sAhilAsohasohA dharaMtI / puresA vaha so varo taM vihoeM nieDaM na so jassa jAyaM na moyaM / dhattA / sA dhIya nariMdaho sajaNaviMdaho majjhi suvesAlaMkariya / jayamaMgalaghosiM suhipariosiM bhavisayatti karayali dhariya // 1 // 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe budhaNabAlakayAe paMcamiphalavaNNaNAe bhavisadattasaMgAmajayavaNNaNo nAma caudahamo saMdhI pariccheo sammatto / 2 A avigdhA 3 B suviSiNNamajjhA

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107 paMdrahamo sandhI duvaI / pANiggahaNi jAe jAmAyaho ahiymnnaannuraainnaa| jaM ciMtiu maNeNa nIsesu vi taM taho dinnu rAiNA // taho appiu kurujaMgalaho aDDa dhaNakaNayasAramaMDaNasamichu / rAulu vicittu vitthArasAru rakkhaNapaDirakkhiu sIhabAru / sIhAsaNu camaraiM Ayavattu pallaMkatUli raibhavaNi pttu| suhalakkhaNu jayamaMgalagaiMdu paDivannaseva sAmaMtaviMdu / maNapavaNagamaNu hayavaru turaMgu bhaMDAru kosu balu cAuraMgu / vilayau piyavayaNaI vAhiNIu varajuvaiu cAmaragAhiNIu / kaccolathAlapariyalu asesu aMteuru pesalu piNddvaasu| asimasimahallamaMtiNa Nioi kAhArakhorabhaDabhaMDabhoi / anuvi jaM jaM maharAyaciNha taM taM naranAhiM tAsu diNha / puvvakkayasuhakammaI phaleNa vara vasaviheya kaya bhuyabaleNa / ghattA / dohalayanimittu paripucchivi bhavisANumai / taM nisuNahu jema gau taM dIu narAhivai // 2 // duvaI / pNkysirisumittpiysuNdribhvismhaaguruuvhiN| pesiya saMkahiyai bhavisattaho bahumaisArabhUahiM // osArivi pariyaNi piMDavAsi baisAriu pahu ekaMtavAsi / dAhiNaiM paTTi bhavisANurUa vAmahaM sumitta guNasArabhU / aggai tinnivi sumahattIu kamalacchi lacchi piyasuMdarIu / paNavivi naranAhiM dinnu kannu jaMpiu jaNaNie bahuguNapasannu / paI caMgau kiu vavasAu vaccha ANiya ghari jayasiri vahua saccha / jaM jaMpiu pahuatyANi jema nivvAhiu taM ji niyANi tema / cittaMgiM sahu~ jaMpiu karAlu ghalliu dara malivi annNtpaalu| taM navara sayalu paI kiu sadappu bhuabaleNa jaivi taho hau kaDappu / naranAhiM vasumai tai niutta pAlivvI kusalattaNeNa putta / amuNiya vIsAsu pamAu lohu tiNNimi saMpayahaM karaMti doh| ekvika pahANa mahAnariMda pai ANiya avamANivi saviMda / ghattA / nau suMdaru eu jaM parirakkhiu bhamaI ari| sammANivi pesi aha niyalahiM pacchanna kari // 3 // taM vayaNu tAsu hiyavai paiTu kokiu aMtaraparivAru idu /

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bhavisayattA dhaNava hariyattu mahANurAya maMtaNaI pariTThiya bevi tAya / pucchiu bhUvAlu pasannamANu iyakAlaho eyaho kiM pahANu / tevi avaloiDa vayaNu tAsu varatilayadIvaparamesarAsu / ahu kAraNu nau sAvannu eu jaM kajjai taM saMghaDai heu / naravai mahivAla mahAhirAu taho puttu tumha ukkhevi Au / annuvi cittaMgu mahAniuttu siMdhuvai sIhakaMdharaho puttu / arivAraNasIhU aNatapAlu caMpAhiu caMpahi sAmisAlu / avaravi nariMda amariMdateya sayalavi ekkikkapahANa eya / pariyaNa sabhicca appiya kalatta acchaMti bAri tau rulaghulaMta / visahivi avattha khevaMti kAlu na muvaMti vihuri niyasAmisAla | ttA / kiM kijjai itthu viyaDi pariTThiya kajjagai | ADhappai jaM ji taMpi na evahiM saMbhavai // 4 // jar3a mucai to paDivakkhi jAi jai bajjhai to hiyavai na mAi / aha hammaI to jasahANi hoi acchaMtu ema suMdaru na loi / aha evi kAmina kiu juttu Arohiu kesari suhu suvaMtu / lai lehu tAma niyalaI paehiM parivedivi mattamahAgaehiM / jai rUsai to hammaI valaMtu aha visahaha to acchai khalaMtu / kiu nicchau AvAsiya talera sajjiya gayasAhaNu bhamiyarera / nigghiNa cilAya nara kUrakamma ArUDha gaiMdahiM baddhacamma | vihaDaphaDa dhAvaMtiM jaNeNa pariveDhiu nAyariyAyaNeNa / hA hA nikkAraNu jAu kajju maMchuDu mArivvara vairi ajju / kovi jaMpara jai muccaha jiyaMtu to puNuvi eha hoi visartatu / dhattA / ari sapparivAri veDhijjaMtae gayacaDihiM / 108 savilakkhu hasevi jaMpiu avarupparu bhaDihiM // 5 // aho vaha kajju samappamANu akiyatthu jAu maraNAvasANu / vairihiM ADhattai sAmisAli kiM karahu nirAuha sImisAli / vari tahiM ji Asi mua haNivi gantu maM diTTu sAmi avamANiyaMtu / annikku bhaI lai hou cAru vaNi sIhu vahai kiM hatthiyAru / adaMDa bevi pavati jAma ko dukkai sAmihi samuhu tAma / 1 B visasaMtu 2 B etthu kAli

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paMdrahamo sandhI 109 hallohali havau vairiviMdu pikkhai tavaMgi thiu naravariMdu / to leviNu poyaNapuraho vatta cara biNNi parAiya cArugatta / paripucchai naravai sANurAu kahiM vai so mahivAlu rAu / kittiu balu kittiu suhaDaviMdu maMtaNa kAI maMtai nriNdu| paNavippiNu tehiMmi suTTa emva taho pAsi nAhiM balu kiMpi deva / je je pahANa sAmaMta kevi te te taho naMdaNu Au levi| acchai naravai vairAyabhaTTu taM paTTaNu hallohaliu suTu / ghattA / hiMDaMtihiM titthu ghari ghari succai tau cariu / / riughariNie nAha nayaNihiM kajalu abahariu // 6 // caravayaNu suNivi riunimmaheNa vuccai sumittamaNavallaheNa / tajjaMtahaM tajjiu muhakarAli pahariu paharaMtahaM bhaDavamAli / evahiM vairAyapabbha teya kokkivi sammANahaM sayala eya / taM nisuNivi dhAiya nara sadhamma viNivAriya kiMkara kUrakamma / ANiuM maM bhIsivi vaMdisatthu saiM jaMpiu pesalu taha pasatthu / paisAriu sajaNu bhavvalou darisiu niyasaMpayapayavihou / bhoyaNu bhuMjAviya bahuraseNa sakArukkhetta mahAlaseNa / dinnaI varavatthavilevaNAI jAyaI pasannasannaI mnnaaii| ghattA / ekika pahANa jaivi saku~Dala mauDadhara / nau pAvahiM soha viNu jayalacchie tovi nara // 7 // sammANivi sapparivAru sattu joviu aNaMtu cittaMgu vuttu / aho sAhu sAhu suhaDattaNeNa ujAliya lIha bhaDattaNeNa / taM kiu jaM jaMpiu titthu kAlidarisAviu appau bhddvmaali| puvvanjiya raNi jayalacchi hoi paharivi jujjhai pAikku loi| saMvarivi jAhu niyasAmisAlu Avijahi puNuvi lahevi kaalu| to navara bhaNaiM avaNiMdajAu aho naravai tau pasarau payAu / amhaI puNu suhaDattaNu acaMDa chuDDu na gaya samari sayakhaMDu khNddu| tau appivi sahuM jIviu sarIru visahiu nirohaparihau gahIru / ghattA / jo cappiu jeNa tAsu teNa sahuM kavaNa tuDi / / mailiyaI na hoMti phullu saittaNu caarhddi||8|| raNi bhaggu maDappharu jeNa jAsu so jIvau seva karevi tAsu /

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bhavisayattakahAe evahi tuhuM amhahaM sAmisAlu khevahaM taba ANa karevi kAlu / aNuhuMja siMdhu sAyaraha dovi caMpahi caMpAhiu karahi kovi / poyaNapuravari niyakaraNu dehi pavvayamaMDaliyahaM kappu lehi / evahiM tara ANaI amha teu so bhaMjahaM jo tai aNaviheu / taM niNivi paMkayalacchijAu sammANaI sayalavi kayapasAu / aridappasADa kIlaI ramevi jaM jAsu taM ji tAsa khamevi / appara parivAru sapiMDavAsu kariturayajohabhaMDAru kosu / aMteri saI bhavisANurUa sammANu karai guNasArabhUa / saMpesiya gaya sayalavi nariMda niyaniyanayarihiM thiya suhaDaviMda | dhattA / vaNiutteM hovi gayauri puvvasukayajueNa / 110 maMDaliya jiNevi laiya lacchi dhaNavaisuiNa // 9 // jayajasapasarapasAhiyagattiM bhavisiM rAyalacchi mANaMtiM / bahukAliM bahusiya saMbhAviya bahunaravai niyaseva karAviya / akhaliu sAlaMkAru saNeuru pasariu piMDavAsu aMteuru / sIhabAru sIhAsaNu chattaI emvamAi annaImi vittaI / ema tAsu bahubhoyAsattaho hua guruhAra dhIya bhaviyattaho / sA durlabha dohalaya saraMtI pucchiya rahamaMdira vilasaMtI / kahahi devi jA nayaNANaMdira tilayadIvi sasipahajiNamaMdiri / dhattA / jai jAivi titthu pujjamahima jiNavara karami / taM sijjhai kema teNa nAha hiyavai dharami // 10 // taM niNivi naravai ciMtAviu gahaNu samuddattaraNu maNi bhAviu / kima taM tilayadIu AsaMghami duttaru kima rayaNAyaru laMghami / taiyahaM gaya pilliya duvvAeM ANiya mANesariNa sahAeM / evahiM puNu dulaMghu tarhi saMgau aMtaru jaladuggamu thaladuggau / jai Ayaho dohalau na pujjai to purusAhimANu nau jujjai / ema jAma ciMtavai mahAiu takkhaNi so maNaveu parAiu / teNa vRttu paDihAru samAsae avasaru jANAvahi pahuAsae / savitA fasaNa kaDakkhevi suviyakkhaNu vi na sakkai lakkhevi / gau pahupurau avakkhae kheviu muhi vatthaMcala devvi niveiu / deva deva acchAriya mahaMtaru acchai bAri mauDakuMDaladharu /

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paMdrahamo sandhI kiM so asaNiveu saMpAiu kiM mANesaru jakkhu parAiu / kiM suru kovi surattaNu pAlai avasaru sIhabAri paDivAlai / to ANAviu Navara garidi lahu paisAri vuttu sANaMdiM / ghattA / AvAhiu Au rAeM anbhutthANu kiu / taho teNa navallu pAhuDu karayali allaviu // 11 // khayariM saviNaeNa piu jaMpiu digvi divvAharaNu samappiu / naranAhiM devAviu AsaNu jaMpiu thou thou sNbhaasnnu| ko tuhUM kavaNiM kajjeM Ayau dIsahiM paguNaguNahiM agghAiu / taM nisuNevi teNa uvalakkhiu niyakulu nAuM thAuM taho akkhiu / hauM maNaveu nAma vijAharu nilau majjha veyaDDamahIharu / keNavi koUhalasavisesiM Ayau muNivaravayaNAesiM / jai tuhuM dhaNavaisiTihi naMdaNu kamalAevihi nayaNANaMdaNu / jai bhavisANurUamahaevihiM aMtari asthi kiMpi suhasevihiM / jai saMkeu eu u pujjai to Aesu dehi jaM kiji| aha nau milai eu ahiNANauM to savvahaM avasANu pahANauM / ghattA / taM vayaNu suNevi nayaNihiM kiu harisaMsujalu / muhi karayalu devi puNu orAliu muhakamalu // 12 // tiM vayaNiM pahumaNi Amoevi mahaevihi muhakamalu ploevi| jaMpiu vijAhariNa samANauM suMdara milai savvu ahiNANauM / ettiu mahu maNi para vAmohau tuhuM jayalacchivihUsiyadehau / jammAuvvu aiTTavisesaNu kiM kajiM mahu mannahiM pesaNu / to vihasiu veyaDDaho rANauM atthi itthu vitthariNa kahANauM / jai niyameNa suNahiM Ayacchalu jai sacau jiNasAsaNi vcchlu| jai muNivaravayaNaI paDivajahi jai dukkahajaNavayaNaho lajjahi / jai jammaMtaravayAI pucchahi jai appANauM pau pariyacchahi / to saMvarahi viyappaviyAraNu atthi puvvasaMbaMdhahaM kAraNu / ghattA / to kuruvanariMdu jaMpai avagannivi ghnnu| paDivannapayatthu kiM kijai taM turiu bhaNu // 13 // nahatilayAhiveNa to vuccai jaM tau ThAi amha tau ruccai / mahaevihi dohalayanimittiM hauM Ayau muNiyayaNaniuttiM / ..

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112 bhavisayattakahAe lai Aruhahi vimANi ravannaI pvnnudddduapddaaysNcchnnii| tilayadIvi caMdappahanAhaho karahu nhavaNu caMdappahanAhaho / pujivi vammahavAraNukesari pikkhiu kurujaMgalaparamesari / sarahasu taM paDivannu nariMdi laiu samau sahuM sajaNavidi / taM saMkeyatUru apphAliu dasadisi vahakayaMva orAliu / taho sahi suhisayaNa parAiya sahuM lacchie paMkayasiri Aiya / haribala patta samau parivAriM dhaNavai purpmuhpbbhaareN| bhUvAlu vi juarAya piyacchie piyasuMdarie samau jylcchie| ghattA / sammANivi sihi purayaNamaNaI bahucariu / parituTTha bhaNevi tehiMvi evaMkAra kiu // 14 // tao tADiyA kiMkarahiM sakherI nariMdassa bAre mahANaMdabherI / gayA kanakannaMtarehiM narANaM samAesaNe pesaNe taM ghraannN| huA teNa soUNa buddhA samiddhA mahANaMdiyA uccaromaMcaviDA / aho rAule kovi Ao auvvo naro vA suro vA paro vA sgvyo| balaM dAvae tassa rAoM sarAo jayANaMdabherIrao teNa jaao| gayA sIhabAre imaM jaMpamANA na laMghati rAyAhirAyassa aannaa| samohA sarohA sajohA payaMDA kayAsArisijjA gayA lIlagaMDA / calaMtA valaMtA pahaMte thuNaMtA turaMgA khuraggehiM khoNI khaNaMtA / jaNo rAyamagge pasiddhaM paesA pasAhei savvAyareNaM suvesaa| ghattA / puri AvaNasoha darisiya nayaNANaMdirahiM / ullocasayAI raiyaI jiNavaramaMdirahiM // 15 // to nariMdu Aruddha mahAgai saI suranAhu nAi airAvai / pAsihiM bihiMmi bevi suhaseviu tilaunbhamasumittamahaeviu / annettahiM bhUvAlu naresaru jo kurujaMgaladdhi paramesaru / DhidIharapalaMbabhuvapaMjaru piyasuMdarimuhapaMkayamahuyaru / annittahiM juarAu sasAhaNu bhUvAlaho naMdaNu gayavAhaNu / paMkayasirivi samau parivAriM hua jaMpANi ahiysiNgaariN| hariyattu vi sabaMdhu sapariggahu calliu sajji niyayasupariggahu / uhayakulehiMmi je suhisajjaNa tAhiMmi karivi hiyaya savvaggaNa / jiNamaMdirahiM asesahaM jAevi jiNahari pujjamahima nijjhaaivi|

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paMdrahamo sandhI dhattA / mahadANaI devi nAyarajaNajaNiacchariu / jayatUraraveNa lIlaI nayaraho nIsariu // 16 // puraho payAhiNa devi susAhaNu puNu saMcala mahAgayavANu caMcivi thovaMtaru AsannaI huahaM jAI tahiM ThAi vihinna / vijjAharu nariMdu ikkAsaNi bhavisa sumitta bevi avarANi / ema vihoeM tAma niviTTha nAyariyAyaNeNa ciru diI / jayajayakAra karaMtiM loeM caDiu vimANu gayaNi anbhoeM / nahi jaMtaI pikkhatiM mahiyalu jalakallola diMtu sAyarajalu / jaNu pikkhaMtu tAma thiu rammaI jAma huaI nayaNahaMmi agammaI | khaMcivi tilayadIvi avainnaI caMdappahajiNabhavaNi pavannaI / dhattA / tahiM jAevi teNa dhaNavaisui kiu AyariNa / jiNanhavaNavihUi pAraMbhiya savvAyariNe // 17 // paJcadaza: sandhiH / siricaMda pahanA dIvaMtara bhavisanariMdi / ahisiu kallANi paramesaru jema suriMdi // vijjAharu veyaDUgiriMdaho saMvAhai ahiseu jiNiMdaho / payaghayahimaMgalajalakalasihiM bahunimmacchaNAI savisesihi / dhUvaphullabahudIvaMgAraI ramaNaI ramiya aNeyapayAraI / niyavijjAbaleNa paviyappai saI sumittamahaevihiM appara / bhAvayattadohalayanimittiM pikkhai maNavayakAyapavittiM / bhavisayattu jiNapaDima pasaMsivi purau pariTThi nAhu namasivi / uttAriyaDa asesau mAlau bahuparimalasuaMdha somAlau / suratarupamuhapasUahaM Iyau narasuravijjAharakararaiyau / uttamasaMgiM jaivi pavattiu tovi siri karivi vAsi pakkhittau / dhattA / nimmajjevi jaganAhu guruvayaNu viyappivi sAru / kayamahimAraMbha pahu aMcai vivihapayAru // 1 // maNavayakAyanivesiyacittiM pavaradhUvavAseNa vicittiM / 113 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisadattatilayapuri dohalyANimittagamanaM nAma paMdrahamo sandhI pariccheo sammatto // 2 A nimmalle vi. 15

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bhavisayantakahAe deviNu dIvajutti aMgArai rnnrnntghNttaattNkaari| uccallivi pasannathuivayaNiM aNuvAsiya parivAsiyavayaNiM / suvihie maMgalaggi pajAliya purau tivAra bhUmi pakvAliya / aMgu malevi suaMdhAmoeM nimmajiu privttrtoeN| puNaravi dhUvavilevaNavannae parivADie deviNu avgnnii| siDamanniM ahiseu pavAhivi dasavi disAhivAla AvAhivi / dahiSayapAyasakhaiyanioeM pupphkkhyphldlsNjoeN| taMvayapatti karivi aNurAeM uccalliu Arattiu raaeN| ghattA / jalakusumaMjali devi bahuthuttugginnagireNa / / akkhayaphalaghusiNehiM nimmacchiu nAhu nareNa // 2 // puNu kappUrakaraMbiyatoeM puNaravi dinnu tivaaraamoeN| puNu varasurahikhIri uppanna kuMkumarasacAmIyaravannauM / jaNavai ghANidiyahiM suhAviu mAruaruaveyaNaviccheyau / jaM soraMbhu raMbhavaNamaggu va niDu samiDa suyaNasuhisaMgu va / ghavaghavaMtu maNikuMbhakaryavihiM jhalajhalaMtu dhArApaDibiMbihiM / hayapaDapaDahabheri maNamoeM jayajayakAru karaMtiM loeN| ghau nivaDai vacchatthale nAhaho nhavaNAraMbhi vihUisaNAhaho / sohai kalasamuhaI millaMtau jiNakala hoi kaMtirillaMta / ghulivi aMgi thiru hoviNu thakkA jiNavacchayalu muevi na skaa| aha bhaeNa duzvAsaNasaMgaho na tarai tarivi jinnesraNgho| jammaNamaraNapalAva sareppiNu naM thiu jiNavaru hiyai dharippiNu / aha savvaMgaI bharivi jiNiMdaho kahai nAi bhaviyAyaNaviMdaho / aho mahu ajju nAu~ muhu pattau jaM evaDDa mahattaNu pttu| ghattA / uvvattivi payakosu ahiNaMdivi tihuaNasAru / dina vilevaNu mannu ukkheviu dhUvaMgAru // 3 // puNu himasaMkhasarayasasidhavali thiramaMtharapavAhapahadhavaliM / kinnaragIyageyagaMbhIriM nhaviu jiNiMdu surahivarakhIriM / puNu kuMdujalakaMtivayaMsiM riddhi samiddha maNoharaphaMsiM / jiNu ahisiMciu surasambhahieM daDavaDaravaDa paDaMtiM dhieN| 1 B kayaMti 2 A sambhAeM.

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solahamo sndhii| puNu gaMdhovaeNa supavittiM ghaNaghusiNujjalakaMtivicittiM / puNu samaladdhaeNa AmoeM puNu pakkhAliu nimmltoeN| puNu maNikaMcaNakaMtikayatthahiM nimmalapunnapavittapasatthahiM / jalakalasihiM ahisittu naridi naM kallANakAli amariMdi / puNu taNu luhivi pottasaMcAriM saiM samalaDDu ghusiNavaNasAriM / bahuparimalakusumaI omAlivi jhuNi Alatta siriNa saMcAlivi / gumugumaMtasaramahuramaiMdahi bahalakuMdavacakuMdatakuMdahiM / ghattA / ahisiMcivi jaganAhu khaNu acchai naravai jAma / muNivaracAraNa biNi saMpAiya jiNahari tAma // 4 // te viniviTa karivi jiNavaMdaNa muNivara jayanaMdaNa ahiNaMdaNa / paNavivi saviNaeNa naranAhiM paya pujjiya mhevisnnaahiN| tehiMmi thuipaharisu maNi khaMcivi dinnAsIsa pANi AuMcivi / jaMpiu piu pesalu niravikkhau dhammaho viddhi asuhakammakkhau / salahai muNivariMdu laliyaMgau aho naravai unjamu kiu caMgau / khIriM vIyarAu jo nhAvai so titthayaragottu saMbhAvai / . jo jiNamahimamahocchau dekkhai pujnai pujijaMtu padekkhai / dasaNanANacarittasamiddhie bhAvai maNavayakAyavisuDai / so iharatti parattivi rijjhai jaM ciMtai maNeNa taM sijjhai / ghttaa| vihasivi bhaNaiM nariMdu viNu viNayanioeM deva / maNavayakAyavisuddhi amhArisu pAvai kema // 5 // jiNapujjAvihANu suniuttahiM kinjai jai vinivesiyacittahiM / tovi caMcalu maNu kema dharijai iMdiyacorahaM maMtu na diji| ghANu suyaMdhamANu viNioyai cakkhu sakhvahaM samuhaM ploai| parasu parAmarisevvau icchai jIhAhAravisesaI bNcchaa| kannahiM geu suhAvau ruccai ekikau taM leviNu mucci| paMcahiM aNudiNu jaM perijai taM maNu niccalu kema dhriji| bhaNaiM muNiMdu jaivi maNu caMcala to saMvarivi dharivvau nicalu / cakkhihiM rUvanirikkhaNu ruccai jiNapaDiviMbarUvi sA muccai / kannahiM para jiNaAgamu summaiM jIhaI paguNaguNatthui thuvvaI / 1 A takuMitakuMdahi.

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bhavisayatta hAe ghANuvi sAsUsAsa pamANaho divvau jiNavaradhammajjhANaho / kAeM kAosaggu dharivvara paMcahaM ema viyAru haNivvau / dhattA / puvvakkayasukaeNa labbhai dhaNu saMpaya loi / puNaravi kijai taMpi pahu sAvayadhammi nioi // 6 // taM niNivi saviNayaviNayakAu paripucchai kurujaMgalaho rAu / paramesara sIlacarita rammu Thiu kema gihAsami paramadhammu / suaNaho icchaMta ho dhammasAru uccArai jo savAyahaM sAru / to aTTha mUlaguNa kema hoMti guru paMcANuvvaya kema ThaMti / guNavayaI tinnivRccaMti kA kima vuccahiM causikkhAvayAI / jiNasAsaNi je bahuguNaviheya vajjarahi nAha iha vIsabheya / akkhai ahiNaMdaNu paramasAhu viNaeM AyannaI tilayanAhu | aho caMgau pucchiu paraM payatthu jagi jIvaho savvaho iu sayatthu / pariNaviu jaivi pAraMpareNa pucchivvau tovi mahAnareNa / dhattA / dhammakkhANavisesi paripucchaNi bhattiparAhaM / maNavayakAyanioi kammakkhau hoi narAhaM // 7 // mahu majju maMsu paMcuMvarAI khajaMti na jammaMtarasayAI / dijaMti na kahuvi hiyattaNeNa pahu ciMtijjati vi niyamaNeNa / annahovi asaMtaho ahiyadosu na karivvara maNi ahilAsu tosu / te aTTamUlaguNa ema hoMti viNu tehiM annauttara na ThaMti / suNu naravaI paMcANutryAiM uvasaMti gihAsami dhammi jAI / chajjIvanikAyaho dadyavihANu bahubheya eu paDhamauM pahANu / ates bolijjai nau asaccu na karivvara DiMbhu na maNi pavaMcu / taiyau va levi alohasAru na karivvau paradavyAvahAru / dhaNa dhanna suvanna pavanna vatthu gharu khittu cauppara dupa vatthu / aviyappu apatthi jaivi Au huu kAliM jaivi nirammaNAu | pikkhai mahimaMDala paDiu jaMpi jai lei adattAdANu taMpi / dhattA / taiyau nihAI lohu vIyau parisesai mAya / 116 duddharamayaNaviyAri vau suNahi cautthau rAya // 8 // aha taM mayaNaviyappaviyAriM bhajjai tiu NiyasuddhipayAriM / juvai hoMti cayAri viyappaho maNu mohaMti milivi kaMdaho

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117.. solahamo sndhii| mANusidevitiriyagaisaMbhama citti kaTi pAhANi savinbhama / cauMhiMmi nArihuM maNavayakAyahiM kiyakAriyaaNumAyaNabheyahiM / paMcavi iMdiyAiM jo khaMcai akhaliya baMbhayAri so vuccai / jo puNu tAsu aNuvvau pAlai so annahiM saMgamu na nihAlai / niyadAraho saMtosiM acchai annannaI vivihaI na niyacchaha / jo euM ji karevi na sakkai so saggaiM dAraiM parisakai / jA tiyavesa bhaNivi jaNu jANaiM tahi dhaNu dei aMgi rai mANaiM / jA puNu atyaho karu na samappai tahi kaMdappaviyAru na jaMpai / ghttaa| maNu pasaraMtu dharei pariharai viruddhau jnnvyho| vajaMtaho gharavAsu vau eu cautthau sAvayaho // 9 // paMcamaI aNuvvai vacamANu jau lei pariggahu appamANu / je tau pariciMtivi niyau lei tittiyaho samaggalu nau dharei / jiNapujjamahima dANaiM karevi uvabhoyabhoyakIlaI ramevi / tahavihu nau nidRi dhaNu khaleNa parivaDDai vayaho mahAphaleNa / parajuvaiu jo jovaina loi ahiyayaru tAsu sohaggu hoi| jo niyau adattAdANu lei vavasAyasayahiM tahu taM phalei / jo cavai saccu nicchayamaNeNa so merusarisu dIsai jaNeNa / jo jIvahu icchai nau pamAu aNudiNu parivaDDai tAsu Au / jo mArai jIu nirAvarAhu iharatti parattivi so annaahu| jo jaMpai jaNavai duppavaMcu vaMcai sayaNaiM bollivi asaccu / dhaNu harai kUDavinnANajANi kari tAsu taM ji lamgai niyANi / ghattA / corai jo paradavvu duvvsnnviddbiykaau| so mArijai loi kharavirasaMtu rasaMtu varAu // 10 // jo paratiya pariharivi na sakai so iharatti vicariu kalaMkai / suaNahiM kaNNu akannahiM sIsai jaNi caMDAlu niyANu a dIsai / phalu paJcakkha eu iha loevi duggaigamaNi paDai prloivi| paMcANuvvayAI saMkheviM kahiyaiM jiha siTaiM pureviN| ahu nariMda sAhammiyasaMgaya evvahiM akkhami tinni guNavvaya / disividisaI gamaNaI phuDu mANaho uppari paJcakkhANu pamANaho / paharaNapAsabaMdhaduccArahaM kukkuDamoranaulamajjArahaM /

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bhavisayattakahAe emvamAi annahami aNigRhaM na karivvau saMgahu pAviTThahaM / bhoyapabhoyamANu jaM kijjai taM taiyau guNavaDa jANijai / je gurupujjadANasaMjamaraya aNudiNu je karaMti jIvaho daya / tehiM samANu saNehu karivvara aNNuvi maNu majjhatthu dharivvara / ghattA / iya emAivihIe guNavayahaM narAhiva sihaI | 118 sikkhAvayahaM cayAri suNu jema jiNAgami dinahaM // 11 // pahilau bhaviyaNamaNaANaMdaNu jiNahaM tikAlu karivvara vaMdaNu / jaM bahusaMkhahiM diNu maNu khaMcai taM bIyau sikkhAva buccai / bIu puNu posaiuvavAsaI bahuvayasaMjamaniyamapayAsaI / taiyau sikkhAvau jo pAlai dArAvikkhaNu jaihu nihAlai / cauthau puNu sallehaNa bhAvai so paraloi surattaNu pAvai / aho ihaparaloyaho paramasikkha iya bArahaviha sAvayahaM dikkha / AhAra vigahaphAsuyapaviti diNamehuNinisibhoyaNanivitti / saNaniMbapamuhakusumAI jAI nau asai kayAivi phAsuAI / guruvacchalu parapesalasahAu sAhammiyasatthu mahANubhAu / jaNi maMdakasAu visuDalesu bhuMjai bhoyaNu muNibhuttasesu / arahaMtu deva guru paramasAhu niggaMtha bhokkhamaggahu pavAhu | paDivajjai athiru asAru savvu iya ehau maNi Asannabhavvu / jo puNu maiduggahu dUrabhavvu so mannahaM maNi vivarIu sabbu / to viyasiyasiyavayaNAraviMdu maNaveyahu muhaM jovaha nariMdu / yattA / dhammakkhANu suNevi mahaevihiM maNu Amoiu / dhaNavaiaMgaruheNa karasaMpuTu siri saMjoiuM // 12 // SoDazaH sandhiH / - paMkayasirisuNa muNivaru paramAgamasAru / paripucchiu puNuvi maNatreyaho bhavasaMcAru // salahivi muNivariMdu naranAhiM pucchiu saviNayavayaNapavAhiM / paramesara siyalaDamahAvaru ehu maNaveu nAma vijAharu / 1 C adds iya bhavisattakahAe dhammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAra bhavi sayattatilayapuri dhammakkhANasavaNo NAma solahamo saMghI pariccheo sammatto /

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119 sattahadamo sndhii| maruveyaho naMdaNu supahANauM giriveyaDDasihari puri raannuN| jammAuvvu ahava guNavacchalu kiM kajeM mahu jAu svcchlu| bhaNaI muNiMdu narahaM uvasaMtahaM vacchalu ko na hoi gunnvNthN| aho naravai viNu cirasabaMdhiM na navai kahuvi kovi aNubaMdhiM / annahiM jammi jeNa jo dihau ihaloivi saMtosu maNiTThau / aha itthui saNehasAhAraNu acchi puvvjmmNtrkaarnnu| . ghattA / taM nisuNeviNu koUhalabhariyasareNa / aiasagAheNa paripucchiu puNuvi nareNa // 1 // to darisiyajiNadhammANaMdi taM kahaNahaM ADhattu munniNdi| asthi desi pallavi supasiddhI puri kaMpilla nAma jaNariddhI / titthu Asi maMDalavai rANauM iMdavAu nAmeNa pahANauM / taha mahaevi nAma guNamaMjari vimalu maMti vAvarai vasuMdhari / tAsu titthu kaMpillanariMdaho rajju karaMtaho sasuhaDaviMdaho / vAsavadattu nAma supahANauM diyavaru jAi samunnayamANa / tAsu vimalamaMtihi asahaMtaho karai seva supariTriyamaMtaho / jA sukesa taho pANapiyArI guNamaMjarihi sAvi dihigArI / jA taho dhIya tiveiya vucai sAvi tAhiM mahaevihiM ruccai / je taho vAsavadattaho naMdaNa jaNaNisukesahiM nayaNANaMdaNa / nAu suvakka duvaka mahAiya tevi naravaihiM citiM sammAiya / ghattA / pahusammANeNa puri paribhamaMti pahupattihiM / matthAsUlu taho vimalamahAmahamaMtihiM // 2 // ekadiyahiM kaMpillahiM rAeM vAsavadattu vuttu annuraaeN| siMhaladIvi mahAnaraviMdaho pAhuDa leviNu bhiimnriNdho| pesahi dikkhivi kovi pasatthau jo iyakajahI karaNasamatthau / teNavi kokkivi niyajAmAiDa baisAriu pahupurau mahAiu / tAsu rAusaMdesau akkhai vimalamaMti buddhie uvlkkhi| ahu pahe annu kovi tahiM pesahi appuNu saiM parivAru gavesahi / ettiu kaha kusalattaNu Ayaho jaM desai paDiuttara raayho| aho maharAyasahahiM jaMpaMtahaM taNu tharaharai maMdamaivaMtahaM / 1 B aho

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120 bhavisayattA dhattA / siru vihuNeviNu to vAsavadatteM vuccai | pahu ta maMtIhi aidappeM kovi na rucai // 3 // taM nisuNevi maMti Ahalliu thiu ahimANaviyappeM salliu / citai aMtari garuakasAeM khalu aMtariu kema ummAeM / tAma na demi maMtu maharAyaho jAmba na pheDiu jIvaNu Ayaho / rAuvi taM to vayaNu suNepiNu thiu saviyappu vayaNi karu deSpiNu / etahiM vimalamaMti AsaMghai intahi vAsavavayaNu na laMghai / pesiu aggimittu avaloivi bahupAhuDaI navallai Dhoivi / tAhi tiveyahi ho aNurAeM jIvaNu dinnu visesiM rAeM / vAsavadattu na namiuM pamAeM vimalumati thiu baddha kasAeM / ghattA / vahaviM kAleNa paiviraha mahAdukheviya / dhIya sukesahi ubbAhula karai tiveiya // 4 // sAvi sukesaAsa nau pUrai vAsavadattaho purau virai / paI baisArivi purau naresaho ghalliu jAmAiDa paraesaho / taho vioi ta duhi tivezya acchai ruNuruNaMti duhakheiya / cavai suvakku duvakku vi jaMpai suhiyaI pAriyacchiNa viDhappar3a / jai naravaihiM kajju nau kijjai to taM jIvaNu annaho dijai / evahiM rAula aMgaho Ayau jIvaNu puruvi amha saMpAiu / to annikkadiyo naraviMdaho jAya bolla atthANi nariMdaho / ajjavi aggimittu nau Avai kiM kAraNu jaM suiru cirAvai / kiM pAhuDa na layau aNurAeM bhImiM siMhaladIvaho rAeM / kiM aMtari carashiM vibhADiu kiM mAriu kiM dUraho dhADiu / ghattA / vuttu duvakkeNaM navanADinirohu kareSpiNu / vihiM tihiM diyahiM so esai pAhuDu leppiNu // 5 // sumarivi vaharu layau vAyAcchalu vimalu maMti ullavai avacchalu / sahamaMDavi phuDuvayaNahiM tajjai aho rAuli ehau na cavijai / tahu turiyau AgamaNu naM dIsai annumi akusala kiMpi silIsai / taM nisuNevi dubake jaMpiu bahugIDhAvarAhu nau jaMpiu / tumhaI karahu maMtu bahubheyahiM AgamasatthapurANahiM veyahiM / amhahiM jaM jaMpiu taM hosai puNaravi vimalumati ugghosai /

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sattadahamo sndhii| 121 aho duvaka kiM bahuvitvAriM hauM jANami niyamaiaNusAri / so tihuM diNahaM majjhi nau Avai ajavi diyahA kevi cirAvai / ki aliyau veyArahiM rANau~ gANahA~ paccau hoi pahANauM / tuhuM dhiTTattaNeNa pahu jaMpahi suviyakkhaNahaM majjhi vigguppahi / ghattA / vuttu duvakkeNaM tujjhuvi majjhuvi tuDi kiji| jovi hu aliyau hoi taho jIva loi pheDijai // 6 // bevi sarosa nivAriya rAeM tumhahaM vihiMmi kAiM pddivaaiN| pucchuhu anna kovi jo jANai so tumhahaM vivAu pttaannii| , pahuvayaNeNa bevi gaya tittahi jakkhabhavaNi so khullau jettahi / pucchiu bihiMmi paNAmu kareppiNu mahurAlAvahiM hiyau hareppiNu / aho suhi tau daMsaNi aNurAiya amhaiM pahuAesi Aiya / huvau bhavIsu loi tuhuM jANahiM pheDahi bhaMti maNahaM pattANahiM / siMhaladIviM guruaNurAeM pesiu aggimittu jo raaeN| so tahiM ajavi kAiM cirAvai kAraNu kAI jeNa nau Avai / ghattA / to Aesiu teNa saralasahAvasaruveM / akayaviyappeNa dakkhinnaparavvasihUveM // 7 // rAeM jo AesiM pesiu teNa asesu kosu viddhaMsiu / acchai aviNayamaiubhaMtau juuakiilvrvesaasttu| sAmihitaNauM kajju avahAriu taM dhaNu teNa jUe saMghAriu / esai diNi tIsamaI asaMgaho jrkppddnnevtthpriggho| taM nisuNevi sukesahi naMdaNu mauliyavayaNakamalu thiu dummaNu / vimalumaMti paphulliyavattau uhiu pulayapasAhiyagattau / bevi nariMdatthANu parAiya rAeM aNurAeM nijjhAiya / pucchiya bevi karivi uvalakkhaNu kAI kahai nemitti viyakkhaNu / ghttaa| vimalu mahAmai thiu tuNhi kareviNu pkkhi| vAsavanaMdaNu pahupurau samArivi akkhai // 8 // mAsiM kahiu teNa taho Agamu aha ko jANaiM taM prmaagmu| jai tIsamaI diyahi so esai to taM tahu phala pAyaDu hosai / jaM saMdehu kahiu taho vipi rANauM taM dUsiu duviyappi / pucchiu vimalamaMti sumahattara teNavi taho vajariu savittharu /

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122 bhavisayattakahAe thiu vAsaraiM gaNaMtu mahAiu diNi tIsamaI sovi saMpAiu / niDaNu jema tema uvaiTau lajaI nau rAyauli paiTau / chuDDu chuDDu dinnu tiveyaI AsaNu jaMpiu thou thou saMbhAsaNu / chuDDu chuDDu pulayapasAhiyagattaho kiu ahivAyaNu vAsavadattaho / chuDa chuDDu vayaNu sukesahi joiu chuDu chuDu suhisAlayahiM paloiu / chuDDu chuDDu laiya putti aNuraMgiu chuDDu chuDu taNu vilayahiM abbhaMgiu / ghattA / tAma nariMdeNa ubbhaDabhaDabhiuDi ya tjiy| kuruDamahAbhaDa lai lehu bhaNaMti visajjiya // 9 // pikkhivi bhaDapavAhu vihuNaMtau appahu aggimittu pabhaNaMtau / taM vAsavakuDaMbu Ahalliu jAmAiyaparihaviNa vicalliu / vAsau cavai vayaNavidANauM aiyAriM Arosiu raannuN| . dihu sukeyahi kaMtu bhayAvaNu jAu tiveyahiM vayaNu dyaavnnu| parihau layau duvakkasuvakkahiM paisi pahu paNiuM piyavakkahiM / bahuavarAhu jaivi kiu AeM tovi khamivvau amhahaM rAeM / tiM vayaNiM pahu tAhaMmi kuddhau jo jitthai so titthai ruddhau / gharu bhaMjivi pariyaNu vibhADiu sakuDaMbau vAsau niddhADiu / aggimittu baMdheviNe ANi piTTivi majArahiu nimANiuM / niyalaI deviNu guttihi ghalliDa pahuparivAru sayalu Ahalliu / aho vIsAsu kavaNu vihavaMtari rAule pisuNapavesiparaMpari / pahupasAi uppajjai jaM suhu tahu avarAhu taMji tittau duhu / ghattA / maMtiviroheNa jaM vAsavasua nimmaanniy| eNa nimitteNa dhaNavAliM saMdhi samANiye // 10 // saptadazaH sandhiH / jIvaho saMsAri phuDu kammaI kammaho kAraNu / bhau darisiu jeNa vippahu taM ji jAu saraNu // so duvaku nimmANi rAeM niggau tatthaho gruaksaaeN| naM tAsiu gaiMdu mayarAeM gau khullayaho pAsi viraaeN| 1C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNabAlakayAe paMcamiphalavaNNaNAe bhavisadattamaNovegapuvvabhavasaMbaMdhapemmavaNNaNo NAma sattadahamo sandhI pariccheo smmtto|

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aDadahamo sandhI 123 bollAviu kayaviNayavisesiM tavasi teNa taho prmaaesiN| pAviu aggimittu suviDaMbaho palayakAlu kiu amha kuDuMbaho / taM nisuNevi sovi aNukaMpiu tasivi tassa micchAmi payaMpiu / ahoho mahANubhAva aNiuttau Aesiu taM maiMmi ajuttau / amhahaM eu na hoi karivvau ajavi pAyacchittu carivvau / AeM Asi ema hoivvau aha itthu vi na visAu karivvau / suhadukkhaI kayadhammAhammi maNuahaM hoMti purAiyakammi / ghattA / saMsAri asAri jIu asAsau calu vihu|| taM kijai mitta jaM pAvijai paramapau // 1 // pahuparihavaduhadummiyacittiM piyavacchalavayaNAmayasittiM / paNavivi anbhatthiu annANiM raMjiu rAu jeNa paI jANiM / taM uvaesu maiMmi jANAvahi pahusahu~ pariosahu ANAvahiM / khullau bhaNaI eu jai jANahiM tA tihuvaNu pariosahu ANahiM / tiNNimi loya tulijjahiM AeM kavaNu gahaNu kira ike raaeN| taM taho vayaNu teNa pariyANivi lai dikkha jiNavayaNaiM jANivi / paramAgamajuttie viharaMtau marivi suhammasaggi saMpattau / sAvi sukesa jaNaNi tahokerI pahuparihavabahudukkhajaNerI / vAsavadhariNi tiveyahi mAiya puttavioyasoyaduhaghAiya / ghattA / jiNavayaNu suNevi anjAvaya tau karivi mua| tiyaliMgu haNevi paDhamaI saggi suriMdu hua||2|| jaNaNi sukesa hUa sUrappAhu puttu duvakku jAu somappahu / viNNivi tahiM sohammi vaseviNu besAyarahaM bhoya bhuNjevinnu| so duvakku somappahu suravaru huu caevi maNaveu maNoharu / giriveyaDDasihari sasikaMtae puri AvAsatilai siyavaMtae / vijAharamaruveyaho naMdaNu ehu sutau maNanayaNANaMdaNu / jaNaNihi puvvaguNihiM agghAiu saMjamadharu muNi pucchivi Ayau / sA sukesa jA jAya ravippahu sA hosai tai tau naMdaNu suppahu / acchai tau ghariNihi gambhaMtari tahotaNu vijAvaccu paraMpari / teNa ehu dohalau na bhaMjai tumhahaM seva karai maNu raMjai /

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124 bhavisayattakahAe ghattA / taM suNivi tiyAhi aMgaragaI romNciyiN| sumarevi kayAI puvvabhavaMtarasaMciyaiM // 3 // to kayaviNayavihUisaNAhiM pucchiu puNuvi nAhu nrnaahiN| paramesara taho kAI vihAyau jo pADuDaiM viNAsivi Ayau / huu maNaveu duvaku mahaMtau sovi suvachu kavaNagai pattau / jA savisuddhacaritta mahAsai sAvi tiveiya kAI karesai / bhaNaiM muNiMdu suvakku vioeM duggahagamaNi paDiu suhisoeN| bahubhavagahaNu bhameviNu Aiu ajagaru merukaDai sNjaayu| vAsavasuiNa summaNavaMtae ittttvioysoysNttti| diTTa gaMpi kaMpillahi rANauM tuhu cira sAmi amha piurANauM / aha bhattAru majjhu millAvahi aha gayavaradaMtahiM pillAvahi / ghattA / taM nisuNeviNu tAhiM aharu phuraMtau diddhvynnu| millAviu vippu darisiu bahusammANadhaNu // 4 // teNavi taM ciru valivi na joiu niyamaNu maraNamahanna viDhoiu / karayali dharivi tiveya khamAviya jAmi kaMti ciru maI saMtAviya / taM nisuNevi jalolliyanittaI pai pabhaNiuM vihlNghlgtte| bahukAlaho paraesaho Ayau puNu rAeM guttihiM saMpAiu / ettiyakAlaho jAu samAgau evahiM marahiM nirAriu caMgau / hau~ para pahaM jammu vi avagaNiya vivihanavallajuvai paI maNNiya / evahiM laDDu nAha Avaggau hami karami jaM gottaho caMgau / tiM sAhasiNa sovi ANaMdiu taM jualau puraloeM vaMdiu / ghattA / kaDDAviya kaTTha caupAsahiM suhisayaNa hua| gali laggivi tAsu appau huavahi Dahivi mua // 5 // sAhukAru karaMtiM loeM niggau jIu tAhaM annioeN| salahai jaNu sakiyatthaI eyaI benivi navara huaI vaNi keyaI / puNu tahiM marivi ayANiyasannaI vaNi tAvasaI bevi uppnnii| biNi bhavaMtara bhuMjivi bhoyaI puNu vihaDiyaI adivavioyaI / jo ciru aggimittu diu hotau so iu tilayadIu saMpattau / huu mANesaru jakkhu mahAiu tuhu savimANu jeNa uccAyau / jA mua teNa samANu niveiya tinni bhavaMtara bhamiya tiveiya /

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aDadahamo sandhI 125 kAlaMtariNa sAvi sasirohiNi nahi uDDayaNahaM majjhi hua rohiNi / ghattA / bahukAliM sAvi taM vimANu millevi cua| nAmeNa sutAra hosai tumhahaM taNiya sua||6|| taM nisuNivi gaMjolliyagattau muNicalaNaiM vaMdivi sakalattau / puNaravi tiM paesa parisakai Nu AharaNa levi jaM sakkai / tahiM vaNakIla karivi bahubhoggaI savimANaiM AyAsi vlggiN| gayauri avainnaI supahiTTaI sAthadiM puraloeM dittttii| paTTaNi AvaNasoha karAviya naravariMda vihaDapphaDa dhAviya / kayapesaNahiM samunnayamANahiM purau niruDa jANajapANahiM / suhisayaNahiM bahutUraninahiM puri paisAriya jayajayasahi / sammANi maNaveu vicittahiM kaMkaNakaDayamauDakaDisuttahiM / saMpesiya piyavayaNaI jaMpivi muNivaravayaNAesu viyappivi / girivarakaDaya sovi saMpAiu urau suvaku dhammapahi laayu| ghttaa| gau ghara maNaveu niyavittaMtu jaNaho kahiu / bhavisuvi niyagehi harisiM rajju karaMtu thiu // 7 // taho tahiM rAyalacchi mANaMtaho suralIlaI bahukAlu gamaMtaho / tahiM bhavisANurUamahaevihi putta cayAri hUa suhasevihi / suppaha kaNayappaha sUrappaha caMdarAsi samaraMgaNi dUsaha / tAra sutAra nAma be duhiyau punnimiNdrNdssimuhiyu| ekku puttu dharaNiMdu sumittahi jAu khvaguNasIlaviuttahi / tAhivi duhiya tAra uppannI sylklaaklaavsNpunnii| ghattA / vaNiuttahaM devi kannahiM dinnaI mNddlii| aNuhUasuhAI sayaNa paNacciya guMdalaI // 8 // ema tAsu bahukAlu gamaMtaho gayauri vivihavilAsa karataho / pavarujANi Au hayatamanisi vimalabuddhi nAmeNa mahArisi / taho purakhohu karivi gurubhattie bhavisayattu gau vaMdaNa httie| varakariturayathaDaya caupAsihi pariveDhiu sAmaMtasahAsihiM / bhavisasumittapamuhasuhasevihiM caliu samANu sahiu mahaevihiM / hariyattuvi samANu niyalacchie dhaNavai kamalaI kmldlcchie| bhUvAluvi kuvalayadalanittaiM piyasuMdarie samau piyavattae /

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126 bhavisayattakahAe suppaha sUrappaha somappaha kaNayakaMti dharaNiMdasamappaha / niggau naravariMdu pariosiM jymNgljytuurnighosiN| tArasutAra vasuMdhari jAyau niyaniyapaiparivArasahAyau / nAyaralou payaDu paihiu naM muNivaru tavateyAhiTThau / ghattA / bhavisattanariMdu kddymuddkuNddldhrhiN|| suraloyahu jaMtu naM saMpesiu suravaihiM // 9 // veDhiu pavarujjANu asesahiM naranAyaraNaravaihiM suvesahiM / sohai ahiNavasirisaMpunnauM devAgamaNu nAiM avinn| caupAsihiM uvasoha bhamADiya meiNi varavatthahiM ucchADiya / pikkhivi sAhu sayalu ANaMdiu savaNasaMghu parivADie vaMdiu / jayamaMgalajayatUraninaddaI niyaDaMtari kiyAI niisddii| taM tittiu samUhu jaNaviMdaho so asaMkhu parivAra nriNdho| jaMpai kovi nAhiM aNiuttau nijhuNu aDaratti naM suttau / naranAhiM niuttaparivAriM kuMdasamujjaleNa bhiNgaariN| siyakacoli levi hariyaMdaNu mukka tivAradhAra kiu vaMdaNu / ghattA / siyakusumaiM levi kiu pupphacaNu gurupayahiM / / vali dIvaMgAri dhUvai devi phalakkhayaI // 10 // vaMdiya guru gurubhatti kareviNu maNakyakAyanirohu kareviNa / jima tiM tima savvihiM sAmaMtihiM kayakaramauliM namotyu bhaNaMtihiM / purau nividu rAu paNavippiNu dhammasarIraho kusalu bhaNeppiNu / bhaNaI muNiMdu pANiM AkuMcivi saviNaya viNayatosu maNi khaMcivi / naravai tujjhu viNayasavisesaho hou cheu sNsaarkilesho| taM nisuNivi nariMdu Ahalliu muhi vatthaMcalu deviNu bulliu| . maI kilesu pAlattaNi pilliu dAiyabaMdhuyatti jahiM ghalliu / jahiM mayaNAyadIvi ciru acchiu jahiM viou vallahaI niyacchiu / evvahiM riddhi viddhi dihi maMgalu vadRi vasaviheu kurujNglu| iya dharavalai sakkasAmaMtahiM jayajasapasarapasAhiyagattahiM / mahu aviheu kovi nau chuTTai jo nau ANa karai so phiTTai / ghttaa| to bhaNaI muNiMdu jahiM nikkhevau jamakaraNi / tahiM mANusajammi nivvui kiM ciru kAlu jaNi // 11 //

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namo sandhI cirupura u paDhamu jiNu hoMtau lou koDi puvvahaM jIvaMta / mahiM tAsuvi dahamai bhAviM kavaNu bhou bhuMjijjai AeM / dasalakkhadaM puvaI jIvijai ekku lakkhu bAlattaNi hijjai / bIyai lakkhi pavaDiyaaMgaDa taruNitaralaloyaNasuhisaMgau / tihiM jovvaNaviyAru pariyattai cauhiM mahAmaipasaru niyattai | paMcami suhRvi thiru gaMbhIraho calai teu lAyannu sarIraho / naravai chaTThai lakkhi jiyaMtaho galai cakkhu loyaNaiM niyaMtaho / sattami kannahaM suNivi na tippai aTThami mayaNaggivi na palippai / navamaI daMtapaMti Ahallai khalai jIha muhavayaNu viyallai / dahamaI jaivi na nAsai aMgau to jara bhaMjivi karai ayaMgara | dhattA / saMkhippar3a Au diyahiM diyahiM kusarIru jahiM / suhRvi suhasaMga nivvu kijjai kAI tahiM // 12 // aho nariMda saMsAra asArai takkhaNi diTThapaNaTThaviyArai / pAivi maNuajammu jaNavallahu bahubhavakoDisahAsiM dullahu / jo aNubaMdhu karai rahalaMpaDu taho paraloe puNuvi gau saMkaDu / jai lahaviou nau dIsai jai jovvaNu jarAe na viNAsai / jai Usarai kayAvi na saMpaya pimmavilAsa hoMti jai sAsaya / to milliva suvannamaNirayaNaI muNivara kiM caraMti tavacaraNaI / ema eu pariyANivi bujjhahi jANaMtovi tovi maM mujjhahi / dhattA / muNivaravayaNehiM sirirAmAliMgiyabhuaho / nivve sarIri upajjai ghaNavaisuaho' // 13 // aSTAdazaH sandhiH muNivayaNa suNevi naravai saMka samuvvahai | sacca saMsAri jIvataNiya vicittagai | muNivayaNeM paricattapamAeM taM sayaluvi paripucchiu rAeM / avaruSi dhammAhammavisesaNu pucchiu muNivariMdu suhRdaMsaNu / puNu pucchiu niyapuvvabhavaMtaru kuDilasuhAsuhakammaniraMtaru | 127 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhadhaNabAlakayAe paMcamiphalavaNNaNAe bhavisayattaveraggavaNaNo NAma aDadahamo saMdhI pariccheo sammatto //

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bhavisayattakahA kAI Asi hauM annabhavaMtari hosami kAI vicittaniraMtari / aNuvi niyanayaviNayaniuttaraM ghari avayarivi nAha vaNiuttaraM / kavaNa puvvi bhAvaNa mahaM bhAviya jeNa rAyasaMpaya saMbhAviya / annumi ikkadavvasuhasevihu ahiu saNehu bihiMmi mahavihu / bahubhicahaM vilahaMti vasuMdhara taM kammeNa keNa paramesara / dhattA / mahu jaNaNi nAha pAvivi saMpai vihau thiru | kiM kAraNa jeNa visahiu iTThaviou ciru // 1 // aNumi nAha dulaMghi dusaMcari hauM ciru bhamiu tilayadIvaMtari / taiyahaM suppahajaNaNi kumArI navajovvaNaguNarUviM sArI / kahiya suriMdaM akkharabaMdhiM taM kira keNa puvvasaMbaMdhiM / bhaI mahAmuNi suaNasamiddhau airAvai arinayaru pasiddhau / tahiM naravai marunAmu mahoyaru ghara mahaevi maMti vajjoyaru / vajjoyara to piyakamalakkhaNa kittiseNa tahiM duhiya viyakkhaNa / tAhi kaMtu asarisu aviyakkhaNu coru jAru jUAru alakkhaNu / duvviyaDDU parivajjiyasuttau bhamaI nayari duvvasaNiM bhuttau / vatthAharaNuvi tAhi na millaha socchuhevi jUapphaDi khela / caccari vesAyaNi radda mANaI sulaliya ganbhesari avagannaI / dhattA / kulavihaviM sAra rairasapasarubhinnabhua / 128 duSpayagharavAsi jharai maMtihitaNiya sua // 2 // sAvarajuvai nirAriu lajjai dhaNu vihou niSphalu paDivajjai / kosiyatAvasanilai vihAvai taho vayaNi vairAeM bhAvai / aNumi jaNamaNanayaNANaMdaNu dhaNayalacchi dhaNayattaho naMdaNu / vaNi dhanamittu nAmu tahiM Avaha sovi tAhi loyaNahaM muhAvai / bAlakumAraho samuhuM paloaI aNimisanayaNa vayaNu avaloyaI / tAha bihiMmi ahilasiyAM cittaI bihiMmi gayaI saMdehacaritaI | navara tAhi vajjoaradhIyahi guNavaMtahi jaNaNahaM suviNIyahi / vammahasarahaM viroliGa aMgau ciMtaMtihi tahi surayapasaMgau / ekai bAla surUvi sohai taNu ijjati nirAriu mohai / dUsaha mayaNAvesu viDaMbai gali lAiva DiMbhau pariuMbaI / moaMgu viyArahiM bhajjai pahupaMgaNi paisaMti vilajjai /

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ekUNavIsamo sndhii| 129 sahi guNamAla nAma tahi pakkhiya tAe viyakkhaNAI uvalakkhiya / vattA / pikkheviNu tAhi aMgaI mynnaaylliyii| avisuddhamaNAiM vivihaviyappaI volliyiN||3|| guNamAlae dhaNamittaho kataI paripucchiya parihAsapavittaI / sahiyari niru vivaNammaNa dIsahi kiM ujjavaNauM kiMpi silIsahi / duppaiduggharavAsapiyammaiM ghari sikkhaviya kiMpi kiM ammiN| kiM so kamaThu kahimi saMpAiu teNa avakkhu kiMpi uppAyau / kisiyaI tuhu muddhi bAhulayaI siDhilai paribhamaMti maNivalayaI / kesakalAu khaMdhi oNallai parimokalu niyaMbi Ayallai / phuTai aharu susai muhapaMkau nayaNaI nau joyaMti asaMkau / hali sahi anna bhaMti mahu dijai viNu virahiM nau paMcamu gijjai / sahi ma rusija bhaNami paI bhattiM kiM avaloiya keNavi dhuttiM / ghattA / jaM cAliu mammu bAlaiM taM avaheri kiya / dhaNamittaho patti pucchai gAhu karevi tiya // 4 // AsaMghai karu kariNa dhareppiNu pucchiya jaM asagAhu kareppiNu / taM disi pAsu niivi pariyacchaI buccai maMtisuaI maiMdacchaI / sahi ma rusijja tuDDa phuDDa akkhami tilamittuvi tau gujjhu na rkkhmi| teNa taruNimaNamohaNacitiM hauM avaloiya tau varaittiM / acchai tAsu pAsi maNu me rau sunnaDa bhamaI kalevaru serau / taM nisuNivi dhaNamittaho pattie jaMpiu darasavilakkhu hsNtie| ekkuvi tuhuM mahu pANasamiDI aNNuvi hua varaittaho niddhii| evahiM karahi kiMpi jiM jANahiM icchaI jimba sakkA tima mANahiM / tuhaM maMtiNaho dhIya maharAyaho jo paramesaru nayaraho aayho| mahu pai puNu vaNivaru ekkaMgau aNNuvi jaM tau bhAuvi caMgau / jai so tuDu nirAriu ruccai to kahi mahu jaM jAevi vuccai / ghattA / to maMtisuAI thutthukkAriu taM vayaNu / mai piyasahi tuddha akkhiu niyayasarUvaguNu // 5 // jai suMdari hau~ ehau karemi to appau bhUahaM bali karemi / mahu sahie tAu rAyAhirammu suvisuddhai kuli nimmalae jaMmu /

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bhavisayattakahAe jai ehau viccai mahu sarIri to jhaMpa demi jalaravagahIri / jaMpaNauM caDai jai kuli malitti to dehu dahami huavahi palitti / nayaNihiM joijjai ko na loi sappurisi kaho na aNurAu hoi / sahiMdIsaha jo jo guNavicittu kiM taho to khaMDivvara carintu / kasaNehiM caladhavalihiM loyaNehiM ahilasiu jaivi khalaloyaNehiM / so itthu jammi mahu to vibhAi jai mAi jaivi hiyavai na mAi / dhattA / aNuhuMjahi nAhu jo puvvajjiu paI suhavi / 130 mahu visayaheNa sahi pajjattau itthu bhavi // 6 // ahiNavaraM bhaganbhasomAlahiM dhaNamittaho pattihiM guNamAlahiM / phiTTa bhaMti avau visajjiu ahiu saNehu puNuvi paDivajji / tAIvi tAe bevi abhahiyaI paDiuvayArasayahiM saMgahiyaI / fafafa niyatAyaho dakkhaviyaI teNavi pahupariyANi sammaviyaI / joyariNa saNehiM dhIyahiM sayalakalAkalAvasuviNIyahiM / pheeis annaho para pahuttaNu api dhaNamittaho siTThittaNu / sapauru puru vihaDaphaDa dhAvai dhaNamittaho maMdiru saMbhAvai / vajjoyaraduhiyahaM maNamohiM ekaho to dhaNamittaho nehiM / taM gharu saparivAru sammANiuM sapauri pahuparivAriM jANiuM / dhattA / tahiM binnivi tAI micchAmohamahAvaseNa / kosiyavayaNAI paribhAvaMti samaMjasiNa // 7 // tAvasanilai tAhaM pasaMtahaM micchAniyamasIlasaMjuttaraM / avarupparusamiDasamavAyahaM bihiMmi ikkuguruvayaNaviheyahaM / bihiMmi tAiM kosiu guru jAyau payaDau paTTaNi puri vikkhAyau / kittiseNaho pariyANi ruccai dhammabahiNi dhaNamittaho vaccai / ghattA / aNikku juvANu naMdimitta thirathorabhuu / dhamittaho mittu jAu naMdivadvaNaho suu // 8 // naMdimitta nijasAsaNi bhattau aNudiNu ArAhai rayaNattau / niyayakajjakAraNasaMbaMdhiM gharu siTThihi sevai aNubaMdhiM / dhamittuvi turaMga parivAhai sArAsAraparikkhaNa cAhai / paTTaNi suttavimuttaraM jANaI duTThaI dubviNIya avamANaI / appamatta kosi aNuattaraM kittiseNa aNumaggi pavattai /

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ekavIso sandhI / to kosiyaho amaggi caraMtaho micchAbhAvi lou lAyaMtaho / paTTaNu khuhiu samau naranAhiM paNavai sayalu lou asagAhiM / itthaMtari jiNaguNaaNurAiDa nAuM samAhiguttu muNi Ayau / tAsu parikkhaNau vihattie gau vajjoyaru vaMdaNa bhaktie / teNa salu paramAgamu jANivi niu rANauM bahuguNa pariyANivi / to aNumariMga vAu nariMdaho sayalu vi valiu samAhimuNiMdaho / dhattA / vajjoyaru maMti niyaDi nivesivi muNivaraho / sapuru saparivAru nisuNaI dhammakkhANu ho // 9 // 131 sAhu samAhiguttu suviyakkhaNu sayalahaM kahai dhammu dahalakkhaNu / aho jaNa bhavasaMsAru asArau caugaigahaNi asaMtu apArau / tAu cayArivi dhammAhammi hiMDai jIu suhAsuhakami / kahiMmi narai mAraiyahiM dammaI Dajjhai bajjhai hammaI khammaI / sahai duiM dUsaha uddaI jAma tAma tetIsa samuddaI / kahiMmi tirikkhagaihiM uppajjai pAhaNu pavaNu salilu Avajjai / try es kahiMmi sihi joivi khevai kAlu kahiMmi taru hoevi / tahiMmi suNijjahi jIva anaMtA je na kayAvi tasattaNu pattA / kahiMmi kayAvitasattaNu pAvai tahiMmi kilINakAya saMdAvai / upajjai kimikIDa payaMgahiM daMsamasayamaccharakulasaMgahiM / kacchamacchavisamesamaIdahiM vagghariMcchakharaturayagaIdahiM / dhattA / tiriyattaNi hovi liMtu muaMtu kalevaraI / hammaMtu haNaMtu visahai dukkhaparaMparaI // 10 // kahava kahava maNuattaNu Avai sukulu suguttu tahiMmi nau pAvai / hoi aNujju aNajjavakhaMDihiM babbarasamarapuliMdapayaMDihiM / sukuli sukhitti jammu jai pAviha tahavi na paramadhammu saMbhAvai / taM para lahai mahAgurubhattie aha sAvayakuDuMba uppattie / vari ceDa vijAu sAvayakuli maM naravaivi pAvamaisaMkuli / iya ittiyapayArasaMjoeM maNuajammu ko lahai nioeM / jo taM lahivi siDhilu jiNasAsaNi so aMghalau jAu nihiMdaMsaNi / jo to diNuvi jAu viNu dhammiM taM keNavi puvvakkiyakasmi /

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112 bhavisathattakahAe ghattA / to bhaNai nariMdu jIvaho jaM paraloyahiu / kahi amha mugiMda parama dhammu so kema thiu // 11 // paha pucchai pulayavisahadehu jANami saMsAru asAru eha / jANami caugaibhavabhamagadukkhu jANami mANusuvi havei rukkhu / jANami saMjoyaho phuDu viou jANami aNiccu saMpayavihou / jANami jaramaraNAvaccha ema taM kahi na paDijai tetthu jem| taM nisuNivi vuccai muNivareNa aho naravai kiM bahuvitthareNa / vayadaMsaNinANicaruittaraMmu jo karai ahiMsAparamadhamnu / paDivannavayaNu niggaMtharUvi so na paDai tahiM saMsArakUvi / aha kahami dhammu jaM jema hoi paru dIsai appasamANu loi / appaNu saMpajai pIDa jeNa taM parahu na kijai nicchaeNa / ghattA / nau hammaiM jIu nau bollijjai aliu jaNi / / taha loiviruDu lohu na kijai paraho dhaNi // 12 // paratiyapariharaNi mahaMtu dhammu ahilAsu karai taM taho ahammu / jo lei pariggahu appamANu aviNAsu aNAsu adindaannu| para saMcai saMcai ema atyu iharatti parattivi taho aNatyu / jo puNu saMtosahu niyanu lei taho taM ji dhammakAraNu niei / jo majju mAMsu mahu pariharei aNNuvi nisibhoyaNu nau gasei / jai pAlai to taho taM ji dhammu aha siDhilau to akayatthu jaMmu / jai payahiM payatyahiM saddahANu to taM ji dhaMmu dhammaho pahANu / aha mannaI maNi vivarIu bhAu to taM ji tAsu pariNavai pAu / viNivArai jai dijaMtu dANu to aMtarAu vaDAvamANu / aha dei diyAvai siDhilakammu nau dei jai vi to tAsu dhamnu / jiNApaDima harai uvahasai sAhu to tAsu narayapaMthAvarAhu / jiNabhavaNu karAvai jo pasatthu taho dhammu vitthayAraho aNatthu / ghattA / to pabhaNaiM maMti kiM jaMpahi majjhatthamaNu / uvasaMtahaM nAha kahiM jiNasamayasamAyaraNu // 13 // to maMtihi vayaNi kiyAyarAhaM pucchaMtahaM sayalahaM nAyarAhaM / pAyaDivi samayasaMkeu rammu vanariu muNiMdiM paramadhammu /

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ekUNavIsamo sndhii| 153 jima jiNamai paMcamahAvayAiM aNuvayaguNavayasikkhAvayAI / sAyAramaNAyAriviNioi tau kahiu duvihu baarsvihoi| iharatti parattivi bahupamAya jima te solahaviha caukasAya / jaha tiNNivi lesau tinni veya baMbhattaNu tiuNiyasahibheya / paMciMdiya paMcapayAru jANu paMcANuttara paMcavihu nANu / paMcAsaya paMcapayAracakka AvAsadvva jIvahaM tichakka / ghttaa| chakkhaMDa visesa chakkAlANa sArasamaya / dasa dhammaviyappa aTTha mahAmaya satta bhaya // 14 // aTThavihakammasaMkeu hoi sau aTThayAlapayaDihiM smei| taha sattatattakAraNakayattha nava nokasAya nava nayapayattha / thiu jema agAi aNaMtu kAlu avsppinniuvsppinnivisaalu| jima titthu tisahi mahAcaritta caugaibhavasaMgamagaivicitta / aTThAiyadIvovahipamANu nAraiyatiriyadevAumANu / pannArasakammadharA paesa terasa caritta kiriyAvisesa / emAimuNidiM kayapayAsa pAyaDiya jiNAgami samayabhAsa / iu paDhai suNaiM jo kayapayAsu kammakkhau bohi samAhi tAsu / jiNadhammasavaNu nisuNivi pavittu munivayaNi valiu nAyarahaM cittu| ghattA / muNivayaNaviyAri sarasaviyappadinnamaihiM / avaloiu maMtivayaNu suvinbhamu naravaihiM // 15 // muNivayaNu suNivi maNagoyareNa naranAha vuttu vajjoyareNa / aho devadeva muNivayaNu cAru saccau gau suasAyaraho pAru / niravikkhu dekkhu paraloyabhIru vayaniyamasIlasaMjamasarIru / uvasaMtakasAyahaM naraha rammu jo eNa dihu so paramadhammu / kosiu tAvasu annANu mukkhu amuNiyaparamAgamu jaDu avakkhu / taNu tavai jaivi vaDhekagAhu annANu tovi juttie aNAhu / guru kajjai jo bihu~ guNapavittu jasutaNauM vayaNu bahumaivicittu / jo puNu appuNu aviyaDDa deva so paraho karai avabohu kem| taM maMtivayaNu paraloyaiTu nAyarahaM navara hiyavai paicha /

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134 bhavisayattakahAe ghattA / kosiyaho viratta dhammasavaNa nisuNevi nara / taho Asami jati kittiseNa dhaNamittu para' // 16 // ___ ekonaviMzatitamaH sandhiH / taho Asami tAI diddhcaarittviykkhnnii| aNurattamaNAI tovi ahiMsAlakkhaNaiM // tehiM vihiMmi piyadasaNaluDahiM amuNiyaparamAgami aviluddhahiM / kosiyanilai gamaNu na pamAyau cirapaDivanaguNihiM nijjhAyau / sovi tAhaM uvarohaparaMpara huu saNehu sambhAvaniraMtaru / ekahiM diNi viyAli kIlaMti vuccai naMdimittu dhaNamittiM / aho guNamAla bahugguNabhariyaho maNi acariu vahai tau cariyaho / ajju gehi sAmaggu niyacchai jAivi kahahi kiMpi jaM pucchi| ghattA / to naMdisueNa jaMpiu saralasaNehau / atyamiyaI sUri tau ghari mitta na jAmi hauM // 1 // to dhaNamittu jhatti uri kaMpiu saccau mitta eu par3a jaMpiu / diyaha muevijA nayaNANaMdiri nisihi na jAhi kahiMmi mahu mNdiri| ettiu kAlu mitta nau lakkhiu tAma na muami jAma na viavivau / maMchuDDu asthi kAvi tau niDI paNaiNi paNayasaNehasamiddhI / rayaNihiM ANa tAhi nau bhaMjahi sarasapiyammaguNihiM maNu raMjahi / pabhaNaiM naMdimittu bahujANauM rAyasihi tuhuM pauri phaann| tau pucchaMtaho gujjhu na rakkhami nisihiM na jeNa jAmi taM akkhami / bhoyaNavAra tumha jA sArI nisi paosi sajjaNahaM piyArI / / titthu pavitti majjhu nau jujjai rUsahi tuhuM jai tahavi na bhujai / annami taM dekhaNahaM na sakkami nisihiM paosi teNa nau dukkami / ghattA / pabhaNaiM dhaNamittu mahu aJcariu jAu maNaho / paivajiu jeNa kavaNu dosu nisibhoyaNaho // 2 // bhaNaI sumittu naMdiguNavaMtau nisibhoyaNadosahiM pajattau / vari piu majju maMsu mahubhakkhiu vari paratiyamuhakamalu nirikkhiu / 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe budhaNabAlakayAe paMcamiphalavaNNaNAe dhaNamittakittiseNasaMbaMdhavaNNaNo NAma ekUNavisatimo saMdhI sammatto //

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vIsamo sandhI | vari paMcuMbarAI ahilasiyaiM vari annaiMmi abhakkhaI asiyaI / vari piu aliu alajjiu maM rayaNihiM bhoyaNu paDivajji / houmitta mahu teNa nioeM jaM jimmaI dIvayaujjoeM / jahiM paDaMti kimikIDapayaMgaI taho chAharaM bahupeyapasaMgaI / tA velaiM jo bhoyaNu bhuMjaI taM jiNasamai samAhi na jujjai / taM nisuNivi dhaNamittiM vuccai tara ikkaho para eu na ruccai / khaMdhAvAri pahaMjaNarAyaho aMteuraparivArasahAyaho / 135 sona atthi jo nisihiM na bhuMjai tovi tAhaM suaNattaNu jujjai / dhattA / aha eNavi kAI evaDuMtaru diTTu paI / taM ajju pavitti nisibhoyaNu parihariu maI // 3 // nisibhoyaNu jaM parihariu teNa taM naMdimitta tosiu maNeNa / AsaMghiu jANivi siDhilakammu niyasaMgaI akkhi paramadhammu / tevi paDivajjiu taho pahAu saMjayaguNu sammAiTThi jAu / jima so tima taho piya paramarammi dhaNamitta sudidu kiu aruhadhammi / aNusaMgiM tAhaM mahAviNIya aNumoiya vajjoyaraho dhIya / bhaviyaNa jaMpai vacchalasahAu jiNasAsaNi darisai pakkhavAu / jiNu pujjAvara annahaM saehiM dhaNu deI dANu mahimocchavehiM / dhattA / vayaniyamaguNehiM karai karaMta saddahaNu / appuNu na karei para paDivajjai deu jiNu // 4 // kupahakutitthaI jaivi na jhAyai to kosiyaho vilau na pamAyai / jima sA tima dhaNamitta vi vaccai ikkavAra tahiM gamaNu na khaMcai / so tAvasu taveNa vikkhAyau tahi puravari apujju saMjAyau / jaM parihariu nayarasaMghAeM jaM avagaNNiuM ari purarAeM / taMja kasAu teNa maNi bhAviu vajjoyaramaMtihi saMbhAviu / jai phalu atthi kiMpi tavateyaho to hauM hujju viNAsaNu eyaho / ema kasAeM ghoraM laiyau kAlaMtariNa marivi pavvaiyau / huu tahi tilayadIvi bhayabhAsuru asaNiveu nAmeNa mahAsuru / dhattA / vajjoyaru maMti sahu rAeM khaMdhAri gau / na namiuM pahukajje parabali bhiDiu paNa mau // 5 //

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bhavisayattakahAe taho ghari kiu loyAcAru jAma huA kittiseNa nijjIva tAma / jaNaNie chaDDiu bhattArasou olaggu tAhi gharasayalulou / nau ruai na kaMdai acaladiTTi gau saparivAru dhaNamittu sihi / kiu pavaNasittu caMdaNaraseNa pAviya vayaNa sahuM sajjhaseNa / joiu dhaNamittaho vayaNu ihu osariu kaluNu kaMdiu aNiTu / hA bhAi paDiu duvvisahu ghAu aMdhAriu jagu atthamitraM tAu / pasariu vAmohatamohajAlu asaraNu duttaru paDivannu kAlu / pAlija bihiMmi jaNaNihuM saNehu hauM evahiM uvasaMgharami dehu / ghattA / kulagoMdali tAsu vasivi snnehprNpriN| aNuhUyaI jAI tAImi huaI bhyNkriN||6|| taho saralasaNehi suhAiM jAiM vilasiyaI Asi viysiymuhaaii| hasiyaiM ramiyaI suhakIliyAI ucchaMgasaMgasuhapIliyAI / parihAsaI bhiuDipaloyaNAiM lIlaI aDAsaNabhoyaNAiM / AharaNavatthamuhamaMDaNAI pesnnkvolmuhcuNbnnaaii| muhasasidappaNapaDibiMbiyAI kuMciyakurulaI siri kuMciyAiM / dullaliyaiM laliyaiM laDDiyAI dujaNajaNamANaI khaMDiyAiM / ujANapavarakIlAsuhAI thuivayaNaviMdi vilyaamuhaaii| naravaimaMdiri gauravasayAI ettiyaiM jeNa jaMtiM gayAiM / ghttaa| jaM darisiu jammu jANivi jnnsNsaarphlu| avasANiM tAsu jaM jIvijai taM vihalu // 7 // to bhaNaiM navara dhaNayattajAu loyaNa phusevi galiaMsuvAu / saccau paiM jaMpiu eu mAi uvayArasArasajaNapamAu / sumaraMtahaM guNavallahavioi viNu maraNiM maNi nivvui na hoi| aha taM pi suaNi sAhasuna hoi aNumaraNu karaNu kAyarahaM loi / so suaNu suaNavallahapasaMgi uppanna tuhuMmi tahutaNaiM aNgi|| tau cariu viyakkhaNu guNaniuttu jaM cavahi dINu taM niru ajuttu / jANijai bhaDa bhaMDaNi bhiDaMtu paranarapasaMgi mahasaicarittu / dhIrima jANijjai maNualoi aha maraNakAli aha suavioi / ghattA / vajoyaradhIya dhaNamittaho vayaNaI sarivi / pariharivi visAu thiya jaNeru hiyavaiM dharivi // 8 //

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vIsamo sandhI / vajjo aru marivi mahANubhAu huu tilai jasohaNu nAmi rAu / bahusou karivi tAsaI samIvi dalu ghalliu tAiMvi tilayadIvi / parikhiva Au suhisayaNaviMdi atthamie pavaravallahana riMdi / aNudiNu sevai dhamittagehu nau muai sovi sajjaNasaNehu / kittiseNa dhamittaho cittiM gamaI kAlu suvisuddhacarittiM / naMdimitta mittattaNu dAvivi niyasuhi jiNavaradhammu karAvivi / appuNu puNu tavacaraNu carippiNu aNasaNi paMDiyamaraNi mariSpiNu / divi solahama punnAyAmi huu suravai vijjuppahu nAmi / dhattA | cammaTTha sarIru nivaDiM jAi masANi khau / aha niyamaguNehiM teNa ji labbhai paramapau // 9 // jo titthu Asi jhINAumANu so cayavi dukku taho taM vimANu / ukkassa nibaddha parippamANu lakkhaNacaccaMkiu navajuvANu / solaha AharaNavihasiyaMgu sahasati samuTThi vihRNiyaMgu / caupAsahiM karai disAvalou pikkhai ramaNIu su devalou / vibhiu paricita maNi kayatthu ko hauM kahiM Ayau Asi kitthu / fless for vivarai avahiNANu iu devalou devahaM pahANu / airAvai aripuri guNapavittu vANiyauM Asi hauM naMdimitta / tara karivi marivi aNasaNi ahIru Aiyau itthu millivi sarIru / i jANiva pasariya paramanehu avayarivi khamAvai niyayadehu / ghattA / ruhuruhau karevi pujjiu niyayasarIraDau / khaMta vayaMsi pasahuM daMsaNu ittaDau // 10 // etthaMtari dhamittaho maMdira paura mahAyaNanayaNAdiri / dANu cavvihasaMghaho dijjai sAhammiyavacchallu vaijjai / to dhaNabhittu paDicchiyapesaNu aNudiNu ujjoai jiNasAsaNu dhaNalacchi dhaNayattaho gehiNi dhaNamittaho jaNeri suvi rohiNi / jiNavaradhammu karai paDivajjai aha malamaliNamuNiMdaho lajjai / uvahAsai amuNiyamAhappi vihavarUvajovvaNaguNoM / sAvi samAhimuNido vayaNahiM dujjayadusahaparajjiyamayaNahiM / jAijarAmaraNattaviNAsaNi avicala jAya jiNidaho sAsaNi / 137

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138 bhavisayattakahAe suvapaMcamivihi karivi suvAsiya sattasahi vAsara uvavAsiya / puNu paMcavihu aNeyapayArihiM kiu ujavaNu vihavaaNusArihiM / ghattA / to maMtisuAI aNumoiu tivihNtrinn|| huA tau mahaevi teNa phaleNa mahaMtariNa // 11 // jema tAe tima paiMmi vihAviu aNumoyaNaphaleNa iu pAviu / dhaNayalacchi dhaNayattu saunnauM bahukAliM paMcattu pavanauM / binivi hathiNAyapuri jAyaiM mihuNaiM privddiyannuraayii| sovi tAhaM naMdaNu avasappiu goDaMgaNi vijjulaI jhaDappiu / saMcuNNiya karoDi sahuM gatiM vihalaMghali hUI ghummaMtiM / ghoraMdhAru jAu caupAsiM hiyavai dhukku dhuaMtiM sAsiM / sumariu tANaM paramajiNANaM ghosiu namu namu arahaMtANaM / tA velaiM taM saMbalu leppiNu niggau jIu sarIru mueppiNu / tAhaMmi taNauM puNuvi saMjAyau so dhaNamittu marivi tuhaM jAyau / ghattA / jo jammanbhAsu Asi paDaMtuTuMtaho vi|| siri vajja haevi nau vIsarai maraMtaho vi // 12 // jA taho dhaNamittahotaNiya patti guNamAla nAma tdditeykNti| jA sayalavi juvaIyaNi variTTa vajjoyaradhIyaho maNaho itt| sA milivi asesahiM sajjaNehiM chaDDAviya jalu dummaNamaNehiM / vilavaMti parAiya kittiseNa uTuMti paDaMti lahaMti ceNa / AvIliu guNamAlayasamANu hA kAI eu khalavihivihANu / hA paiM vihi hauM vinaDiya niruttu hA suhaya tujjhu kiM eu juttu / hA suMdara pAviTThaiM calAI kahiM pAviosi vijjulkhlaae| kaMdatihiM dAruNu kaluNa saddu uhiu hAhArau airauhu / pikkhahu so kahiM pabhaNaMtiyAu saravaraho tIri binnivi gayAu / dhovaMtie kuMkumakajalAI dinnaI nAhaho tinnimi jlaaii| bhaggaI valayaI avalakSaNAI mukkaI keUraI kNknnaaii| avaharivi sayalu uvabhoyabhou saMcAriu vihavattaNavihou / ghattA / karaNiyaI karevi suhisayaNaiM jiNahari gyiN| avaloivi jammu guNamAlaI laiyaI vayaiM // 13 // kittiseNa tautaNaI vioeM mua sosivi appANauM soeN|

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vIsamo sandhI / jAivi tilayadIvi upapannI bhavisattaho gehiNi nivvannI / jaM ahilasiu Asi tau aMgau rakkhiu sIlu carittu abhaMgau / vaukaraNiM punnaSphalu pAviu tara gharavAsu teNa saMbhAviu / sA guNamAla gaeM bahukAleM ucchanneM suhisayaNavamAliM / tau guNasarivi marevi maikibhama hua bhUvAlaho taNiya taNugbhama / jima tahi bihiMmisaNehu vahaMtI tima evahiMvi jAya guNavaMtI / annumi ariuranayari vasaMtaho avamANi parihau ciMtaMtaho / jaM tAvasaho tumhi piu jaMpiu teNa bihiMmi dhaNu dhannu samappi | ghattA / jaM vajjoariNa taho videsiu sayalu jaNu / tiM vayariM sovi khaDDa sapauru sabaMdhujaNu // 14 // tara jaNaNie jA cinna mahAvihi pAviya teNevaDDa mahAdihi | jaM jaivara aNioeM joiya diyahA kevi teNa vicchoiya / jaM kiu vijJAvaccu mahaMtaru pAviu tumhi teNa iu vitru / jittiu nahiM ujjavaNavihoeM titiu paiMmi laDDu aNumoeM / tiM kajji suapaMcami loyaho ciMtiya suhaI dei paraloyaho / jo annahovi karataho bhAvai tumhaI jema sovi phalu pAvai / naMdamittu jo kariva mahAtau accuasagge surattaNu pattau / teNa putrva saMbaMdhasaNehiM akkharapaMti lihiya bahumehiM / ema suNiuM jaM puvvabhavaMtaru taM nivveyaho caDiu mahAnaru / dhattA / sannaDu nariMdu puvvajammasaMbhavabhaviNa / dhaNavAoi hfor saMdhi samAniya viMsa eNe // 15 // viMzatitamaH sandhiH vasu vasumairajju muNivaravayaNasamAhaviNa / tiNasamau gaNevi mukkI bhavisanarAhiviNa // nisuNevi puvvabhavagahaNajammu aNNuvi jiNasAsaNi paramadhammu / vibhiGa naravai hiyavai na mAi thiu nicalu kiu kaTTama nAI / paricitai bhau bhavisANurUa jovai sumitta accariyabhUa / 139 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe budhaNavAlakayAeM paMcamiphalavaNNaNAe bhavisattabhavAMtaravaNNaNo NAma viMsatimo saMdhI pariccheo sammatto /

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140 bhvisyttkhaae| dhaNavai avaloyai niyayajAu paMkayasiri ciMtai cirapamAu / thiu rAu paramakAraNaviyappu parigaliyavihavamAhappudappu / bhAvivi aNicu caMcalavihou takkhaNi osAriu sayalu lou / paya dharivi navara vinnavai sAhu maI pattu bhaDArA paramalAhu / sakiyatthu ekku para naMdimittu tau karevi surAlau jeNa pttu| jai hauMmi teNa sahuM tau karaMtu to kiM asamAhie sahu~ maraMtu / lai ajjuvi kijai aMtasaha jaM valivi laIjai taM na nh| apariggahu parivajjiyapamAu kari sAmiya mahu dikkhaapsaau| dhattA / uddharahi paDaMtu evahiM tumha paaysrnnu| dhaNamittaho jema jAma na Dhukkai taM maraNu // 1 // aha eu ji nicchau kayapayatthu lai jAmi nihelaNu guru namotthu / viharivvau nau tumhahami tAma hauM suahaM samappaNu karami jAma / nIsesu pariggahu pariharemi jaM jAsu joggu taM tAsu demi / AsIsa devi paDivanna tehiM uhiu uTuMtahaM bhaDasaehiM / joiu sAmaMtihiM varabhaDehiM maMtaNauM jAu niyaniyathaDehiM / aho vai khaNu pariyattu kAlu pAvajjapamuhaM thiu pihimipAlu / rANauM gayauri muppahu kumAru hosai navallu parivAracAru / anneku bhaNaiM dharaNiMdu rAu dukhara dusIla duushshaau| suppahu rANauM acchai na tAma raNi hiMDivi kulakhau kiu na jAma / dhattA / annikiM vuttu suppahu smsNjaaybli|| ko cavai visuttu tinni sahoyara jAsu tali // 2 // ko johai raNi suppahu kumAra appaNauM jAsu parivAru caaru| somappahu jAsu mahAviheu sUrappahu sUrasamANateu / kaNayappahu dUsahu kaNayadaMDu jasu sAlayasAhaNu raNi pyNddu| ti sahuM darisaMtahaM bhaDavamAla para hoi savakkhaho plykaalu| avarupparu suhaDa cavaMti jAma naravai maMdiri saMpattu tAma / thoaMtari suhasaMjamaniou thiu dArAvikkhaNi bhaviyalou / muNi vimalabuddhicariyaI paiTTa susamAhie bhaviyAyaNiNa ditttt| naranAhu nihAlai niyaduvAru uvasaMtu nirAuhu saparivAru / je thiya te rAu paiTa levi anneka ThaMti annahaM bhamevi /

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ekavIsamo sndhii| 141 kivi dharaNiMdi kivi suppaheNa kivi kaNaeM kivi sompphenn| . kivi keNavi nau sakkiya dharevi amuNiyaNioya niggaya valevi / pAraNauM karAvivi ema sAhu puNu appuNu bhuMjai tilayanAhu / ghattA / suhisayaNasamANu bhoyaNu karivi smaalhivi| puNu ammAevi paNaviya piyasumaharu cavivi // 3 // mahaeviu bevi karevi pAsi vinatta jaNaNi ekaMtavAsi / tumhaiMmi suNiuM taM kahami tema ariuri airAvai vasiu jema kosieNa vahevi kasAu suTTha pAviu asurattaNu jaNi aNi? / dhajoyaru maMti mahANubhAu viddAviu kima vacchalasahAu / hua kittiseNa suppahahu mAya guNamAla marevi sumitta jAya / tuhuM annabhavaMtari dhaNayalacchi ariuri tAyaho sA pAriyacchi / mahu sumarivi taM vijjulaho maraNu jo sakA taho pAvajja saraNu / paMkayasiri jaMpai niru pahANu jaM tau tuhuM taM amhahaM pavANu / aNuhUabhoya ciMtiyapayAsa mANevi thaDasaMpayavilAsa / nivvAhiya saI sacchaMdalIla vilasiya vicitta ujjaannkiil| maMDaliyahaM bahumaMDalasayAiM tUsivi dinnaiM rUsivi hayAI / ghattA / ahisiMcivi paTTi suppAhu karai narAhivai / bhuMjau cirayAla putta rajju bhvisaannumi||4|| taM suNivi bhaNaiM bhavisANurUa tuhaM jAma tAma hauM sArabhUa / tumhahiM jaMtahiM jai khaNuvi thAmi to mAe majhu jiNavaru na sAmi / maI tumha pasAeM Asamudda mahi bhuMjivi lAiya kaDayamudda / puragAmadesa maharAu dei mahu muddaI viNu koivi na lei|| jasu abhayavayaNu maI kiu pasatthu taho kovi na bhau karaNahaM samatthu / avagannaiM jo mahutaNiya ANa niMdati tAsu je raNi pahANa / evahiM sammANivi guNaniuttu jaM karai sAmi taM mahumi juttu / jaM puNu thakkami pavasaMti rAe taM thutthukkAriu vayaNu maae| ahiseyapaTu saMpaya vicitta pahuputta rajju bhujau sumitta / to vuccai bhUvAlaho suAI maalimaalaakomlbhuaaii| guNamAla hauMmi arinayari Asi be bhava nivasiya tumhahaMmi pAsi /

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142 bhavisayattakahAe evvahiM maI millivi puttarajje tumhaiM laggaho prloykjje| acchami raNaraNauM samuvvahaMti mahu ehau navi kannaI suNaMti / ghattA / to bhaNaiM nariMdu jai sAmannahiM puvvakiya / to arinayarevi tuhaM savvahaM avasANi thiya // 5 // taM nisuNivi tahi raNaraNauM jAu mauliyamuhuM darisiu aMsuvAu / to navara nariMdi dunnivAra kokAviya paMcavi narakumAra / tinnivi duhiyau suviyakkhaNAu sahuM jAmAyahiM dummaNamaNAu / tiNNivi sumahattara sacchavAya dhaNavaiharibalabhUvAlarAya / piyasuMdari juarAeM sahAya emAi sayala annevi aay| nisuNaMtahaM savvahaM maiviyAru kari dharivi vuttu suppahu kumAru / AeM joijjai puttajammu jAeM kijjai sohalau rmmu| vilasijjai dijjai vihau teNa saMtANi dhuraMdharu hoi jenn| eha saMpaya iu baisaNauM rajju pariciMtiu maI paraloyakajju / pAlijjahi saMpayapaya vicitta tau jaNaNi vaccha evahiM sumitta / ghattA / kari dharivi saputta nikkhevau allaviu siN| dharaNiMdu kumAra paiM dikkhivvau samau maI // 6 // jaM vuttu ema suppahu kumAru taM dhuNivi sIsu thiu dunnivAru / eu vayaNu kAiM paI tAya vuttu jai juttu tovi tau niru ajuttu / jo bhuMjai vasumai eyachatta ! suviheya uvahipariAsamaMta / jasu caMDamaMDalAhiva savaMti sevaMti cAru avasaru niyNti| kinnaravijjAhararakkhajakkha jasu karahiM kajju hoivi samakkha / so naravai jaM pAvajja lei ehau na di9 maI maccaloi / pAvajja tumha eha ji vasiha jaM pAlahi suaNa visiha itt| jaM riDi viDi suhu bhaviya loi jaM coru jAru naMdai na koI / jaM niruvasaggu tau karahiM sAhu jaM jiu na nihammaiM niravarAha / jaM jaNu apAu uvasaMtu saMtu jaM jiNasAsaNi ucchau mhNtu| pAvajja lei so karai kaTu joaNi lau aha vairAyabhahu / jo dANu na dei na karai dhammu pAvajja lei so khavai kammu / ghattA / pahu bhaNaI hasaMtu tau pAsiu mahu mai pur|

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ekavIsamo sndhii| 143 navi kijjaI vigghu AeM aviNau hoi para // 7 // ahiyaiM aNioyaniuttiyAiM kiNbhuaeuttpdduttiyaaii| tau paTTavaMdhu suhasaMpautta pAvajja tihiMmi amhahaM niruttu / pariciMtiu jaM Nicchayapayatthu taM aliyau ko karaNahaM samatthu / nicchau jANeppiNu suppaheNa dharaNiMdu vuttu mauliyamuheNa / tAeM paricattu saNehu bhAi kiM vuccai jo vayaNiM na ThAi / paricitaI tavasiri vahua saccha tuhuM dharahi mahAbhaDabhAru vaccha / ahiseu tumha baisaNaI raje mA hou vigghu rAyaho sakajji / mahu tAeM dinnu kulakameNa maI tujjhu samappiu vikkameNa / hauM maMtisamau tihiM bhAyarehiM sambhAvasaNehakayAyarehiM / paDivannu ema jaM suppaheNa taM vuttu sumittAvallaheNa / tautaNaiM pahAveM amha saMti jaM lehi dehi taM niru mahaMtiM / tuhaM amhahaM saI paccakkhu tAu icchahaM paramatthe tau pasAu / ghattA / siya saMpaya rajju gayauru sohai tumha phu| acchau ahiseu kannahu vayaguvi duvvisaha // 8 // aNuhuMji lacchi NiyavikkameNa Aiya jA tumha kulakameNa / jo tumhahaM na vahai kosu kappu taho amha nihoDivi dalahaM dappu / suppahiNa dinnu uttara na jAma aNusaMdhivi bhaNaI sumitta tAma / aho puttaho suMdaru guNamahagghu naravaihiM vayaNu savvahaM alNghu| chaDDevi pihu jammaMtarahu nehu raNaraNai chuhivi mahutaNauM dehu / appuNu caliyaiM hAM dhariya jeNa paDivajiu taM kiM maI suheNa / savvahaM saMpaya baisaNauM rajju lai karahu sAmi appaNauM kajju / . eu jaMpivi aharaphuraMtiyAe Aesiu aMsu muaNtiyaaii| dhAiu vihaDapphuDa vilayasatthu sAraviya vasuha darisiu pasatthu / jayamaMgalatUraiM tADiyAiM parivAramaNaiM vibhaaddiyaaii| ghattA / dharaNidiM levi suppahu paTTi paridRviu / jayatUraraveNa sAmaMtihiM ahiseu kiu // 9 // ahisiMcivi pae suppahu kumAru Aucchiu niyaparivAru cAru / dhaNavai hariyatta mahANubhAu piyasuMdari pahu bhUvAlurAu / emAimahattara guNavariTa annavi je suaNa visiha iTTa /

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bhavisayatta kahAe annevi khamAviya sarvaM khamevi jaM jAsu joggu taM tAsu devi / jima teNa tema paMkayasirIe pacchaI bhavisaI piyajaMpirIe / jaNu aMsujaloliyaloyaNehiM ruNuruNaI jhuNaI dummaNamaNehiM / sahuM sayaNi nayaNANaMdirAsu nIsariyaI sariyaI maMdirAsu / jiNahari jiNahari pujjau karevi jiNahari jiNahari mahadANa devi / ghattA / ruhuruhau karevi loyahiM niru nijjhAiyaI / 144 sahuM sayaNajaNeNa pavarujANu parAiyaI // 10 // tahiMmi parauvasoha samAriya chaDatoraNamaMDava vitthAriyA / pujivi jiNapaDimauM saMjaviyara maMDau jAlagavakkhihiM Thaviyau / pUriu raMgAvaliu vicittau viyasiyakusumaMjaliGa pavittara | ki nIsallu sayalu saMbhAlivi aMgavilevaNAI pakkhAlivi / tiNivi jiNu sumarivi supahiTThaI avaloivi gurupurau niviTTharaM / uttAriya kaDayaI kaDimuttaraM mauDaI maNimaha pajalaMtaI / paMcamuTThi siri lou samArivi duDara paMcamahavvaya dhArivi / dhIravIrasAhasiNa vicittaI tinnimi guruhuM pAsi nikkhittaGkaM / dhattA / suhisayaNasaehiM dikkhivi tAI na sakkiyaI / jaNu aMsu muaMtu dhaNavaisuvadaMsaNi huI || 11 // ekaviMzatitamaH sandhiH / jima laiya jiNevi rAyalacchi saI bhuyabaliNa / tima mukka ruaMti dhIravIravikkamacchaliNa // dikkhaMki pakkhivi kuruvarAu loyahaM ruhuruha mahaMtu jAu / jo jaMtara hayagaya rahavarehiM vijjijjamANu calacAmarehiM / paDihAraphArasaddujjayAhaM haNahaNasaddi naravarasayAhaM / so evahiM kima nIsaMgu diTTu gau lhikkivi naM divasayaru hua rayaNi jAu jagu kasaNavannu jo jitthai hoi titthai nisannu / parivAru pauru puranivAsu pariyaNu aMteuru piMDavAsu / jaNu sayalu tAhaM guNa saMdhuNaMtu nIsesarayaNi thiu ruNurutu / 1 1 C adds iya bhavisattakahAe payaDiyavammatthakAmamokkhAe buhadhaNavAlakayAe paMcamiphalavaNNaNAe bhavisayattadikkhAkallANavaNNaNo nAma ekaviMsamo sandhI pariccheo sammatto //

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bAvIsamo sndhii| jo niMda karaMtau sayaNasAli varataruNIsahu~ sihinnNtraali| so savvaMgai parivAe vAe kima suttu niraMtara bhUmibhAe / ghattA / ghari rayaNihiM jAu putti calaMti tsNtiyu| tAuvi tahiM kAle dhIravIrasAhasa thiyau // 1 // parigaliya rayaNi pasariu pahAu puNaravi ravinaMde khaNahaM Au / evahiM kehau muharAu tAsu tavacaraNi pavanni mhaanraasu| kiM jehau pANiggahaNi dIvi kiM jehau gayauri phusmiivi| kiM jehau maNaveyaho vimANi kaMtAdohalae supujjamANi / kiM jehau pahaya aNaMtavAle ANiya baMdheviNu puhvipaale| kiM jehau pariyANocchavehiM avarehiMmi vivihamahocchavehiM / jai ehau muhUM evahiMmi tAsu to karai mohatamatimiranAsu / aruNuggami vihariu savaNataMtu viNiyattu lou dhAiu muaMtu / ghattA / gaya gayauri gaMpi miliya sayalasayaNahaM sayaNa / nIsAsu muaMti sumarivi jammaMtaraho guNa // 2 // rovai sumitta vallahasarUvi maI millivi gaya bhavisANurUvi / hA caMcala pahu vavagayasaNeha kahu milliya hau kaMTaiyadeha / hA paMkayasiri dhammANurAi paiMsahu daMsaNu ettiu sumaai| dhaNavai viNu pattie taM ji gehu pikkhai pajalaMtu dahaMtu dehu / niMdai appANau kAuM dINu tara karivi na sakkami hauM nihINu / dhannAI tAI tinnimi jaNAI chaDDevi laggaiM tavacaraNi jaaii| hariyattu visUrai ruvai lacchi hA kamali kamali kuvalayadalacchi / hA bhavisayatta taM karami tema evahiM chaDDivi pavvaiDa kem| piyasuMdari bhUvAliM samANu ruNuruNaiM jhuNaI niMdai niyANu / suppahadharaNIdharapamuha kumvara na dharaMti aMsu na niyaMti avara / tA rovaha tAra sutAriyAu niyavaggaho naM osAriyAu / ghattA / piyavayaNasaehiM paisivi maMtimahaMtaehiM / diTuMtahaM devi saMbohiya maivaMtaehiM // 3 // paMkayasiri bhavisau siyavaMtau teNa samANu jAu nikkhaMtau / purusAyAruparakamasattiu ghoradhIru tavacaraNu caraMtiu / suviNayaguNapAraMparabuddhie daMsaNanANacarittavimuddhie /

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bhavisayattakahAe / aNasaNamaraNa marivi tavatattau dasamahaM devaloI saMpattau / paMka siri pahacUlu pavittiya bhavisavi rayaNacUlu pariyattiya / binniva navajuvANasiyabhUsiya binnivi solaha AharaNavihasiya / binnivi avaloyaMti paropyaru bihiMmi sariu niyaputrvabhavaMtaru | tuhuM kamalasiri annajammaMtari hauM bhavisANurUva naravara ghari / annuvi bhavisayattu iha esai tihiMmi saMgu samavAeM hosai / dhattA / ciru amhasamANu sayaNihiM jehi na layau tau / 146 taha temaI taM ji maNuajaMmu akayatthu gau // 4 // bhavisayattu ciru karevi mahAtau aNasaNi marivi vihiyarayaNattau / tahiM ji vimANi pattu suhadaMsaNu tihiMmi saNehiM kiu saMbhAsaNu / naravaibhavisayattu tuhuM hoMtau kurujaMgala gayauru bhuMjaMtau / vimalamuNidaho taliNikkhaMkiu marivi itthu devattaNu pattau / jaMpai sovi Asi maNamohaNi eka jaNaNi anneka sugehiNi / tumhaI navara ahiyavavasAiya jaM tiyaliMgu haNeviNu Aiya / ajavi sA sumitta tahiM acchai suppahu rajja karai pahupacchai / tahiM jAivi upAyahaM vibhau pikkhahaM cirapariyaNu suhibaMdhau | dhattA / avayarivi juAI pikkhivi vayaNaI sajjanahaM / kuli kIla karevi pacchai merupayAhiNahaM // 5 // tinniva kariva payAhiNa maMdira lIlaI paribhamaMti bhuvaNaMtari / gayauri niyatANu nirikkhivi je jiyaMti taho vayaNaI pikkhivi / tilayadIvi caMdappaha bhamiyaI jahiM varanayari Asi ciru ramiyaI / puNuvi teNa vivariM nIsariyaI puNaravi layamaMDavi saMcariyaI / taM bhavisattaho bhavaNi paTTaI puNaravi tAiM niyANaI diI / joivi asaNiveu piu jaMpiu sahuM kannai puru jeNa samappiu / puNaravi mANibhaddu sammANiuM gayauri jeNa vimANi ANiuM / vijjuppahu joeviNu harisiya akkharapaMti jeNa ciru darasiya / maNave ho muhapaMka cAhiu sayaluvi puvvabhavaMtaru sAhiu / parisakkivi annaiMmi sukhettaraM kevalajammaNanivvamettaI / ema tAi tarhi ciru vilaseppiNu solaha sAyarAI nivaseppiNu / jAma puNuvi hiMDaMti mahAyali paisahiM puNuvi jAma kurujaMgali |

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bAvIsamo sndhii| ghattA / taM gayauri gaMpi jAma nirikkhahiM nayarachavi / suhisayaNasayAhaM ekkuvi tahiM saMtANi navi // 6 // taM varanayaru taMji kurujaMgalu so mahiviMdu taM ji mahaNaijalu / tAI pavara ujANupaesaI tAI giriNdghnnuddesiN| tAI vicittapavarajiNabhavaNai navara tAi dIsaMti na suaNaiM / to sumarivi cirayAlavilAsaI gaya ruhuruhivi nivi caupAsahiM / to cavaNAvasANi huu mUliM mauliya mAlaNitievi phcuuliN| teyapaNa? vilaMbiyagatti kiu mahaMtu ruNuruNau cayaMti / hA puNaravi naraloe vasivvau duttaraganbhuvAse nivasivvau / acchai devaloisuha rAyahiM jaM kIliya maNaciMtiya rAyahiM / acchau jaM aNuhaviu cavaMtihiM surasuMdarivilAsa vilasaMtihiM / evahiM Asu na kAiMmi caMgau pasarai samai maraNu Avaggau / ema viyappu karaMtu viloNauM takkhaNi dihu paNaTu vilINauM / ghattA / pahacUlu caevi ghari gNdhvvnresrho| suvasuMdharu nAmu hau naMdaNu cakkesaraho // 7 // biNNivi rayaNacUla hemaMgaya suvasuMgharaho putta hua dujaya / nAma naMdivaDDaNa sirivaDDaNa bevi siDhilakayakammanibaMdhaNa / tAhaM bihimi siya rajju samappivi suvasuMdharu paralou viyappivi / carimadehu niyaguNihiM alaMkiu siriharamuNihi pAsi dikkhaMkiu / bahukAliM mahiyalu vihareppiNu ghora vIru tava caraNu careppiNu / sukajjhANu Aurivi nimmalu uppAevi nANu taM kevlu| jo cirujammi kamalasiri hotau so loyAvasANu saMpattau / tevi naMdivaDDaNa sirivaDDaNa NiyasaMtANi karivi saMvaDDaNa / ekkahiM diyahiM cAliya vaNakIlae gayavaradharaNasamunbhaDalIlai / ghattA / hiDaMtihiM tehiM lakkhiu ikka juvANa mau / parisesiyajUhu hariNihi garuyAsattiyau // 8 // so hariNie sahuM kIla karaMtau vAhiM hayau tAeM sNjuttu| taM vairAu tevi maNi bhAvivi NiyaNiyaNaMdaNa Nivapai thAvidhi / biNNivi suhamasuhAiM caeppiNu maya sivanayari sarIru mueppiNu / bhavisayattu puNu suru hemaMgau sirivaDaNu hoevi siddhihiM gau /

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bhavisayantakA / sA bhavisANurUva taNu millivi rayaNacUla suraloDa samillivi / jAu naMdivaDUNu dharadhArau puNu huu sAsae sihu bhaDArau / vasivi gharAsami halluttAliM viraiDa eu cariu dhaNavAliM / bihakhaMDahiM bAvIsa hiM saMdhihiM paricitiyaniya heu nibaMdhihiM / dhattA / dhakkaDavaNivaMsi mAesaraho samubbhaviNa / 148 dhaNasirideviNa viraiu sarasaisaMbhaviNa // 9 // aho loyaho suyapaMcamivihANu iu jaM taM ciMtiya suhanihANu / dUrayarapaNAsiya pAvareNu eha jA sA buccai kAmadheNu / phalu dei jahicchiu mattaloi ciMtAmaNi vuccai teNa loi / eha jA sA vuccai bhuvaNasaMti aha mukkhaho suha sovANapaMti / naranArihi vigdha avaharei jo jaM maggai taho taM ji dei / nivvAhai jo niyasivibhareNa so punnavaMtu kiM vitthareNa / uvavAsa karai jo sattasaTThi ujjamaNi taho suhi tuTThi puTThi / jai bhajjai aMtari vigghu hoi tahu saddahANi phalu taM ji toi / ghattA / aho ki bahuvAyAvitthareNa ekkavi citti mahattariNa / aNumoeM tAhiM tihuM saMpanna guNaMtariNa // 10 // ariuri airAvai dIharacchi dhaNayattaho gehiNi dhaNayalacchi / ujjamiyatAeM ciru saMjueNa bhAviya dhaNamittaM tahiM suraNa | taha kittiseNa nAmujjayAi aNumoiya vajjoyarasuAi / to phaNi tAe tiNimi jaNAI cauthaha bhavi sivaloyaho gayAI / pahilas dhaNayattaho dhaNayaditti iyarai binnivi dhamitta kitti / bijjai bhavi paMkayasiri sarUa suu bhavisayattu bhavisANurUa / tiyaliMgu haNivi tinnimi suteyapahacUlarayaNacUlAi deva / ass bhavittu vi kaNayate huu dahamahaM tahiM ji vimANi deu | cauthai bhavi suvapaMcamiphaleNa niddaDDu kammu jhANAnaleNa / dhattA / nisutapaDhatahaM paricitaMtahaM appahiya / dhaNavAliM teNa paMcami paMcapayAra kiya // 11 // 1 C adds iya bhavisattakahAe payaDiyadhammatthakAmamokkhAe buhaghaNavAlakayAe paMcamiphalavaNNaNAe kamalasiribhavisadattabhavisANurUvamokkhagamaNo NAma bAvIsamo saMvI pariccheo sammato | samattA bhavisayattakahA /

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NOTES. [N. B.-Roman figures indicate the Kadavaka in a Sandhi and the arabic figures the lines. Apbh=Apabhramsa, M=Maharastri, Amg. = Ardhamagadhi, S=Sauraseni. Abs. Absolutive.] SANDHI I. I. Introductory. The author offers obeisance to Jina, who possesses the highest qualities, who is without attachment, passion, anger etc., who is the lord of lords, the adorable, endless and great one etc.; and says he is going to deal with the 'fruit' of the Suyapancami. 1. Acc. Sing. of Neuter. So also in this, and fat and in the next lines. The change of - to -3 is due to the analogy of the Nom. Sing. Masc. of bases, which has first affected the corresponding case of Neuter bases and then the Acc. both of Masc. and Neut. forage-The cerebral nasal for the dental one, in all places in the word, is the rule in Apbh., M. and S. Prakrits; e. g. tea, nan, fox, for, etc. The dental in, f and other words, is due to the fact that the scribe apparently was a Jain, who tried to smuggle Amg. phonology into Apbh., but has not completely succeeded. The author himself was also perhaps responsible. 2. fa-3rd Pl. of Imp. faft-Gen. Sing. of Fem. base in -. See Apbh. grammar in the Introduction. 3. qufafeqg-Abs. of with . This Abs. is most common in Apbh. Another one is in-fa. e. g. frgia, fafafa, vtfa. Hc. IV 439. and pataMga. The yazruti etc. below. 4. bhavvayaNa0 - yaNa, vayaNa and payaMga correspond to jana, vadana of the Amg. is also brought into Apbh. e. g., f, 6. dalaNekamalla -- Combination of dalaNa and ekamahu. The has asserted itself as e the Sandhi-vowel. It is to be observed that Apbh., like other Prakrits, does not possess the Sk. vowels and t. Note that is short, as it precedes a conjunct. Pischel SS 84. 7. samuduttaraNaseu - Combination of samuha and uttaraNaseu. art, which here is weakened first into short e, then the syllable is, however, preserved. Pischel SS 84. analogy off and other words where n is regular. The lengthening seems due more to exigencies of metre. [Bhavisa-1] In Sk. we expect an into 3; the quantity of and as, on the

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11. This form is both Nom, and Acc) singular. Here the latter. 997...-Gen. Sing. of -37 bases. -F, and are other Gen. endings in Apbh. See Introduction. 12. -Loc. Sing. of -37 base. - and P () are other Loo. endings. II. The poet shows his diffidence. He is a man without any merit and money, which prevents him from coming by his own in the assembly of the good. Still he will try his best, for should not stars shine even if the moon is up? 1. T -like we two lines below, Present 1st Pers. Sing. The vowel before the termination is weakened on the analogy the forms of the 2nd and 3rd Pers. Sing. where it is naturally short. The alternative forms for the 1st Sing, in -j are as frequent as those in -, perhaps more. See Introduction. . -More regularly a#. Nom. and Acc. Plural of the pronoun of the second person. Hindi n. 2. -Nom. Sing of pronoun of the first person. Compare Guj. g, Konkani gia. See Pischel $ 142. From Eat, where is svarthe. 2. duggharavArAri-Read duddharavAvAre. Loc. Sing. 3. storfaeacagte-taifa any. The -p of the Instr. Sing. form is to be read short. E-THTH. Case terminations are often dropped in Apbh., a tendency which is accentuated in the pronouncedly analytical modern Aryan Vernaculars. It is rightly to be traced to the Apbh., their mother. 4. aur goof-The Instr. Pl. form is made to serve for both the Instr, and the Abl. Translate-'Wealth is impossible without (previous) merit.' -we rather expect kovi. There is a world of difference between koha, Sk. kazcit and kovi, Sk. kopi. Scribes mistake ? 5. aTg-Inst. Sing, of the Feminine of base a. Hemacandra and following him Pischel, teach only are, without anusvara. The word refers to get in the previous line. Translate the line-Although without it (wealth) I command little respect amongst people, still, how shall I surrender manly pride ?' The words kahamuvami have to be read separately as kaha for kaI-kathaM and muvami. The latter form is to be explained as from which in the Prakrits loses the nasal. For then ought to be the correct form, but the a has come in as a glide-sound, helped on by the labial 6. forza fagre-Acc. Sing of Masc. base in-37, ou the analogy of the-y of the Nom. Sing.; faufafaari. 7. 'forfers-The sense is that of Sk. grat. But there is no connection between the two. fofas and faffers are formed on the analogy of gfers (also sfr) which presupposes an* sygep from 379a=Sk. gga. See Pischel 8 153.

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8. Translate-'Having seen the Airavata roar, should not other elephants do the same?' Joycra-Such reduplicated forms are common in the Prakrits. They are generally Onomatopoetic in character; e. g. gayha, fermera, scytrafe, yra, pharapharanta etc. 9. mahakavvakaIdu-Abl. Pl. of degkaI. tAhaMtaNiya-Consists of tAha the Gen. Pl. of the pronoun and after the possessive adj. suffix. The latter has become the case termination in Gujaratri. The whole form is therefore a double Genitive, The text sometimes separates it from the Gen. form. 29-What indeed ? Pischel timidly compares the form with Sk. warfra, kavoSNa, $ 428. kaH or kA punaH kavaNa (cf. Pali paNa from punaH) is more likely to be the right derivation. Translate the line-Before poets of great poems, what indeed is their (lesser poets') story? 10. Glors or Funfavo:-The stars. Through So, where the anuswara replaces 7. Mark change of gender. Translate-'But should not stars shine when the moon is up.' Hc in Desinamamala III 50 regards it as the name of a. III But there are wicked people, who are busy in picking holes in other's pockets, who find out faults of good poets and good women. Even one man, endowed with bad speech, can wound hundreds of good men: for, will a flesh-eater have any pity? 1. G-Is no doubt te with weakened vowel, owing to exigency of metre. m. sing. of the demonstrative pronoun, Sk, w or gaa, Although Hc. IV 362 rules that is Neuter and ot Masc., the context is clear that E here is Masc. 3. aftfo-literally affhafa, but here safa. Translate the whole lineOne who is always busy in finding out faults of others, is there anybody anywhere virtuous to him?' 4. atasft-Can only be Loc. Sing, or at best Gen. Sing. if we ignore the long . The reading any given in the foot notes is to be preferred. It would be Gen. Pl. The same with regard to mahAsaIhi; read mahAsaihu. th-Acc. Pl. of Neut. This is a glaring example of how Sk. words have changed their gender in the Prakrits. Hc IV 445 therefore rightly says fHF-'Gender does not matter.' 5. vella-Pischel SS 91 says the doubling of a can not be accounted for. His rule is 'a long vowel before a single consonant is shortened and the con. sonant doubled, when the last syllable carried the accent; e. g. pin-ah, fastater, facote-tone fafoor and after it fafoor are formed by analogy. In pas the accent is on the first syllable. The reason lies perhaps in the fact that in the Prakrit, is a simple vowel and is also short. This fact is emphasized by

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doubling the following consonant, in order to preserve the original quantity of the Sanskrit word. 6. Translate-'He daily pours forth showers of bad odour (abuses etc).' STA-FEI GATTH. cf. Pischel & 164. This is a good case of contamination of the two forms sapparisaMha and FurisahaM. 7. fiscafa-Absolutive in fa, used as an Infinitive. Trans.- He is not able to look upon the prosperity of others.' 8. Translate-'He roams, fighting all (crowds of) good men, just like a wild elephant free from the goad.' ** IV But in spite of wicked people, the poet is going to tell an enchan. ting story, the same that was told by the Ganadhara Gotama to king Seniya. The poet Dhanavala the best of merchants, has thought fit in this evil age retell the story of Suya pancami, which shows to people the path (of righteousness). 1. 37743-read 37733, which represents Sk. 37-to be, in many of the Prakrits. Of all the derivations of this form, given by Pischel $ 480, only two are worth considering: Kuhn's derivation from sta with the inchoative za and Pischel's from #3, which would give energy in Prakrit. The former seems preferable, as (1) it has already been recoginsed by Hemacandra IV 205 and Kramadisvara IV 10, (2) such roots exist in Prakrits, (3) and the sense requires this derivation. Pischel's derivation is phonologically flawless, but unsuitable so far as the sense goes. 914-Through arra (or ata) from alaa. Pischel SS 261, following He's examples to IV 395 etc. -PYTH. The terminations are often dropped in Apbh. See ete in II 3. Trefo-Instr. Sing. 2, gesagt, enforget-Genitives. See Introduction. 3. fuo frag -Instr. Pl. They in the last word appears to be redundant. Metre also does not want it. It should be dropped. ACUET-Separate the words into an and it and take at as expletive. 4. gay and Thia-Both Locatives. The regular ending is g, e. g. Afs. Even with g, the forms would be aga and Thra. But the syllable is protracted for the sake of metre. evvahi-Sk. idAnIm. Hc. lays down an evahi which is sometimes written grafe and might have been mispronounced or miswritten as poate. Pischel S 261 connects it with Vedic gas, which is doubtful. dusamakAli-the Jainas divide Time into the two cycles avasarpiNI and utsarpiNI. Each one is supposed to have six spokes, called h1 and Thi with combinations. (e. g. atau TT, UTHT, UTH: HT, THECHT, :71 and gebra: THT.) The last contains twenty one thousand years. Sanfguft is the reverse of refGofta The whole cycle, the regular motion and its reverse, contains twenty kotis of koti of Sagaropama years. cf. Abhidhanacintamani II 414.

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5. Yurants, aforator and surffor (1. 2) are all usual Apbh. Instrumentals. The first form is common to the Locative also. See Introduction. The poet mentions his name and caste here and says that he has got a great boon from Sarasvati. He occasionally mentions his name at the end of a Sandhi, e. g. last Kadavaka of this and 2nd, 11th, 17th, 20th Sandhis. In the 9th Kadavaka of the last Sandhi, he says that he is born in the vacaforget and that his father's name is mAesara and mother's dhaNasiri. 6. Read q&hly instead of acity of the text. AHafty-The root with the prepositions in and ma is often nsed in Jain scriptures with regard to the appearance of Mahavira at any particular place of assembly; e. g. FHOS erat hatefig. FHAFTU would therefore mean 'stride' or 'assembly'. 7. TOE-The Ganadharas were immediate disciples of Heteit. They were eleven in number. 94, UEFH are the two most prominent among them. The latter succeeded wat as head of the Jaina sect. See Hemacandra, Abhidhanacintamani I, 31 and 32. 8. Hyu -The 5th of Kartika, held sacred by the Jainas. Also called t e . It has been the subject of several Prakrit poems by Jaina monks; e. g. paJcamIkathA of mahezvara in the Baroda Central Library. 10. TE-Apparently for it, as the adjective afredag shows. Hemacandra lays down for z and 3 bases, IV 340. v. The story begins. It is laid in the city gayaura,i. e. gajapura or hastinApura, in Shouture country, which is a part of cats. In that country men are rich and happy. Both animal and vegetable nature are in a prosperous condition, 1. The twin country of Kuru and Jangala which is known even to the Mahabharata and Ramayana. Panini too in Sutra VII 2,25 appears to refer to it. jaladhenuvalajAntasya vibhASitamuttaram-'A compound ending in the words go etc. may optionally lengthen the first syllable of the latter part.' Although Panini himself has not supplied the example, it is evident that he meant no other word. The name therefore reaches back to the 6th or 7th century B. C. motora and wat were twin countries, 996 being contiguous to me on the North and it on the South. Common rule and family alliances might also have contributed to the twinship in name. It would correspond to the northern part of modern Rajputana. cf. Proceedings of the First Oriental Conferente Vol. I, p. cxxxi. 2. 278-Nom. and Acc. Sing, of the pronominal base, used adverbially, afootfets-Pass. Pres. See Introduction. __ amuNiya-The sense is ajJAta.Grammarians derive it from man, which is scarcely likely. Pali forms like qugunfa from gtcalfa, would suggest a derivation from FT. 5. 9747-The doubling of the a is due to analogy of words where it is

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natural, as guerra, forsalar, fororia etc. cf. Spag-spenfest, etfis-997EUR. Pischel s 196. Compare also fourg. Er-Compare Mar. Hur. For saque read 896CqT. A compound of 3497 and or with the a developed as in paraspara. The am becomes o and then u. Compare NamokAra, paroppara where the conjunct following it was not necessary; Pisch. $195. 12. This description of It, 'As if it was a part of heaven descended on the earth', reminds one of Kalidasa's graferat; 'Faeta aftan Fabioni di gara : goggafura faa: alfana EvEH Meghaduta I-30..... VI Description of Gayaura. Mehesara, Maghava, Santi, Kunthu and Aru and other kings and sages lived there. It is in fact the same Gayaura, for the sake of which the Kurus and Pandavas fought on the battlefield of Kuruksetra. 1. 1956 a quorurg FHRY-Is a queer construction. We would rather expect ag te etc, which would be construed with gauceThis is appa rently a confusion of constructions and is a good example of syntactical contamination. The auther apparently began with 1436 and aught to have finished in some such way as an afourt FC, where 17936 would be the object of the Infinitive afourg. But he appears to have changed his mind and with it the construction. The two sentences between which there is contamination, are: taM gayauru ko vaNNiuM samatyu and tasu gayaurasu ko vaNNaNahaM samatthu, resulting in taM gayauru ko vaNNaNahaM samatdhu Jacobi regards it as an Infinitive. For ytry read they, i. e. gr . 2. HATE Toatie-Who these kings are, is not clear. Maghava is said to have been an emperor at Gayaura. 4. fe is a synonym of q. But the derivation seems to be from a, through foa, fiat, fara, f.H. See Pischel $ 336 and $ 261. 6. There were three kings santi, Kunthu and Aru, who, having once been emperors, became Tirthakaras afterwards. These three form the 16th, 17th and 18th of the 24 Tirthakaras of Jainism. Devanandin in his Siddhipriyastotral v. 17 says about Kunthu kunthuHkhitau kSitipatirjitamAnasenaH pUrvaM punarmunirabhUddhatamAnasenaH / Ed. Kavyamala, part VII.

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Jinaprabha in his Caturvimsati-Jinastava1, vs. 16, 17 and 18 says about them. jayati zAntijinaH sma jaganti yA bhaTacamUryudhi mohamahIpateH / raNakathAmapi bhaktibhareNa te sa sahasA sahasA sahasAmucat // avati kunthujinAdhipa rAjyamA himavatastvayi cakrahatAhitam / tridivato'pyadhikAjani RddhibhirghanarasA narasA na rasA na kim // jagadadhIza sudarzanabhUmipAnvayapayaH saridIzazikhomaNe / praNidadhe' ntipado viSadatratA banaratA naratAnara tAvakAn // 9. tuMgatavaMgi-- On a lofty couch? tavaMga is probatly a couch. Translate Where people lying on their lofty couches, could see the limpid (lit. clear like conchshell aud Kunda flowers) water of the Ganges.' Or 'high terraces'? Compare II 11 raihari bhamivi tavaMga baIsivi, which leaves no doubt that tavaMga has to be taken in the sense suggested. VII In that city, there lived in golden times a king named Bhuvala. beloved of his people. At his court there was a wealthy merchant named Dhanavala, young and handsome, rich and virtuous, an ornament of the populace. 1. af for-Locatives. The nasal ending is more regular, but is often dropped. e. g. varayari and susamakAli. vahU'tae is also Locative. It aught to be vaete, but metre requires four syllables here and hence the lengthening out of the word. susamakAli--See note on dusamakAli above. It is the golden age of the Jainas. 2. aThThamai titthi - aSTame tIrthe. At the time of the eighth Tirthakara, whose name is Candraprabha. fq.--When the (eighth ) Jina, Candraprabha, was living,. dhaNusaudivaDa - Compare dIha divaDa dhanuMhaM sayamANahaM in V2, 4 below. We should rather have () 'One and a half hundred bows' measure in height' through diaDDa, from dvi-argha diyaDU would be more regular. cf. Geiger, Pali SS 46. cf. Mar. dIDa dIhara from dIrgha by metathesis and svarabhakti. a is 4. for-Translate 'Like the sun, possessing the brilliance pure truth'. of With a life of a clear measure of a lac of years'. This, with the measure of height, are signs of the Susama cycle of time. 6. fa-Who had made his own, whatever was best in the circle of the earth'. q and fa are synonyms; the repetition may be due to emphasis. See XIII 3 vasaviya kari sayalamahi bahunaranihAya saMkhuhiyavAru. The at the end of this and the previous word is wrong and should be read. Sk.gacfianigfagr:-Whose door was thronged by crowds of people.' 7! ayofesrafafe-Is a beautiful, though somewhat hackneyed metaphor. The king is 'the Rajahamsa of the Marali (female flamingo) in the form of the glory of victory.' 1 Ed. Kayyamala part VII.

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8. gefagferoferraiolaffe-Contains a fine description of bright, beautiful eyes, although of a man. viyasiya, siya as kiya above, are Ardhamagadhisms. dihi, cf. poetic and colloquial Marathi diThI and dITha. VIII Another merchant in the city, named Haribala, had a daughter Kamalasiri, who was very beautiful. Dhanapala accidentally saw her and begged Haribala for her hand, which proposal the latter accepted gladly. 1. STO _Combination of your+#'one other', i.e. another. Compare Marathi sposta. ji-short form of java-eva. Compare dA and jA for dAva and jAva from yAvat and ata; Pischel $ 150. It is also used as an expletive, 2. rigouragon--The shortening of final et of feminines. It is common in Apbh. cf. duhiya, lakSya and kanna below. - 3. tahiNiya and tahiMtaNaI (line 4 below)-Compare note on tAhaM taNiya in II 9 above. Hurrengforzo etc. appears to be a misreading. B. reads Hugurguig, which is not so absurd and should mean HateTrani, an attributive Instrumental. The a clearly has been misread or miswritten for g, not an unusual mistake. Or is the reading maNaharaNatthANiya? We see how acchau has been misread for atthau above, as the letters representing ay and nu are so similar. What was therefore py in the original was read like y. This would also suit the context. In line. 2 above we already have kuvalayadalacchi . Jacobi also reads sthANiMdujha. 5. cuff tif-Has got to be construed with the last line. Read y en are o n Tufa atgaurs -'He accidentally looked at her form, playing with a ball'. 6. farefo-As fate would have it'. 9. j and attorg-Acc. Pl. of Neuter-9 bases. Also Tus, Hrquratturg. The penultimate is usually long as in STATE. Perhaps the shortening is due to metre. IX. The stanza describes the festival decorations in the town; watering of the streets, colour decoration etc.; gifts of eatables and dresses to guests; sounding of various instruments; the making of the nuptial fire and lastly the marriage ceremony itself. 1. khaMciya and taMDaviya are Past Part., not Absolutives. In like manner pattiya. CUE --Sprinklings with sandal-water.' Campare Mar. Fel. 2. gfery-Means for according to Hc. IV 143. The custom appears to have been to spit lotuses up into two pieces and strew them on the path in front of the houses (?). 3. Detyraves of Burning of the pieces of old sandal-wood'.

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4. for THISH -The Nom Pi, of the Fem- bases. The regular ending is 377, which appears to be weakened, owing perhaps to metre. In verses this ending is common in other Prakrits too. Pischel SS 376. 6. Figere and ariTETUHIG should be read as Hingle and RAITETATE. 7. piMDavAsu-Dependants, from piMDa and vam. 8. gharavAvAraho pahANu-Is to be taken in apposition to sammANadANu. Translate the line, 'Great respect was paid to the citizens, which (paying respect) is the essential thing in household functions'. 9. paisaraha-Connect it with bhojju and not lou. "There were heaps of eatables and drinks and the people partook of them with pleasure'. 12. ut -UTA, at which the stars were auspicious'. X A description of how, after the marriage ceremony was performed, the young people, especially lasses, enjoy themselves with raillery at the young bridegroom. 3. goamia als ars-All those gathered there for dancing'. Take goafrifa as Infinitive. Using the Abs, form for an Inf. is not unusual with our poet. ..TETOTT-9174:The anusvara is accidental, on the analogy of plurals of Neuter and Masc. nouns. 4. #T and gore almost mean the same thing, 'crooked, sideways.'-TE may mean nipuNa or caJcala. afrs-afda:Chid (in joke), railed at'. 5. Translate-'Oh girl-hunter, stand in front of us. How is it that you are takiug away the girl (as wife) for nothing ?? #g, through Fjg from saMmukham. muhiyaI-mudhikAyAM Desi. VI 134 has muhiya and Paia. has muhiA. 8. Read 97 and garfragile together. "With tremulous lips.' eg is wrong for 97. 10. avatuMDai should be read as avaruDai-embraces.' 12. kANakkheva has got to be read with a short e. The other reading kANakkhivi (a) avoids the difficulty. 5-yggfa conceals.' 15. dukau is apparently for dukkau-gather together'. XI The same continued. How in the end the bride is brought home and how she endears herself to all. 1. Read Filesy-to-titra-AN. BEST-Sk. 147. cf. Marathi ATTET. 2. muhamaMDaNusi-Read instead muhamaMDaNu saI, as B does and appuNu saI instead of 34yf which gives no sense. Trans. "Some girl wears herself the face decorations of some one else.' In both the cases, hi may be taken to mean Faith (?) 7. 7 -The bridegroom was taken in procession' to his home, after performing hundred auspicious things. [Bhavisa-2]

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10 8. The simile is beautiful. 'The young bride at once became dear to her husband and servants, as a scented garland becomes to a row of bees.' 10. paDiyaNNavihoDa i. e. pratiprannavibhogaH which the text reads is inferior in taste to paDivaNNaviheu i. e. pratipannavidheyaH of B. XII How the young wife, a paragon of beauty, was religious by nature, affectionate to friends and kind to servants. of B. is preferable, as it avoids the case ending 1. Baixai-a inside the compound. 2. cakkala - cakrala i. e. circular. 6. sohagge mayaradhdhau khohai -- By her beauty she makes love himself uneasy.' 7. samavayaho - The Gen. has to be construed with sArabhUa. 'The best of the women of her age in the city.' XIII How the young husband was passionately fond of his wife and how he, in company with his wife, enjoyed the days of youth. 1. a-The Instr. Pl. Evidently the form should have been arg, the Sing Instr. The in place of has been carelessly put. 3. viyaGkaparihAsai-viyaGkaM yathA syAt tathA parihAsai. viyaDU - vikRSTa --Like an affectionate friend he offers her (all) his love'. or fagz. Perhaps to read mayaNAura maNaveDa instead of mayaNAuramaNa veu. 4. 5. vara kI lAparIovaNuH varakrIDAparikopanam -- Feigned anger in love (which is calculated to increase passion.) 6. -A beautiful simile. 'A gentle loving embrace made them as happy as a sandle tree makes peacocks.' 10. kaNNosaNNaiM-- kaNopasane 'Close to the ear, i. e. whisperingly. ' XIV. How, when her friends got sons and she had none, Kamalasiri got anxious. She one day anxiously asked the sage, who, causing a dream, told her that she would have a son, handsome, intelligent, brave and modest. ' Belittles or despises herself'. 2. 3. aAta is synonymous with Sk. asmAkam Perhaps to read aAMtaNu. 4. pariyacchavi and Niyacchivi both from the root yam. The Prakrits have preserved this conjugation in the case of the three roots iSa, gam and yam . this class is added as, which becoms acchai. Pischel 480. Meaning of the two words 'having heard' and 'having given'. To 5. dihigArau - dhRtyagAra : A tower of fortitude.' 6. For gutuvayaNu read guruvayaNu.' q etc.-Tying knots of garments in recognition of things or events is a common Indian custom. XV. How Kamalasiri gives birth to a son, thus causing delight to all.

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11 How an astrologer, specially called on the occasion, foretells a bright fortune for the boy. 4. Teras Of Tatay'A man skilled in omens, i, e, an astrologer, was called.' Ho for forfa is unnecessary. 5. Byoga has to be construed as 377729-moreover.' 9. 46193-autt: A messenger of good tidings. XVI How there were birth-festivities for a month, after which the boy was taken to the Jaina temple and named Bhavisayatta. 2. poog 73-With their limbs surcharged with youthful vigour, they go gracefully'? far to through fare from Sk. fago. Pischel $ 332 and Hc. II 74. 7. Read 31UETETA egoeft as a compound word. "Whose path was decorated with the beauty of the market' i. e. she went through the beautifully decorated market streets. This word and faberuft shows how the g Fem. is generalised. 9. furra af rast E1-The custom appears to be 'to say the name of the Jina in the ears of the little child', as if it understood it. After this the child was given a name. SANDHI II In the introductory verse to this Sandhi the poet suggests that an obstacle arose in Kamalasiri's happiness. I How the child grows, and is liked by people, even including the king. How he is taken by one person from another and how he plays childlike pranks with them. 2. Tiars--The anuswara on the final is on the analogy of neuter nouns, where it is legitimate. 4. iga tra foar uraas-'Having put his hand to the nipples, he suckles at his mother's breast.' This description of a child's playful tendencies is most natural and constitutes the figure called Svabhavokti. 5. gfieccy-Faeri, is an adverb to Wat. 6. 97 and family are passives, most common in Apbh. and also in M. See fut below, without the intermediate . Also fame-Pischel $ 535. 7. aNNAhi pAsiu-we expectaGenitive, governed by pAsiu, viz. aNNahaM pAsiu, The second aNNahiM which is right has influenced aNNahaM. 9. Paano ang-fearicaturafat. 10. glawig.-Pre. Part. of the Passive of 77. The Apbh. pres. Part. always ends in 79. For see note on 6 above.

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12 11. AkhaMcivi - A pure dezI. cf. Mar. khecarNe, Hindi khIMcanA, having pulled or strained. 14. ujjhAsAla is upAdhyAyazAlAM through uvajjhAasAla. ujjhA goes back to upAdhyAya through uajjhAa, ujjhAa. The Guj. name ojhA, the Mar. ojhe, vajhe. II. How the boy was sent to the preceptors for learing different lores (1) literary, like the Jaina scriptures, grammar, lexicography, astronomy, and (2) practical like wrestling, archery, knowledge of the habits etc. of animals like horses and elephants, and all other arts. 3. etc.-He quickly learnt, by his power of penetration (a) all the arts, after he had learnt the alphabet, the lore of the Agamas and Grammar (vAyaraNa) and Logic (sadasattha )'. 5. fafaerees fafaga-Various weapons or missiles, together with the way to call them back' (he knew); or various ways of defence. EUR219EVERYB--'Dexterous use of the hand' (in hand to hand fight). 8. gayaturaMgaparivAhaNasatrahUM-- 'The knowledge ( sannai. Sk. saMjJA ) how to lead elephants and horses.' 9. emAivisiddhaM -- ' By such and other things. ' emAi - evamAdi cf. emeva for evameva, evaDDa for iyat vRddha (through Vedic Ivat ). Apparently the reading ought to be emAifafezf, to qualify for, and should be preferred. The whole line should be translated thus: 'His body was chosen (as a resort) by such and other qualities also.' III. How, as the boy returned home from school, having acquired both learning and character, the parents were delighted with him; the wife complimenting the husband upon his having a son 'after his own image.' How, as days went by, there arose a change in the course of their love. 2. vijjAviNayabahugguNabhariyaI ( cariyaI ) - ( His character ) ' full of many virtues like learning and modesty.' For , especially the doubling of the original in I 5, 6. JT, see note on 4. as aftfurft yg afge-'He praises (the boy) in the presence of his wife, delighted (as he was).' salahai shows svarabhakti. paTTi - prahRSTa (also pradhRSTa, not suitable here.) -Phonological descendent of Pass. One of the few roots, which can not form Pass. 5. kuli ujjou karesai - Will make our family illustrious; (kule udyotaM kariSyati ); or 'will in our family be a busy man (gati aff),' which does not appear to be the sense intended here. -'What indeed, is not possible, when merit is samappai--either samarpyate or samApyate. The former appears to be the right derivation here. The form, however, shows neither-, nor- or , so 6. in the ascendant ?'

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13 usual in the Passive, but the double consonant represents the dropped, as in rammai, gammai, alternative forms of ramijjai, gamijaha; cf also dIsaha, sabaMjjhai. 7. rukkhaho NAmi phalu saMbajjhai etc - The fruit of the tree is connected with its name (kind); for will an Amalaka tree bear mangoes'? The young wife has paid a fine compliment to her husband, in pointing out that her son, who possessed so many virtues, only imitated his father. For tautaNahUM, see note on tAtaNiya in I 2, 9. The case is Loc. tavatanike ase. 8. rudeness, impoliteness,' The anuswara here and in acq, which latter is an adjective of and is therefore masculine, is due to the analogy of the Nom. Sing. of Neuters in . In their case the anuswara, which is a representative of Sk., is quite in place. We might perhaps explain duNNa as due to change of gender in the Prakrits; but not so uppaNNauM. The former explanation therefore is the only one possible. is an example of change of gender. for, Sk. fa, is an ardhamagadhism, due to the fact either (1) that Dhanpala was a Jain poet, or (2) that the scribe was a Jain; or (3) perhaps both. 10. tAbaNNahiM - Sandhi of tAva and aNNahiM. f: Non-initial consonants are often doubled in the Prakrits, when the final syllable of words had accent originally i. e. tella-taila, evva - eva, pemma pimmapreman. Connect pimmahaM and taNiya in one word. IV. How, owing to some action done in the former birth, Dhanapati's love for his wife began to wear away and how an unaccountable doubt possessed him. 1. are guge etc.-' Her former action, having become adverse, took possession of Dhanavai's heart.' 2. f g etc.-'Her look was the same, her behaviour was the same, her youth (also) was the same'; i. e. there was no change in her character or looks and yet Dhanavai seemed to be cold to her. ji through jiva - java-yeva, Sk. eva. 3. a Gen. Sing. Fem. in addition to /the forms mentioned by Hemachandra and Pischel, viz. a, (see line above). 4. of 3 at of Not even the lotus in her name (Kamalasiri) gives him pleasure' i. e. even her name becomes hateful to him. fafaqqu etc.-'He, who for a long time spoke loving, kind words, offered betel-leaf out of his own mouth, and every day admired the actions of his beloved, showed doubt in his conversation.' 8. jehau - yAdRza: The other form jaisa is more current. cf. old Mar. jaisA, modern Mar. jasA. 9. adj. of fag 'love, the zest of which was becoming duller.'

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14 10. Tesfayoq fags #for_'Various doubts crossed her mind.' face is Acc Pl. of the Masc. 37 base. The tendency to drop case terminations is evident. V How, on observing her husband's apathy, Kamalasiri was dowucast, because it was something unusual with her. How she mildly remonstrated with her husband for his inexplicable indifference to her. 2.3759-379. A vowel that takes the place of a consonant is called Udvrtta and is not combined with another vowel. cf aira-acira, saala-sakala, 39734-364. 3 and 43 are forms from the same base ga. The latter goes back upon 994. The corresponding Masc. and Fem. forms are get, and ge cf af v, vs. 35 of Sanjamamanjari, Annals of the B. O. R. I 163. Es the Loc. Sing. is also found. See below. * 3. fate-Apparently we have to read afe-17T: 6. felles--The Apbh. is found of affixing this = to words, adding the sense of endearment or diminution. It is seen to-day in Gujarati and Marathi. cf. qr, , ; Guj. 98, feu. reafifa-591627. Translate the line, Thus she restrained her grief in her heart and taunted her husband during sport in love.' 7. This and the following lines are addressed to the husband. 3-Comes from an obscure Sk. word af, given in Amarakosa III 61 as synonym for mahat. 9- . The base a with the termination i of the Inst. would give two forms, as or qs, according as the assimilation is progressive or regressive. fays and ag are from the root ate. The Sk, initial o often gets aspiration in the Prakrits; e. g. acac, Mar. art, Sk. 0+; 1937, Mar. fact, Sk. ; EH, Mar. Eh, Sk. giovt. The double is due to a usual phenomenon in the Prakrits, wherein the shortening of a preceding long vowel necessitates the doubling of the following consonant to keep the quantity, which is an essential point. In such cases the original accent usually is on the last syllable of the word. 8. a- through me. The wife says that if he had so behaved from the beginning, no one would have worried about it. 9. fees is to be derived from the same base as q7 in the above line. In the latter case the suffix is an in the former , . 10. The modest Hindu wife is at last forced to ask him whether there was another sweet tongued one, (woman,) whom he loved. 11 and 12. pofTHE etc. The two lines are proverbial in their sense and a good example of arthantaranyasa. "To change mind (withdraw favour) about persons in attendance without any fault (of theirs), is not possible in the case of the good even in hundred births', i.e. it is never possible.

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15 VI Further remonstration with the husband, on the score that they would have to hang down their heads and appear little before friends and others, becomes useless. He continues disregarding her, which causes her pain at heart. 2. 1. vaDDattaNu-baDDu, for which see above, and a, which reaches back to the Vedic suffix-. 'We shall fall from our greatness in the eyes of strangers.' The Jains do not admit even the soul as eternal. 3. ff-Read as one word, an adverbial compound; campare effrey in II, 1, 5. is changed to , as in the suffix of the Gen. also, qu etc., in the numeral ehattari for ekasaptatiH, in the term of the Future, hohis for bhaviSyati, in the pronomial termination for the locative, tahiM, kahiM, jahiM for tasmin, afena, afens. to khamai millivagAhu -- ' May it (avarAhu) be forgiven, giving up prepossession.' gAha-grAha, the same as pUrvagraha, a preconceived notion. 8. fas etc.-'Fixed on the form of the young husband, the mind does not care for words of elders.' 9. etc. 'Now since he undoes what is done (by one), such a one () should not be talked to.' 10-11 describe how she, now under the influence of her pride, does not meet her husband, does not respond to him. VII How the loving wife, still persisting in her moral love, is worried over the thing; how at last the husband cruelly asks her to go to her people (father's house). 3. a fa sig-'Her face (automatically) turned the way her husband was going.' fasia ought to be read as one word, in appposition to which should be read as maggiga. fa fos y fa-'What has befallen her, to whom pride was dear.' The form af is Gen. of the Pres. Part of root, which, unlike Sk., takes the 4th conjugation and thus presupposes a 7. zure zar, i aft suf-'Get away, get away, do not clutch at my hand.' fefe -'Why trouble yourself (lit. your body)'? 8. fas fast facifog fag-'By churning water, is ever ghee produced?' 10. uppAiya keNavi bhaMti pahu jA sA kahi maM hiyai dhari - The illusion (doubt ) which some body has produced, say lord, you will not bear it in mind.' VIII. How the wife appeals to him, that he was thought on all sides to be a very considerate man and that therefore he should not behave like that. How the husband gave an indifferent reply. 1. -'You know how to discriminate between good.

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16 and bad things' (lit. things that should be done and things that should not be done.) 4. aasta 978903--Then the husband said thus in plain language.' affa is an Abs. used as an Ivf. 7. mifatas-Separate the two words. The first is a Voc. and the other Instr (or Loc.) of the pronoun an. 10. afcufafa etc.-- Knowing that such is the way of action (or fate), whatever you know, please bear it in mind.'--- IX Hearing the loveless words of her husband, the young wife becomes disconsolate. She finds pleasure in nothing, and one day, when she thinks the situation intolerable, she leaves her husband's house and goes to that of her mother. 2. Fa (4EUR etc.-'With great effort, she could control her mind.' Helf= TH, concealed, checked. 3. fere og etc. She stood, consigning her mind to great pride, and harbouring jealousy and great self-conceit.' 4. fafout 13-Acc. (pl.) of time. "Thrice a day (or, always) she says 'victory' to the highest Jina, i.e. she prays to him. 7. Bey is toy etc.-The husband now directly asks her to leave his house and go to her beloved' (whoever he was); or fogfer to be taken to mean 'father's house.' 9. fqiyor-Read afegfigy. Translate the line, 'Her friends and servants stood looking on.' gfe-aga is however not bad. X The young wife and mother finds little consolation even at her mother's house. When, being asked by people, she does not give them any reply but silently experiences her grief, people grow suspicious. 'Has she perhaps done something which is apt to tarnish the good name of the house'? 1 SET and fast are Nom. Sing. Fem., the opt of which is shortened for the sake of metre, as often happens in the Prakrits. 2. Fue etc. The father, seeing this, got suspicious, and with his honour stained (as he thought) he stood with his face turned downwards.' 3. jANaha-Read jANai instead. 4. fa-arafa cf. Pischel $ 335. 5. comit-The 37 of stao is dropped, as it was an initial, and before the accent; cf. also get for orala in in 1. 1 above. 6. yaft etc. Lines 4, 5 and 6 contain one connected idea and describe how she who at her house was in the enjoyment of every pleasure, went now on horse-back, now on elephant-back, is seen weakened in body and humbled in spirits.'

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17 7. Argrofa afy us wat--'There is no doubt that there is no cause.' The father thinks that perhaps the son-in-law's suspicion is the only cause. 9. foreg siq etc.--'Let the evil thoughts of women perish (faqagsGita:), which cause a stain to appear on spotless families.' ___10. pahalau like vayaNaviyakkhaNu in an Adj. of bhallau-a proper name. mahalla from HET; 78 in a characteristic Prakrit termination, 11 & 12. refers to 483, the messenger sent by Tule to his fatherin-law. We would therefore expect either aor or at fa apparently is only a weakened form of . Translate:--This your daughter, who with spotless mind follows the trodden path (of duty) of her own family, and who is of noble behaviour, has been sent (back) by her husband to whom the virtues of his wife have ceased to give pleasure.' 13. Translate-The servants were then delighted, as a slight (on their mistress's character) that had caused much anger, had been removed.' XI. In the meanwhile, the boy became inquisitive and knew from the servants the humiliation of his mother. He went to his grand-father's house. The mother received him with affection and shed many a tear over him. 3. HS etc.-Read qug fche which is more sensible. Translate:'He appeared dejected and asked his attendents.' vunna through vina from vina. 5. forsulfagflammife--'He became incensed at the disgrace of his mother'. 10 and 11 Translate-'My dear child! (wanton one) what shall I do with you, born as you are in the house of a bad father? My son, on my account, abode of sorrows as I am, you too had to travel (to this place). XII Kamalasiri's mother was touched with the scene and wiped her daughter's tears. She taunted Dhanavai with having deceived them. Her husband Hariyatta also put in his word, saying he was perhaps deceived. He however hoped that everything would be for the best. 2. Translate-'Enough, daughter, check your grief, wipe off your tears and restrain your mind'. 3. Translate_Dhanavai has indeed behaved well, in that he has brought low our high estate (as merchants).' 4. af femila me-It would have been better if you had been given to another young merchant, equal in status to us.' 8. FUE facetes A forced construction meaning 'Who knew what was going to happen in the fulness of time?' 10. f Etag etc.'Perhaps the whole affair is going to end happily; for is it for nothing that a faithful woman is crying?' XIII The boy takes part in the conversation. 'If he does not care for us, (Bhavisa--3]

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18 why should we care for him; one for whom you have ceased to have regard, why should you be sorry for his sake? For, tit for tat is the law of the world.' etc.-'Would we be abandoned by our kinsmen'? 2. 3. fa fa-'Although it might not be possible to do without him, shall we, mother, talk in an abject manner.' 4. fa forenf-'Although you are going to meet certain death, still you should shun from a distance one who is averse from you'. etc. 'One whom you do not respect at heart, for him you 5. f should not grieve.' 6. -'His own courtyard is dear to him; we also, may be, shall have our own big house'. 8. etc. 'For, in this mortal world, you should show as much to a man as he has shown you';-i. e. you should behave with him, as he has behaved with you. 10. The boy gallantly promises, that before a few days would pass, he would be brought to her. XIV. Thus the boy comforted his mother and all thought he was destined to satisfy the desires of every body and that he was no ordinary one. He is specially attended to by all; and he too, by his conduct, his intellect and bravery, tries to satisfy all. 1. jaNeri - Is Apbh. of janayitrI. 2. FETE THE -'A flash went through the heart of all' i. e. it occurred to all (at the same time) instinctvely. sAmAnu - Read sAvaNNu which agrees with pie sAvaNNu ehu nau dIsai III 5 above and is in conformity with Apbh. phonology. 5. afaf-He, on his part, (because he was looked upon as an excellent jewel by people), enlightened the house'. The correct Apbh. from fan would be ; the therefore is either Ardhamagadhism, or due to recital which is apparantly copied faithfully. 7. -Blooming (flowers), which is the object of for. Translate latter part 'He wears clothes that are costly'. 8. guruvacchallu - guruvAtsalyam. The object of kerai. He was a dutiful son. 11. 'Kamalsiri's misfortune came to an end; her son was adorned with virtues.' 12. ittahi - Hem. IV 436 has ettaheatra. We can explain the weakening of the final into as due to metre, but not so of the initial. It has therefore got to be recognised as an alternate form of the same word. The Apbh. is rich in such alternate forms of words.

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19 SANDHI III How Bhayisayatta travels to another continent. I How Dhanavai, having abandoned his first wife, married another, a daughter of Dhanayatta, with great eclat and pomp. 3. 44 H aftafa Acc. Sing. of feminine base. It is to be noted how the Apbh, tends to drop case terminations. Sometimes they may be due to metrical exigencies, but more often, they are due to this linguistic tendency. cf. JFHEIT TEHE, (EN) forest for og faras etc. 4. Stanforfa-The doubling is not due to an original conjunct, for there is none in Sk. in the case of this- root. gaNayitvA ought to give gaNevi, gaNeppizu, where the represents Sk. 377. But this is a case of change of conjugation, as is reag II 13. The root is to be regarded as belonging to the 4th conjugation. fe-See remark in the same word above. 6. Read a fhm and for separately. Friends, good people were satisfied at heart. Or adopt the reading of B afAWAT--'the hearts of friends and good people were satisfied, The reading in the text gives no good sense. 8. gf fag-'It was announced in the city.' 9. 995 etc.-'Steps were arranged in the various ceremonials.' 11. annet at Is significant. The periphrasis for 198, reminds the reader of Dhanavai's inexplicable conduct to his wife. 13. The last line apparently refers to the effect of the new marriage on the minds of Kamalasiri and her attendants. The sound of the marriage drums caused anxiety in the heart of Hariyatta's attendants and anger (lit, shot) in the heart of Kamala. The line perhaps should be read thus:-hariyattaho pariyaNa raNaraNau kamala kalaMka maNi vvahaha, where maNi vvahai is common to both pariyaNa and kamala. There is a confusion of constructions here. The author began with a locative construction and gave it up when he came to kamala. Separate maNi from vvahai. II Saruva, the beautiful daughter of Dhanayatta, at once assumed the role of the mistress of the house; kept the servants well pleased and her husband in love. 1. affuz-Has a short final owing to metre; but not so ofte, 7634, which could be read as 1971, E3 without disturbing metre. Their shortening is thus due to a general Apbh. tendency, 2. paNmimaiMdaruMdasasivayaNI-Perhaps to read puNNimaiMda0, although there would thus be tautology. 'Having a moonlike face, as full as the full-moon.' Des VII. 1-14 6. ATTEETET OE etc.--She intensifies her love for her husband and his house and thus causes Kamalasiri (her rival) the grief of humiliation,'

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20 7. Faregafro aff -Is to be regarded as referring to Kamalasiri. Understand kamalasirihi before agi. 10. raNaraNauM diti paMkayasirihi-Throughout the last four lines the poet describes the happiness of Saruva, in contrast with the misery of Kamalasiri. III This Kadavaka describes how the husband and his second wife are enjoying the sweetest fruits of love. 4. FESTAURACY-Does not make any sense. We have perhaps to read Forgo or gue turpHC49-'A charming self-surrender to the lover.' 9. mayaNukovaNaMgupayaDAvaNu-Is one conpound. We should therefore read mayazukovaNaMga and not oog. 'Exposing of limbs that fanned love.'' 12. The simile requires that we should have the first compound word in the locative. Construe FTH *** PERFETE (H) pasta faqau14 hic e F. IV. Saruva in course of time became pregnant and gave birth to a son, named Bandhuyatta. . 1. hiyaicchiya and vilAsa are Acc. Pl. The more usual forms would be cchiyaI ete. 3. tryg Fefere a 17-Is prophetic. The embriyo was as it were the treasure of pain due to evil action' (in the previous birth). 4. The epithet fra applied to the embriyo, whose gradual growth is described in this and the following lines, is also prophetic. He was to be the enemy of Bhavisayatta. 6. Read tivalitaraMgaI as one word; vivalitaraGgAn. 8. qa is the ussual Apbh, sandhi, the initial vowel of the second word asserts itself. Cf. davaggi which is formed of dava and aggi; cf also bhogatarAu. 10. Read juvANabhAvi. pauri and mahAyaNi should be read pauramahAyaNi. V The boy grows into a strong but turbulent youth; roaming about in the city at pleasure, behaving wantonly. He becomes in fact a terro citizens. But fortunately for them, he decides to go to Kancana country, accompanied by other traders. 2. Tres FTATU etc.-Respected and honoured at court." 4. This line requires reconstruction thus. aurafata efter bytar etc-'He was well disposed towards those who were meek to him; but he showed the strength of his pride towards those who were crooked.' The reading of the text fauty face afte is disjointed and does not make good sense. The reconstruction is naturally suggested by the second half. fautyfarme fez etc would be still better. 7. Ufaut 9152-He was fond of the scandals of the town.' Eau th good and bad things happening in the city; the tangled thread of the city life. Cf. Hindi Mar. cAhaNe and cahA.Cf. Pr. Pai. 19 jo cAhahi so lehi.

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21 10. Sagewete --Drop the unnecessary anuswara. It is an Adj. of Bandhuyatta. VI. He goes to his father to seek his consent. As an experienced man and fond of his son, he explains to him the difficulties of the undertaking and wants to dissuade him. 1. He went to his mother and consulted her and then lastened to his father. 4. alert af frufey -'Having came to fight a quarrel.' 6. Translate 'Do not disclose your heart even to friends'. gouf acre. This and the following forms the code of ethics of a respectable merchant. The second requisite is that a budding merchant should be chary of words. The third is that he should acquire wealth (cy faccy) in various ways, even deceiving people; 1. 7. The fourth is that he should extol his goods and thus try to induce the mind of his customers; 1. 8. Next that he should not expose his side, but try to feel that of others; 1. 9. Then, he should be deaf to others' projects, although hearing them, but should stick to his own one; 1 1. 10. And, lastly he should try to know others' character but should not disclose his own character; 1. 11. VII. The father's appeal to the boy, that he need not go out, as what he was to get he would get even without stirring out, fell flat on him. Living upon patrimony was usual with people who had no grit in them, no courage, no intellect. 1. Ashfaqege ATT #4694-'It is given away to those who are rich in learning'. fasa-fagu. 3. The wealth that you have already acquired in a previous birth, comes inquiring after you.' (lit. 'inquiring after the yard of your house'). 5. "What you say would be dear to bastards (ratas), and cowardly fellows'. 11. "The money that one acquires in this manner (por fagrot), is a treasure-house of misery; what is the use of it?' 13. i ng farin ajas-Seems to be an obscure reading; connect fe tavayaMtaiMmi together. VIII. The father entreats the boy not to become a merchant if he disliked it; but says that he should stay at home and enjoy the riches antassed by him. The young blood would do nothing of the kind. Such a living is to him only contemptible. He persists and the father has to acquiesce. 2. ***--Perhaps to read FAETE-'With pride'? (Des VI 120.) But metre speaks against it. 3. for etc.-'No one would behave inimically after calling one 'friend.'

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22 SU. facef-'Enjoy,' here and in the last Kadavaka. 6. for fun 7 etc.-'What fame, what fame has that man, although living, who enjoys the money earned by his father ?' 9. Fag etc.-'He consulted his wife Saruva.' 10. IT Ante etc.- Bandhuyatta appears to be actuated with a wrong idea.' (3765qT) 11. E appears to be a word by itself, unconnected with the following sentence; and should mean 'well, all right or let it be.' is still used in this way in upper India. IX The young man prepares to set out and receives a send-off even from the king. His announcement that he would supply capital to needy people, soon gathers round him a host of poor and wanton merchant youths. No wonder that Bhavisayatta also, hearing that, desires to go. 3. En STFUT GU-This was a time-honoured custom: the towncrier, with a drum, went from place to place in the town and between two rounds of drum-beating announced what he was commissioned to announce. See Mfcchakatika, Act X. The custom has not yet died out. 4. 295-An example of how roots change their conjugation in the Prakrits. The form presupposes ask. calyatu. cf gaNNiu and ruccai. 5. FE for FUTETTE ANGE-He desires the good will of merchants sons.' 6. 94194T and afarqafute are Gen. Plurals, but they hardly suit the context. Keeping them, the construction has to be regarded as compressed and a verb like abhUt (vaNikputrANAM maMtritamabhUt) to be understood. But to emend as TATAYSaile ect, would be hazardous, as no ms, apparently has that reading. 8. TE -Like fat is Imp. 2nd Pl. The Apbh. has the latter in common with the Maharastri, but the former is exclusively Apbh. The nasal is not found in Pischel, $ 467 ff; but it appears to be genuine. 9. aforay E TEACT etc. The sons of merchants hastily gathered together'. 9. karahavasahamahisaha saya-Bullocks and buffalos were common enough as beasts of burden, but when he yokes to them the bulky elephant, he is perhaps mixing up states of things at different places, X Bhavisayatta opens the topic to his mother and appeals to her to allow him by travel to tempt his fate. The Mother is disconsolate. Having lost the company of her husband for 10 fault of hers, she does not want to lose her son, especially as he is going with the son of her rival. 2. samANu in Apbh. has the sense of samam or sArdham 'together with.' maiMmi-The Instr. Sing. of the pronoun, with a fa, which, as we have often seen, drops the 27 and is softened into fa, when joined to a word with an end-vowel; this f becomes when an anuswara precedes. An instance of progressive assimilation. Hemacandra and Pischel do not mention this f.

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23 i atley--The boat or bark.' The word is from the root ag and the termi. nation 7, Apbh. 4. 4. 'Although all happenings are controlled by fate, yet a man ought to do his business. 8. paI-Loc. but the Adj. jaMtaho (yAtaH) is Gen. pajalaMtaho stands far pajalaMtie or . This use of an Adj. in Masc. form, to qualify a noun in the feminine gender is certainly remarkable. It can not be said that the form is due to metre, for quofat would not have disturbed it. It is, therefore, deliberately used. Still, sing Loc. to qualify s Loc. would be better. 11. "(Who knows) the secret wickedness of my rival (reat ) who possesses a crooked nature.' XI Kamalasiri still further wants to persuade him to her view. After all, the two might quarrel. Perhaps Suruva might give her son wicked advice. The uncle also joins Kamalasiri in her entreaties. Should Bandhuyatta become jealous he would deceive them all and do them harm. 3. ka69 etc.-'Who knows how relations that have set their heart on common property would behave with each other ?' The meaning is that they would quarrel. 5. 73 ATE THE etc.--'He would do you harm in the way (ag-ara:); and thus while thinking of interest, you would lose the capital (itself.) 7. 3772 THE-Shows again an Apbh. peculiarity. The Adj. is in Sing. while the pronoun which it qualifies is in Pl. The form arte, grammatically regular, would have equally fitted in the metre. So that metrical exigency can not be urged in favour of the form vasaMtaho. XII Bhavisayatta persists in his intention, Bandhuyatta would certainly feel shame before denying him any share. Although born of a different mother, he claims the same father. And then there would be fifty other merchants with them. 1. Jel frafort 74698-'All would be over by your timidity'. 5. B f Hodet TY --'Everything carried to excess loses its virtue'. He wants to convince them that their fears are perhaps exaggerated, 8. Read fafe and sofe separately. 'From two wives.' 13. EES-Loc. Sing, of Adjective qualifies afin understood, 'When Karman has stopped, one would not live on; similarly so long as it continues there would be no death.' Jain philosophy has preserved the karma doctrine, among those other things that it owes to Hindu philosophy. XIII Having thus, by arguments and persuasion, convinced his relations, Bhayisa goes to Bandhuyatta. The latter receives him affectionately. 1. Herataque FU-'His people whose words were weighty.' The change of gender in Apbh, should be noted,

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24 4. abhutthANu kiyai - Is pass construction and kiyaha corresponds to kijaikriyate . In 2 above, however kiyat means kRtAni. 7. amnuNiyakajAgamaNaviyappiM-- ' He did not mind the thought ( viyappa), that Bhavisa might have come on some purpose,' but received him gladly. 8. ffgaft-Well placed (chosen) and genteel (af) words.' XIV Bandhayutta then asks him why he had come. Bhavisa, after complimenting him on his good fortune, says he intends to accompany him. Bandhu gladly accepts the proposal. 2. etthuvi - ' Although living ( sammAivi) in the same city Hatthinayara, you anyhow never speak to me.' 5. Es hat affa a etc. 'We make our living by serving your father.' Note the form fag. Pischel mentions a form in only for the 1st pers. pl. 6. ujjau evidently must be changed to ujjaDaM. It is object to AyaNNivi. Either the scribe or the author is rather careless in this matter. Or is this to be ascribed to a tendency in Apbh ? amhaI-perhaps a misreading for ammahaM ? The meaning then would be, 'having persuaded the heart of my mother.' 8. karaMtara ehau is bad text. Perhaps to read karahu tau ehau - 'Please do so much. 2 samaNiu - samanvitaM . 11. hoi sabbu parivADie puNNahaM-- 'Everything happens through the series of merit' (one has achieved). 13. Read Asi gahaNu mahu ta calataho eyahiM taDa Navi sa calataho. Subject of Asi - asIt is gahaNu. 'So long as you did not join me me all dark; now that you are accompanying me it is no longer so. it was to XV Bandhuyatta gladly goes to his mother and tells her of his acquisition of friendship with Bhavisa. The mother is also glad at the first instance, but she begins to fear, and expresses the same to her son, lest Bhavisa, remembering the affront to his mother, should try to do them harm. 2. bhavisayattu etc - 'Bhavisa is going with me.' samau through samauM from samakaM (i. e. ). 7. for aft-'Embittered in mind he is seething with anger.' 8-9. (I am afraid) If he, winning over his father by his pure virtues, bears in mind his mother's words, he would certainly strike us by (means of) dreadfully poisoning his (father's) ears and humiliate us in turn.' XVI She dissuades her son from forming friendship with one, who had been inimical, and advises him to drown Bhavisa in mid-occan. Bandhuyatta, although pained to hear it, promised to abide by his mother's advice. 1. AeM sahu-anena samam AeM is Instr. of the pronominal stem idam which according to Pischel SS 429 is preserved in the Prakrits. Neither he nor Hemacandra, however, mentions this form.

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25 2-4. 'While he does not change his mind (farat faga), while he has not held (the affection) of the great populace, while the great affection between you has not been shattered, while he has not ingratiated himself into the king's favour, think out a remedy whereby the very root of the quarrel will be cut out.' 6. taM saMkeu etc - He pondered (bhAviu ) the advice in his mind.' 7. etc.-Mother, I shall wipe out the (very) line () of the name of her son, who is adverse to your stability.' XVII Bhavisayatta, after devoutly worshipping the images of Jina, goes to his mother to take his leave of her. She is touched at the parting and gives him salutary advice. 3. samArivi- samAracya acchijahi suhajhANu samArivi-sukhadhyAnaM samAracya syAH, be always mindful of your happiness.' 7. dahiduvvakkhaya siri saMjoivi - Putting curds, grass and fried rice on his head.' This was an old custom, while giving farewell to persons going on a long journey. XVIII The mother advises her son, never to do anything that would tarnish the name of the family, to beware of youth which distinguishes not between good and bad and especially of young girls who entice youths away. 3. a etc.-Is this the time (age) to go to distant lands'? 4. fafe is to be taken in the sense of 'keep away.' - 6. By the changing caprices of women'. Connect this line with the next. 'Do not indulge in amorous talk with young, proud, capricious widowed girls.' 7. bahurai -- separate bahu from raha and join the latter to the following word qu; or take the whole as one compound. 'Do not show much interest in them, nor talk much with them. Turn your eyes earth-wards when they talk.' 8. muddas and taruNiluddhau are evidently adjectives of NayaNaI. They should be therefore read as muhaM and luI. XIX. The mother further advices him as to how he should acquire wealth, consider other's possessions indifferently and others' wives like mothers and above all to remember her even at the height of his prosperity. 1. purisivvaDa - Appears to be a mislection for purisanvau. 3. suhipANiggahaNi should be read as suhapANiggahaNi- zubhapANigrahaNe. vidvattau from dhA with fa with the lingual without cause. Pischel SS 223. 7. sumarijjahi and dijahi in this and maNijahi, gaNijjahi in the next line are Optative forms. For the formation see Pischel SS 459. amhahiM--Perhaps to read amhaI - asmAt? or amdahaM - asmAkam ? [Bhavisa-4]

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26 NE, 4 10. suhu may either be sukhaM or zubham. 11. f f . The change of q into a should be noted. Compare vulgar Mar. ta for 72119, agera (even in Old Mar.) for 49614, tra for 774. XX. Bhavisa thus joins Bandhuyatta and others and they set out, with elephants and bullocks, taking very valuable commodities with them. The young wives of some of them were naturally very disconsolate 2. afourenfe-un does not show Amg. phonology. 6-7. aforcaref13_ The dutiful wives of the young merchants were disconsolate (TOTTUS asfas) at not getting to see the delightful faces of their husbands and therefore looked at them again and again.' 10 and 11. "Whom would not youthful women dominated by love for their husbands, and heaving sighs (Erg geifault), make sorrowful?' forat in compound for the more usual fareft, Sk. ff: XI Dhanavai gives them suitable advice at the time of their departure; to make friends with the prominent people of a city by giving them presents and also to beware of tell-tales, thieves and such lot. 1. fagicurg--The plural for Sk. dual. The change of gender i. e. Neut. should be noted. 'Dhanavai consigns his sons to the care of the fifty people.' 2. Et is apparently used for T. Is it 13 or 377? 'He indeed is full of virtue, who is possessed of sense of right and wrong, modesty and bravery.' ____ 3. cAidAi etc. Perhaps to read cAyadAyapaDivAyaguNaDda-Who are skilled in giving away, amassing and other virtues.' 4. 5 stands for 59. 697 and 57 are regular forms. q and a do sometimes interchange places in Apbh., of which ga is an example. BATTE etc.--They should look upon them (the sons) as their own selves. 5. narindaho and degvindaho are perhaps mistakes for narindao and degvindao; as jo and a show. 6. fave-Is an example of an original (%) 7 stem preserving its final; and of change of gender. pAhuDa-prAbhUta a present. 8. Fast-Opt.-Imp. of ag. UUTA man tela-Without being deceived by those full of deceit, (igarafera). 10. For saMcalliya, see note on mayaNaparatvasAi I 5. kumvara for kumara; cf. bhaMvara for WC. This is a phonetic change peculiar to Apbh, cf Mar. $9. XXII The men first travel south-eastwards and after passing towns, villages and forests, come to the banks of the Jumpa, which they cross. They reach seashore. They there dispose of their cattle, prepare boats and sail. 2. 989-997.

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27 puragAmakheDakavvaDamaMDana -- Appear to be descending units, the orte preceding being larger in population than the one following. For e cf. Mar. The commentator on the Aupapatikasutra SS 56 (ed-Leumann) gives equivalent of kavaDa. as which occurs in Kalpasutra I 1, 6 has been rendered 'isolated place' by Leumann. The passage in question mentions several topographical names; e. g. gAma, nagara, kheDa, kavvaDa, maDaMba, paTTaNa, Agara, doNamuha, nigama, rAyadhANi, etc. etc.-Seeing (i. e. hearing or experiencing) the languages of different countries, they approached the sea, girded with the shore.' 4. 6. etc.-Playing with the huge (4) breakers against the coast.' 7. 'The vast shores were seen by them, buzzing with the words of people buying and selling.' 10. Gosia etc.-The peculiar rites to be performed when floating a ship for the first time.' NijjAvaya -- niryApaka 12. XXIII The boats glided quietly along the surface of the sea for a time; but soon a gale overtook them and carried them to a wooded shore. It was the Mainaka-dwrpa, with the Mainaka mountain in the background. 1. for has a double meaning. As qualifying augi. e. the boats, it means 'without iron,' and as attribute of gf it means without avarice.' 2. forfeur & f again in two senses; 'broken (scattered) and without money' to qualify the boats, and 'soft and useless or purposeless' to qualify the hearts of good men and the deeds of bad men. 5. baccatAhaM - Gen. of the present participle from vacc. not much to do with , although the meaning is the Desi. Cf. Guj. This probaly has same. vac is real 7. asaMgAha etc. - asadvAhagrAhagahanAntarAle. The interior of which was full of wicked animals of difficult grasp.' 8. saMghaTTa-saMghRSTAH dashed against ; ' Adj of poya= potAH 9. dusaMcaru is really dussaMcaru; but the conjunct is given up perhaps for the sake of metre. The simile contained in the line is remarkable. The mountain was as impenetrable etc. as a lover is to women. XXIV The young traders, having got down there, began to busy themselves in bringing water, fruits and flowers. In the meanwhile Bhavisa entered the forest and picking up flowers and fruits was led away far deeper into it than he perhaps expected to do. In the meanwhile Bandhuyatta, disregarding the fact that Bhavisa had not returned, gave orders to start. 1. There is change of metre in this section.

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28 2. parimukacAya etc. Separate as cAya and cakaliya: The young merchants are compared to vultures flying in circles. 3. kivi is a contraction of ke and api, just as kavi is of kA and api. Regularly we should get ; but perhaps metre requires a short vowel. 6. "The forest was charming () on account of trembling us, arct, mAlUra, mAla and sAlaI (salakI) trees.' The va for ma in khantu is genuine Apbh. phonology. 8. -. 'At places there were reservoirs of water, into which elephants had dived; at places there were torrents, resounding and covered with spray of water.' 12. fusch-Fruits that were within reach of the hand.' Cf. hastaprApyastavakanamitaH. For muharasAI better read mahurasAI Adj. of phalAiM 13. 'While he was roaming thus, picking up flowers and measuring the earth.' (i. e. the distance ?) XXV. Bandhuyatta commands them to make the boats ready for sail, telling them that his brother's coming and staying was no affair of theirs. He persists in his orders and they set out, leaving Bhavisa alone in that forest. affer etc.-Do I (or did I) have any 1. Better to read respect for or pride in him at home'? 3. karuNai sumIsa - Full of pity. ' 5. 'Even under dire calamity, no body does harm to one's own body' 6. iha rattiparattivi ahiyadosa etc. - Read iharatti parattivi etc. Translate the whole line: 'How could we bear, either here or hereafter, the chorus of scandal which is very painful' ? iharati on the analogy of paratti. 7. affe-Burning with the fire of anger, he flamed forth like oblation (in fire) sprinkled with ghee.' 11. vohitthaI - For vahitrANi on the analogy of paohaNa from pravahaNam. XXVI As they sailed, the young traders were still astonished at the conduct of Bandhuyatta. 'After all it is not a good deed; this sin will redound upon him.' 2. f etc. They all stood astonished, full of doubt, making signs with their hands.' 3. etc.-Having gone where we should not go, we have eaten what was not to be eaten.' A periphrasis for having done a bad deed. 4. huvaM amha gottammi lajjAvaNijjaM - Something has happened of which our race should be ashamed of'. 6. gayaure dUradese paTTha- We entered a country distant from Gayaura.' gayaure is an example of attraction, due to the Loc. . Regularly it ought tobe or gayaurAhu the Abl.

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29 8. Hari-He has done a wicked deed, this wicked, wretched one who is abandoned to all good conduct.' Tepur-either statia or geta. __ muhAyAra0 zubhAcAra, although muha might also stand for sukha, context requires zubha. 11. Construe- reafte forefay fa fasta fu-'There was none who was not dismayed on looking at that wicked deed.' 12. raft-Here on this way.' For Afe see Hemachandra IV 421. SANDHI IV Bhavisayatta, abandoned by his brother on the Tilakadvipa, finds after long wandering, a desolate city with a Jina-temple in it. 1. Bhivasa, when he returns from his rambles, finds that his brother has already sailed and is struck with great sorrow. 3. Unlike the beginning of other Sandhis, which have only two introductory verses, this has three. "Oh men, worship the Jina, do not deceive others, control your senses, and (thus) store merit or virtue.' 6. He is evidently used for fare and has therefore to be regarded as an Acc. and object of former. og forzo-Not knowing what to do.' wr-He was filled with sorrow, troubled in heart as he was.' One would expect Instr. duHkheM or duHkhe. 11. Speyacurg--There is no rescue.' 12. urvorg forfait etc.-Other things are thought in the mind (by man), but wicked fate remembers quite others.' i. e. Man thinks about things in one way but fate wills them in quite a different manner. 13. 15 -Is to be regarded as parenthetic, between gothiquis and paper -Although he was well brought up, and possessed of hundred virtues, what could he do when fate was against him ?' II. How Bhavisayatta reflects upon the deceipt practised upon him by his half brother ! * 1. maivajiya, hayabuddhi and alajjiya are Vocatives, addressed to the absent Bandhuyatta, 791974 may be taken with 97, construed with fans; or it may be regarded as a Vocative along with the others. 2. gwarafor etc.--He has given cause to wicked people to scandalise', 3. 4rg etc.--He has to be ashamed before virtuous people, who etc', Instr, of the Sk. stem .

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30 7. AN NH-If it happened in this way, it was through him only; what is the use of my grieving over it'? teNai-tenacita (eva). Combine vidUriya and qurg into one word. 8. faerg fafes-Is passive construction. The meaning is 'he shook off (lit. abandoned) dejection.' 9. pau etc.--Here is this forest, here is my body duty-abiding; do, (with it) oh wicked fate, what you have begun.' 11. The latter part of the line is badly printed. Read Age Has instead of mukaM kumumatta gau. III. How Bhavisa enters a thick forest, which is full of beasts and birds and comes to rest on a slab of stone under the shade of a bower of atimuktacreeper. 1. gfest any ett.--The bold one, entered the dense forest which was impenetrable to the gaze.' 2. Yeri fa etc.-Where it was difficult to kwow that it was morn'. 3. forgase etc.-With anger, he sees an impenetrable darkness there.' 5. forgs uits etc. At another place, the best of men sees a lord of beasts, proud and excited. Orfis Acc. for firat metri causa. forest Inf. serves as verb. 6. feuffetate ac-A boar, that was at fault with his mate.' 7. huo pAyaDo etc.-A fire blazed forth in a thicket of bamboos.' samuNNoNNa may be from unnatonnata with sam, which through samuNNaoNNaa, would give samuNNoNNa by contraction. IV. How in the evening, Bhayisa took wild flowers and made an offering to the Jina. The dark fearful night is described further. 2. phAsuyasuyaMdharasa etc.-Adj of taruhalAI. Fruits of trees full of juicy fragrance and pleasant to the touch. 4. The sun in his evening glory is faniced to have clad himself in a red garment. Jacobi reads in and agaiterte separately, thus making piegt the subject of the line. 5. The detailed description of an evening thickening into night testifies to the genius of our poet. fagfey 1-The Chakravaka birds (pairs) are separated or scattered.' TET stands for tuia . 8. 537 Fhur afera gator_Turned dark like a rival wife with jealousy.' 11. TET39FFET Fan -Noisy on account of spirits and goblins, imps, demons. An Indian poet would scarcely feel satisfied unless he these as the denizens of the night. He in Marathi has acquired the meaning 'very old and decrepit:' but Heitor has preserved both the senses.

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31 13. 99--The five exhalted ones.' viz. the Arhats, the Siddhas the Ganadharas, the Upadhyayas and Sadhus. 14. Fars-The prayer of seven syllables' viz. T & AUTH. V. How in the morning Bhavisa discovers an old track leading into hills and resolves to follow it, whatever might happen. 1. ofcs faig etc.-It dawned. Sk. marta ai. 3. gayapayahiNaMti-Separate the words as gaya payahiNaMti, which alone can give good sense. "Went by his right side.' 14-3914: the black bird, i. e. the crow. 4. 96-rustles.' The wind rustles on his left, evidently a good omen. The word ruharuhikA is used in the figurative sense of utkaNThA. forcay_Who readily brings about union' (of lovers etc.). This belief is so deep-rooted that Indian women of all classes believe in it even today. Cf. fe are air for Sandhi VIII kad. I. 5. kiliMkiMciu-Is onomatopoetic for the notes of the lAvaka or lark. 7. por faoi FIFAPiy-As a blessed person finds an (old) manuscript of Jina's teachings, gury jy is evidently used to suggest that the Jina-doctrine also is an 'old path' and no newfangled doctrine. 8. #-I shall go by this.' This idiom is preserved in Hindi as in The Etah E. He then reasons with himself that since gods and spirits can not leave a track, this must be frequented my men and thus to be pursued. 9. Of is idiometic like Sanskrit 54, which is not always to be translated. 12. fface Perhaps to read fa53. facquai or Femag. 13. Fogo etc.-So long only is (a forest) impassable and distant, so long as one does not enter it.' Compare the familiar Sk. proverb 7 YI vainateyopi padamekaM na gacchati. 14. appoias is Gen. singular. Generally however, is termination for the plural. But that it came to be used for the singular also is clear from this and other examples. It is not due to metre, though some-times some forms are made to suit metrical exigencies. VI. How, after crossing the mountaneous region and a thick black forest of Tamala trees, Bhavisa sees a city with palaces and archways and whitepainted houses, but quite noiseless. 1. affequi-Is evidently an attribute of Bhavisa. He was a talented ( :) and good man (F ). But often as in I 9. Beyor stands in our work for UEFA. 2. Reyes-. Apparently they in the Sk. word is represented by a, as in fernag for Sk. faragfa. This might be called agfa. 3. gjafts Or ASOT -Distanced, as time is by time.' i. e. Just as one moment of time succeeds and distances another, so every step of Bhavisa brought him further into the hilly country.

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32 5. Read for and gu as one word, and not separate as in the text. 6. ff has to be taken in active sense. 'Made thoughtful on account of an indescribable happiness.' 11. siyavaMtu zrImat vicchAyacchavi- Which had lost its splendour.' Evidently because there were no inhabitants at all there. VII There in that city there were temples but no one to worship, flowers but none to smell them, corn but none to reap it etc. 1. pavissamANaeNa - pravizatA. - The atmanepada mAnaka applied to a root which is parasmaipadi. Then the double is to be noted, though sporadic. 2. maDhavihAradehurehiM - A maTha is a single establishment; a vihAra is a large one, containing many smaller ones, where teachers and pupils live together. where the a, vocalised, has transferred itself to the , through follwing . 3. aMtaraM niyacchae - Looks into.' 'But he finds no one in the city who wants to worship. ' pujjiuNa picchae- pUjayitvA prekSeta. The Absolutive is used like an Infinitive, as if it were qafa. It is very likely that the poet read ge f, but the Jain scribe, by misunderstanding, wilfully joined g made it an Absolutive. 4. (There was none) who could experience the gentle fragrnce of flowes.' 5. ff etc.-There was no one whe could save the ripe ricecorn from perishing and carry it home.' 7. toDiuMNa bhakkhae is an instance of an Infinitive used as an Absolutive. Really it ought to be toDevi Na bhakkhae. 8. faf etc.-There was no one who would be affected by others' riches, covet it, take it to himself and think about doubters.' f -- Atmani arpayet viyaNpare should be read as one word. 10. Asi itthu etc. is rather elliptical, construe-itthu jaM pahuM Asi (taM) kahaM gayaM Na fort-We do not know where the king who used to be here, has gone.' may be looked upon as due to change of gender, or more probably as due to the attraction of for, with whose object it is confused. VIII. The houses in that city, with their half open doors and windows and the market place rich in wares, but no one to buy them, presented a sorry appearance. 1. There is again a change in the metre. 1 and 2. The houses, with their windows half open, looked like the side glances of young women, which seem to see by half only.' adhugdhADiyajAlagavakkhahUM of the houses, corresponds to addhapaloyarAhUM of the glances.

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33 3-4. The comparison for the half-open doors which show the bidden parts of the houses, is rather indecent. apayaMdhiya perhaps ardhaprAvRta. 5-6. "The markets, with the wares (quote=2997) exposed to view, appeared like the marks on the heads of serpants which indicated that they were serpants'; (qoory=a). The comparison is based upon a pun on the word youre which is capable of a double interpretation. 7. 'Like people, who had set their heart upon a common treasure, the market places were illuminated in dark places (ifa)'. In the case of the people, TUOTT will mean 'who flare up with abuses'. 9. They were like the disputations of Yogins, where there were Yaugic (GITEET) practices (14). The markets had crowds (045) seen (Fl) in them'. The comparison is only based upon a pun and is highly artificial. 13-14. "The palatial buildings which were once full of people, were now silent (without noise) like couples after enjoyment. The reading Tag HFIE makes no sense, and rudely disturbs the metre. I suggest are Fag o g which makes very good sense and restores the metre. 15-16. Those holy waters that were perennial to people who carried water from them, now were in a pitiable condition and without noise' (as no body went there). Omit the fa before fateqeu and read POTETETTUS which metre requires. IX. Bhavisa rambles through the city and wonders what should have made it so. 2. Read yg and qurg apart. 4. fece is the same as cs. The line means 'Like a gambling den without gamblers, or passionate women without youth'. 5. MUR TEETUS etc.-The parts of the city, with the courtyards of good houses, did not look well without people.' 6. sovaraNaI and rasoipaesaMha-The kitchens with the utensils and other belongings. 8. "How could he be confronted with that, which had disappeared at the time of the destruction (of the town ?)' appears to be the sense of the line. 193-Opposite, against.' X. He casually went to the palace of king Yasodhana and found the palace and its out-houses also untenanted. 4. fas fotopers etc.-He sees the menageries of elephants empty (farar:); they look like ladies of good families who have lost their character.' 5. OtyampITCH-ETITIFICATE-The stables without horses'. They look like blighted hopes that chase away desires'. Sk. farat art. The poet is fond of comparing concrete objects with abstract notions. [Bhavisa-5]

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34 8. "The throne, with the royal umbrella and the chouries without the king to occupy it, was as it were laughing in chagrin and shame.' 10-11. The house, seeing a stranger strolling in the council hall of king Yasodhana, is as it were shedding tears in the form of the pearls that dropped from a wreath'. A beautiful Utpreksa. XI. He goes through the places for keeping weapons and musical instruments etc. one after the other and at last coming to a Jina temple, enters it. 3--4. 891 gaig... of oftere etc.-He smelt a fragrant smell, which was as it were a sorrowful sigh of the presiding deity of the house'. 6. All the musical instruments had assumed a silence with the thought that there would be no body to play upon them.' XII. He enters the temple, that was beautifully constructed and richly decorated. He bathed in the beautiful lotus-pond in front of it and went in to worship Jina Candraprabha. 1. Bhavisa is afing only by courtesy. Or the literal meaning of the word should be taken the best of men.' 1. vetratsThis island is said to have been discovered by Indra.' 4. Et fan a etc.-(The temple in the lustre of the best jewels with which its walls were inlaid) appeared like a picture with a girdle firnily fixed.' 6. It was marked with a thick layer of Sandal ointment. 9. 'He approached the bearer of pure lustre,' i. e. Candraprabhanatha. 11. THIS fa-Fruity cat. XIII. Bhavisayatta offers a prayer to the Jina, whose advice liberated the world, who single-handed brought enlightenment to people, etc, etc. 1. One ce is an adjective and the other the name. 2. He is a Locative usual to the Maharastri, but we find it not infrequently in Apabhramsa. Cf. Tisatthilakkhanagunalankara of Pupphadanta. 2. A TEMPH etc.--When (the period of) victory was running and when Tassa was the Tirtheba.' 4. "Whose tallness was measured by the span of hundred bows.' 7. micchattamohaM niNNAsiyaM-Who has dispelled the ignorance of falsehood or illusion'. Mark the change of gender of the word te 9. At-Is an object of afas and yet it shows no case ending. Translate 'Who, in order to give perpetual quietude to his unswerving devotees, promul. gated the doctrine of compassion in the world of mortals.' SANDHI V. Bhavisayatta, sleeping in that temple gets a dream, following which he sees, in a house near the temple, a beautiful young girl all alone. He knows

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35 the sad story of the sack of the town by a demon from her; and ultimately marries her. I Bhavisayatta sleeps in the temple. In the meanwhile Muni Yasodhara of Videha is asked by Acyutanatha the lord of gods about Dhanamitra, who, at his word, had adopted the Jaina faith. 4. cauvihasavaNaraMghu etc. - caturvidhazravaNasaMgha abhinanya. 6. sovai niMda - Is an example of cognate object, although niMda does not belong to the same root as . 'Hs sleeps a sleep.' afaaf-am faaf-'Otherwhere'. Translate the latter half 'By that time another part of the stroy was progressing otherwhere.' 7. goaff-The eastern part of the Videha country.' A sage, Yasodhara, stayed there, practising hard penance' (BERUHDI). cavihadevAgamaNu-caturvidhadevAgamanaM, Adj. of nANu. II Yasodhara tells him the whereabouts of Dhanavai (who is the same as Dhanamitta of VI above). 3. sasikaMtara is a synonym of candappahe. Although as a proper name, it should not have any paraphrase, still poets take that liberty whenever it suits them to do so; e. g. paumasiri or paMkayasiri for kamalasiri. qavent anfor qaga-Living in five-fold knowledge.'. The five sorts are mati, zruta, avadhi, manaHparyaya and kevala. etc.-compare line 4 in IV 13. tagaarafe-See 17-4 for the same expression. 6. etc.-The is only for the sake of leagthening out a syllable, which is wanted. 4. 5. 9. sapparivAu -- Should be read as sapparivAru. The doubling of q is only euphonic or perhaps metri causa. cf. . III Yasodhara briefly repeats the story of Dhanapatis marriage and subsequent separation. 1. sIlacarittakulakamajunu - As this is an adjective of kamalasiri, it can not end in - u. Read sIlajutti vi. instead, which would rhyme with guNavaMti vi. 10. ff etc.-Laksmi brought up the boy thinking that he was a grandson;' (on daughter's side). A child that is adopted by the grand-father (on mother's side) by a previous stipulation called gr, is meant by the word here. There was of course no previous agreement in this case, but since she is abandoned by the husband, she regards her son as no longer belonging to him, but to her (sonless) father. IV The sage repeats how Dhanavai marries another woman and has another son; who accompanied by Bhivisa goes to the strange land. The latter, abandoned by his half-brother finds a city called Tilayanagara.

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36 4. The second word THE is a Karmadharaya and should mean 'a great plan,' Translate-for the sake of wealth, he struck out a bold plan.' 6. The first half of the line is metrically faulty containing one redund e. Read it as paMkayasirisuo vi gau (instead of gayau) kherihi. The meaning is 'Pankayasiri's son also went with misgivings to his mother's palace'. 7. The latter half is metrically faulty. Read morea for a querella of the text. That is the real name of the island. 8. jaNaNihitaNaI should rather be read as one compound word. cf. tAhataNiyaM afeafora in I. 2 and I. 8. 9. fat is Sk. prod. This is an example of initial vowels, not under accent, being dropped. c. p. dANi from idAnIm, vi from api. v. Thus Yasodhara told the story and said that the prediction regarding Bhavisa would come true. The lord of gods, hearing it, orders his friend or forwa, king of Yaksas to guard over Bhavisa and to see that he goes safe to Gayaura. 7. ftofa-Having given a turn, i. e. having gone round. FHB Bikifafa-FHOTIY Muttering formulas of faith.' 9. erg afafe-Together with his wife' i. e. whom he is going to marry at that place. 10. E iso Farfact-You should unite him with his people. That is what is meant; but the word is more and not hure. The doubling is perhaps due to metre.. VI. On awakening, Bhavisa looks on the letters on the wall and hears words which prompt him to go to the fifth house to the east of the temple and marry the girl he finds there. 1. gfff-The object evidently is fair or some such word. Or it may be regarded as intransitive-utthAya. 3. 585 etc.-A beautiful series of words rises up' (to his ears). It is of course the Yaksa that is speaking without being seen. 6. Et qafore etc. That blessed one of sweet words belongs to you,' tautaNiya is predicate. dhaNiya-dhanyA or priyA. Or dhaNiya may be regarded as predicate. 7. T--Why are you sleeping'? The formers is a queer formation. In Sanskrit the comes in only in the plural of the third person. That is here dragged into the second person. Perhaps metre (the last word is metu with which to rhymes) has lent a helping hand. 993 and 973 are exact synonyms. Jo and it are possessive suffixes, added originally to the genitive base. Both are retained in Gujarati. 8. Mario & FTETTY--The subject is for. Thus speaking he stopped.' aria is the same as ata from a sk, 29. FETTU. HATUTE. jANaI-should rather be jANami. For evidently with eu begins the speech of Bhavisa.

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37 10. 9783 STETS yayfis--unheard, impossible and strange' Adjectives of that occurrence (vihA). VII. Bhavisa was startled for a time, but abandoned the idea that some body was luring him out in order to kill him. He therefore started for the house indicated. 1. 'Since the powder (of scratched surface) is seen at the foot of the wall, the writing undoubtedly is fresh.' 2. veyArai-lures away? from vikArayati. kavaLi has to be pronounced long for metre. 3. The e of Afaqca is hardly necessary, as pot fauca 16-Why this doubt gives a very good sense. 4. Construe the line- Tag ang sifare, dar preget at a Hif -One won't live when life has ceased, nor would one die if it has not ceased.' 9. ufafa etc. If, knowing this, one gives up adventure, he is said to be without manliness.' VIII. He enters the richly decorated houses where he finds the beautiful girl, 1. TH ought to mean different appartments of the house. They were brightened by the moonlike lustre (96) of the wreaths of pearls. yora through thUra from Sk. sUra. 2. The darkness (in the corners) was removed by the light of jewels' etc. 5. The beautiful girl that he met there, was 'like humanity to the sixfold living things in the Jina scriptures; or like attainment of good state on the death of a wise man,' The latter comparison is rather dismal ! 8. sA piksAi ought to be taM pikkhai. sA therefore may be looked upon as having assumed the functions of both the cases. 'He sees her through sphatika and she on her part (naturally) does not notice his coming.' mifanaifita. 9. Construe the line * gamafor fa utete ameuf-Like the javelin of the God of love, that pierces young hearts.' IX. The beautiful girl is described in detail. 1. The first half is metrically faulty. Read tgoo. 2. Take for with gforces; it is an equivalent of fa (fa) after an anuswara, and therefore corresponds to fa. The text wrongly connects it with Fptoraftales whose fragrance is mild or has faded away'. 3. All her limbs, manifest through her thin garments, are apparently having a concealed laughter at him.'

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38 . 5. The comparisn of the row of hair on her stomach (which Indian poets are so fond of describing) with a line of ants is certainly original. At least it is not classical and therefore hackneyed. a and Tae-Double comparative particle is due to metre. 7. kisumajjhau-Is to be read as kisamajjhau. The s in the body of the word is hyper-Apabhramsa ! The leanness of the waist is measured by the span of the hand.' 8. fafortis-Is evidently Instrumental. To be explained (1) either as due to a fem. termination applied to a masc base, (2) or as that legitimate ending added to a which is to be regarded as feminine, according to Hem, IV a fer . The naval with the riply folds, looks like flooded water with a whirlpool.' 11. Read Freesyfes, gle, 74% and met separately. The hands had lean and long fingers, and were dainty.' 12. "On account of her neck decorated with jewelled ornaments, she looked like the coast line at the opening of the sea.' - uvahiuvakaThiM ought to be uyahiuvakaThiM, the va in the first word appears to be influenced by the a in the second word. 14. "With an elevated and sharp nose, whose breath was scarcely felt, as though it was concealed.' 22. UTOTFT. 5o appears to be a common termination, although not so common perhaps as se. X Bhavisayatta accosts the girl, who is taken by surprise and does not know how to address the stranger. 3. Read kaDakkhacakkhuvikkheviM instead of kaDa.....vikheviM. 'She darted a sidelong glance at him.' 4. Ayaho-occurring twice in the line has too senses. Sk. Agatasya and asya. 6. She does not know by what name or attribute (farareg) she should address him.' 8. Perhaps we have to read Frote instead of Gauth. But even if we - retain degyAma, viohiM certainly ought to be changed to vihoeM. 9. 'If you are thinking about the formalities of entering the house.' etc. XI She at last casts off shyness and offers him all kinds of hospitality, At last she tells him her story. 1. Split up the last word into ffure Felapa T . 'As an elephant turns at the intelligent sign of the driver, so she turned herself at the taunting words of Bhavisa.' 2. H e is a jar, beautifully coloured, made of lac or wax,

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4. 7. Combine son) of Kamalasiri.' She offered him Tambula first. and 39 1. predicates. This was only preliminary to dinner. into one word 'the soul (i. e. the XII The girl, getting confidence, relates her story and becomes tearful on remembering her parents. and is, although present participles, have to be regarded as 3. mayaNaveya and suhaciTThI - madanavegA and zubhaceSTA. Any noun could take the I of the femenine in Apbh; even when it originally ended in . 4. In the latter part one word faf appears to be redundant, as are mi piyArI is complete in itself. Perhaps read tahAMma - tathApi, which would suit well. 5. tini stands for all genders. 10. giggiravAya is as much as Sk. gadgadavAk halliya and Ahalliya agitated. Sk. AsphAlita. XIII. The girl tells how a certain demon had devastated the town, having left alive her only. She entreats him not to stay in the island, and to take her away also. 2. heTThAmuhamuhakamaLapaloyaNa - Both her face and eyes were cast downwards.' The word in the compound has ceased to have its literal meaning; the compound means simply 'turned downwards.' 4. aff-Should be read as one word. The meaning is 'to pound down, to subdue. Cf. Marathi. 7. madda is here equivalent of mama. lehi should be levi, which would construe better with jAhi. Perhaps this latter has influenced the earlier form. 'If possible, you please take me away.' 10. jANahaM stands for jANaDaM or jANami. 'I do not know, how you have fallen into this danger.' XIV Bhavisa then tells his story and remarks that they were apparently made to suit each other. The girl naturally becomes bashful. 2. accherayavibhiGa -- Struck with wonder.' For the form accheraya see Pischel 176. Cf. baMbhacera, peranta etc. 5. dIviM dIu - dvIpAdvIpam. Cf. harithahatthu, diyAhiMdiMyahu. seraMDa - svairaM - 8. faff-By a turn of fate.' -At random.' XV The girl showed her willingness; but there was a difficulty. There was none who could offer her hand. And Bhavisa was too honourable to do otherwise.

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40 1 and 2. All the words in are instrumentals of feminine bases, to be construed with and connected with fg. 'It was so said by her who' etc. 3. paraperiyamaNAiM - parapreritamanasA. 5. Construe muddhi pariSphuDamANaho mahu adattAdANaho nivatti asthi - Oh sweet one, I am proud, and must refrain from taking that which is not offered to me.' 6. savutaM hosa - It will all happen. But saccu would read letter. 7. 'If no body is there to offer you religious friendship.' to me, then ours will remain a XVI. Thus both of them lived there, never coming closer to each other than was allowed by decorum and their own conscience; when one day the demon suddenly appeared on the scene. ag and other words ending in are Nom-pl. of Neuter bases, qualifying arg and to be construed with fa-they both.' 2. etc.-Controlling their passions.' 3. etc.-Mindful of the course of conduct due to their families.' 5. Then once, the lovelorn traveller stopped on his way, the earth trembled and there was a deep rumbling in the sky.' a will have to be read as four syllables for metre. 8. The most holy seven syllables are 'See supra. The next line-'Which (syllables) in their truth bring about a series of blessings.' XVII The demon is described as very huge, and hideous, of wicked words and deeds. Bhavisa at sight of him felt rage possessing him. 1. The king of demons.' The derivation is rather involved. arAina would appear to presuppose an arAtrijJa - Those who know night', i. e. nightly beings. The reading of B is easier, meaning 'the king of enemies' i. e. the archenemy. Jacobi suggests are. 2. Construe the latter half-gar eru gef-The friend of the family of the host of goblins.' 3. 'His Complexion was uncommon and yet he was as fearful as dense darkness and his loud laughter was like that of death.' Ore may be taken as a figure 'who was as if the loud laughter of death.' 4. 'A skeleton of skin and bones, he was very horrible to look at.' 5. genigcade-His body possessing eddies of the curled brows.' 10. vasunaMda is apparently the name of the weapon. maMDalagga is a sword. XVIII Bhavisa, undaunted, offered him resistance and boldly told him. The demon, unused to such courage in a mortal, was for a time taken aback. 1. aggiphuliMdadiMtu - Giving out sparks of Fire. ' 2. kuruDa... darisAvaNu should be taken as an adjective of huMkAru - Which behaved like the cruel death.'

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5. Core-Is apparently a Desi for a demon. #4164-Devourer of soldiers? 4. avia is the same as maila below. Or on the authority of Desinamamala it may be taken to mean zakavatA. 7. Translate the 2nd half 'He was obstructed by Bhavisa like a cloud by the season.' 8. alqs and users are true Desi words, meaning 'struck, lopped off.' 9. az is as much as 'taken aback.' XIX The demon at once feels that this mau must not belong to this city. He thinks a while and is reminded of his former birth, when Bhavisa had helped him. He therefore speaks kindly to Bhavisa and bestows upon him the town and that girl. 2. He remembers that even king Yasodhana had not offered him resistance. 5. Thus thinking, he remembered his births; FTS ATETE (HA: teat:) and areagot afts FTFITTE (apia Fed FFHT=10) are almost identical expressions. 6. vihaMgiM seems to mean vihaMgadRSTayA-with a quick eye of perception.' XX He tells him how he was formerly one Kausika, was deprived of power and influence by one Vajrad ara who persecuted him, and how dying in that condition, he became a demon and took revenge upon the enemy who had become king here. pacirus-Disrespected or disregarded. Translate second half and although a king, was wade to serve another.' 5 and 6. There is repetition in the lines. But the sense is clear, that having died in that mental condition, he became a demon, and the minister became king in foresta. Drop the first half of the 6th line. It does not rhyme with the latter half. 8 and 9. 'Enmities do not die away. Sometime or another they create danger. They bring one to a bad state, but although ignored do not disappear'. XXI The demon was so mightily pleased with Bhavisa, that he in a moment made the city living again and well decorated, and in the presence of fire married the couple and then went away. * 1. The words of the demon gladdened the hearts of both' i. e. Bhavisa and the girl. 3. 'If indeed your angry (sinful) feeling has ceased.' 4. arfagift should be taken to mean without a moment's consideration' and not thoughtlessness' as usual. 7. From all sides was caused to swell an auspcious sound.' 9. Latter half. 'which (garments) are commended or recommended at the time of marriage." [Bhayisa-6]

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4 2 14. She was bestowed in the hands of Bhavisa.' 015y is the causal of root aand means 'caused to accept.' 15. Perhaps to read agafafqg? The content requires it. But it occurs in this form too frequently to be a mistake and may be regarded as-agriffeqy. XXII The two thus united went together to the Jina temple and returning home performed auspicious ceremonies. They then lived happily together. 1. The words ending in g in this and the following two lines are Nomplurals to be construed with ars, which, although it refers to Bhavisa and his wife, is neuter, according to Apbh. practice. 2. "By the sweet fragrance of their mouths, they gave delight to the bees.' 4. The first half is badly printed. Read instead of a facanet-Going round the Jina who is possessed of splendour.' XXIII They lived there, enjoying the sweet pleasures of youth for twelve continuous years. 11. Read pferus. gffrge of the text is due to the scribe's ignorance of Apbh. SANDHI VI This Sandhi describes how Kamalsiti observes the vow of Suyapancami for the sake of her son, Bhavisa, on his part, starts with his wife for his country. He again meets Bandhuyatta on the coast. 1. This Kadavaka describes how Kamalasiri become disconsolate on the departure of her son. 1. guNannaiya-An adjective of suvapaMcami. The reading of B guNuNNaiya is preferable. guNonnatikA zrutapaMcamI 2. gaiara and gqiafo are identical. The change of q to a, as in 84 and muva for suta. cintavai, hiyavai. 4. 'A wonderful story commenced etc. (happened) in Gayaura, where Kamalasiri was', vicittapayA-vicitrayadA. in the line is metrically faulty, as the word siri which is compounded with 78T, has to be read in the first half. Separate the two words as siri and gayauri. 5. Read Fangoora and rarit separately and not as one word as in the text. 6. ATTE gra-Causes a crow to fly away, This belongs to the province of folklore. The belief is prevalent even today amongst uneducated and village women, who, when a relative is on a long journey, cause a crow to fly (of course by scaring or pelting it) and ask it to come back with the relative. Cf. Marathi JET 3511 475 g qafea 973.' 7. For t read uf. A carelessly written 3 can be mistaken for at

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43 8. Higs-FIT: According to the Desinamamala. But it is better to regard it as Apbh. equivalent of sAda through sAya(u) and then sAiu. 11. HE WA-petreat i. e. Tega. Mark the Nominative use of , what usally is Instrumental. 14. She is so weary of life that she would either have fate unite her with her son or give her instant death (Hafa hry). II A great nun named Suvrata taking compassion on Kamala, gives her a good advice, and makes her adopt the great vow. 1. Perhaps to read affreuer (SVAY TATTI)? Hayat-Herauifcunt; for the doubling of the consonant see supra. 3. TOT (agatago and go are objects of stuff. 4. Baraft and rig are 2nd sing. present. The double in the latter case is correct, as it represents -4. But in the first case, it is sporadic, perhaps due to analogy. 6. A-35-Read as one word. It probably means as much as, 'I am sure,' 'surely.' 7. "Was it because you evidently did some evil deed, that you are separated from the happy company of your husband and son ?' fa=fa. 8. 3-The Desinamamala has V 57 OT-FT, but that sense does not suit here. We have to connect it with Guj , Mar, jar. 9. -Even now go to him (the Guru) and serve him so that you will get the greatest tranquility of mind, eta, however, is strange to Apbh; it will have fq. It would be better to read his e, which would be equal to gaira, although the construction thus would be highly Sanskritzed. 10. One is redundant in this line. III. Suvrata now explains the nature of the vow Savapancami. 1. FAT -This passive construction is changed in the next line for no reason. 2. Ta g -Cf. Agay above. When the double consonant is retained the preceding vowel is short; when it is simplified, the vowel is lengthened. 3. paDhamAgami naMdIsarapavvaho-In the first chapter of the scripture called naMditta. See VI 2 below. 4-5. 378 afro-The Pancami falls in Kartika, Phalguna or Asadha and on the fifth day of the bright half. It is, therefore legitimately ffy-hawhite) ft; but since it is observed in obedience to the scriptures it is called grafa, also some times garaia. This is an attempt of the poet to explain the name. 6. Pen-I say.'. Translate the line-It is both approved (it) by the sages and told in the highest scripture of the Jina.'

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44 them. 7. Separate suhasovANapaMti and ka mokkhaho. The text has wrongly combined The two phrases are parallel - sA sukkhaho cintikAmadheza and (sA) mokkho suhasovANapaMti. Read suhasovANapaMti kaya mokkhaho. 8. 'It is observed both by good men who have retired (from life) and by householders.' 9 and 10. 'He who, as its fruit, wants the treasure of ever lasting pleasure, ought to know first the manner of fasting.' aag is here evidently used in the sense of jANivvaDa. IV Details of the observance of the vow are then given. It begins by a half-fast on the Caturthi and ends also by a half-fast on the Sasthi. 1. Construe ekAhAru tava sanhaIM karivi, cautthibha-varanhaI sumarivvau tava thus becomes a second object of affa, and ag an Instrumental used as an adverb. 3. for afafa-Having passed the night apparently in wakefulness'. achijjaddi suhajhANu samArivI - You should live exercising tranquil comtemp 6. lation.' 9. -On the Pancami day.' This is to be a day of complete fast, and religious observances. V. The vow is to be continued for five years; thus giving sixty-seven actual fasts. Then comes the feast of the breaking of the fast, which is to be done with great pomp. 8. 'One who is nnable to do this kind of breaking of the fast, should Iepeat the vow twice.' 10. Separate from . VI. Kamala observes the vow and carefully follows the instructions of Suvrata. Her hope was, that at least by means of this vow, she might get back her son. 4. parIsa for parIsama. Jacobi reads parIsama-saMtI. 5. Read akhaliyadeg sAsaNabhattI instead of sAsaNibhattI. The latter would perhaps be taken as an aluk compound and therefore give a highly sanskritised colour to the expression, which is unnecessary. 8. gan-The doubling of is perhaps due to metre. Cf. V 5 in the first Sandhi and note thereon, compare pavissamANa, puvvakiya, upari etc. 10. -is Gen. sing. The anuswara which is strictly incorrect, is due to contamination with the Instr. pl. form. 11. "That abode of eternal bliss I might attain afterwards.' reunion with her son first. Combine fea and araqeeffos She wants VII Suvrata then takes Kamala to her preceptor, explains the cause of her suffering and asks whether her son would return.

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45 2. Faratorgetot -- Conversant with the threefold knowledge.' 3. Separate bahukdukha and jaNerI. 7. fcfa-Somehow or somewhere.' A, iepresents fa, and is the form ofa assunies after Anuswara. Pischel $ 143 knows it not. cf. argfa in V 6 above. VIII The sage tells her that her son was all right, that he would soon return and share half the kingdom with the king. Pleased with this she returns home. Now is the turn of Bandhuyatta's mother to be anxious for his safe return. 5. asAvasaraviyIMpa posiya-'Fed on imagination engendered by hope.' vikalpa in the sense of thought idea and not doubt. 6. gfors qs _'(I hope) you have noted or considered this.' fog has almost the sense of guas here. 7. Read thiya and muNivayaNarasAyaNi separately. The subject of thiya is tittI-tRptiH or ET, if we take faeft to be an Adj. 8. qoz and faere are pure Desis. The former is preserved in modern Marathi grot-to pine away.' 9 and 10.-Dhanavai's words. IX. Danapati also feels worried and bewails the lot of his two sons in the presence of the king. The latter causes inquiries to be made amongst sea-traders, but everybody shakes his head in token of ignorance. 2. fara can not be explained except on the analogy of fara where the double a is regular. 3. Tak is a combination of MT+97778. 4. gass etc.- Verily have I become the object of ill-fame.' 4 & 5.-To be construed together. From agurt to frees is one sentence; 'From house to house have young merchant-women, whose husbands have gone away, and who no that account bear grief and anxiety, left off their usual duties.' 6. Rogafoffay-Merchant carrying on sea-borne trade.' 'Have you ever heard of a calamity (943) that has befallen certain mer chant-ships ?' x. Sarupa is dejected. She is reminded of her evil advice to her son and suspects that he has fought with his brother and come to grief, 1. facrorg=fagra--Dejected or anxious. Gyaltaf etc.-Who was baffled by her own deeds'. 97g is the same as . 2. "Oh fate, the wicked thing that I taught my son), has recoiled on my own head, 3. The harm that one thinks of doing to others, turas back upon him and tronbles him.' TEE is a form of the Gen. less frequent that me or Tet. XI. In the meanwhile things were progressing in Tilakadvipa. One day the young wife of Bhavisa asked him who he was, where he came from etc. This naturally caused him some grief,

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46 4. 73-a -We should expect an anuswara here. 'My lord, I know nothing about you; somehow or other I did not ask you up to now.' 5. 'I pondered long on what I desired to ask)' Sk. aifonou uia ferrat fegar ste; and somehow or other there was no occasion to ask.' 6. SEITE_The base , plus the termination BTT, which has the same meaning as kera. Preserved in old Hindi as tuhAra or tohAra. 8. For saMcariu read saMbhariu i.e. saMsmRtam. 'On hearing it he remembered with regret his own country.' 9. PEUTATE-GUTATOT. The heart was filled with a moaning sound.' Perhaps to read Fort ext? XII. Reminded of his country and mother Bhavisa blames himself for thus living in pleasure. He began to shed tears, which his wife wiped away. 1. AT has to be regarded an accusative going with it, the object of giz. Jacobi's reading At is simpler. FT and FT are both from ; one due to Fre , the other to progressive assimilation. 2. What is the use of my prosperity or enjoyment.' 3. dukkhalliya either from dukkha plus a termination alla which is usual in Apbh. or from P and khalliya i.e. skhalita.' 4. subhAsa and opiyAsaha are Instr., and agree with jAinyayA. 'Who long thought of me, with great hope, and with yearnings at the time of childbearing.' piyAsaI may be pipAsayA. Or perhaps we should read payAsai. 'Who suffered the yearnings at the time etc. XIII. After both had consoled themselves, Bhavisa begins to tell his story. 5. Four-One would rather expect furg. 6. 4797-The a often becomes nasalized a (a) in the Prakrit especially in Apbb. 6. tumhArI-from base tumha. Just as tuhArau above is from the base tuha. 9. "They were engulphed in the waves that rose up.' FIFTEYE-(Spiterima) i. e. gone into the sea. XIV His story of shipwreck and desertion by his half brother continued and ended. Bhavisa doubts whether his mother is still living or dead. 8. Faria--Leaves no doubt that at is Acc. also. xy. They then agree that a lovely life, even with heaps of gold surrounding them, is useless and concert a plan of escape from the Mayanayadiva. niyayasajaNahaM should be read as niyayasajaNahaM. The doubling of ja is perhaps caused by metre. 2. Combine ale with italy and read trigintate, which is a frequent word in this poem. cf fagut also. 4. The pleasure of living in this lovely city, is like that of seeing a dream or dancing in darkness. Like pleasure of eating to a recluse,'

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47 5. and go are second pers. pl. Imp., but are used for the first person. 'Let us act thus and heap together (jewels and ornaments). 6. 'Both should now and again lift it up), and carrying it, put it on the the seashore'. XVI They then heaped together all the wealth that they could easily carry and brought it, through the hole in the mountain, to the seaside. 1. vAsaNaI samArivi - Bringing together the clothes'. Cf. coll. Mar. bAsana. Or it should mean pots. 2. Read and separately. 'Having measured (counted) the jewels etc. 4. aimuttAtaMDa vi... layamaDavi - In a bower of creeper dancing with Atimukta flowers.' If however ag be regarded as the same as Hc's (V5) a, then the compound will mean '(over) spread with Atimukta creepers.' . 8. 'Clothes of various colours.'-of various sorts.' Guj. These were marked with their names and were cented with camphor. See lines 9 and 10. XVII A description of the ornaments and other valuables that they carried away. 1. Pearl necklaces and other pearl ornaments. 2. Golden pots and pans and jars; 3 golden seats inlaid with coral etc., 4 mirrors and chouries 5, scented things like pigment, saffron etc. 6 jars and dishes etc. 7 mothers-of-pearls, conches and the like. 4. gafes etc.-inlaid or surrounded with golden rings and made of coral and gold.' 7. Read avarAI mi- aparANyapi 8. "They took out (a) the treasures and arranged them, Perhaps to read vaNi vaisavaNariddhi saMcAria for vaNivai sa vaNariddhi etc. which makes good sense; 'they carried to the forest the wealth of Vaisravana' i. e. rich treasures. This is Jacobi's reading. I XVIII Bhavisa and his wife waited in the forest, with bow ready and flag hoisted on a tree for a signal. They there again meet Bandhuyatta and company who had met with a shipwreck and been very miserable. 1. qft the double consonant perhaps for metre. 2. Read acchahiM for acchami, and surakinnaravijAharakIlahUM together. 5. tisthitityu - tIrthAttIrthaM from place to place. ' Comp. also diyahiM diyahu and hathi hat. Combine sahi and niSbui and read sahanivvui. 6. Separate galiyagandha and vavasAya and join aNAyara to the latter. 10. 3 has to be read as for metre. 13. hakArai a pure Desi Compare Marathi hAkAraNe. Translate the line 'As if the sri of Bhavisayatta was calling them by sign, an Utpreksa on the white flag hoisted on high by Bhavisa as a signal to merchantmen.

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48 XIX The company of Bandhuyatta approach the tree and find there the young man and his wife. They return to their master and tell him that they have seen a god and his wife. He approached them, together with his people and is ashamed to stand before Bhavisa. 3. kannosatriya vAyahiM should be read together. 'With words whispered in the ear.' Cf. in I 13,10. 4. has to be read only with a slightly nasalized, in order to suit metre. 5. 'Before he (the god with his wife) goes away some-where in the sky, you please go quickly to see him.' 6. -Surged up i. e. moved onwards'. 9. tAe may be construed either with the preceding clause as tAe taM pakva - tasyAstat (bhayAdikaM ) havaSTA, or with the following as baMdhuatu tAe lajjAbhareNa etc. - greatly ashamed of her.' 10. Join f and aft together 'inkpot made of earth or a potsherd on which lamp-soot is deposited.' XX Bhavisayatta notices his pitiable condition and asks him reassuring questions, viz. where he was, what he has earned etc. 3. Translate latter half-'He stood humbled, remembering his old wicked behavior.' 5. fa fa-'How did you pass your time.' 10. ihaloyaho ... dohau - The hater of both this world and the other. ' 11. The curse of hate has come upon me even in this world (birth), since I had to wander from country to country, with my body worried with grief.' dohattaNa points back to Vedic suffix tvana, an in mahitvanam. XXI Bandhuyatta spoke words of repentance and Bhavisa forgave him. He then sent him and his company for bath. After they had gone, his wife expressed her suspicion about them all. 2. are forms of the Gen. pl. The latter look like Loc., but we have geninue forms like us before. 5. That indeed is not lost, which is found (lit. received) again.' fafa is an Abs., meaning 'having turned' and further 'again.' It is almost adverbial here. Cf. Gujarati 7. 6. Is strictly speaking ungrammatical, as the former is pl. and the latter singular. But in Apbh, and especially in poetry, such things are apparently to be connived at. 7. Read gaMdhamAlaya-gaMdhamAlyam scent and flowers which are tokens of respect and friendship. r is probably due to metre. XXII. The husband, however, satisfies his wife saying that one who was

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49 so repentant would never do so again. In the meanwhile the company return from bath and are welcomed. 1. vilahalahAvaM - mRdusvabhAvena. Des. VII 96. Cf. Marathi act. 3. Separate and gas. 6. 'If he be struck with the sword-like bad words, he will do now, what he would have done after some time.' 12. Read mahi sAraviya raviMdahiM aMciya - The ground was cleared and decorated with lotuses.' The loss of intial of a is due to its having merged in the previous word. XXIII. They have sumptuous meals and all else connected with them and are astonished that such a thing could be done by them in the forest. The sense is that of 'were made to take their seats.' 1. 3. sAvidAlisAlaNaya - Rice and dal in clear; but what is sAlaNaya or sAraNaka. ' 4. Read far and fast as one word. XXIV. Bandhuyatta then in meek words eulogises Bhavisa and asks him how he could thus have been prosperous in a forest, after he was abandened by them. 2. amhaI diviM dIu bhamaMtA - We were travelling from island to island.' dIvaidIu see also itthidatthu, titthi titthu, diyahiM diyahu, which have become fixed idioms. 3. 'We have lost our capital (also).' 4. duSecchi from duppecchi, Sk. duSprekSe is due to metre as the doubling in puvvakiya below is also due to metre. 8. facq-fa, appears to mean thought and with before it, to mean 'forethought, prudence'. SANDHI VII I Bhavisa then honours everyone of his brother's company with presents of Jewels and clothes. They give him blessings and rejoice to go back home with him. 3. niyakasamaraho perhaps to read niyakammayaraho like Jacobi? But what is the sense? kammara may be from karmakAra through kammaAra and kammAra. The reading is supported by in line 6 below. The artisans on the boat are perhaps meant. He knew their number (from Bandhuyatta or his friends.) 4. fasa fofa is one word. 'He distinctly remembered what was written in books of medicine' or rather chemistry. Because the reference here is to sealing vessels of gold, embossing names on them etc. [Bhavisa-7]

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50 5. pacchannaI is to be read as if it were pacchannai for metre. . 8. fugge acaft-Returning to their own countr. Perhaps forehead? Ages is as much as agai, the g being sporadic, II How the company think of various things, the pleasures of home, the dangers of the voyage, the fortunes of Bhavisa, the failure of Bandhuyatta and so on. 1. FEET is the right word for Sk. FABETET. The ATTEET of I 10 and elsewhere appears to be due to metre. The genitive is governed by sufeta, as its original Sk. fit does, 3. ovAya-Carried away by storm? taresahaM for naresaha? 4. The first half is metrically faulty, as it has one syllable more. The fault would have been avoided if the poet had read waag, as he often does for metre's sake. 6. Stero alfa-Having made a (proud) proclamation'? 8. FESTET se quis etc.-One said 'Do not say crooked things, for our own calamity;' meaning, that if we said bad things of him, Bhandhuyatta will have his revenge. III. They then found an auspicious day and prepared to set out. And while Bhavisa had gone for performing some religious act, the boats were already set afloat. 3. 9*** etc.-They let loose the anchor (that was fixed) and lifted it up'. 4. ET 90-They took wind.' 59is the head of the sailors. 5. ferea-Bhavisanurupa, the wife of Bhavisa, lit. one who is agreeable to Bhavisa. 8. Pamietacy-Some rite to be done to the Vidyadhara or Yaksa who helped him'. IV. The merchants sons thereupon stopped the boats and remonstrated with Bandhudatta. The latter rebuked them for disloyalty to himself and attachment to Bhavisa, 7. He taunts them with desertion of himself and compares them to a faithless woman, who leaving her husband, loves a paraniour. 9. forfa-Has the same sense as the Marathi, counterpart of it, TT, has. Originally meaning 'having said, it has come to mean 'because.' "You follow him, because he is rich.' 10. "If this is noble family-duty, then what indeed is disloyalty to a master. 12. "What by you people is prized most' viz, taking Bhavisatta to his father's house. V. His rebuke continued. At last they sail away leaving Bhavisa on land. 1. fafesty--Turn of fortiiue,' i. e. fortune. VIDA. .

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51 2. Read in and separately. 3. 'Once a man incurs suspicion, his very birth is doubted by people'. 5. 'I shall now be false to myself, if I behave well'. 9. They pondered for a time and in a trice the cry arose 'go on, go on." VI. Bhavisa then saw through the perfidy of Bandhu and stood bewailing his lot. He was sure, that when Bandhu reached home, his mother, not finding him, would die. 1. ruNuruNaI- raNaraNakaM vahati A noun verb. 3. Read gafa and afa-Tossed again in the ocean of misery.' 5. Read bandhuyatta or bandhuyatti pavisaMtara-- The construction is locative absolute. 8. Separate from afte and read aft in place of latter. The sense and metre both require it. 'I resorted to Bandhuyatta, who well showed his wickedness'. 9. ff-Let there be satisfaction' (viz. of adverse fate). VII. Bhavisa also thinks of his wife, who had been carried away by Bandhu and wonders whether she will continue faithful to him, when Bandhu coaxes and threatens her. 2. u-Is 2nd pers. pl. Imperative, used for the first person; 'whatever one has seized, belongs to him'-meaning that, as she was now in the hands of Bandhu, he would look upon her as his possession. 8. ffa Is an obscure word in connection with the fingers. What is perhaps meant is that he knacked his fingers, in token of anger or disappointment. 9. 'Being afraid of the sound made by birds and trees.' VIII This section describes how Bhavisa returns to the city, where he feels the absence of his wife with double force; he goes to the Jain temple and bows down to Candraprabha. 2. tanu appAio - Brought back to his senses again'. tanuM (i. e. prakRti ) ApAditaH 6. The last syllable of a will have to be read short for metre. 8. 'He sees the things dear to his wife, but not herself' ? for Accusative. IX. The boats in the meanwhile were making progress. Bhavisa's wife was in one of them, disconsolate and sorrowful. Bandhuyatta approaches her there and wants to reconcile her. 3. Read it for as one word. Jocobi's text has not got this and the following line. But in the foot notes he says 'After this fag, evidently the remnant of a verse.' Our text fortunately has preserved the line, which is necessary. For line 8 below expressly refers to it. 6 and 7 contain similies, show how Bandhu looked absurd by her side. (1) Like a bard beside a king's splendour, (2) a black bee beside a beautiful white lotus' (3) like poverty in carnate beside riches.

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52 10 Construe gfa, ar sifir spoiy ta torg, Ja af Es 6-Who would do harm to you, in whose body love delights in residing ?' 12. mahiyaNajaNabhANaMdajaNareu-One jaNa is redunmdent here. Should we read maNa instead of FOT? That would remove the redundency. X Bhavisa's wife is enraged at this and reviles Bandhudatta as being a mean and sinful man. 3. afys_The e perhaps has been misread for . The Jain manner of writing both the letters is so much alike that such a confusion is notun usual. 5. Read Dhakku sANu gaddaDu kharu. 6. qua for tag. The q however can be explained as a representative of through 37, which latter becomes a by the influence of the preceding $. 99% 494, 959. 7. The sentiment expressed is rather vulgar, but thereby the poet means to show to what extent the young wife is beyond herself with rage. 8. "What joke with one who is almost dying (with grief)'? XI Bhandhuyatta on this, bluntly told her his intentions and was ready to use force. While Kamala was resolving to commit siucide, so soon as he would touch her, the gale, through divine intervention, grew strong and blew opposite and thus carried the boats helpless before it. 2. grofar for--Here again confusion between 3 and 4. Read Fraz. faattfor. 'Is there anything to blame if I try to satisfy my desire'? 6. maraNa saraNu Avaggau-Is as much as maraNu AvaggaasaraNu. The meaning of the whole line is 'if he touch my body then there is) death, which is the resort of the distressed'. 9. salila AvattaI together. gahirIjati is the same as gahirijaMti-to be made or to become deep.' Deep eddies were produced in the water.' XII Some of the inmates suggested that that was the effect of teasing the faithful wife; and suggested that she should be appeased. This was done and to the astonishment of all and chagrin of Bandhu, the sea became calm again. 3. BET is used for both genders. Here it is equal to Sk, SEOT: atsa-Is from 699-5. The sense howeyer requires that the form should be regarded as causal. 4. 74 and an y are Nom. singulars. Regularly the end-vowel should be long, but the tendency to shorten it, which later became the rule in many of the vernaculars, has already set in in the Apbh. stage. 7. in the sense of remedy,' not necessarily in the medical sense, is familiar to Sanskrit also. XIII They landed on an unknown coast. Bandhuyatta there sold one jewel and with its proceeds bought elephants, horses, oxen, chariots and other paraphernalia. His camp had thus the appearance of a king's army.

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53 1. g, has the sense of 'a class' rather than of 'a race' or 'caste.' 3. Better to read viyakkhaNajaNamaNa thano maNi. XIV Bhavisa's wife abhorred the life that she had to lead and once thought of committing siucide, when she was prevented from doing so by a deity in a dream. The boats went forward, until they came to the Jumna; a messenger of good news was then sent to Hastinapura. SANDHI VIII Bandhuyatta returns from the Dvipa and is welcomed home. He has brought Bhavisa's wife and passes her off as his bride. His father settles the date of their marriage. Bhavisanuruva like Kamala, is disconsolate. 1. The messenger breaks the news of Bandhu's return and everybody in the city is glad at heart. The young women, whose husbands had accompanied Bandhu, were naturally more affected. 2. Read pavaMcua and visaddhamaNu separately. 7. aNurAiDa - from aNurAyau. The change of ya to i is common to Jain Maharastri and the Apbh. Possibly the Apbh. has borrowed this peculiarity from the Jains, into whose hands it had fallen. Cf also for 9193; Hindi. See also ge in Kadavaka II below. II Dhanavai thinks the news too good to believe in, but the messenger convinces him. 2. muhappiya-- Pleasing only outwardly'. mukhapriyam. The following line makes it clear that muhappiya- mukhapriyam and not mamapriyam. 3. Jacobi's reading goat' makes no sense; whereas our at is most natural. The messenger (1) says 'do not be infatuated; know clearly that Bandhu has come.' 4. 'I left him sailing swiftly, crossing the waters of the Jumna.' aftery is evidently ft, with the usual confusion of with, which means according to Desinamamala VI 71. The afty of B is no improvement. 5. in a collective sense 'all the boats' with the horses, elephants etc. They resemble a kings army or military camp.' 7. farfare for farfar, through fafar, only, where a is changed, and to ramaNIya, kheDa for kSema. shows phonology peculiar to Apbh. to a. Cf. f for fa (ra), and a for III Hariyatta, knowing the news, tells Kamala of it. Everybody in the town is delighted. People go out to receive Bandhu, who is brought into the town with joy.

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54 1. 44017-The anuswara is sporadic and the x is only the Jain way of writing the short g; so that the form is to be regarded as being a t Gen. sing. Our edition always represents short g by . IV Bandhuyatta, admired by all, enters his house and is welcomed by his parents with laden heart in silence. 1. paruppara see paroppara supra. 2. sahiyari campare Guj. sahiyara. To be derived from Sk. sahacari, ther of hi being due to attraction. The word agafa also perhaps might have influenced the phonology of sahiyari. 4. Stcafts for atracts. 5. Tafat has to be taken in the causal sense, 'Revolving (in their hands) bunches of flowers.' 8. Fafort has to be regarded as an Infinitive, after He IV 441. V Bhavisatta's young wife also gets down and is surrounded by women, who take her to be Bandhuyatta's wife and lead her to Saruva. She neither bows down nor talks to Saruva. 1. FT-a palankin or Mena ? 2. etc.-With formalities due at the arrival of a person for the first time.' 4. Separate niya from varavilayahi. 6. Construe fara mila, OTTHOUTE ala, ve 73 ATE (97) angefea--They greeted her, and taking her near (Saruva), pointed out by gesture that she was her mother-in-law'. 8. Read Boty gary faces for spotys at faucas a bad splitting up of words. This is due to the fact, that in many old Mss. words are written in a running line, without separating them, and the editor has to use his skill in suitably separating them. A little inadvertance results in unintelligible readings. 9. The Instrumentals refer to act. She, wishing to have a happy meeting with the bride, points (this) out to her son and looking up to him says why does the bride neither salute nor talk to me'? VI Bandhu, hearing her words and pleading the excuse that the bride perhaps remembers her country, makes a sign to his attendents to take the bride to her apartments. 1. aNujje through aNujjua from anRjuka. Jacobi reads aNajje, which rhymes closer with cut. But 3 7 and 3775 are the epithets that are again given to Bandhu at XII 2 in this Sandhi. 9. f g -Bhavisanumai appears to be the same as Bhavisanuruva in VII 3, 6., the name of Bhavisa's wife.

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55 VII The young bride is attended upon by several women, with curiosity to see her, who try to comfort her with all sorts of enjoyable things and agreeable services. 3. Read daMsaNakoUhalApiya ittiu for daMsaNu koDahala piyaittiu. ' Women who were very curious to see her.' 7. A fan should be read together. The double in the first word is due to metre and to attraction of the following double consonant. VIII All good men of the city celebrated the return of the young men in their own way. 2. paisaraha is verb to jayanaMdighosa and sarai to jaNu. 6. The festivity in honour of the happy return'. Comp. Mar. 101. 7. The song of the bards could be heard above the sound of the drums etc'. is a pure Sanskritism, perhaps due to metre. Regular Apbh. would be jammai or jammi. 8. IX How the five hundred young merchants also celebrated their happy return. 4. Read marukuMda and vaNayadavaNaya separately. For davaNaya compare Marathi davaNA. X The poet describes the festive appearance of the city, made still more beautiful by the advent of spring. 2. dhavalapuMjaviyahUM-- is a participle of the denominative from dhavalapura. The houses were whitewashed. of Jacobi makes a better reading. 7. A Palasa tree full of red flowers compared to blazing fire. There is a propriety in the simile, when we consider that a Palasa in flowers does not show any leaves and that the flowers are flame coloured. Compare the name 'forest fire' given to Gulmor which has flowers of the same colour. XI Kamala sees the festivity of the town, but no where hears even the name of Bhavisa mentioned. She then goes from house to honse of the young traders and in guires but no one is able to tell her anything. 1. thaNapanhupayAsiri from thaNa, pahUnu and payAsiri pahunu is prasnava It is believed that the great love of a mother for her child of whatever age will cause a flow of her breast-milk on hearing of or seeing the child after long separation. 4. The whole sentence from an age is an object of af 'We searched everywhere, but no one found Bhavisa anywhere.' 5. The analogy of camakiya would suggest a like derivation of damakiya. dama+ where to the vanquished, to be overpowered. 8. In the meanwhile, Saruva's son, bearing well in mind his mother's advice, went to Kamala.

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56 XII Kamala asked him what had happened to his brother, and he replied that the latter had gone to another country. Kamala of course did not believe in it and became more disconsolate. 3. urg-Compare Marathi wot-A treasure, a hidden store.' 8. Agfogafefe is an attributive Instrumental. safe and for should be read separately. viNiggaya and dhAhihiM should be read separately. "She went away midways, without reaching her house.' XIII. The disconsolate mother's lamentation. 5. gufang: erucan-A day of festivity, a holiday.' Comp. Marathi saNadivasa or saNavAra. . 7. AJUTATIE Ar-Relations of all people.' In the first word, it should . be merely jaNa and mayaNa. 10. u aftas etc.-A cloud has sprinkled the heart of wicked, mean people, because you are in distress.' XIV. People become sympathetic to Kamala, and begin to guess the cause of Bhavisa's absence. All sorts of rumours reach Saruva's ears and she begins to repent of her wicked advice. 1. domiyamaNu is the same us dummiyamaNu elsewhere. 3. Agong-We do not know.' The forms of the root for the 1st pers. pl. and the 2nd pers. pl. have become identical. 5. BTTN 963 73078-Why he does not stop the festivity. People begin doubt the wisdom of Dhanavai. This talk, as the next line indicates, took place in the courtyard of Danavai's house and hence it was heard by him aud Saruva. 9. 3r8 tis.-Surely he has done it accordingly' i. e. according to my advice. xv. Saruva asks her son what he had bone to Bhavisa and he replied that the latter had remained in that country, not wishing to return without wealth and honour to a city, where he had been slighted. Bhavisa's wife, who heard this, wanted to expose him. 3. evaItari is the correct word. 5. Read 0975EUR and fery separately. 6. pahajja from pratijJA. Compare Marathi peja. The other word paina is from the same Sk, word, but through another Prakrit word viz. 97. 8. sako-zakraH. The second sako means zaktaH. 9. tavaMga-see tuMgatavaMga in Sandhi I and tagi baIsivi in VI XVI On second thoughts, she thiuks it better to remain silent and if

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57 necessary, to die. Suvrata, the Jain nun, again took Kamala to her preceptor and told him her plight. 2. Sk. varaM AtmA ghAtitaH na patibhavane doSa utpAditaH 4. ganfeft=gaffeft-The unlucky one.' 7. Read a g-She was caused to go (i. e. thrown into) the ocean of misery.' 8. hiyavaI sAhAraNa is as much as hRdayasamaH -- As dear as one's heart.' XIII. The sage told her that her son would return on the thirtieth day the fifth of Vaisakha; he would also become king. Thus Kamala would be called queen (mother). 17 jiyaMta Pres. part. Comp. Marathi jivaMta, by such a va zruti as is usual in Apbh. 2. pacchilapahara is the last prahara, from paccha+ila. 3. cAha is a pure Desi, preserved in Hindi cAhanA, Mar. cahA or cAhA: 'To expect, to desire.' 9. 'She kept counting the days by scratching lines' (on the wall etc). This was the time-honoured custom with women of counting. cf. faqet yla nunqi aedicag: Megha. II 27. Even now, women in villages (even amongst higher castes) count things by marking lines of cow-dung on the wall. XVIII Dhanavai then presented his son to the king and gave large presents. The king gladly received him at his court and then gave leave to them all to go. Dhanavai was astonished to see the splendour of his son's wealth and became thoughtful. 1. Jacobi has not got this and the following two lines. His Kadavaka, therefore, has become inordinately short. It has also become abrupt, because then one does not understand who gave leave (faufer) to people, why and where they had gathered etc. People who had done their duty' viz. of paying obeisance 5. to the king. 7 to end-Shows the state of mind of Dhanavai. He is struck with the fact that his young son should have become so rich in one trip. But he satisfies his doubts, by wisely putting it down as the fruit of good deeds done in a previous brith. 11. -That riches can not be renounced like straw.' This he puts down as the law of former action. XIX. Saruva, delighted with her son's wealth, tries to cajole the young bride, saying that she was fortunate indeed in having got her glorious son for a husband. On receiving no reply, she turns in disgust to her son, who somehow excuses her and says that all would be right when the marriage [Bhavisa-8]

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would be celebrated. Dhanavai then begins to make preparations for his son's marriage. 4. Read sA amiyeNa instead of sAmiyeNa. 5. Ha atarea 57: gatea: appears to be the sense. HET Denominative from poma, Sk. pa. 9. "Tell me, how I should entreat her ? 16. Read fare former (farateremte) together. 17. 'A word was sent round to relations' (?). FFHTET is evidently from FAT+T. In this form, it occurs again in XVII 2, 11 ars * 46789 ata atasie FM FFATEH. The reference is to two sons of a Brahmin that had endeared themselves to the King. But the original sense appears to be supported by III 14, 2 which runs-gry fagoraft piha. This means 'to be inside, in the interior. Cf. The bridge between the two sons appears to be supplied by II 13,5 which reads fegas og 7 FFH101-If you can not enter into one's heart i. e. endear yourself to him.' XX Bhavisanuruva was in a difficulty. She did not know whether her husband would come, and here was everything ready for her (second) marriage. However, on hearing Kamala's vow, she also determined to pro. long her life for thirty days after which she would kill herself. 10. Jacobi wrongly reads Fulay together and gives far as its equivalent. But saja or saji and kiya means seva kriyA (tayA pratipannA), namelya vow to wait no longer than thirty days, SANDHI IX The Yaksa again appears before Bhavisa and carries him away, with immense riches, in his balloon to Hatthinapura. There he meets his mother and learns everything. I While Bhavisa was in the Jina-temple, all disconsolate for the loss of wife and wealth, the Yaksa Manibhadra remembers of him and pays him a visit and asks him how he and his wife and wealth were doing. 7. saesabhUmi for sahaesabhUmi. Metre requires the dropping of ha. Note the Accg without termination. 8. The first part is metrically faulty. Jacobi reads for before 78170, thus avoiding metrical flaw. II Bhavisa was astonished at his appearance and could not recognise who he was. He then boldly asked the plain question viz. who he was. : . 1. Read eanfaa and titfe together. 3. 'He speaks words that touch the heart." 4. Aprenant-Farerairanan--The suffixless Accusative.

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59 5. If he can see from a far-off country, then how has not he known that (both my wife and my wealth) have been carried away ?' 6. Braforat's the demon, who had devastated the city, and had given Bhavisa the gift of it. III. Manibhadra reminds him of a dream and a writing on the wall and says that he was his friend by the command of Indra. He now entreats him to get into his fanta and go back to Gayaura. 2. fac-Long ago'. 4. In the latter half of the line, Jacobi's edition shows a lacuna after a. His note is The lacuna is not indicated.' 5. Jacobi's text omits this whole line, of which he apparently is not conscious. The next line in his edition shows a lacuna of the first half, which he has indicated by dots. 77695 riaft-Perhaps to read nuspraft? IV. The Yaksa called for his ballon and it came in all its brilliance, Bhavisa was astonished to look at it. 5. Amaraparfyraft makes a better reading than Jacobi's usurateekkhapaDiyakkhahiM. 7. Et, if it does not mean sit from its gaol,' is unintelligible, Jacobi's awet is easier. 10. PRE of course means 91. Compare Marathi forcoi fohceto V. He then consented to go and took with him immense treasures. The balloon gently rose up, and like a bird flew into the sky. 5. Jacobi's (20) felger etc. is metrically faulty. fafafafeer etc. is free from flaw and supported by the same expression in IX 6 below. 11. uppamiuM-Jacobi reads uppaiTa which is simpler. VI. The balloon came where Kamala, almost hopeless, was passing a wakeful night on the 5th of Vaisakha. The baloon got down and all became struck with wonder. Kamala too went out to see it. VII She finds her son in it and with great joy receives him with caresses. Then there is a sweet welcome home. 1. Jacobi's edition does not show this line, and has the next line also mutilated. 6. nivaDivi kama-Falling at their feet in due order.' kama is for krama i.e. krameNa. 7. BE TOOTE etc. There is a pun here on the word sig, which means (1) tears and (2) rays. "The eyes were shedding tears, just as jewels shed rays. 13. kIyaI metri causa. The form is kiyaI.

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60 VIII Then they tell each other many loving things. Bhavisa asks his mother about his half-brother who, he learns, has returned with huge wealth. 3. I had feared that about yourself, which, (one desires), should befall a wicked man, of bad company. IX He also learns from the mother about a young girl (his wife), who was brought by Bandhu and who was now being married to him. Bhavisa then goes to the king with a present. 4. would be preferable, although is not quite wrong. 5. Combine suhamaMgalajaNa and jaNiyAyalaho. Ayaha is as much as maMgala or suha. Does here represent -Ceremony? Anointment of the bride with fragrant oil is part of the preliminaries of marriage. 8. piyacadaMri mahaevi saNAhaho should be read as one word. 11. na eNavi mahu saMbaMdhu atthi sahu keNavi - Is eNavi to be taken with keNabi, just like and meaning 'with any one.' Sk. X. The King is mightily pleased with him, and gives him unhindered access to the palace. The mother in the meanwhile has got an invitation for the anointing ceremony and asks her son if she should go. He allows her on condition that his arrival should be kept secret. 2. paisAravAru is pratisAMradvAra the mainentrance; same as pratihAradvAram. 5. tazu pacchantu kareppiNu - Means incognito'.' 7. Read in place of hAkAraNeM, hAkA mAraNeM. hukArau. 9. kiMta is kiM ti or kiM tat. Jacobi reads kiMtu. 10. The latter part is metrically faulty. It lacks one syllable. The last word, as it stands, is a genitive, but cannot be construed any where. Jacobi's reading supplies the missing syllable and makes capital sense. Jacobi also read hakvArau * Cf. Marathi XI. The mother insists upon her son telling the secret. He tells how the girl whom they were then marrying was his wife and how she had been snatched away from him by Bandhuyatta. 2. vitta - vRttam - Compare Marathi bitaNa, betaNeM. 3. vayaNi didu hojjaho -- Be firm in your talk. ' vayaNi-vacane ( vadana also ? ) XII. Bhavisa tells the story of his wanderings through the forest, discovering the city etc. to his mother. 1. bahalatarutaMDavi is only a synonym of vaNagahaNi. For taMDana compare Marathi HOST. 2. pasari = pasarivi - Absolutives in i are not infrequent in this work. See also, Gune, Sanjamamanjari of Mahesarasuri, ABI 1,165-66.

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61 7. me in the sense of any or highest knowledge. ATTI_Of one who carries highest knowledge, * 9. From afraft to g5 eur at the end of the next line, we have the object of JIHL. 'It aimanta) purported that etc.: Parhaps to separate af from the as Jacobi has done. XIII. He continues to say how he saw a girl there, and married her etc, 2. We have split up aurate and afatergy. So reads Jacobi also. 3. FAITS--Made desolate;. a true Desi. Compare Marathi JGHe . Guj. face -Destroyed or killed' also a Desi. Perhaps to compare with Marathi and a which means 'tattered into shreds, (torn asunder.! 10. fege stands perhaps for fauce. XIV. He mentions the second perfidy of Bandhu and finishes the story. 3. aforyzafore his beloved wife. 6, 3716 can not be taken in the sense given by Hc. viz. fo. It should mean TH or some such thing. The sense of the latter part is 'He had been long told (about it) by Indra'. 10, face to rhyme with fury of the previous line. The regular form would be kaTThamaI-kASThamayI. She also looked wooden.' Or is it kaSTamitA? XV The mother's grief, on hearing her son's past privations, was revived and doubled. 2. One 7 is redundant in the latter half. Jacobi's edition also has got it. 4. The latter half lacks one syllable, If we add a g at the begining, the flaw would be removed. Jacobi has it. 10. fefa-Covering, screeding.' Compare Marathi pia, pite, also nisur, A Desi. Jacobi's edition does not know the last word and reads tary for salary. i gaa here in the sense of machinations. Jacobi reads paaft ats which makes no sense at all. The Metre requires that we should have fu TE (instead of neyta) to rhyme with Time of the next line. It suits the sense also better. Translate 'Lessen the pride of those who are jealous of you.' XVI He consoles her and shows her all the treasures he has brought with him. At his instance she wears the ornaments. 2. for et tet 3What had been brought from that city.' stats, which really is the Present Participle of t, is used to denote the perfect tense. In Marathi too the same state of things exits. stat, alat, ata, which are now regarded as forms of Past Part., are really Present Participles; which when placed after Past Participles of verbs, gave them the sense of the perfect tense. ANiuM hotaDa exactly corresponds to Mar. ANileM hoteM. and Guj. ANi ho.

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62 Compare jara parama ji huMtu tuhuM ehaDa II 5, 8. XVII. A detailed description of the ornaments worn by Kamala. -Worn tightly.' Jacobi reads for which would mean 'worn'; 2. Cf. Hindi. 3. f-Tightly, sitting closely on the body.' Compare Marathi taDataTita kaMcuki. 4. Read for The conch-shaped neck appeared beautiful on account of Kandali. Jacobi's ms. has failed him here, as at several other places. He reads kambu kandali pa...... ravannauM. XVIII He then requests her to move thus in the city and especially to go to the house of his rival and give the Naga-mudra to his wife. 1. majjai does not make good sense. of Jacobi's edition would suit. 'He again speaks to his mother.' 7. Separate thiya maMthara cira lIla vahantI for thiyamaMtharaciralIla vahatI. fra-As if she were the same, and as if not.' This does not make quite a satisfactory sense. Jacobi's text is mutilated. He has kiM sA hoi va (raMgaNa) jehI, the words in the bracket being emended by him, though he is not sure of it. 10. Ayalas appears to mean something like Ananda. XIX Dhanayatta and Saruva were astonished to see Kamala there, and guess from the rich ornaments etc. that Bhavisa must have come back. 5. vahAharaNasoha - eha AharaNasoha. 6. Saruva suspects that Bhavisa must have been married. XX They receive her but coldly. She then wants to see the young bride and although discouraged by Saruva goes to her and secretly gives her the ring. 3. Read qafa fa-Kamala casts at Saruva a withering glance.' 6. jai paracAru lahadda - yadi pracAraM labhate . Better to separate as jar3a para cAru lahai - If she is pleased, 11. anfefa-afofa. The lengthening is metricausa. XXI Saruva and her attendants are struck with wonder that the young bride should have bowed down to Kamala and talked to her. They express it in various ways. 3. The text is hopelessly bad, as at several other places. Join bahuanavallAiMraNiM. vahu and anavalla0 is bad 'She was pleased with the many and strange ornaments' Or split up like Jacobi into bahua and navallAharaNiM. He has AharaNehiM. 8 to 10. The girls who come to anoint her discover from signs that she has already been a married young girl. They naturally find a subject or banter.

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63 12. Jacobi reads afe and in the glossary gives the meaning 'highly or greatly rough.' He connects with . XXII. The bantering talk of the girls continued. Kamala then returns to her house and tells Bhavisa all that had happened. 1. The text again is hopeless. Read the latter half thus gaga - The poor one had slept on a couch full of bugs'-and hence the marks on her body which had made them suspect that she had been married. This is of course said sarcastically. Jacobi has not understood the spirit of jest, and hence reads maMkuNa macai sutta etc. and gives mRdbhAti as the meaning of maccai. 2. viNu sutte kiya gali kaMculI - Also refers to the thick nail marks on her body, which another girl sarcastically compares with a close half-bodice. 3. That the view above propounded is correct, is shown by this line? One girl says 'Do not joke please'. 4. Separate ehAvattha and kumAriha 11. nADu navamauM the ninth Tirthaikara SANDHI X Describes how Bhavisatta exposes the perfidy of Bandhu and becomes the kings right hand man. 1. Bhavisa goes again to the king's assembly hall, which is described. 9. 'Whenever any king or vassal entered, he was announced by the tap of a golden staff.' 11. ambhoTTajaTTajAlaMdhara etc. these are names of countries whose kings waited upon the king of Hastinapura. ambho not yet traced. jaha is very likely the country of the Jats. the present Marwar. the country of that name in the Punjab. r not to be traced. the country of Dakka. kIra, khasa and barbara are tribe is said in the Mahabharata to have s are the Barbaroi of the Greeks in the North Taka or as Jacobi reads it Dhaka, also not known, although the sprung from Vasistha's cow. West frontier. and not to be traced. The latter perhaps corresponds to of the south. verATa or vairATa - The ancient virATanagarI, the modern North Western Rajputana" gar is Gujarat. How much of the modern Gujarat should be included under the name is not clear. goDa is gauDa, modern Bengal. lADa is lATa, a twin country with gujjara kanare is karnATaka, Canara and Mysore of to-day.

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13. Separate sy from my. Even with that the line does not make good reading. The meaning is obvious. Thus these and other countries (lit. the earth) and all great men wait upon the pleasure of the king.' Perhaps 1699 Hoa he was the original reading. #might have been misread as 3 and the previous a joined to it. Sk. iti evamAdika sarva vasuMdharA. Jacobi's sakasa-vasuMdhara is worse still. II He approaches the king and giving the presents bows down to him. The king asks him to name any person legally connected with him, he would fetch him before his court. 3. Hotte afores of Jacobi is no improvement. Foarecyfifa-Sk. gaiare. afafea: illustrious on all occasions.' (?) 4. TETESHTE i. e. gesta:--Breathing time. Jacobi's doubts about this word, and the suggested emendations in his glossary are unnecessary. III Bhavisa requests the king to call Dhanavai and his son to court. A messenger is sent, but he returns with a word from Dhanavai that he was busy with a marriage ceremony in the house and would attend as soon as it was over. 6. aq here and in II 10 above, appears to have a legal sense, as is shown by the word algs-ar here. A mighty opponent (or Complainant) has comes who has a legal-action (lit-relation) with you.' * 8. Join Torn and ra . The double a is unnecessary, but it appears to be called forth by freqs. 14. gafa-farfa. I touch i.e. I call into question' viz his marriage. It can not be taken in the usual sense, also given by Hc. and followed by Jacobi, viz. 'wipe off.' For the legal sense of Ega see Msccha katika IX. IV But Bhavisa boldly says that he objects to the marriage, whereupon the king sends another messenger with sharp words. Dhanavai is now afraid and asks his son whether he had committed any offence abroad. 7. ata, 474 , urfayz-Is obscure. The sense however seems to be, Tell me (if you have committed any offence in foreign land); who would spoil (ofess) the business already done'? The text therefore will have to be read, as if it was afts #FETEJI. Or retain are and translate 'who would spoil the business out of his hands ?' V Bandhu tells his father that some one of his five hundred companions has perhaps become jealous and means to do him harm. He suggests that the fellow should be punished at the hands of the king.' 2 - --Difficulty.' Here perhaps "enmity.' 74 fastafa-The Absolutive is used for an Infinitive. The form ought to bave been vihaMji.sammANu should be read samANu-Equally. The doubling is due to metre.

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65 9. Read FireFTARE. It is an Adj. of acrati and must be in the same case. 10. pammuhUM for pamuhu metri causa. . 12. Hy is made to thyme with Tet. This only means that it is to be read very short almost like g. VI Dhanavai approves of the suggestions, calls together all the five hundred comrades of his son and accompanied by them, goes to the court. There Bandhu challenges his opponent to show his face. 1. For 476-read q7 the people' i. e. who had accompanied Bandhu. Jacobi also has pauru. 3. and grs should not be separated as in Jacobi's edition, 3. Although he was proud, yet he behaved well with the king.' 6. This and the following lines contain Dhanavai's words with the king. Jacobi's text has got the latter part only, which is read as first half, and the remaining half line is blank. Our edition supplies it well. Here too, the line would improve in sense and appearance, if we transpose the two halves and read 'he efe etc.-Agaty etc. 'If (I am a) friend, then you should not do so. If at fault, even then it (your treatment of me) is not proper, VII Bhavisa answers the challenge, and Bandhu and his accomplices hang down their heads for shame. The king rebukes them severely, 3. fagfa is obviously used for fags. 9. erforatta forcat is equivalent in meaning of 10%TITTA. 12. Here is a case of attraction, by atfefa of the verb aafa. It ought to be afas the predicate to fogari Translate the line-'without being daunted, Bhavisa said these soothing words.' wifef- wtefat. Rather to be regarded as active and not causal. 7 viral. The use of # should be noted. It is not restricted to the Imp. construction. VIII Bhavisa interposes on behalf of the young companions, saying that servants should not suffer for their master's fault. They then tell the king the whole story. ___1. na kariSvau avarAhu varAyaI-these poor people should not be blamed for the fault.' IX. They finish their story, saying that both were the sons of Dhanavai and would be all right at home but that they themselves would be punished. The King and his attendents then recognised Bhavisa and were glad that he had returned. 5. Why should we conceal (fez-lit. leave unfinished,) this from our lord ? For deceit (@9-07) would bring in meanness.' __10. neha and saNeha both from the same word sneha

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66 X. The King gives veut to his delight and is astonished that he should not have recognised him before. He is reminded of Bhavisa's childlike pranks. 6. Read FeaTETT PATETTATT in place of. XI. The King then holds Dhanavai and Bandhu as - prisoners and brings over Saruva. He then calls togather the leaders of the city and tells them the offence of both Dhanayai and Bandhu. 6. apes afrohet? Perhaps to read aftaget? 7. "Pretending to be greatly afraid'-appears to be the sense. XII The king puts to them, what should be done with the two. They, howsoever deploring the deed, want that Dhanavai should be saved. 3. aiyAriM with purAiyakammahu-the excess of.' 4. grain-falling away from his position, (lit" splendour). 6. Read HEITS-HET&#. 5. plan forerait-3 TANTOT not knowing or not minding the king.' Perhaps to read furfoty not knowing himself (his great family etc.) XIII Their leader entreats the king to look to the position and the respect of Dhanayai and let him go without punishment. They also say that Bhavisa should get back his wealth and marry the bride. 2. Read kurujaMgali vi pahANauM for vipahANauM. 4. 'It he had been guilty, would he have been the leader of people ?' 5. 'One body (of Dhanayatta) was enjoyed by two wives '? that would be the meaning approximately, but what is the sense ? 5-6-Perhaps the reading of B is better. fagfafa3--divided into three parts.' The meaning is the father and the two sons are really joint and what they have acquired is also joint. Bandhu would, therefore, be a thief only if he robbed a stranger, XIV. The king does what the leaders recommend. The young merchants come and beg Bhavisa to forgive them. 3. saMmilivi for saMgiliu which is only a mistake. 5. Jacobi's reading half factys seems to be preferable. The men propose that the wealth Bandhu carried away from Bhavisa should be restored without interest. 8. Read nayaraho for mayaraho. 9. This is a gentle threat of Bhavisa. Celebrate the marriage with care, after inquiring of those who had gone as his helpmates.' 11. It has its effect. They meet together, consult and resolve firmly (to disclose the saddest part of the story).

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67 XV The companions of Bandhuyatta then disclose the whole secret, especially with reference to the abduction of Bhavisa's wife. 3. Argifis cf. FIETE-Figurfa Hc. IV 82. 'How has the best citizen (vizi Dhanavai) yet made a secret of a very weighty thing?' 11. Perhaps to read atlegor in place of FHI por which makes no sense. XVI They complete the story, declaring on oath that it is true. Good people hang down their heads for shame. The king in wrath orders the father and son to prison; and the whole city is in mourning. 8. afroag pa is an example of contamination. What should have been an infinitive is changed to a finite Verb. pariNeviDa vazchA . 10. The latter part is mutilated. Read with Jacobi ki fo feat TORT'We shall touch the feet of the king' in token of the truth of what they had averred. XVII Every body in the city is disconsolate. The king therefore calls Bhavisa and tells him to take whatever steps he deems necessary. 1. Combine 7 with me. 4. Read in and fit for sport and pr. sprit-personally. Dhanavai according to them, was not personally responsible for the calamity. 11. sientezi fa gafa cecaifer () 452-That an illustrious (lit. big) (family) too should be involved in this hopeless fraud.' eleasi through eittoj from ca. The g is only for euphony and metre. 'a great or illustrions (family). an is evident mislection for c a . XIII. Bhavisa philosophises on virtue and sin and says that although the King bad honoured him and justily punished wrong doers, he was for mercy. 2. Velg for qag for metre's sake. 4. Bet on the analogy of cret, where ris legitimate. The regular form would be gefa=s. 5. nikau puraparivADie kijai-Atonement is done according to the custom of the town. 8. Although the King had raised him to a high position, he would not assume it if people did not approve of it. 9. This is an obscure line. dag formity makes no good sense. Jacobi read da aforrits. This is a slight improvement on our reading. But for and ants should not be separated, as then for initial could not be explained. The first line then should read na lahami suddhi deva jaNigAriya-where sazi should mean peace of mind The second line, as Jacobi reads it, is metrically faulty. He reads fast 4* groot yrig; where all the gs (which he traiscribes by e) are short. The

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68 meaning also is obcure. If we stick to our reading fast roft Furfot arate, with a slight change viz. separating duft and y, the meaning of the two lines would be 'Lord! I do not get peace of mind due to people, so long as people are averse, and my father (Fofur loc.) is in prison' (auf from Aue or more). . 11. aNujjuavittihiM of our Mss. is better than Jacobi's aNujjuadhittie which ( a) makes no sense. The king compliments Bhavisa on his straightforwardness, greutaf-2759fer. In the latter half read, with Jacobi, a fa-agufa.. SANDHI XI How the citizens prevail upon the king and effect the release of Dhanavai. The test of Bhavisanuruvas fidelity. How in the end the two young people are united, 1. One day the king calls his secret emissaries and wants to know how people were behaving. They tell him that there was grave dissatisfaction on account of the punishment of Dhanavai. 4. Better to read argite, with Jacobi, for atgfte aand a are written almost alike. 10. Jacobi reads Fryefa-F901EUR. 13. 479-maya:-Unanimous (in an opinion). 15. If the King would not forgive him, thap let us all together leave the city'. Pretty early example of 'passive resistance and collective action.' II. The King calls the people together and asks them what they want. They tell him that Bandhu might be banished from the city of given a harder punishment, but Dhanavai must be set free, 4. Separate ca from feft. 7. 378 TE should be read separately. 7 @alfata (aarte i. e. ?) tia:-one who is attached to destruction of people.' 9. Latter half deva paTTaNaho for devpttttnnho| III He does as they desire. Bhavisa then says that the king should call his young wife there and should test her fidelity at the hands of trusted women, so that no one should afterwards find fault with her and himself. 2. Separate ar from af 4. Construe ara a fancys ates y sala fara gif gre fac95. 'Before dispersing, I have to make another request.' Jacobi reads a c9g separately. 5. "There is no event (in the realm) of Visnu, which does not happen in this world to a living being.' 1 6. Jacobi's edition has not got this line. But the next line for at jat (which by the by is metrically faulty), presupposes some clause,

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69 "If he, who in this world has (his wife) attached to his half-body, has such experiences (viz, of having his wife carried away by others), then what guarantee is there in the case of others'-makes a very good preface to Bhavisa's following speech. ___8. eha kumAri bhaNivi jA uttI has an exact idiometic parallel in Marathi hI SHTC FOOT (forfa) fra FETA (sn). 12. kalaI-Compare Gujarati kAle. 13. A fare azia should be combined as in Jacobi's edition. IV The king agrees and sends two trusted and clever women, Jayalacchi and Candaleha to observe the giri minutely and bring her to the assembly hall together. 3. Read T -clever in cauning (sarastic) talk and repartee.' This makes better sense than Jacobis i agureato etc. which is not quite faultless metrically. 4. punimaiMdaruMdamuhavaMtau compare punimaiMdaruMdasasivayaNI III 2,2 supra. 9. gag. Our poet seems to be fond of this word, which has acquired a bad meaning- cunning, deceit. cf. 935 Tag heartace X 17,5. 11. Jacobi's edition shows a lacuna after farafa, which, he says in the footnotes, has not been indicated, 13. Readus- , as in Jacobi's edition. 983 is a clear mislection. There is also pay for our go. But our edition has consistently this form only of the pronoun up to now. 17. Perhaps to read ge for the second as in the first half. The first az is perhaps responsible for the second in place of the right word E. Jacobi has agt. V They tell her that Bandhu was taken in favour by the king and Bhavisa was lost and that she should now care for the former. If not, she should go with them to the assembly hall and speak for him. The young wife thinking that all was now lost, made bold to go to the assembly-hall. 2. The trend of the latter half requires that ag should be read as 7, like Jacobi. 'People praise what the king does.' 7. Perhaps to read facit? With pride.' Of course it would not rhyme well with #T (read thus for acne; but the harmony of the two last syllables, although the usual rule of the stanzas, may not be very strict by observed." Compare 38 and E, pags and 1713, ataas and 31/01T3, in the 4th Kadavaka above. VI, Jayalcchi runs before the two to the King and tells him that she was a faithful wife. In the mean while, the young wife enters the hall in the glory of superb innocence and wounded pride.

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70 2. Combine naravada and fe. It is a Compound. 7. This and the following two lines contain similes, some of them really good. e. g No body dared look at her, as at the wrathful eye of a Master.' 9. Text hopeless. Separate feaf and at. The latter is no doubt af, as Jacobi has it; it should be joined to of a. r makes no sense. 12 and 13 contain beautiful, although the first half of 12 is hopeless. Corresponding to three phrases, it ought to be read as fefta faftan. Although poor (erfeft), she was rich (i. e. possessed of faft or glory); although the best of women (a), her best limbs were sweating; although simple (another sense 'foolish'), yet she was full of thought; although without collirium (ft), yet she was of enticing beauty (i-ATE). VII. She elicits applause from all. The Kancuki appeases her and the King banishes Bandhu and Saruva and calling Kamala pays her respect. Dhanavai then goes home with Kamala and the young couple. 4. ehu does not suit. (joined to far) of Jacobi's edition suits better. Jacobi's edition here wants several words and two complete lines between and went, which are found intact in our text. He has expressed his opinion that this is so, in the footnotes. 10. After this line, Jacobi's text shows one more, which we have not got. It is aNa vigapi nivaho poyaNapure / kahiya vatta tahiM thakku vidurahare. VIII. Dhanavai then celebrates the first entry of the young couple into his house. 3. bhAvayatA is perhaps another name of bhavisayatta's wife. bhavisAvA and bhavisANumai before. 7. Jacobi's edition lacks the latter half. IX. Kamala then orders her maidservant to look to the toilet and other things of the young bride (which is described). We have had 1. Jacobi's text lacks this line. It appears that there was no indication of it in his Ms., otherwise he would have had dotted lines. 2. Jacobi's text has not got the first half looks as if tampered with. required; of peahps might be dropped. 3. The words are badly split up. X The two then go to rest in their described). first half. Even in our edition, the There are two syllables more than Read er fans acfamqi?. richly decorated bedroom (which is

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71 5. Read Malaghyfare for patogige Eqfarg. XI The young wife, in the extreme happiness of the husband's cloes contact, is reminded of all that happened to both of them. She thought that no other woman has suffered so much as she. 6. Jacobi's edition lacks four syllables in the first half. 8. afts for afht. 11. Read HS ale n. XII The husband consoles her, saying that such was the way of the world and that she should be happy that all ended well. 6. taM lAhau jaM jaNi jIvijaI-for the sentiment compare Raghuvamsa Viii kSaNamapyavatiSThate vasan nanu jantuyadi lAbhavAnasau. 6. The great planet (Guru or Sani) is now in the eleventh place for you.' 9. Read ag together. 13. The last line does not mention the number of the Sandhi, as is usual with the poet. SANDHI XII The happy young couple is loved by all and enjoys itself. Kamala then, goes to her parents, house, as Dhanavai has not yet atoned for his past acts. How he repents and falling at her feet fetches her back home. I Bhavisa and his wife are loved by the king and queen. The fornier is almost regarded a yavaraja; and the king promises to marry his daughter Sumitra to him. There is a slight change in the metre here, every kadavaka being made to begin with a Duvai. 7. The queen calls her tilayasuMdara, evidently because she comes from tilayadIva. II. Kamala is delighted with her son and the whole happening. She celebrates a great religious festival at the time of breaking her Suyaparcami fast. 3. Paguyu should be read as faget; metre requires it. Usually our text has the Instrumental in-iNa; cf. dhaNavaiNa, gaNahariNa, kariNa; and that in-eNa when metre requires it, as in goragor in this line. 4. das FI FII tareas is strange syntax, judged by the Sanskrit standard. We should either have afas at antas - Whatever the Goddesses were prayed for, or efe a FIS stategi-Whatever was prayed of the Goddesses.' The present sentence has therefore to be regarded as due to contamination of the two indicated. 9. forgft forefi qaatti--this and the following line are not found in Jacobi's edition. Nor are they very much wanted. Line 10, affers gafar is

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especially out of place, if we consider the second line of the ga, which gives the same idea in a more natural manner. 12. fragt etn.-is accordingly the tenth line in Jacobi's edition, but it lacks all but the last two words and even these do not tally with the last words of our line. 13. This line of the gat is wanting in Jacobi's edition. 4. fofa-an Absolutive used as Infinitive. XII People are fed on all sorts of sumptuous things, and given all sorts of presents (of which a detailed description is given.) 5. From this line down to the Ghatta, there is again change of metre. It is called it and is mentioned by the poet himself in 1. 28 as being a metre liked by wise men siin TEIHUT AIA Sat. 6. SEATTEMIT 91-Jacobi reads this as one word and apparently splits it up into sussAra-muggA and AyavattA meaning susAra-mudrA-AtapatrA-as is clear from bis glossary. But this is evidently not the right interpretation. The previous line speaks of Afri, the following of g, the next one of it and qg5l, all eatables. It is highly incongruous to find an umbrella amongst such things! grit: can only mean some preparation of the corn called gn, gn, Hot variously. yaa then would mean some preparation of ya or barley. 9. Jacobi's reading of the line is very strange and can not make any good sense in the context in which it is placed. surAIhi hahiehiM jittaMpavittaM varaM bhAsurIyaM gids #. The reading of our edition is far better. Perhaps there is no real difference of reading in the Mss., and the line might be due to a pure misreading of the letters of the Ms., which is not improbable. For, in someespecially Gujarat-side Mss. a and are so hopelessly similar, that a little inadvertance would lead to reading alegre from a real afegfe. The same is the case with sety and agito. A carelessly written or read #gives . The same might be said of F and . Those familiar with hand-writings of Jain and Gujarati Mss. can appreciate the difficulty. J and a is another puzzling pair, after sy and y. 13. suacchA and vacchA are the correct readings. suatthA and vatthA are due to confusion between Ey and fy which look very much similar as they are writen in Jain Mss. The latter line is written so to say in an appealing manner. 'o dear one, if you wish for heavenly enjoyments, give (to Sadhus) sweet maNDAya slices.' 18. "One who gives things to Sadhus in this world, his side enjoy. ments never leave.' This makes a capital idea and reading. Tis Acc. pl. of the neuter of the pronominal stem a Pr. 934. The regular Prakrit is and Apbh, according to Hemachandra. Ours is a contracted form for the sake of metre. Jacobi takes to be an interjection. In that case the object will haye to be understood,

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13 His latter half reads frei faraTE HYT TCT ante. 19. didaM should be construed with sarIraM. 20. Read cay for i and join it to gray. Both the editions, the present one and that of Jacobi have read ay for my and vice versa at will. Compare, for instance, attorner of this edition with Jacobi's TIFY Ti, where evidently the former has the better of it. 21. After the eatables have been exhausted, the auther thinks of betelleaves ( quyi-qafa) treated with camphor-smoke. 22. ET suits eminently in the context; it is a herb (Sk. gar) which is supposed, when eaten, to give one the Koyal's sweet throat, Jacobi's quart is unintelligible. 24. This is in illustration of the law enunciated above, viz. 'as you give so will you get.' Translate-'If you have sown Kodrava (an inferior sort of corn) how can you reap rice therefrom.' Read 4 for . The word en war is obscure. 26. Sefal metrically long for grafat. 28. The last two words are obscure. Still so much is clear that gz must be separated from its previous part. The metre Bhujanga is the King (EU) of '? We expect a word for metres before in the Genitive. The prur of the gen, is also there. So that the two last words will be ficat E10 E1 or with Jacobi gihacarohANa. What should gihacara or gihavara mean? 29. Read, like Jacobi, pW FAfrohtu ( F r i) instead of fegat. Or even the latter may be retained, to mean, 'according to one's own devo. tion.' IV. The festivities over, Kamala again begins to brood over her husband's repudiation of her, (for he has as yet made no atonement for it). She one day says to her son, that she has stayed there so long according to the King's command, but would now go to her father's house. Bhavisanu. ruva also goes with her. 7. 071--The texture of a piece of cloth, inside, womb. The first meaning is applicable here. Camp. Maraghi ata. 10. graag an Infinitive. Really the Loc. of the Fut. Participle in pea. "If a treasurer, who is appointed (only) to guard a treasure, does not return it, he is to blame.' She is perhaps sarcastic. She means to say, that she had been so long the keeper of the house; now she must hand it over to him and his wife (line 9). V. Kamla, with her daughter-in-law goes to Haribala's house and stays there. He compliments her on her tact in not disobeying the King for a time and allows her to do as she likes, [Bhavisa--10]

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74 3. Faqat should rather have been grapetakat-perintapat: 7. 09Jacobi reads wax-Our new bride'. 9. ggfa a misreading for gofa, area i. e. of the young bride. Her eye did not wander anywhere except in her red garment'. 11. fri-faifa:-Haribala, through grand-fatherly love and curiosity, looks at her face through the garment, saying 'I shall look at her lotus-. face, although I should not.' (line 12). 19. Separate fa and sulfat-Blind even after so much'; i.e. after all that had happened. So Jacobi too. 20. Read ga and Amta separately, as Jacobi rightly does. VI. Dhanavai, still persisting in his old attitude, talks about his wife's departure tauntingly. She would not obey the King even. But Kamala's friend Kancanamala gives him a good reply. 3. Read sAmaNi which qualifies apiNa. Jacobi's emendation sA (miNi) maNi anne is not happy. 7. Read qt rogurt for 9793 pori which is bad splitting up. 11. Again a bad splitting up of words. Thor (fa) WH etc. Even if a king does an improper thing, it becomes () him, and people follow it.' Meaning thereby that Kamala obeyed the King (for a time) simply because he was a King. VII. Affections are not made in palaces. You abandoned her without cause and allowed yourself to be guided by your other wife. The heart-burning that was thus caused, would it be lightly forgotteu? You are still yearning for Saruva and hence you disregard Kamala.' 11. Combine oi and as-Who was going.' VIII. Dhanavai feels the truth of the words and resolves to go to Kamala and begging her pardon, bring her back. 3. Read aria together. "That she also smiled, is to be counected with faena las puse.. 12. Read HtFETTI-Ha:visitator 13. gs is alternative form of with or sq-Daughter.' IX. Dhanavai entreats his mother-in-law to forgive him and to induce Kamala to go with him. 2. Read fequatgaftast forgaansa (a? Art By (kamata) her who was pleased with Kancanamala standing by her side: (Kanacanamala) who had many (auto) and unmatched ways.' 4. Jacobi's line is all gone but for one word omfaoig. X He asks Kamala's pardon, explaining how he was led astray by the wiles of Saruva and her son.

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2: Read er for 97. 7. sforce is misreading of facere: XI At last he falls at her feet, and she, unable to restrain herself any longer, is softened and forgives him. They all, forgiving and forgetting, return home. 1. Tema is the same as qegno. 8. 'Her garment dropped away from the upper part of her body, thinking as it were that it was a strange (or new) meeting.' 10. fangerout-read farger por separately. The double or is for metre. Jacobi reads (a)fage por etc. XII Bhavisa's happy night with his wife. The richly furnished bedroom described, The bride is reluctant, as she has a rival in the king's daughter. 3. qfeaus faites-Jacobi, in a foot note, throws out the suggestion, that the first word perhaps belongs to a gloss because the line has two Matras too many. 9. Read gents. Jacobi's text lacks this line of the Gatha and reads the second also differently. nisi posi parivanayA raivihosammi, which is metrically faulty. 11. Read bhaNiyA bhojuviUNa for bhaNiyAo cumbiUNa. 12. Combine ita 18. "The beloved slips out of her hands.' Read et FOJ TURI SATTE. XIII The young husband notices the change in her countenance and wants to reassure her. She reminds her of his second wife (or bride) and says that he should go to the palace and give her the pleasure of his company for a few days at least; for who knows if he might not marry again ? 8. "Let alone now your sport, smilings, enjoyments, and embraces'. Sarcastic. She knows that these are all now insincere. 9. fa faqes-At least for a few days.' The sarcasm in the words is obvious. 11. Construe latter half jo tumva pattiyaha so ayANaH XIV He protests that he does not at all love Sumitta. As his prosperity would grow, he would require some body to look after it and perhaps Sumitta would do that. 4. 98919 fet-read ancacat feti (?). 5. & apparently stands for mi. 'Why will you increase in vain your pride towards me'. _ For pie paI kiDa samAza, Jacobi has piee kiu samAza, which he himself rightly thinks strange. Our reading is better and more intelligible,

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76 SANDHI XIII All of a sudden, news comes of the Prince of Poyanapura marching against Kurujangala. His emissary Citranga states his demands. He is slighted and sent back. I How the king calls Dhanavai to himself and asks him to forget what he had to do for the sake of justice. He proposes that the marriage of Bhavisa and Sumitta should now be celebrated. 7. Read my for ty. . II In the meanwhile Bhavisa enters in haste, announcing the arrival of Citranga, from the lord of Poyanapura in the Sindhu country. The king receives him well and inquires what had brought him there. 4. Aquest and payofasyPossessed of all the arts and all good virtues.' 6. Take Ayau with the previous line, cittagu vAri AyA. na muNahaM keNavi choNa I do not know with what pretext.' wgong 0.5 are the words that the King addressed (wefas) to his servants, III. The representative of Sindhupati (Maindakandhara) tells the King that he had been sent by his king to demand obeisance and ransom from him. 7. Read ATTIATIVE for Erytatyag. 9. Either khandhArama[ or khandhArimajhu. 11. "To you alone I am not inimical; rest quite assured in Kurujangala.' (Only you must send me a tribute consisting of elephants, horses and chariots. 12.) IV Secondly he tells them that his master demands the girl brought by Bhavisa and and also the king's own daughter Samitra. He closes by saying that the prince has already entered Pancala with a large army (and would soon be there). The king sends him back to his camp with an assurance of a reply the next morning. 1. Separate opinit and a pet. The a in the latter word is both for euphony and metre. 2. Affagra--Note # for a which is usual in Apbh. phonology. fafire for zibira, ema for eva, tAma for tAvaha, jAma for yAvat. The intermediate forms jAmba and ang show that the a first became nasalised as a and then changed to #. This change is parallel and opposite to that from # to and then to a; e. g. pat fr. bhramara, naveviNu from nam, ravana form ram etc. 13. Join farefiart and 716--The opinion of my attendants.' V The king then holds a council of Bhavisa, Piyasundari, Pihumai (Prthumati) and other ministers and asks them advice. One of the ministers, Lohajangha, who says that there is going to be no peace until Citranga is put on the back of an ass and led in procession through the city, as a reward for his haughty words.

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5. koNa kajju aMtariu-kajja the marriage they were going to celebrate. koNathe incident that has happened and that is going to assume huge proportions. 6. Beeti pafas famne the intended marriage ceremony. 9. Combine Frage with steg, an Adjective of stevig. "Whom (whose advise) even the king could not set aside.' 11. tat bhutvA sahatAM azakyam-We should have expected either sahiDe or sahidi or sahaNahaM. saItaI is certainly superior to Jacobi's emended (supuri)saha.. VI Another one, a vassal of Bhuvala, would have nothing to do with a, who was an emissary only; but would go and attack the army of his king. Anantapala sees disaster in battle. 2. Pavvayaghanu is perhaps the name of the chief of the Khasas. 5. gfesor etc.-Glory, which is farseeing, is not attained by soft-heart; it dwells amongst the company of the proud.' feafa is adjective of ofas. The contrast between gfg and get is evident. Jacobi's effout is not so good. 7. If you forgive him his (haughty) words, then surely you will get yourself besieged.' 8. "The messenger (grig-the minister) should be punished for his bad words ( et-the Ablative); for pride is the treasure ( eig) of warriors'. 11. fare fourre-appears to mean 'having their limbs shattered or broken.' VII The prudent councillor thinks that the king should yield and give what is demanded. The queen scornfully rejects the advice and says that that would be cowardice. 2. The sense appears to be-'Fighting them, therefore, will not be conducive to your well being'. 4. Whose pride is not humbled (broken), while fighting (lit. coming into contact) with the king of Kaccha. VIII Dhanavai then puts in his words. He sarcastically characterizes the advice as cowardly, by giving a parable. Anantapala makes an angry retort by calling him a 'Bania', when Bhavisa angrily puts in his words. 2. "Who never went and faced an hostile army.' 6. Read afor for afis. The parable is this. There was once a simple, faithful, young woman. A cunning fellow once told her, that she was the only woman he loved and that she should admit him into her house. The simple girl sought advice from a friend of hers, who was a bad woman. The latter taught her wicked thoughts. The conclusion was obvious. The girl lost both her character and her home. 10. 'Ananta's advice would bear just that fruit which the bad woman's advice bore' i. e. by accepting Citrangas terms, they would lose their girls and also respect and the kingdom in the end.

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16. -HF79:-Although in the good graces of the king, Dhamavai after all is a trader.' IX Bhavisayatta takes him right and left and puts him down for a spy of the enemy. The king is delighted with him for his dash and thinks of making him commander of the army. 1. One syllable appears to have been dropped while printing. Read Qofa. rogfa of the second line requires it. - --, 2. We would rather read forgotraff -which would suit fruit better, 'Flared up by the abuse of his father.' 3. "He is thus talking at ease, because the army (of the enemy) is far away.' 10. 'If he were not entangled in his (Cifranga's) affairs, would he have given such an advice.' X. Ananta, incensed at Bhavisa's words, says that he is puffed up on account of the King's favour. He warns the feudatories of Bhuvala that hard times are in store for them and vows revenge for Bhavisatta's sharp words. He then goes to Citrauga's camp, and advises him to begin the attack on Gayaura. 11. Fulfafa-Appears like a denominative from ga, Sk. gmi Compare vulgar Marathi gair, alternative to 90-to yoke,' XI.-Citranga asks him to wait and goes to the King again, to take his final reply personally. The King firmly tells him that he would neither give ransom, nor his daughter. Citranga expresses his wonder that the King should be ready to lose his kingdom for the sake of his girl. 1. Jacobi's edition has only the first two words of the Duvai in our edition. The words yras etc. to fac form, in our edition, the first line after the Duvai with a word added at the beginning, viz. Ta without which the line would be incomplete. Even the Duvai in our edition is a bit faulty in the last half. There are only nine syllables, whereas twelve are wanted, 2. Read kovapaDicchio for koviparicchio. 8. fineft is Absolutive-ip. 11. tuhuM bahumailiyAsu is addressed to Citraiga. XII. Bhavisa, inflamed at his words, wants to cut away the tongue that talked of Sumitra and to blind him etc. Dhanavai interposes with Words of wisdom. It was not good to ill-treat an emissary, 1. fent-tifa:-Inflamed.'.

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19 2. To read alatig? But both our text and Jacobi have the identical reading, ifafa-teforrar. a would be more regular. Jacobi reads you which would be a good attribute to Bhavisa. But the Loc. would be more suited to annoT) CETTE-Very deeply offended at (by) the haughty man,' viz. Citranga. 3. Jacobi reads gras. This would be more in keeping with the following line, where the suggestion is pointedly made of an ominous bird-say a crow, or an owl. quiaft would also then suit that suggestion, 'Like an ominous bird, behind the wind, speaks words that bode no good, casts an evil eye (fo) on the house.' The crow is, in popular belief, Yama's bird. Hence An alcs is appropriate. 9. bhAyaho paharaMtaho (jasu na hoi) is an example of attraction. paharaMtaho is Gen. of a Present Participle and has an object, which should have been in the Acc. case: e. g. Or 743 Tagi-by striking or killing him.' But the Gen, of qiatt has attracted the Gen. of the previous word. 11. aNiTThiyauM is only a lengthening of aNihiu or aNi aniSTam. For metre apparently. 12. "But it will not kill me; I am restraining my auger, as I am sent on a mission' (IE) (which I must fulfil). XIII At a sign from the king, he is driven out of the city. He and Ananta theu join the army of the Prince and tell him how Bhuvala is unbending and would prefer to fight, but neither to give ransom nor girl. The king of Poyanapura gave orders to his army to move against Gayaura. 5. Perhaps to read faeg-awa? Jacobi's fare also makes no sense. 10. Read The together, 11. Text badly read. It should be grandi cf. M. c auf SANDHI XIV The prince of Poyanapura, incensed at this, attacks Karujaigala. A battle ensues, which, with varying fortunes, results in Bhuvala's favour. The credit of the successful end of course belongs to Bhavisa. I Bhavisa first proposes to the king that he should go and attack the king of Kaccha, who was a traiter. But some one having given the latter word that Bavisa was marching on him, he sends an emissary saying that he would remain loyal. 1. There is one syllable more in the first word. afatmare or as Jacobi reads, aficat caras 6: faqs-faqt, here 'command.' 9. metafor-true Desi. Compare Marathi nequit.

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30 10. We have to understand that the king has given him the order of permission. 16. Te qifafi-Doing their work of spying'. A cognate verb is a having aro-Spying' as its object. II. The spies talk amongst themselves about the army, its leaders and Bhavisayatta. How he was the soul of the army and how even at night, he was seen planning the campaign. 1. Both editions agree in reading orale stafor; but spatutafor would be more correct. __2. bhadghagghADu Jacobi reads uddhagdhAGa, which is not preferable to aGghagghADahalf-open.' 4. Jacobi reads parivA-parivartayati for our parivaDA-parivardhayati. The same difference,- for is seen a line below in mart and f. 9. sinnefat - Personal night watchman'. 10. 9. Jacobi's orfety, although neither ungrammatical, nor unidiomatic, is no improvement upon raq. III. The spies report to the King, how the king of Kaccha, and others are fighting the enemy. 1. fraturfage-afturgagfagott. 79-faywa is quite in place; but aftora is not clear. It is perhaps therefore, that Jacobi, in the glossary, suggests the reading of qurgut etc. A transposition, unwillingly done by the scribe, is not unlikely. 4. Todo is apparently used as a noun 'By a draught.' 6. 9 is wrong. It suits neither metre, nor sense. Possibly it is cu, read badly. Jacobi has 77. 7. From are 4 to end, is object of fatis-points out, tells.' 11. nafs-With a swiftly moving sword.' This is preferable to Jacobi's q uae-With a powerful sword.' Perhaps a has been misread as . 12. The comparison is classical. Kacchadhiva churned the army, just as chuning monntain (AFET) churned the water of the ocean. IV The battle of the five allies of the Kuru king described. The allies are Harivai, Lohajangha, Kacchahiva, Paacala and Parvayavai. 2. The first (or front) army was levelled to the ground, makes capital sense. Jacobi's are for a (ay) makes no good sense. Eleaf makes a difficulty. Jacobi's fate art would mean by means of tusks of elephants.' To be preferred to ours. The meaning then would be "The army was levelled to the ground, after being driven back by elephants, tusks.' 5. for 925-They wheeled round', for a flank attack(?). 8. Read savvahiM for savvahaM.

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81 9. paDabhaDaha bhaMgurAvattu dinu is a forcible way of saying that they were made to turn back and run away. HiTray of Jacobi's edition is badly written or read, and makes no good sense. 10. Join ag and smas. The word is a denominative. Sk. #ean-Bitterly treated, hard pressed.' V The news of the defeat reaches Poyanavai, who calls his councillors together and decides that peace should be made with the king of Kurujangala. He sends word to his son who was in command. The young man is too far gone to recede. 3. Perhaps to read afafss; although efifafa-Having spoken to' would not make a bad sense. 4. fas qis-The cause will be spoiled,' Jacobi reads e faz ors which means 'the messenger has made (got up) that business. But how does it suit the context? Our reading is more satisfactory. 5. ariat TAFHO-Without the approval of myself, who was preventing.' Jacobi's 37 go-to which he doubtingly sets STAAT as a synonym, is evidently due to confusion between # and #, which might have been miswritten and misread. Again Ay can not by any rule give 47737. 6. Hafa pa is addressed to the messenger who is described in line 6, and from Torfi onwards is the nessage to be delivered to the king's son. 7. TOTT-a stupid fellow, Camp. Hindi rat. 10. arg is the message. 13. Separate qt and geply. VI The son sends back the messenger to his father, saying that peace was now impossible. The king of Poyana then sends him help. The tables are now turned. King of Kaccha is beaten and the enemy is near Gayanra. 4. The latter part is wanting in one Matra, Perhaps to read greift or like Jacobi utthariDa. 9. Separate hayabheri from payANauM. 13. Combine faz. See note supra. VII News being brought to the king, he gives order to the cavalry and elephants to march and Bhavisatta meets the brunt of the battle. 1. Perhaps to read fanefar. 6. Read #tator. Separate seule from afor. Jacobi's text drops , in whose place he suggests to be joined to and r to the following for. The word then would read yetfor. A genial guess; but our hits the mark, 7. HEHE-perhaps means 'bit by bit.' Compare II 8,8 #Caefa fragt goig-Tag fra etc. V 4, 16 syotgefafg As fortit. etc. 10. Read ofcara aff as one word. The king was in great anxiety about the enemy. Read 7 and FATE separately. 11. Read pakkhitta for pakkhatta. [Bhayisa-11]

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82 VIII How Bhavisa goes out for the battle on the back of an elephant. 1. q un should be separated. 3. Yuk is badly read for ye, which is a standing battle expression with our poet. 10. This line appears to be left half, at the first sight. But really every half of these 7 or 8 lines after the Duvai is an independent line by itself, 12. aforaranaqafotografast, one word, subject of afge. - IX. Bhayisa gives orders for the protection of the city and takes leave of his mother, who thinks of the prophetic words of the sage, and wishes that they should conie true. 10. Metre requires that we should read gezfare for gesale. X. He sees his wife who affectionately decorates him with flowers and wishes him success. The king's daughter too sees him with affectionate eyes; he returns her sympathetic glances. 2. The first saI means satI i. e. indrANI, the second sai-saI i. e svayam. 5. Better to separate cUDAmaNi and nAyamudda. affang and aftge TIF are meant to show contrast. 'He was always agreeable (Ay) to friends, but terrible to bad people.' XI. How other warriors take leave of their wives. Their affectionate talk described. 9. Frg together. 'Mother-goddess. Many such are believed in by the Jainas. 6. faqz adj. of BigE. Jacobi regards it as a verbal form,-'Let us see.' XII. Seeing Bhavisa on the battlefield, Kacchadhipa requests him not to worry and to leave the affair to himself. Bhavisa asks him to remain behind, until he himself fought the enemy. XIII. While Lohajangha and Bhavisa are talking about the arrangements for the attack, the battle actually begins and for a time all is confusion. 10. Read the together. XIV The description of the battle. How people fight by the sound, rather than by sight; everything is so obscured. 1. "The battle-field was covered with a canopy of dust, although there was no Torana.' 4. Separate qe and ear. 9. Read Tetise and 377EHE separately. XV The battle continues. Part of the Kuru army at last turns back. A great hayoc in Gayaura. 3. Read $748 for prac. That is the usual from of the word in our edition,

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83 7. Arifes is perhaps spries, as in Jacobi. The mistake probably arises on account of the similar appearance of and in the mss. 9. Sensite together. XVI People get to the tops of their houses and do not know what to do. Dhanavai prepares to fight, when messengers come and announce the critical position of the army. 1. Afferfor one word. 10. aftig for afin. a and are similar in appearance in Jaiu mass and may be mistaken. 12. 9*3 for T93. * XVII How the king himself assists Bhavisa, who, with the kings of Paucala, Matsya and Kaccha, rushes into the fray, 9. paMcAlamiccha etc. Read paMcAlamaccha etc. 10. pihumai for pAhumai. That is the name of the warrior. 11. parajivi can not be connected with paraja-Sk. parAji. The kings are only putting the strings to their bows. XVIII A hand to hand fight between Bhavisa and Poyanavai's son in which the latter is discomfited. 8. gafe for groft XIX How, when the prince is taken alive, the whole army automatically ceases to fight and victory crowns Bhavisatta. 1. i qas-to be connected with stanie-when the Prince (i, e. Poyanavai's son) was taken alive by Bhavisa.' Figfas is absurd. 4. Jacobi reads as for , which however makes no sense. 9 to 14 describe how the enemy with his paraphernalia and without his glory, is led like a robber-chief into the city. 17. These words are to be understood as coming from the prince of Poyanapura. Jacobi reads aefa fastes, which does not make much difference. XX This is the poet's peroration. He admonishes us not to be proud, for rise and fall come even to the greatest. He illustrates by giving the story of Bahuvali, the son of the 1st Tirthankara. 2. Read khaNapariyatta visamasamasaMkula gai saMsAradhammaho-The way of the Samsara has sudden changes, and is full of ups and downs,. Jacobi's edition also shows equally bad splitting up. 4. Jacobi's F9-19-atychly does not make good sense. The attribute mentions the height, which the Jainas always measure in bows e. g.qyesfaas above. Sk. a TVETAT: 7. Read farfo with Jacobi. 10. Herfer-Spreita (sic mise tausta:) 12. HTAGET for HTHAT.

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84 17. The poet says that he has utilized old versions of the story. 18. Read go for the sake of metre. A faeuifa are words quoted from the Agama. SANDHI XV How Bhavisatta is crowned Yuvaraja. He lets the captives go to their countries. Bhavisa's happiness. His wife, soon expected to become mother, wants to visit the Jina temple in Tilayadiva; her desire is fulfilled. I Bhavisayatta is crowned Yuvaraja and married with pomp to Sumitra, the king's daughter. 1. fria fagare fata nag-When the battle was over and the difficulties removed.' 6. Jacobi separates atfer at fa eat, which makes difficulties. How is glej to be construed.' As it stands, our reading means "the enemy, who were being then fed, were given satisfaction by all sorts of enjoyments, rich presents. Should we read samAosiyA posiyA do vi pakkhA? 7. Read Figfaqi alaqi ET.-The splitting up of the word is egregious. 10. Rather read affraat. II The king gives him half the kingdom and makes presents of all that was important of the insignea of royalty. 12. Read puvakyasahakammahaM for kammaiM. phalena governs that word. Ready for at-The sense requires it. III Bhavisa is happy in the company of his two wives, mother, grandmother and mother-in-law. His mother advices him, once in secret, either to let his enemy go entirely free, or to enchain him. 9. Gaffa for at afafa. 7. vahua saccha-vadhUH sAkSAt of our edition is better than bahuasaccha of Jacobi. IV He consults his father and the king, who mentions the names of all the princes that had been vanquished and were then at his court. v The king proposes that they should be but into prison and wellguarded. A strong band of soldiers is asked to catch all the enemy's people together. VI This creates a commotion amongst the captives, who perhaps even think of offering resistence. In the meanwhile, two spies from Poyanapura come to the new king and tell him how Poyanapati has become helpless. VII The king then gives orders that the captives should be set free. He calls them to the court, pays them respect and makes presents. VIII He says very good words to the prince of Poyana and especially to Citrarga.

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85 2. te of our edition makes capital reading. Jacobi's site makes no sense. But he says in the footnote that the letters could be read as 8. IX The prince submissively says that everything now belongs to Bhavisa and that he should take care of those lands, whose kings he had conquered. Bhavisa, however, pays them proper honour and lets them go to their countries. X Thus Bhavisa, a bania's son, becomes king and makes all other kings submissive. He thus has all he could covet; his wife too shows signs of coming motherhood. 5. guruhAra is gurubhAra. guruhAra is only a popular etymology of the Sk. word Thant). XI The young queen, Bhavisa's wife, expresses a desire to go to the nple in Tilakadvipa. While the king is anxious how to fulfil it, some semi-divine person appears at the door for an audience of him. XII The newcomer tells the king that he was a Vidyadhara named Manaveya, and that he had been commanded by his master to go to Gayaura and try to fulfil the desire of Bhavisanuruva. XIII The king however asks him why he had been so kind to him. The latter says that there was something from a former birth, which made him do so. 1. Read Tulfa and gatela. Metre requires it. XIV He has been sent by the Muni, to take them to Tilakadivpa and he would do so by means of his baloon. Bhavisa agrees and lets his people know accordingly. 1. Perego is evidently a mistake for ne facto 5. Read vammahavAraNakesari. 7. Gafafe agaja sitte-This is an obscure line. What is arnia ? Jacobi guesses that af might be an instrument. The guess is based on the previous half of the line, which refers to ty; and the word aafafe in this half. Then what is attrifu? Pischel gives starten as its equivalent, but this stufey is not used in that sense here; it is common to Ardhamagadhi literature. In our book stofsy occurs in the following passages. (1) fagt gert stufes of famagit VII 11, 10. (2) gf 75 gra ggr tifoss 48 XV 12, 12. (3) The present passage. In (1), the sense of making a loud sound, rasing a cry,' seems to be clear. But it does not suit (2). In our passage it does. XV. There is a commotion in the city when the news spread all round. The people gatheres at the city gates to see the spectacle. XVI. The young King rides an elephant, with his two wives and followed by the old king, Dhanavai and others, goes to the Jina temple first and out of the city afterwards.

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86 2. Read fuc.. XVII. The baloon rises up in the presence of the people and reaches Tilayadiva, where they worship Jina. SANDHI XVI They reach Tilayadiva and go to the Jina-temple. After performing worship, they meet two sages Jayanandana and Ahinandana. Ahinandana explains to the king and his wife the principles of conduct laid down in the Jain religion. I. How they go into the Jina-temple and worship the image. 2. One syllable is lacking; it may be ta ahimitta. Jacobi reads ahisiMciu. 10. IyaDa is the same as eyau etAH and stands for mAlau in the previous line. II. The details of the worship. 7. Read siddhamanti for siddhamani. 9. Jacobi reads a aq ftifafa eg and looks upon a as synonym of a. But it does not suit the context here. There is reference to flowers, fried rice, fruit and leaves, that have got to be offered to a god in the later stages of worship or Puja. Then comes the offering of incense and lamp. Our line refers to the latter. Translate 'Having put it into a copper-plate (aq), he moved round the Artikya incense (or lamp)'. III Worship Continued. 8. Read jiNa kAlahoi (ya) kaMtirillaMta. kaLahoya is kaladhauta gold. IV The five-fold worship-Pancopacarapuja-described in detail. 3 Read riddhisamidamaNohara phasiM. 4. surasanbhahieM - an Adj. of dahieM; surasAbhyadhikena. Jacobi reads sura sanbhAeM and gives a as a synonym in the glossary, which does not suit at all as an Adj. to af. He himself is conscious of it; when giving the reference to our passage under, he places the question mark. Again daDavaDakhaDa of his text makes the metre faulty. Read daDavaDaravaDa as edition does. 5. Jacobi has two lines more after this line. They are faggoqu (Sic) / pittaddeyapaNAsaNagaNNe ( Sic) // sarasasumiThTharasahiM jiNu nhAviu / kammakalaMka puMkupavahAio our They are not required, as, in the Pancopacarapuja no other as are used for bathing a god than milk, curds, ghee, sugar and honey. Again the first line is both obscure and metrically faulty. Jacobi naturally does not know what to do with words like pittaddeya 10. for-Made a sound.' Jacobi reads for (?). 11. gumagumantasara mahuramaindahiM bahalakuMdavacakuMdatakuMdahi - Kunda and Vacakunda or Macakunda flowers are here mentioned, with bees (for) humming inside them.' What is taku~da ?

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87 V. When the Ring has worshipped, two sage-like Caranas also come and worship. They are pleased to find a king so devoted to Jina-doctrine and compliment the king upon it. 1. jayanaMdaNa and ahinaMdaNa are their names. 6. One who, without attachment to it, bathes in milk, he indeed belongs to the Tirthakaras,' Meaning thereby that it is very difficult to live in the midst of enjoyments and yet not to be attached to them. 10-11. The king, however, says that without proper initiation (fan), it is not possible for a layman like him to attain to purity of mind, speech and body. VI The king expatiates on the difficulties of a layman trying to attain purity of thought, speech and body. The sage points out the way to do that. It is self-restraint. 4. Read are, the Prakrit for f. gre is misread. 8. cakkhihi is due to attraction, from cakkhu. VII The king asks further questions, viz what are the eight basic qualities, the fine gunavratas and soon. 3. For savAyahaM read sAvayahaM. VIII Ahinandana tells him what are the eight qualities, the fine subsidiary vows. Three of them being Jivadaya, Satyavacana and Adattadana. 7. Read gg for ffy. IX The fourth Anuvrata is explained. It is Brahmacaryam or Kamavirati. 2. Perhaps ant or better fagi? We have seen a and being mistaken * for each other, as they are very similarly written in Jaina Mss. 5. Read safe and wait together. 9. Read fay and ae separately, 'If one knows that a woman is a Vesya.' vesa bhaNivi, Mar. vezyA mhaNUna. Sk. idiom would be vezyeti kRtvA. X. The fifth Anuvrata is explained. It is Aparigraha. All the five are again mentioned for emphasis. XI. The three Gunavratani are mentioned and explained. XII. The four Siksapadani are mentained and explained (1) Jinavandanam, (2) Posahovavasa, (3) Daravikkhanu, (4) Sallehana. SANDHI XVII The story of a Brahmin with his sons Suvakka, Duvakka, daughter Tiveya and her husband. The latter's failure in doing the errand of the King of Kampilya, brings calamity on all. 1. The Prince asks the sage, why the Vidyadhara Manaveya should have helped him. The sage says it was due both to his pious, tranquil character now, and to things done in a former birth. 6. Fw-27 10. # is Insrumental sing. of the pronominal base It is not necessary to compound it with my, as Jacobi's edition does.

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88 10. Read fry for fey. For confusion in distinguishing between ry and see supra. II. The sage begins to explain. There was king at Kampilya and a Brahmin. The latter had two sons Suvakka and Duvakka. The minister Vimala gets jealous of them on account of the king's favour to them. 6. It is better to read FigAGOUTTATUS as a long word. 11. Af of Jacobi's edition is due to a misreading of fa. 13. He in Jacobi's edition, for Free, is evidently due to the misreading or miswriting of the #. For similar mistakes see supra. III. The King once wanted to send a man to go the King of Simhaladvipa and the Brahmin Vasavadatta recommended his son-in-law. Upon the minister finding fault with the latter, an altercation ensued between the Brahmin and minister. 8. PETIT etc.-Jacobi reads Hetty separately, as a vocative. Not bad. But our FETITAE makes capital sense, as meaning 'stupid people tremble in assemblies of great kings.' 10. Read #fafe, with a short fa. IV The minister was incensed and resolved to have his revenge on the Brahmin. In the niean-while the son-in-law set out. 7. Gay-Means of livelihood, Cf. at a siyay act fang in V 5 below. 8. Read fans and ifa separately. V The son-in-law's errand made his Mother-in-law and wife anxious. When after a long time he had not still returned, the king also got anxious about him and the present. Duvakka foretells the return of his brother-in-law. in four days. 1. Jacobi's first half is metrically faulty. It runs at fa UEH TIA TOE. #3 will mend matters. 6. First word of latter half in Jacobi is sitas, which must mean aitau and nothing else. Is it misreading ? The only other place where Jacobi's as the word is VI. 12 below, where it reads sitaat fa. Our edition has a clear staets which is correct. Is staat fa due to bad splitting up? Very likely. VI. The Minister said that Duvakka should not raise false hopes. Duvakka reaffirmed his statement. An altercation ensued. Duvakka said, "Whoever turns out to be false will be should be punished by people.' 4. Read 7 for *, which is a misprint. 6. fans and ifa have got to be separated. .. 7. fa fui afa facrar-He will still be late by several days.' VII. The King stopped them and asked them to refer to an authoritative person, who would settle the dispute. They went to a Yaksa and asked him when the King's messenger would return from Simhaladvipa. VIII. The Yaksa told them how the messenger had squandered his

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89 Wealth and how he would return a veritable beggar on the thirtieth day, The two disputants then returned to the court. 6. Separate fans and fat. IX The two returned to tell the king what the astrologer had said, the one doubtingly, the other believingly. It happened that the messenger returned on the thirtieth day. 11. Jacobi's edition reads 36E TE and fuafar as separate words, which is scarcely correct. In that case gas and 73 can only mean the Brahmin messenger; but we know that he is not geht, much less can we call him . Joining the words as in our edition, we get very good sense, "With an angry threatening brow, the king said, etc. Combine gore effea (C). X The king was angry and sent soldiers to take the Brahmin's son-in-law captive. The whole family was under royal displeasure. 5. The latter half lacks one syllable. If we read gefefa, the number of syllables will be made up and the sense too clear. . 10. Jacobi's edition reads after separately, which is scarcely correct. qe remains in the sentence without any syntactical connection. Join qe fata as in our edition. 11. Read fagorga ergiaft. Jacobi's edition reads fagurgafe and gift separately where queft, by itself, can make no sense. 12. We would rather expect aufe in the latter half, to correspond to Tere in the first. SANDHI XVIII How Suvakka, Duvakka, Tiveiya etc. were reborn, all somehow in connection with Bhavisa. 1. Duvakka went to Khullaka, the astrologer and told him how his words had wrought disaster in his family. Khullaka was sorry and preached Duvakka philosophy of life. 7. The fregift' Agama quoted again. II Duvakka, despairing of appeasing the king, assumed Jina-garb and after death went to Suhamma syarga. His mother Sukesa also took to Jina's teaching and after death became Indra. III They then are reborn. Duvakka as Manavea, the Vidyadhara and Sukesa as Ravipabha first and the garbha of Bhavisanuruva afterwards. IV The prince then asks the sage what had happened to the messenger, Suvakka, Tiveiya, the wife of the Brahmin messenger, etc. Suvakka became a serpant. 1. Tiveiya got her husband released by an appeal to the king. 2. faeigh-Can not mean faara: as Jacobi suggests in the glossary. It has to be connected with faxr-to do to.' s fastys-what has been done to, [Bhavish 12]

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90 5. sftate-Through grief for relations.) Jacobi reads groente which does not make any good sense here. 7. Read sudummaNavaMtae for sudmmnnvNte| 8. Read fas tras separately, V The husband however, repenting of his life, wanted to put an end to his life. The wife cheerfully agreed. And they died together happily. 1. Combine FTTHEWfa and separate atra from it. VI The two went through various births. The husband became the Yaksa Manibhadda (who had borne the Vimana of Bhavisa) and Tiveiya for a time becomes Rohini. She will become Bhavisa's daughter. 2. For benivi read vinivi. * 8. eller for of Jacobi's edition is preferable, as it avoids repetition. We have already got this for at the end of the first half. VII They then return to Gayaura, where people hail their return with acclamations. Manaveya goes back to his place and tries to put the serpant (his brother Suvakka) on the right path. VIII Bhavisa living happily in the company of his wives gets four sons 1974 etc. and two daughters are and parti. 8. Our edition rightly reads got qofer jeg separately. The people of Bhavisa danced for joy in great tumult.' Compare Mar. 1140. IX A great sage named Vimalabuddhi comes to Gayaura, and the king with his wives, children, relations and citizens goes out to meet him. X Bhavisa then worships the Muni with great ceremony. 9. Separate tivAra from dhAra. XI Bhavisa tells the Muni his story very briefly. XII The Muni speaks about the stages of life and since it is fleeting, advices religious life to all. XIII If life had been permanent and its pleasures eternal, would great sages have renounced it ? This advice sinks deep into Bhavisa's heart and he begins to get sick of life and its pleasures. SANDHI XIX The story of minister Vajjoyara, his daughter, whose husband is a gambler, and a merchant Dhanamitta, with whon the daughter of Vajjoyara falls in love. A sage's advice to them all. I. How Bhavisa further asks the sage who he (Bhavisa) was in a former birth, who he will become hereafter etc. 8. Jacobi in foot notes suggests gray for fifa, but it is not quite necessary II. The sage tells him the story of a king Mohoyara, his wife Dhara and minister Vajjoyara. How Vajjoyara's son-in-law is a gambler, a thief and a libertine in one,

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91 5. His misread for ao. Join the latter to Arag and read scagat Trg etc. Jacobi's edition reads correctly. 6. Separate faz from FT. 9. Read et and entra apart. 12. 79-is evidently o r etc., as in Jacobi's edition. III Vajjoyara's daughter one day sees a merchant's son Dhanamitta and falls in love with him. 1. Separate varajuvai from nirAriu. 4. The latter half has one Matra more; the therefore has to be regarded as having one Matra only. 9. Read ranemaife together-Sk. Aquasanit. IV Her friend Gunamala, wife of Dhanamitta, observing the love-lorn condition of the minister's daughter, asks her the reason, 9. qi wnrativa attached to you' makes capital sense, Jacobi's gener is unmeaning. V Vijjoyara's daughter tells her frankly how she had seen Dhanamitra and how she was in love with him. Gunamala proposes that her friend should get her wish fulfilled, but the latter despises the proposal. VI She confesses that it was unfortunate that she should love him: but she also knows she is a married woman and as such must regard Dhanamitta as her brother. 8. Separate fa and a VII Gunamala here-upon begins to love the Minister's daughter more and more. The Minister too, out of affection for his daughter, makes Dhanamitta purveyor to his king. People hail it with delight. The minister's daughter and Dhanamitta become both devotees of Kosiya and secretely continue their love. VIII & IX Dhanamitta has a friend Nandimitta. The two manage all business in the town. In the mean-while people get scent of Kosiya's hypocracy and are infuriated. Another sage Samadhigupta comes there and exercises great religious influence over the king and the city. 9. Read of a sofaefers together. 13. Et is qe lengthened for the sake of rhyme. X How Samadhigupta explains the tenfold duty to them all ' and expatiates on the sorrows of worldly life. How human life is very difficult to attain. XI How it was still more difficult to get birth in a good family and how, having got it, to utilise it properly. XII On a question of the king, the sage says that liberation was possible to a follower of Jina. The things necessary are ta, quia, 19, arfta mitet etc. 4. Read jaramaraNAvattha for jaramaraNAvaccha.

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92 5. Read agefor anfor after we for aggafonfuaftaces. 11. Separate loha from virudu. XIII Further principles of Jainism explained. XIV The sixteen obstacles, the four Kasayas etc. explained. XV Conclusion of the Muni's exposition. XVI The king and the minister like the muni's teaching; other people too leave off going to Kosiya and turn to the new Muni. SANDHI XX I Dhanamitta and Nandimitta keep going to the place of Kosiya. One day Dhanamitta says to Nandimitta, 'Friend, Gunamala keeps wondering at your very meritorious behaviour. Will you go and see her.' The latter declines, saying that he never goes to his house in the evening. II Dhanamitta says some one in his house is attached to Nandi. The latter should therefore go. The latter again declines to go in the evening and dine with him. He has had bitter experiences. 3. 'I had not marked so long, that you had not visited my place of an evening. I shall therefore not let you go unless you tell me., Read a farfars instead faerferers of the text. 10. -Infinitive. III Nandimitta, who has had enough bad experience of nisibhojana, persuades his friend to give it up. The latter protests, saying that the whole army and attendants of king Pahanjana dined by night; but for the sake of his friend he is ready to give it up. -Compare xvi 8, 1. 4. The first line lacks one syllable. Read like Jacobi aft fte si re alajjiu 12. Read far together. "From today, hence forward.' We would rather expect a form like . That this can be an equivalent of fa has apparently escaped Jacobi, who gives gaf as its synonym. What can it mean? Rather from -beginning. IV Dhanamitta has from that day begun to become devout and follows Jina's religion. V Still he and the minister's daughter keep going to the anchorite Kosiya. The latter, deserted by people, nurses hatred against Vajjoyara, who has dissuaded people from going to him, and dying in that mental state, becomes Asanivega, the fearful demon in Tilakadvipa. Vajjoyara too dies while fighting for his king. VI. His death is a serious blow to his daughter Kirtisena. She faints and is revived by Dhanamitta. Her lamentation. 2. Read aft and a separately. 3. Separate pavaNa from situ. The latter is connected with caMdaNaraseNa..

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93 4. Spyfas ar--The adjective has the neuter form, alt hough the noun ata is mesculine. But this is a phenomenon too common in Apbh, VII. Further lamentations of Vajjoyara's daughter. 6. f &_Compare Marathi is afst means therefore the fond behaviour (with dear elderly persons) of fondled children, 8. For sifa etc.-Has got to be connected with are farno in line 10. VIII Dhanamitta then offers consolation and advice. There are occasions when courage is put to the test and one should stand them. 3. Separate guNa from vallaravihoi, which is an object of sumaraMtaha. 4. Combine (0) Fy-Dying after a dear person which is done by cowards.' IX Vajjoyara is born again as king Yasodhana in Tilakadvipa. Kittisena passes life in a devont manner in the company of Dhanamitta and Nandimitra. The latter, following Jina-religion, starves himself, and dies the death of a Pandita (i. e, a wise man). He becomes the king of Gods Viddyut-prabha in the sixteenth heaven. 2. Faros atia fagetrage can not mean Sk. go here. She two cast (or threw) 'dalu' in Tilayadiva.' How could she know that her father would go to Tilayadiva? Knowing that, what could she have thrown out there? X He gets a beautiful and youthful form and looking about is astonished to see himself in a new world. He then remembers his previous life, and going to the place where he had left his old body, takes final leave of it. 2. Genfrafcqht should be read as one word; it is a contrast to to TSHIOT of the previous line. 3. Combine solaha and AharaNa. 4. Bafony is one of the four kinds of knowledge, which are afa, ya. stafa and a .. XII How Dhanamitta, his parents and Kirtisena follow the Jina-law and become purified. The mother observes Suvapancami for 67 days. XIII Dhanayatta and his wife are reborn at Hastinapura. Their son, who had gone to the Gaudas, was struck by lightning and then born again as Bhavisayatta in Gayaura. XIV Both Gunamala and Kirtisena are sorrowful on account of Dhanathitta. The former abandons all auspicious signs of conjugal life and assumes various vows. After death she becomes Bhuvala's daughter. The latter. after death, is born in Tilayadiva and becomes Bhavisa's wife. Vajjoyara, who was born as Yasodhana, was, together with his subjects, devoured by the demon, who was no other than the anchorite Kosiya. XV The sage sums up by saying that they were all happy then, on of the good deeds they had done in previous births. The lines on the wall of Jina-temple in Tilayadiva were written by the lord of Accyutasvarga, who was no other than Nandimitta, the friend of Dhanamitta. 4. AMILCA

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94 SANDHI XXI Bhavi sayatta resolves to renounce, giving the kingdom to his son Suppaha. Kamala and Bhavisanuruva follow him. I All are grateful to the sage that he told them the story of their previous births. They request him to teach them the way to Nirvana. 1. Jacobi reads aunt and to separately. But it is scarcely necessary to do so. qus -the kingdom of the earth.' II Prince Bhavisa wants to renounce the kingdom and the world and announces his intention to all. III He returns to the palace and distributes rewards amongst people. IV How Bhavisa tells about the past happenings to his mother, who is happy that her son would be crowned king. She now wants to retire. 13. Read gartre together. V But Bhavisanuruva would not allow her to go alone. She would accompany her, leaving husband, child and kingdom to Sumitra. VI Bhavisa then calls together his father, king Bhuvala, Kamala, Priyasundari and others and tells them his intention of becoming a Jain mendicant. He entrusts the kingdom to his son Suppaha. 1. Jacobi has two as in the line, one of them being unnecessary, 3. fafafa-Jacobi's edition has fafara. 4. Read fafafa for fafourfa. Read frate for persary. 8. Jacobi's edition lacks one word of four matras, famae of our edition suits exactly. VII The son persuades the father not to renounce the kingdon life. A righteous king like him did not require renunciation. 3. Perhaps to read gafe fTETRAD? 'Surrounded by the moat of the sea.' Jacobi's edition reads afastsafe afteTaHa-which is not very clear. He is therefore obliged to give up to the limits of the world' as equivalent of freewa; he is of course doubtful. 4. gefa of our edition is unintelligible. Jacobi's fa should be preferred. Or perhaps Fifa is meant. The line then would read capitally. He aufa ( fr ) Ciccia dafa a The faufa. The latter half of the line in Jacobi (fears) ar are farufa is not so intelligible. Possibly there is a misreading of a fora. 11. Read it fros-9: afeg: 'houseless.' 13. 937 stands for gat. A afa: farl-I should know better than you.' Jacobi does not know what to do with qers. VIII When Suppaha sees that Bhavisa is obdurate, he proposes to his younger brother Dharaninda that he should become king and himself (Suppaha) with their other brothers would be his advisers.

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95 1. Read kiM bahuae ( iM ) uttapattiyAiM - What is the use of question and answer.' 3. Gen. of verbal noun, used as Infinitive. See note on I iv. 1. IX The younger brother declines. The mother, Sumitra, persuades Suppaha to obey the king-father; for has she not herself submitted to his will that she should not accompany him? 2. 'If any body (a king) does not give you ransom, we shall attack him and level down his pride.' 11. paTTi paridvaviu - paTTe (throne) paristhApitaH X Bhavisa and Kamala forgive people and ask their forgiveness, and set out, amidst the lamentations of people, for a forest. 5. Jacobi's edition reads the latter half thus - pacchA bhavisae pi (yasuMda) rIe for our fang ffate. Both, however, refer to Bhavisanuruva. XI How Bhavisa and his mother and wife assume Pravrajjya at the hands of a guru. The sight is too pathetic for the people to be able to control tears. 3. Jacobi's edition wants two syllables after faq in the latter half. Our edition has fafaq, which is exactly what is wanted. SANDHI XXII I. The people have a sleepless night. Every body is disconsolate on account of the renunciation of their most beloved King. 8. The first half lacks two Matras in both the editions. Supply or some such word. 11. Jacobi's afteng ang makes no good sense. The idea is this. 'One who slept in his palace in the close embrace of his young wives, how does he (now) sleep on the bear ground, his body exposed to wind?' II. The people that have accompanied him to the place of the Guru now go back to Gayaura. 5. Join pahaya to aNatapAle or read pahae aNaMtavAle. Similarly ANie for ANiya. Sumitra's grief. Dhanavai and Hariyatta's lamentations. III. 6. is to be read with a short q-almost like i. 10. Read ambara, to rhyme with kumbara. IV How Kamala and Bhavisanuruva, after a severe penance and abstin ence from food, die and go to the tenth heaven as Pahacula and Rayanacula, i. e. manly beings. 6. There are two matras more in the latter half. It we read (fafa shortened metri causa) the difficulty will be removed. V Bhavisa also dies by starvation, and going to the same heaven, joins his former mother and wife. They then once descend on the earth in order to see what their children are doing there. 4. Read ff. foro is a misprint. Jacobi reads for which is equal to facta:

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96 VI They then go to Gayaura, Tilayadiva, and travel over the sixteen seas. Returning to Gayaura again, they find that their children and friends are all gone. 1. Read ft for afft. To great mountain of that name is meant. VII. They are astonished that every one has perished. It is now Pahacula's time to transmigrate and dying, he is reborn as Suvasundhara, the son of the overlord of Ganadharvas. 4. This line lacks one syllable. Read faufa for fafa, and the line becomes flawless both as to metre and sense. Jacobi's edition has the right reading. 5. Read mAla niravi for mAlaNievi. 8. rAyahiM at the end of both the halves is equal to rAjabhiH (= rAjJai) and rAgaiH. Jacobi. reads *suhabhUahaM for suha rAyaMhiM and ciMtiyarUvahaM for ciMtiya rAya, which also makes capital sense. VIII. Rayanacula and Hemanjaya are born again as sons of Suvasundhara. The latter takes Diksa from Muni Sirihara and in the end dies never to be reborn. His sons go on a hunt one day and find a dear in love with a roe. 5. Read at are one word. 10. Jacobi reads together, which is surely not preferable to our reading.. 11. Jacobi reads gahAasattagau. He should either have read garuyAsattigaDa ( gurukAsaktigataH ) or like our edition garuyAsattiyau. IX The killing of the couple of deer by a huntsman, grieves them very much. They put their sons on the thrones, and retiring, meet death by privation and get final Nirvana. Thus ends the story. 3. Read . is either a misreading or misprint for . 9. The poet gives personal information. He belongs to the Dhakkada clan of Banias and is the son of Maesara and Dhanasiri. X The poet now admonishes the people. They should observe the Suyapancami now. 1. Join fafaquay together.' 7. Jacobi's afgf does not make as good sense as our aff. XI. He finishes by telling, how, as a fruit of Suyapancami, Bhavi satta and others were released from the bonds of action in the fourth birth. 1. tatt. This addres, and again in line 9 below, amply show that the poem was meant for oral recitation befor an audience of laymen. The often repeated nimhaNa, aho jiNu aMcahu of VI ii 3 and such other phrases also corroborate this view.

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Emendations and Corrections to Mr. Dalal's text. (The Roman figures indicate the Kadavaka and the arabic ones the line.) ____ 10 avaruMDai XI 2 muhamaMDaNu saI 3 appuNu saI 6varu for avatuMDai , mahamaMDaNu siuM , appaNu siGa " saMkatu vatu varataruNi varatatuNi 9gharu " tatthaho " ahatu 0 0 0 SANDHI I 11 Read sAru for sAtu 9saMkara II 2 duddharavAvAri dugdharavAvAre 4 dhaNasaMpaya dhaNusaMpaya 5 kaha muvami kahamuvami III 4 varakaIhu~ ,, varakaIhi __ mahAsaIhu~ , mahAsaIhi IV 1 acchA , atthara 3 0saMcaehi ,, saMcayarahiM tattha ho 6 vaddhamANu , vaDabhANu V1 kulajaMgala , kutujaMgala 30vittividdha ,, vitti viDu V30kalamagohaNa kalabhi gohaNa 60avaruSparu 0avaruSpara parivaDiya parivaDiya 10 taru VI1 pasatyu 4 cakkesaha cakesatu 5 saNakumAra ,, saNakumAtu VI 3 divaDTa " 0divaDdu . -- 6 sAha 0sAtu vAru ,, 0vAtu VIII 10varu 0vatu 3 maNaharaNathaNiMduaraviMda , maNaharaNaccha jiMdaaraviMda 8 puravai , puruSa 146 saMpahAru , saMpahAtu sAru. 0sAtu 12 sumuhuttu' " sumahuttu X2 maviyaDa ,, suviyaha 4 kannAvakkhiehiM ,, kannAcakkhirahiM 8 aharaphuratiyAhi , ahatu phuratiyAhi 13 "ghatu " taMtu " payatyu XII 1 sAsaNabhattI , sAsaNibhattI XIII2 pacchapaNa samAsai, pacchaNNasamAsai 3 saviNaya kulamajAya,, saviNayakulamajAya XIV 3 amhataNu ,, amhatau 9 tivalitaraMgaI , tivali taraMgaI 6 guruvayaNu , gutuvayaNu SANDHI II I1pAuninnAsayaha , pAuninnAsayatu 9 aharu 12 paDhamaMkuru , padamaMkutu II 1 guruvayaNa "gutuvayaNa III 1 ghara IV 2 tAI taM ji taM ji tAI VI 8 guruvayaNa mi , guruvayaNaimmi VIII7 kaMti paI , kaMtipaI 8 maMDa valaMti maMDavalaMti x 13 Transfer whole line to the beginning of XI XI 10 dullaliya , dullalie XII 1 maMbhIsivi lacchie ,, maM bhIsi vilacchie 8 maggivi , maggevi metre requires ita" XIV2 sAvannu sAmAnu. The former is the true Apbh. form and often occurs else. where in the poem. 7 parihANaI , parihaNAI SANDHI III 16 jaNa maNi , jaNamaNi

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98 ., pariyaNi " tava 9 kandu for kaNDu 7 coraI coraha 13 pariyaNu aNujjua-vakaI , aNujju avakA __ maNi vvahai , maNivvahai XXII 12 kiM khavayaI , kiMkhavayaI III. 4 salalima sasalila XXIII 8 turiya? , tariva0 9 mayaNukovaNaMga0 , mayaNukovaNaMgu turiya pamuhAi ..., tarivapamuhAi. Ja12 mayaraMdarasi , mayaraMdarasu cobi reads toate and doubtIV 7 ahisiMciya phalamaMgala0 ,, ahisiMciya fully suggests TEET EIE as phalamaMgala. explanation. But our read10 juvANabhAvi , javANubhAbi ing gives a clear sense the V4 dappasAru , dappasADu people, i. e. the leader and viNayaviheya viNaya viheya others.' VII 5 para mahu . , paramahu | XXXIV 2 parimukkacAya cakkaliya0 , pariIX 9 vaNitaNuruha rahaseNa ,, vaNitaNu ruharahaseNa mukkacAyacakkaliya0 X6 piu , jaMpiDa 12 mahurasAI , muharasAI XI 4 sarUva dukRttaNu bhAsai ,, sarUvadukRttaNubhAsai 16 kovi cchuDu , kobicchuDu XII 8 ekkasarIra0 , ekkusarIra0 SANDHI IV vihi bhAyahiM , bihibhAyahi II 6 maMcchuDDu . for maM cchuDu XIII9 phuDu taDaviyaDapaTuttariNa,phuDutaDaviyaDa. 7 visariyaeNai , visariya eNai.JaXIV 5 tau . cobi's text lacks some words 8 karahaM tau in the first half of the line. vimaNNiuM vimaNi 11 muphakusu mattagau , mukaM kusumatta gau 13 Asi gahaNu AsigahaNu III 10 aimuttayamaMDai dubhaho,, aimuttayamaMDaidubhaho Navi saDa Na visau IV 4 saMjhateyataMbira sarAya ,, saMjhateyatavirasarAya XVI 3 NehamahAtaru . ,, Neha mahAtaru vita, ____4 kalitaruvaraho , kalitaru varaho V 3 gaya payahiNaMti , gayapayahiNaMti XVIII 7 bahu raivayaNAlAu , bahurai vayaNAlAva 14 saurisahaM . , sarisaho The XIX1 purisavvau , purisimbau former would be more in 3 suhapANiggahaNi , mahipANiggahaNi ___keeping with avagaNaMtaha 7 amhahaM , amhahiM, VI 1 suhisayaNamaraNabhau., sahisayaNa maraNabhau although the latter is not 5 NiruddhapavaNucchaveNa ,, Niruddha pavaNucchaveNa quite incorrect. Possibly the VII 8 viyappaesa , viyappae su s is due to the influence of 9putti cojju putticojju also the following word. _in 1. 10 and 11. XXI3 cAyadAyapADivAya, cAidAi etc. VIII7 0purusA iva ,purusAiva But the latter, though a bit raMthi palittaiM , raMthipalittaI obscuring the sense, is not 14 surai samattaI suravaisammattaI incorrect. 16 vihivaseNa , vivihivaseNa 5 mariMda ho and samahaDaviMda ho ,, nariMdaho ___NIsahasadutthaI , NIsahasudutthai sasahavindaho. Jacobi reads narindo.| IX 2 sukha ravaNNauM , suThuravaNNauM " karaMtau 6 vitattu

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99 6 sovaraNa for so varaNa XVII 6 phuliMduggilanto(?)for haviM duggilanto XIII 4 jassa mANaM , ussamANaM 7 karAluggadAdo , karAtuMgadADho SANDHI V 8 paiTosi taM , paiDro sitaM II 9 sapparivAra , samparivAu | XVIII 1 aggiphuliMda diMtu, aggiphuliMdadiMtu III 7 caritakulakamajutti , caritakulakamajuttu 5 DhaMDha vAlabhaDa bhoiya , DhaMDhavAla bhaDabhoiya IV 6gaDa , gayau. ya is me- AAI tumhahAma " tumhahArma 11 hariyaMdaNacacaMkiya ., hariyaMdaNa cacaM kiya trically redundant. maMDa jaNerihiM .. maMDajaNerihi |XXII 4devi vivaisaNAhaho,, devivi hUi saNAhaho 7 girimayaNAya , girimayaNAyara SANDHI VI The r is metrically useless; I 5 mahaNNavi khittI , mahaNNavikhittI and 77019 is the name occur. avibho0 , suavioi0 ring everywhere else. II 1 ajiya gaNa , ajiyagaNa. VIII9 viMdhaNasIla juvANa, viMdhaNasIlajuvANa. 4 caMcalajIvaloI , caMcalajIva loI . 1 ratuSpaladala0 , uppaladala. 6 maMchuDu " meM chuDu which lacks one syllable me- 9 emagai vi , ema gaivi trically. III 7 sovANapaMti kaya mokkhaho , sovANaIX 2 mi jjhINaparivAsaI , mijjhINaparivAsaI paMtikayamokkhaho ___11 saralaMguli sureha koma- saralaMguliurehakoma- IV 1 taMvatanhaI , tava tanhaI lakara lakara cautthi-avaranhaI, cautthiA varanhaI saMjhAvayava , saMjhAvaya va V3 paMcapayAru naha taMbira , nahataMvira ___ 10 kara mauli . 10 kiua-pamANa-Niuttu,, kiu apamANu Niuttu | VI 1 hiyatthi x8 0dasaNAyAmavihoeM,, 0dasaNAyAmaviohiM 5 sAsaNabhattI , sAsaNibhattI maimoheM , maimohi, 11 sivasAsayasaha0 , siva sAsayasaha0 - 9 paramatyu , paraityu VII 3 bahudukkha jaNerI ,, bahudukkhajaNerI XI 1 kariNi va roha0 , kariNivaroha. VIII 7 thiya muNivayaNa , thiyamuNivayaNa. 2 pihiyasiMgAri , pihiya siMgAri. XI 8 saMbhariu , saMcarita 7 kamalamahAsiriAyau , kamalamahAsiri XIII 10 girimayaNAyadIvi,, girimayaNAyaradIvi XIV 14niru XIII4 dalavadvivi , dala vahivi XV 2 muhibaMdhavaloeM , suhi baMdhavaloeM XIV 5 dIviMdIu , dIviM dIu 9 rayaNapuMjapuMjaI , rayaNapuMja puMjaI 10 sajjhasi vigayAI, sajjhasivi gayAI XVI20 jayakArivi , jaya kArivi XVI 5 thakkai tAma vihuru pavvajiu , tAma thakA viharU pavajiu. The line as it is, XVI 2 devi tUla , devitUla is metrically very faulty. XVII 8 vaNi vaisavaNariDi,, baNivai sa variddhi The readjustment removes 11 nAyamuha sijaI , nAyamusijjaI all the flaws. XVIII 2 acchahiM , acchami 7 niyavi kiu , niyavikira vijAharakIlahaM ,vijAhara kIlaI -8 maMbhIsiya , maM bhIsiya 5 sahanivvui , sahi nivvui , paMca payAra , karamauli , hiyati " nitu

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100 6 galiyagavva vavasAyaaNAyara for galiyagadhva- | vavasAya aNAyara 9 mayAdI XIX 2 mauatUlapallaM ki 3 kannosanniyavAhi 10 masikhapariNa XX 2 naM dAiDa XXII 9 para ittiu 7 bahuva mi XXII 12 mahi sAraviya ," mayaNAu dIu atUla paka kosaniya vAhi 4 vijjayalihiya 6 bahubaMdha 9 bhaMDAra "" " 5 bandhuyatti * duvvaya pavittie 0 8 bandhuyattu cari IX 3 poyaMtaravarabhavaNi 6 nivalacchii " " naMdAiGa dd " " bahu mahaMmi mahisAraviya ucca varAsaNa 14] uccavarAsa XXIII 4 visesavihoeM XXIV 7 puvvakiya sahakammi, puvvakiya sahakami visesa vidoeM SANDHI VII "" wr kasamaraho I 3 kammaraho The sa ma were evidently so read from a badly written . vijaya lihiya dw 29 " " " influenced by the foregoing vahaNa hi. 8 niya sahasa 1I 2 parivaDhiya 3 tare saha "" careless writing. 4 bhavittu bhavisayattu Metre requires only four syllables. jA esai 4 jAesai 8 aNujjuajaM paNauM "" III 10 bhAI V2 kulaMgaNa ho VI 3 dukkhamaddannavi ghittiGa,, masi khaSpariNa paraittiu "" " "" ,, aNujjua jaMpaNauM iM kulaMgaNa ho dukkha mahanna vidhi - ttiu 39 " " bahubaMdha bhaMDArahiM, latter ,, vanyuyattu " nivasaha esa parivaddhiya naresahaM due to 0 duvvayaNabhavittie banghayattu cari poyaMtara varabhavaNi niyalacchihiM 3 dotthi 5 sANu gaddahu XI 2 saiccha0 7 hua 8 salilaAvattaiM paramhapattaI * XII 7 ati XIII7 jANajaMpANa 8 0 sunitahiM vaNivi salila AvataI parammuha patta 9 AsannavidduraullAvaihiM,, Asanna vira ulla a saMti jANa jaMpANa 0 suniutta vaNi vihUi I 2 pavaMcua visuddha maNu II 4 parihacchu for afte XII 8 addhavahi viNigya dhAhii " sAzugaddahu " saittha0 " hUa XV 3 vara dr SANDHI VIII XIX 4 sA amiyeNa 16 vivAha kiya 33 " 18 tahiM ji mahAnaru II 1 avalaMbiyadhIriM 39 "2 ... 8 sayalasahi0 IV 4 vIracariu V5 niya varavilayahi 8 aNeya uvAya 9 0 saMgicchaNa "3 VII 3 daMsaNakohalapiya ittiu,, 39 "" 7 nihittacitta 9 tAI IX 5 sureNurayapiarIDa X 3 vaNapUrau XI 6 gujjhAvaraNagUDha suNiutta "" " " "" " "" 23 "" " tAi dw 5 amhahaM siya "" XVI 7 dukkhamahanavi Dhoiya "" " "" "" SANDHI pavaMcu avisuddha 0 parihatthu 29 yahi 0 vIraca niyavaravilayahiM aNeya vAya 0 saMgicchaiNaI " nihitta citta daMsaNu koha piyaitti sureNurapiMjarI vaNatUrau "" gujjhAvaraNagUDha suNiutta adavadiji viNiggaya dhAhihiM evaDaMtari amhahaMsiya IX dukkha mahatra viDhoiya sAmiyeNa vivAha tahiM mahAna avalaMba dhIriM

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101 " na eNavi pavara " cariyahi III 5 garuyadukkhaMtari for garuyaduttaMtari, un- | XXII 1 maMkuNamaccai for maM kuNa maccai less griat is Sk. gera 4 ehAvattha kumArihu ,, ehAvatthakumArie IX 4 tahavi hu , tahavihu dIvaMtari nArihu , dIvaMtaranArihu 5 suhamaMgalajaNajaNiyAyallaho , muhamaMgala- 6 suaihiM , suvaihiM jaNa jaNiyAyallaho SANDHI X 8 piyasaMdarimahaevisaNAhaho ,, piyauMdari maha I 8 tukkhAraturaGgama , tukkhAra turaGgama evi saNAho 13 iya emAi , iyaemAi 11 naeNa vi III 8 paurakammasaMkhevvau " paurakamma saMkhevvau x2 paisAravAru ,pai sAravAru V9 kAurisahiM kAurisa 7 ikArau , hukArau - VI 1 pauru 10 mahalla kaha , mahallaha, which 3 aNuThThi(?) aNihi lacks one syllable and is VII 6 lajaI lajjA metrically faulty. 11 maMbhIsivi maM bhIsivi XI 5 tehiM (2) , tAhiM VIII7 jaNavai lajaNauM , jaNavailajaNa 6 vahu Ariya , vahuAriya 8 piyaratulla , payaritullu 9 bhaya-bhIsai , bhaya bhIsai X2 kamalahi taNa kamalahiMtaNa XII 9 sahi kannantari , mahikannantari X6 siyatArahAra siyahAratAra XIII2 saviNayAe savisiThThala , saviNayAesavi-| x 4 cariyaiM siThThala XI 4 paurapamuhaM , paurupamuhUM XIV 10 samasajjhasihUa , samasajjhasi hua. XIII 1 pauru pamuhu~ , parapamuhUM XV 4 Add er in the beginning of 2 kurujaMgali vi pahANa , kuThajaMgali vi. the latter half; hA maTTha putta etc. pahAgaDaM Metre requires it. 4 purapauraho , pura pauraho 13 gahillIhuI , gahillI huI. 5 tibhAyavihi (hattau ,, vibhAyahi huttara 14 samaccharahaM , samaccharaho The emendation adopted is XVI 2 rayaNu pajalaMtau , rayaNupajalaMtau the reading of B with a 7 uvvahiu aMgau , ubahia aMgaDa slight change. It suits the XVII 4 kaMbukaMTha kaMdalie , kaMbu kaMThakaMdalie context and sense admirably, XVIII 1 tajA , najai XIV 3 saMmiliu , saMgiliu 6 saMcalla saMcalli 7 thiya maMthara cira lIla,, thiyamaMtharaciralIla saMvari avihAyau , saMvariavihAyau XIX7 vi saMkiu ,vi AsaMkiu Me XV 11 samAsieNa , samAsi eNa tre requires one syllable less. | XVI 10 mi cchitta paya rAyaho,, micchittaparAyaho XX 2 samiddhi ,, samRdi. which is metrically lacking XX 3 kaDakkhapakkhavikkheviM, kaDakkhu pakkhu in one syllable and hope. vikkheviM lessly confused on account 9 paNivAyau , paNavAiDa of bad joining of words. XXI 3 vahua navallAharaNiM ,, vahu anavallAharaNiM | XVII 11 duppavaMci , duppavaMsi 12 ubhaM kharija ubhaMkharija | XVIII 9 deva jaNagAriya , dehajaNigAriya

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" ekacau vayaNa , maMbhIsivi "tau taMDavi V2pahu 7maDakara " o vacca 102 SANDHI XI 7 para tautaNa for paratata taNa I 4 carapurisa for varapurisa 12 para savvui chajaha, parasavvu icchajjai 14 ekavau VII 8 suputtaguNakittaNeNa, suputta guNakittaNeNa II 4 deva siddhi devasihi 11jaMtau , jaM tara 7 aha raha aharai VIII 3 gharamammavehu , ghara mammavehu 9 deva paTTaNaho , devapaTTaNaho 12 maNasaMkhohi , maNisaMkhohiM III 2 kara mauli , karamauli IX 2 pakkhavAyaparituSThati, pakkhavAya parituSThahi 13 mahallatiyataMDavi , mahalla tiya taMDavi 9 niruvamagaivamAlaho , niruvamagaha tamAlaho IV 4 punimaiMduruMda0 , panimaiMdaruMda0 X 2 sA. , mA 3 kuDilavayaNapaDivayaNa , kuDilavayaNu paDi- 7 cirayAla , cariyAla XI 10 viggutta eNa , vigguttaeNa 12 maMbhIsivi XII 3 sijAvatti , sijAvatti 18 taho taMDavi nAyabhoyapallaMkatUli , nAyabhoya pallaMkatUli 9 pasAhiraM , pasAhio " maDakara 11 bhaNiyA ocimbiUNa , bhaNiyAo caDakara "caDakara cumbijaNa VI 2 naravainiyaDa , naravai niyaDa 12 ovadha 9phADiyanitta vIrajaya0.. phATiyanita. XIV4candappahapAya chitta..candappaDapAyacitta . phADiyanitta- AIV 4candappahapAya chitta"candapahapAyA cIra jaya0 SANDHI XIII 12 asiri vi sirivatta, asirivasirivatta I7 dharahu " bharahu VII 11 sayapiyavayaNihiM ,, siyapiyavayaNihi / III 7 sAyaraMtarapaesa , sAyaraMtarapavesa. IX 2 Drop afy which is metrically 9 khandhAri majmu , khandhArimajyu redundant. IV 1 bhayaMkara kuruvakAlaho,, bhayaMkarakuruva3sA vi samau varavilayahi, sA visamau kALaho aravilayahi ____13 niyaparivAracAru , niyaparivAra cAru X5 taMbolakusumasapavittaiM,taMbolakusuma supavittaI V9 naravaialaMghu , naravai alaMghu XII 10 muhadusaha , muha dUsaha VIII6 tuNhi , tumhi IX 1 ekavi SANDHI XII 2 niyajaNerapariNidae (1),, niyajaNeru pariNi. II 3 niyasuiNa , niyasueNa diu 5 SaDuraveNa , paDupaDaharaveNa XI 2 kovapaDicchio ,, kovipaDicchao III 8 jayaMtANa .. "jayaM tANa XII 2 bahugADhavarAhu , bahugIdavarAhu 20 icchae. bhIsivi(?) bhesivi - 25 jattha XIII 5 picchA micchA 29 anna sasattipamANu , annasabhattipamANu 10 daramalahu "dara malahu V9 muevi ., suevi 11 dhara daramalaMtu , gharadala malaMtu .19 vi aNakkheM viaNakkheM SANDHI XIV 20 puta majAya puttamajAya 11 parivadriyagavvahaM , parivaDiyagaAvaha VI 3 sAmaNi " sAmaNNu III5 a , ibha , evi " ittha e

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103 "avaloevi IV 8 savvahi . for savvahaM XX 2 khaNapariyatta visamasamasaMkulagai for khaNaIV 10 kaDuAviu , kaDu Aviu pariyattavisamasamasaMkulagai V. 3 saMmiliu () , saMgilivi saMsAradhammaho , saMsAra dhammaho V 13 para suhaDattaNu , paramahaDattaNu 6 saMtANi , satANi VI 4 utthAri (utthariu?),, utthari 12 mAmahaMsAli . , mAmahaM sAli 6 ahioyacaDiu , ahioya caDiu micchAmi ,micchA mi 9 hayabheri payANauM , hayabheripayANau SANDHI XV 13 kaDuAviu , kaDu Aviu 11 saMgAmi niyattae visami samattae , saM. VII 1 niyasaMtie (2) , nihasaMtie gAminiyattae visamisamattae VII 6 sadUlavayaNa , sahulavayaNa 7 pasAhAviyA dAviyA sA, pasAhA viyAdA ambhoha bhaDattaNi ,, abbhohabhaDattaNi viyAsA VII 10 sanna samAhaya " sannasamAhaya / 10 suvitthinnamajjhA , savitthenamajjhA VIII 1 turaMgama jutta , turaMgamajutta II 12 puvakkayasahakammahaM , puvvakyasahakammaI 3 bhaDathaDa , bhaDachaDa dhara " bara 9 rAyA , tAyA III 9 daramalivi , dara malivi 12 vaNivAvArakiya , vaNi vAvAra kiya / II[1 Amoivi pamoivi ,, Amoevi pamoevi IX 10 pucchaMtihi pucchaMtehiM IV 1 taha linaya , nahatilaya X 1 avaloivi 5 vAraNakesari , vAraNukesari 5 cUDAmaNi nAyamudda , cUDAmaNinAyamudda XV7kayA sArisijA .. kayAsArisijjA XI9mAe XVI2 tilaubbhava0 , tilaubbhama XIII 10 daramalaMtu , dara malaMtu SANDHI XVI XIV 4 para sakhaggu ,, parusakhaggu I 2 ahisiMciu , ahisiu 9 paharAura ayasamoha ,, paharAuraayasamoha II 7 siddhamanti ., siddhamani 11 milliu III 8 jiNa kalahoi , jiNakalahoi XV 3 kuruvaha IV 3 riddhisamiddhamaNoharaphaMsiM ,, riddhi samiddha 7 Arohiu AroDiu maNoharaphaMti 9 lalaMtajIhu , lalaMtu jIhu VI 4 pharasu 16 kaDuAviya " kaDu Aviya VII 3 sAvayaha , savAyaha XVI1 sAmisini sAmi sinni VIII7 DaMbhu 4 paya asatya payaasatya IX 2 viyAri (1) ., cayAri 10 carihiM 5 akhaliyabaMbhacAri , akhaliya baMbhacAri 12 para thakkara ., parathakkara 9tiya vesa tiyavesa XVII 9 paMcAlamaccha0 , paMcAlamiccha0 XI 1 vi cariu ,vicarita 10 pihumai0 , pahumai0 2 kaNNuakannahiM kaNNu akanAhi XVIII 1 payatta ho , payattaho SANDHI XVII 2 bhavisayatta ho , bhavisayattaho I 10 asthi , acchi 9 gaya vari II 6 jAisamunnayamANauM , jAi samunnayamANauM lauDapahAri , laDaDipahAri | III 10 maMtihi , maMtIhi XIX 1jaM pAviu | IV 8 vimala maMti , vimalamaMti , mA e ,, bhillira , karavahaM " parasu , DiMbhu , varihiM gayari japAviu

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VI3na 6 vimala maMti VIII 6 vimala maMti papphulliyavatta Metre's sake. IV 2 pAhu for 7 sudummaNavaMtae 8 piu rANa V1 maraNamanavi DhoiGa VI 2 binivi 8 sohiNi IX 3 daNadattie X 9 tivAra dhAra "" "" IX 11 ubbhaDabhaDabhiuDie ubhaDabhaDabhiDi ya paisi X 5 paisivi 11 pisuNa-pavesa-paraMpari,, pisuNavesi paraMpara 12 avarAhi vaMdaNabhattie XII 4 jaramaraNAvattha 17 ," avarAhu SANDHI XVIII pAhuDaI " II III 4 jaMpiDa jaM aliu 12 ajjupavitti V 4 aripurarAeM 29 "3 33 " ,, ,, maraNamahatra viDhoiGa beniva rohiNi "vaMda hatta tivAradhAra " SANDHI XXIX II 5 naravaivara nAmu 6 piya kamalakkhaNa 9 so cchuhevi III 1 varajuvai nirAriu 9 ta ijjanti VI 8 vi bhAi IX 9 parikkhaNauvihattie,, " vimalumaMti vimalumaMti paphulliyavattara for "> ,, naravai marunAmu piyakamalakkhaNa socchu hevi varajuvaini riGa taNu ijjatti vibhAi " 39 dammaNavaMta piurAuM "" "" parikkhaNa he - vihattie vaMdaNa bhattie jaramaraNAvaccha "" 6 vayasaNi nANi caritti rammu "" vayadasaNinANicarittiraMmu 11 loi viruDu loviruddha XIV 4 sAyAramaNAyAri viNioi "" 104 sAyArama 99 pAyAriviNioi SANDHI XX akkhau na vibhaki "" jaMpiu aliu " ,, ajju pavitti 29 with ari purarAeM VI 2 ghara sayalaloDa for gharasayalulou 3 pava "paNa VIII 3 guNa vallavihoi 4 aNumaraNakaraNu X 2 ukassanivaddhaparippamAthu ukassa nibada pariSpamANu solaha AharaNa vijJAvaccu 3 solaha AharaNa XV 3 vijJAvaccu II 1 ravi naM dekhaNahaM II 5 pahae SANDHI XXI aMtasa "} " putta rajju " pahuputta rajju sacchavAya ANie I12 taM asa IV 13 puttarajju "" V9 pahu puttarajju VI4 satthavAya VII parihAsata (?), uvaripariAsamaMta 4 samaMti savaMta 11 jo aNilau VIII 1 kiM bahuae uttapattiyAI,, joaNi lau 39 III 10 amvara V4 dikka VI1 maMdari VII 4 nievi lahavi "" " aNumaraNu karaNu SANDHI XXII 5 mAla Nievi 6 teya paNa 8 devaloi sahabhUahiM maNacitirUahiM 13 huu VIII 5 tavacaraNa IX 3 gaya 27 8 bidi khaMDahiM 23 X 1 ciMtiya suhanihANu 6 niyasivi bhareNa XI 7 suteya pahala 0 "" "" " ravinaMde khaNahaM " padaya "" "" " "" 33 "" 23 "" "" "" "" "" "" " "" kiMbahuu pattiyAI " hau ANiya avara Purifar maMdira nivi mAlaNievi teyapaNa devalo rAyi maNacitiya rAyi tava caraNa maya bihikhaMDa hiM citiya sahanihANu niyasivibhareNa sute pahacUla0

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105 II GLOSSARY. I have not given the places where the words occur in the text. This was found both unnecessary and tedious. Places are quoted where I have differed from Jacobi, or where I have satisfactorily expained a word left doubtful by Jacobi or where I have myself not been sure of the meaning. These latter places have? against them. I have indicated by D what I clearly think to be Desis, irrespective of whether they are so held by Hemacandra. Sanskrit equivalents only are given. "Skt.' is placed after words that are tatsama. Whereever possible, I have given Marathi, Gujarati and Hindi words derived from the Apbh. words. (M.G.H.) Such compound words only are given, one of whose members does not occur in the text independently. E.G. aiAra, where Ara (cAra) never occurs alone, or aMsuvAya, where vAya is not used by itself. Desi stands for Desinamamala of Hemacandra. Hc. Gr. for Hemacandra's Prakrit Grammar. Pai for Paialacchinamamala of Dhanapala. Pischel for Pischel's Grammatik der Prakrit Sprachen. akkhara-akSara ai-ati siddhakkhara-namo arihaMtANaM aiAra-aticAra akkhaya-akSatAH aTTha-adRSTa akSataM taNDulAdi dhAnyaM aimuttaya-atimuktaka , ,-akSata aimuttA- " " akkhANa-AkhyAna airAvaya-airAvata akkhANaya-AkhyAnaka aisaya-atizaya agga-agra aisayavanta-atizayavat aggi-agni aihava D-(vAyavizeSaH) aggima-agrima ___aihavasaMkhatUrakayaghosahiM III 1, 10 aggimitta-agnimitra a name. auvva-apUrva aggeya-AgneyI ajara-apUra-apUrNa aggha-argha aMsu-azru aMsavAya-azrupAta agghAiya-AghrAta aMsaya-aMzaka , -(=virAjita) aMsava-,, paguNaguNahiM agghAi3 XV 12, 3 akaja-akArya aMka-Skt. akkhai-AkhyAti aMkiya-aGkita 14 a ,,-arghya

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aMkura - Skt. aMkusa - akuza aMga - Skt. aMgaNa - Skt. aMgaNa - aGganA aMgaraha - Skt. ( = suta ) aMgAra - Skt. aMgiya- (aGgAni ) majaNabhavaNi tAhaMta aMgiyaXI 9, 4 aMguli - Skt. aciMta - acintya avaNa-arcana acariya - Azcarya accuya-acyata accuyanAha-acyutanAtha a name. acyuyasagga-acyutasvarga accugbhaDa - atyudbhaTa acchA - asti B. Ache acchara- apsarAH acchariya- Azcarya 0 acchi - akSi accheraya- Azcaryaka ajagara - Skt. ajIva - Skt. jIvAjIva ajoeM - ayogena ajoeM V 18,6 ajja-aya ajavakhaMDa - ArjavakhaNDa dezavizeSanAma ajA-AryA ajaya-arjita - AryikA 106 ajju - bhaya M. Aja, G. Aje aMcara - arcayati aMcala-Skt. aMjaNa-aJjana aMjali - Skt. aTTahAsa-aTTATTahAsa aTTha-aSTa M. ATha aTThayAla - aSTacatvAriMzat aTThama - aSTama M. AThavA G. AThamo avi-aSTavidha aTThi - asthi M. haDDI by Metathesis, aThalI aDDa-A aDDAiya- arthatRtIya H. aDhAI aNaicchanta - anicchat aNakkha - anakSa (= andha ) ettahiM vi aNakkheM XII 5, 19. Jacobi's anAkhya makes no sense. aNa: D - ( atruTita) aNaMga-anaGga aNajavakhaMDa - opp. of ajjavakhaNDa q. v. aNaja-anArya aNattha - anartha anaMta- ananta -anantapAla a name. aNaMtavAlu - anantapAla: * pAlu in Jacobi is a Sktism, aNAyara- anAdara (= kSipraM ) nihaNu nemi paraM ajju aNAyAra-anAgAra aNA - anAdi aNarAmaya - aratiH aNala-anala avaya- avidheya aNasaNa-anazana aNAivanta - anAdimat aNAvaleva-anavalepa aNAsa-anAza aNAha-anAtha aNiyanta D - ( - apazyan ) aNiutta-aniyukta aNibhaya-aniyoga aNicca-anitya aNiya-aniSTha aNimisa - animiSa aNilaya-aniya aNiya - anita

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107 aNubhaMcivi D-(anukRSya acc. to He.Gr. IV | aNovama-anupama 187 referred to by Jacobi, is | aNNa-anya old M. ANa, Ana unsuited). Perhaps ammaNu-aMciaM| aNNava-arNava meaning aNugamaNa Desi I 49 gives | aNNANiya-ajJAnin the clue. anugatya. niyaniyapai aNuaMci- aNNittahi-anyatra vi Ayau III 20, 8. atara-Skt. aNuattaI-anuvartate ( vartate, tiSThati) atula-Skt. aNukampiya-anukampita atuliya-atulita aNuja-anRju atoraNa-Skt. aNujjua-anRjuka athaha D-astabdha XIII 3, 5 Pai quotes aNuNai-anunayati thaDa under garvita cf. M. dhaDa aNuttara-anuttara attha-artha paJca anuttarasvargAH atthaka D-anavasara Desi I 14 aNavasara Or aNudiNu-anudinaM atthaka athaka (c. f. sakiya for sakiya), aNuppamANu-anupramANaM which means asthita i.e. asthira. aNubandha-anubandha XI 12,5 azurviviya-anubimbita atyamiya-astamita aNubhAva-anubhAva atthavaNa-astamana aNumarageM-anumAgeMNa asthANa-AsthAna aNumannai-anumanyate atthANiya-AsthAnika (=sabhAsad) aNumaraNa-anumaraNa atthAha-astAgha Desi I 54 M agAha AyAma aNumAlivi-anumAlya (mAlAM racayitvA) ThANesa M. athAka. aNumoya-anumoda atthi-asti A. Prakritism, for accha is aNumoyaNa-anumodana the regular Apbh. representaaNumoiya-anumodita tive of Sk, sa aNuyatta-anutti XII 7.3 atthira-asthira aNuraMjiyaM-anuraJjita adattAdANa-adattAdAna. aparigraha of theJainas aNurAya-anurAga aippa-adarpa aNurAiya-anurAgin adinadAna-adattAdAna aNuvalladi-anupAlayasi adiya-Adita aNuvAsiya-anuvAsita aha-artha M. Ada in AdapAva etc H. AdhA aNuvvaya-aNuvrata adyaratta-ardharAtra aNusaMga-anuSaGga addhavahi-ardhapathe aNusaMdhivi-anusaMdhAya ... aDua-adbhuta. karikarapavaraduabhueNa XIV 1, 5 aNusarai-anusarati I give both you and aNusAra-anusAra adu aNuharamANa-anuharata (=anukurvat) adhaNa-adhana aNuhavai-anubhavati aMta-Skt. aNeya-aneka aMtara-Skt. (=manaH) sadiyaMtara. ..

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108 aMtariya-antarita preceding forms khubbhae, lubhae aMtarivi-antarityA have influenced this one. arpayet aMtarAya-Skt. in the Notes on IV 7, 8 is less aMtarAla-Skt. correct. [tism aMtarikkha-antarikSa appaDikula-apratikRLa Sktism-or PrakriaMteura-antaHpura appaNa-Atman cf. M. ApaNa G. also aMdolaya-Andolaka M. AMdolA apamatta-apramatta aMdha-Skt. appamANa-apramANa aMdhayAra-andhakAra -alpamAna I 2,5 aMdhayAraNa-, . appasAya-aprasAda aMdhalaya-andhaH M andhaLA. appAyai-ApAdayati. taNu appAiu VII 8, 2. aMdhAra-andhakAra M. andhAra, andhera (G. | See Notes H. also) appANa-Atman M. ApaNa aMdhAriya-andhakArita appAiD-(saMdizati). He. Gr. IV 180. anna-anya appuNu-Atman Vul M. ApUNa annaDaya-Our text and Jacobi's reading apphAlaMi-AsphAlayati. M. AphaLaNe VI 1, 1. The Desi I 19 gives | abhaMjaNa-abhyaJjana titta:-tRpta as equivalent. But this | abbhaMjiya-abhyaJjita is an Adj. of suvapaMcami and so | abbhatthiya-abhyarthita highly unsuited. To prefer B's | abbhaMtara-abhyantara reading gorgt? See Notes. abbharahulla-abhyaINIya annanna-anyAnya abbhahiya-abhyadhika annANa-ajJAna abbhAsa-abhyAsa annAya-anyAya abbhAsai-abhyAsayati anneka-anyaika M. ANIka anbhutthANa-abhyutthAna annonna-anyonya abbhuddhagi-abhyuddharati apatthiya-aprArthita abbhudaraNa-abhyuddharaNa aparajiya-aparAjita Sktism abbhoya-Abhoga apavarA-apavarga STEHE-a people. See Notes apahattha-apahasta Sktism. abhaya-Skt. apAra-Skt. abhakkha-abhakSya apAva-apApa abhaMga-Skt. apicchaNijja-aprekSaNIya abhoyaNa-abhojana apicchamANa-aprekSamANa amaya-amRta apuja-apUjya amagga-amArga apUra-apUrNa amaMgala-Skt. appa-AtmA M. Apa H. Apa amaNUsa-amanuSya appA-arpayati amariMda-amarendra appae-arpayati One expects appar3a, but the | amala-Skt.

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109 amAyA-Skt. alaMkaraNa-Skt. amiya-amRta alaMkariya-alaGkRta Sktism amuNiya-ajJAta alaMkAra-Skt. amoha-amogha alaMkiya-alakRta aMba-Amra alaMgha-Skt. aMbara-ambara alaja-Skt. aMbila-Amla Vul. M. bhAmbila alajiya-alajita amma-amba alahaMta-alabhanAna amha-vayam M. AmhI, G. amhe ali-Skt. amhAraya-asmadIya. G. amhALaM, H. hamArA aliya-alIka amhArisa-asmAiza allAviya-Alapita ayaMga-acaGga(acAru) , , D-arpita V 19, 11; XIII 2,73 ayasa-ayazaH ____XV 11, 153 XXI 6, 11 Jacobi ayANa-ajJa reads stefas in all these cases. ayANiya-ajJAta. Also Feminine He has on his side the weight ara-The 18th Tirthankara.See Notes of Hc's authority who in Gr. arana-araNya Sktism for ranna IV 39 gives alivai for arpayati araviMda-Skt. alIDhaI-taM atthANu alIDhaiM laMghir3a X 2,5 Only aravilaya-varavilaya q. v. ___here. Adv. of laMDilaM. Quickly arahaMta-aI aloha-alobha arAya-arAga avaina-avatIrNa arAina-arAtrijJa ( na rAtri jAnanti te nizAcarAH) avaku-avAkyam V 17,1 avakkhu-apakSaM or avAkyaM with sporadic kha? arAINa-arAtInAM avakkhu kiMpi uppAyau XIX 4, 4 ari- Skt, avakkhae-avAcaSTe. gau pahupurau avakkhae kheviDa ari-are in ari ari XV 11,9Hc.Gr. has avakkhai ariura-Name of a city among the 15 synonyms of Eu arinayaraM- , " See Pischel $ 499. This Atmanearipura-Skt. pada is very rare in Apbh. arihaMta-aIn and in the Prakrits generally. aruNa-Skt. avakherai D-(=avagaNayati) 1 14, 2; II 9, aruha-aIt 6 This is to be connected with alaya-alaka the Noun kheri which means kheda , , D-=vidruma) Desi I 16 alayaM vihumaM | avagaNNai-avagaNayati / alayajala-IX 16, 9 for alayajAla changed avagAhaNa-avagAhana for rhyme with kalayajala avaMka-avakra alakkha-alakSya avaNida-avanInda A name alakkhaNa-alakSaNa avaNIsara-avanIzvara The same as above. alakkhiya-alakSita avattha-avasthA

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110 avatyu-avastu aviNaya-avinaya avaboha-avabodha aviNAsa-avinAza avamANa-apamAna aviNAsiya-avinAzita avamANai-avamAnayati aviyaDDa-avidagdha avayaraha-avatarati aviyappa-avikalpa avayava-Skt. saMjhAvayava nAI naha tambira V 9, aviyala-avicala 11. The parts i. e. rays of the | aviyANiya-avijJAta evening twilight. aviyAra-avicAra avayAra-avatAra aviyAriya-avicArita avayAriya-avatArita avaroha-avarodha avayAsa-avakAza avisaha-avisRSTa (=atyakta) tehaivi kAli aviavara-apara FELTE XIV 14, 5. Jacobi's avaraha-aparAha prasAdhita does not suit at least avarAha-aparAdha here. avahaMDaNa D-(=parirambha) Desi I 11 avisana-aviSaNNa avaruppara-parasparam avisAya-aviSAda bhavalakSaNa-apalakSaNa avisiSThya-aviziSTa meaning 'common, avalambiya-avalambita _ vulgar'. avaleva-avalepa avisuddha-avizuddha avaloya-avaloka avihattha(tta )-avibhakta. bhAiTuM puNu avihatthu(tu) avaloyai-avalokayati haraMtahaM X 13, 7 'Brothers, sharing avaloyaNa-avalokana common property' avasa-avazya avihAya-avighAta avasaha-apazabda aviheya-avidheya avasappiya-apasarpita asai-anAti avasappiNI-avasarpiNI See Notes -asatI avasara-Skt. asaMhamaM-asaMbhramam kAraNaM na yANimo asaMhamaM IV avasANa-avasAna 7,11 avasesa-avazeSa asaka-asakta avahatthiya-apahastita asagAha-asadraha avaharaha-apaharati asaMka-azaGka avaharaNa-apaharaNa asaMkha-asatya avahAra-apahAra asaMga-Skt. avahArai-apahArayati asacca-asatya avahiya-apahita X 8, 2; XII 6, 11; XIII asaTTha-azastam-forbidden or bad. lai ajavi __4, 15 Suits all these. kijjai taM asA XXI 1, 12. See avaheri-(=avadhAraNaM) Coll M. heraNe Emendations avikkhaNa-avekSaNa asaNiveya-azanivega A name avicala-Skt. asaNeha-asneha

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111 asattha-asvastha ahiThiya-adhiSThita asanta-azAnta ahiNaMdaha-abhinandayati -abhat ahiNaMdaNa-abhinandana -asat ahiNava-abhinava asanti-azAnti ahiNANa-abhijJAna asana-asaMjJa ahimantaNa-abhimantraNa asama-Skt. ahimANa-abhimAna asamatya-asamartha ahimuha-abhimukha asamANiya-asamApta aharamma-abhirAma asamAhi-asamAdhi ahirAya-adhirAja asaMbhava-Skt. ahilasai-abhilapati asammaya-asaMmata ahilAsa-abhilASa asaraNa-azaraNa ahiva-adhipa asarisa-asadRza ahivaha-adhipati asarIra-azarIra (alpAtheM nam) ahivAyaNa-abhivAdana asahantI-asahamAnA ahivAla-adhipAla asahAya-Skt.. ahivAsa-adhivAsa abhiniveza )in gharagamaasAra-Skt. orare XII 8, 10 asAsaya-azAzvata ahisiya-abhipikta asi-Skt. ahisiMcai-abhiSiJcati asaya-azvata. asau asaMbhau acchariu V 6, 10 ahisitta-abhiSikta asara-Skt. ahiseya-abhiSeka amarattaNa-amaratva ahIra-abhIra asaha-azubha aho-Skt. aseva-asevA A aha-atha Ai-Adi ahaMkAra-Skt. AiDa-Aviddha ahamma-adharma Aucchai-ApRcchati bhahara-adhara AuMcai-AkuJcayati ahava-athavA Aura-Atura ahavai-athavA Aula-AkuTha ahiya-adhika Ausa-Ayus ahiyarivi-adhikRtya Auha-Ayudha aviyAra-adhikAra Ajarai-ApUrayati ahioya-abhiyoga Aesa-Adeza ahiMsA-Skt. Aesiya-AdiSTa ahi-aghi or adhaH (1) AohaNa-Ayodhana ahiThTha-adhiSTha (adhiSThita ) muNivaru tavateyAhiu. | AkaMkha-AkAkSA XVIII 9, 11 AkuMcai-AkuJcayati

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AkhaMcaiD - ( = AkarSati ) M. khecaNeM, G. khiMca H. khIMcanA Agaya-Agata Agama-Skt. AgamaNa - Agamana AghuTa-AghuSTa AcAra-Skt. Ajammu-Ajanma Adatta D - ( Arabdha ) Apa D - ( Arabhyate ) ANa - AjJA M. ANa ANai - Anayati M. ANaNeM ANatta-AjJapta ANaMda-Ananda ANaMda-Anandayati ANaMda-Anandana AnaMdi -Anandin ANAva - AnAyayati AbhaMgaNa - abhyaJjana 112 Amalaya - Amalaka M. AvaLA G. AmaLo AmurIyaM - some dish eaten with curds XII 3,9 Amillai D.-(=muJcati) Amoya - Amoda Amoyai-Amodate Aya - AyAta or AyAtA G. Ayo, H. AyA Aya - idama; for AeM, eNa, Ayaho see Apbh. Grammar in Introduction Ayaya-Atmaja Ayacchalu - ( AtmAkSaraM ie AgamAkSaraM ?) jai niyameNa suNahi Ayacchala, XV 13, 6 where the question is of hear ing daily' some akSara, which must be AgamAkSara - Ayatta - Skt. Ayana- AkarNayati AyaMbira - AtmAmra Ayara-Adara Ayala - (= Akula=bhAkulitaM once ) sajjhasavasi varaMtu Ayalau, VI 20, 4 where Jacobi reads a wh. is unmeaning sahamaMgalajaNajaNiyAyalaho IX 9, 5 Ayallau jaNaMti paipariyANi IX 18, 10 parihari tovi tAsa AyallaDa XI 4, 17 Ayalara - Acalati. See calai. kesakalAu niyamtri Ayalai XIX 4, 6 aMgai mayaNAyalliyaI XIX 3, 13 Ayavatta - Atapatra AyAma - Skt. (=vaLaM ) AyAra-AkAra -AcAra AyAsa-AkAza AyAsa tilaya - AkAzatilaka Name of a city. Ayu-Ayus Arattiya - Artikya ( dIpa: ) AraMbhiya-Arabdha ArAma - Skt. ArAii-ArAdhayati Ariya- AryA Aruddai-Arohati ArUDha-Skt. Arosiya-AruSTa Aroha - Skt. ArohaNa - Skt. Arohiya-ArUDha Alaya - Skt. Alagga-Alana Alata-Alapita AlavaNa-Alapana AlAva AlApa AlAvaNa-AlApana AliMgaNa - AliMgana AliMgiya-AliMgita Aloya - Aloka AvaI - AyAti G. AbuM, H. AnA AvaggaDa - ApadgataH to parasaraNu maraNu AvagaDa VII 11, 6 pasarai samaha maraNa AvaggaDa XXII 7, 10 evahiM lahu nAha AvaggaDa XVIII 5, 7 See Note on the first

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AvaggaNa - AvaLUgana Avaja - Apa Ava-Avarta AvaNa-ApaNa Avatta- Avarta Avaya- Apad kavi Avai pattau VI 24,7 AvaraNa - Skt. | Avala-Akula kavaNu itthu maNi AvalaDa XII 13, 13=AulaDa, as it rhymes with surAula in the next line Avali - Skt. AvAsa - Skt. Avila - Avila Pai has AvilaM kalasaM AvIliya- ApIDita Avesa - Aveza Vul M. Avesa Asa-azva Asa- AzA M. Asa Asu - Azu ? Asu na kAiMmi XXII 7, 10 Asaya-Azraya in paMcAsaya. But in pahuAsae caMgau avasaru jANAvahi XV 11, 7 it is perhaps equal to pAsa = pArzve cf. M. AsapAsa AsaMkA- AzaMkA AsaMkai-AzaMkate AsaMgha - AzaMsA Desi I 63 asaMghecchAi; for derivation see Pischel $ 267 AsaMghai-AzaMsate - laMghate XIII 7, 2. AsaNa-Asana Asatta- Asakta Asattiya - Asakta XXII 8, 11 Asanna - Skt. Asama-Azrama Asamanta- AsamantAt 113 Asamudda-Asamudra AsavAra-azvavAra AsAiya- AsAdita AsADha - ASADha Vul M. AsADha AsAsiya- AzvAsita 15 Asi-AsIH AsIt and Asan AsIvisa - AzIviSa AsIsa-- AziS Aha-Abha Adaya- Aita AhaNa - Ahanti M. haNaNeM Aharai-Aharati AharaNa- AbharaNa Ahallai D - AsphAlayati. Ahalliya, Ahallau = kSubdha. This word can not be separated from illohalliya which also means kSubdha or vyAkula. Ahava-Skt. AhANaya- AbhANaka M. AhANA AhAra - Skt. AhAsa-AbhASate Ahuka - ? lakkhaNacalaNacaJcalAhukaI II 2, 6 Ahuta D - ( = abhimukha) raNAhuttakAle XIV8, 7 Desi VIII 70 huttobhimu Ahoya - Abhoga i i - for ji in tAsara, jetthas etc. ika-eka ikkhaNa - IkSaNa icchai - icchati icchiya - Ipsita or icchita 0 i-diSTa 0 ittahiM - (atra ) ittiya - ettiya >> bI 12 itha - ettha ithu - etthu iMda-iMdra iMdavAya - A name iMdiya - iMdriya iMdIvara - Skt. iMdu - Skt. iMdhaNa - indhana M. H. imam idam Prakritism

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iya-iti iyara - itara Old M. yera, yeru iva - Skrt. idda-Skt. iharati-iha and rati in M. AratI paratI ihu-iha I Isa - Iza Isara - Izvara Isi - Ipat uaya-udaya ahi- udadhi uya - udita ukkaNThaya-utkaNThiya ukkara- utkarSa ukkoNa = ukkovaNa ukkoNa - utkopana u ukkhaya- utkhAta ukkhabhiya- (uttabhita ) from ut + skabhU ukkhaNai - utkhanati M. ukhaNaNeM ukti-utkSipta Baas - utkSipati ukkhevi - utkhanituM Absolutive for Infinitive, very usual with our poet. to putu tumha ukkhevi Au XV 4, 6 'who came to root you out' ukkheviya - utkSepita ugama - udgama M. G. ugama uggina - udgIrNa uggilai - udvilati in M. ugALA H. ugAla ughADa - udghATa M. G. H. ughADa aghADiya-udghATita ugghosa - udghoSayati ucca - Skt. uccaliya- uccalita uccalai--uccalati To lift up M. ucalaNeM H. ucalanA 114 uccAiya-uccaiH kRta, both literally and figuratively. Lit. tuhuM savimANu jeNu u0 XVIII 66, u0 suhisayaNa vindu fig. XLV 20, 15 u0 viggahu samau teNa XIV 5, 5 etc. uccAra-uccArayati - una ucchaMga-utsaMga ucchanna - utsanna ucchala D - (kSubhyati) M. usaLaNeM, H. uchalanA ucchava-utsava Vul M. ucchava, ucchAva uccha-utsa ucchADiya D - (AcchAditA, stRtA ) ucchAda - utsAha Vul M. H. ucchAda ucchu - ikSu M. UMsa, H. Ukha ujjaya-udyata ujjama-udyama ujjamaNa - udyamana M. ujavaNe Finishing of a vow with a feast. ujjamita - udyamita ujjala - ujvala M. ujaLa ujjavaNa udyamana See ujamaNa ujADiyaD - ( uccArita) devastated M. ujADa (karaNa) ujjANa - udyAna ujjAliya-ujvalita H. ujAlA ujjua-Rju M. ujU ujjoya - udyota ujjo - udyotayati ujjhA - upAdhyAya G. ojhA ujjhaya - ujjhita uTha - oSTha M. G. oTha uTha -- uttiSThati M. uThaNeM H. uThanA uThAva - utthApayati M. uThAvaNeM H. uThAnA uDDuyaNa - uDDugaNa uDDAvai - uDDAyayati M. uDavaNeM G. uDAnA 0 uNiya - guNita ( viDaNiya ) utta-ukta uttama - Skt.

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0 utta - putra ( vaNiutta) uttara - uttarati M. utaraNeM H. utaranA uttaraNa-Skt. uttharai D - (= AkrAmati) Pai utthari ovaggiyAiM akkantaM. Also Desi I 169 uttarAvaha - uttarApatha North Western India west of the Sarasvati uttAriya-uttArita M. utAralA uttara - uttIrthAni VI 13, 9 said of ships | ubbhaNDa - ugaNDa going into the sea ubbhantaya- uddhAMta uttuMga - Skt. utthallai D=ucchalai which see. Pai utthalliya mucchaliyaM H. uthalanA utthAmiya- utthApita VI 17, 9 udaya - Skt. uddaNDa - Skt. uddAlai - uddAlayati uddIviya-uddIpita uddesa - uddeza uddei - uddizati uddha-Urdhva uddharai-uddharati udghAyao - uddhAvitaH udbhUya-uddhUta 0unna - puNya (kayannI ) unnaya - unnata unhALA - uSNakAla M. unhALA G. unhALo upAya - utpatita M. upAI yeNeM uppajjai - utpadyate M. upajaNe, H. upajanA 115 uppaNNa- utpanna upamivi D - ( utpatya ) uppara - upari H. uppara uppala - utpala upAya - utpAdayati upAyaNa- utpAdana upIliya- utpIDita ubAhuliyaD - ( utkaNThita) ubbham - Urdhvam bAlahiM ubbhaM khariu ta IX 21 12=very much cf. surasuMdarIcariya p 19 ubbha - khara - kesa panbhArA ubha - Urdhvayati Old M. ubhavaNeM ubbhaDa - udbhaTa ubbhava - udbhava ubbhinna- udbhinna ubhaya-udbheda ummAya - unmAda ummAiya-unmAdita ummAliya- unmAlita ummAhaya - unmAthaka ummAhiya- unmAthita ummAila - unmIlita M. umalaleM ummuha-unmukha ura-uras M, H. Ura 0 ura - pura ( gayaura ) uraya- uraga 0 ula - kula ullavai - ulla pati ullAva-ullApa ullAvara D ullapati ullUrai D - ( = truvyati) Pai ullariyamukaDiyaM Hc. Gr. IV 116 tuDernava AdezAH bhavanti of wh 3 is one ulloba-ulloca Tag - upadiSTa uvaesa - upadeza ukkaNTha-upakaNTha uvajuva - upayuta uvadANa- upadAna uvaddava - upadrava abhoya - upabhoga utphulla- utphulla 0 uvama-upama ubbAhula D - ( = utkaNThA) Desi I 136 raNaraNa- uvamijjai-upamIyate yANi uvaya - udaka puNu gandhovaraNa supavitti XVI 4, 5

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116 uvaya-udaya uhaya-ubhaya uvayAra-upakAra , ,-upacAra Uraya-pUraka uvari-upari aru-pUra uvaroha-uparodha jaru-jaru uvalakkhaha-upalakSayati Usarai-utsarati uvalakSaNa-upalakSaNa asAra-uttAra - uvalakkhima-upalakSita UsArai-utsArayati uvalagga-upalagna usAsa-ucvAsa M. usAsA uvavAsa-upavAsa M. upAsa upavAsiya-upavAsita e- he or are) An interjection, aluvasagga-upasarga .. though doubtful, in susAhUNa jo deha uvasaMgharai-upasaMharati e macaloe XII 3, 18 uvasaMta-upazAMta ei-eti M. eNeM or yeNe uvasappiNi-upasarpiNI See avasappiNI euM-etat uvasama-upazama euMji-etadeva uvasamiya-upazamita eka-Skt. uvasijai-uvavasijai, by haplology or for | ekalla-eka M. ekalA, H. ikalA metre eka-eka uvasevaya-upasevaka ekacaka-ekacakra uvasoha-upazobhA ekkA-ekAkinI ( Lit ekAcita) uvasohiya-upazobhita ekaMga-ekAMga alone uvahasai-upadasati ekkanta-ekAnta uvahAsai-, ekantara-ekAntara uvahi-udadhi ekameka-ekaika With a enphonic IV 7, 11 uvAya-upAya M. ekameka uviya-upeta ekamitta-ekamAtram (t) ekamittaehi kassa dijae uvvaggai-udvalgati (Akramate ? Pai. utthari suvibbhamam IV 7, 11 ovaggiAI akvantaM) Pischel 873/ ekammuha-ekamukha Mg. ovaggadI-apavalgati ekkayAra-ekakAra ekalliya-ekAkinI See ekalla uccaTTiya-udvartita ekavaya- ekapAda in Mbh.as a tribe of ubvattai-udvartayati unvattaNa-udvartana M. uTaNe mountaineers) ekavAra-ekavAra uvvahai-udvahati ekkAsaNa-ekAsana unbahaNa-udvahana ekkAhAra-ekAhAra uvvillai D-(for uvilai-prasarati ) Pai uvvelaM ekeka-ekaika pasariaM ettaDaya-iyat this Da is common in G.e.g. uvveva-udvega manahUM for mana

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117 etahi D-(atra) also idAnI in ettahiM mahumAsaho | olagga-avalagna AgamaNu VIII 8, 9 etc. oli-Avali M. oLa ettiya-iyat M. itakeM ollAva-ullApa etha-atra M. etheM, yethe olliya-Adita M. oleM ethantari-atrAntare ovaggai-See uvvaggai etthu-atra ovacca-apanaja A word in Maharastri, ema-evam He. Gr. IV 418 gives emva occurs in the Mah. gathas in emahi D-Hc. Gr. IV 420 emvahi-idAnIm XII 12. emAi-evamAdi From evamAi, loss of a whole | syllable osariya-apasRta M. osaraNe emeva-evameva osaha-auSadha eya-eka, and Demon. Pronoun osAra-utsAra eyArahama-ekAdazama osArai-apasArayati erisa-IdRza osAsa-ucchAsa M. usAsA elA-Skt. oha-ogha M. ohoLa (?) evaMkAra-Skt. ohaha D-(apasRta) M. ohaTI Desi I 166 evaDu-iyat M. evaDhA See Notes p. 136 ohaTTo osarie evamAI-evamAdi ohalla-Read ohulla as it rhymes with evahi-idAnIM phulla XIV 11, 5. evva-evam See ema ohuMjai-upabhukte evvamAi-evamAdi ohulla-(avaphulla, opp. of utphulla) Desi I evvahi-(emvahi-idAnIm ) See evahi 157, quoted by Jacobi has ohura esai-eSyati for khina. But is ohura-ohalla ? Doubtful. jAma na vairimuhaI ohullaI eha-eSaH-eSA or IdRza ehu-eSaH o XIV 11, 5. See vhulla ocumbai-avacumbati occhAivi-avacchAdha kai-kati oNalla-avanata (oNaa+alla Apbh. termin- kai-kavi vul M. kaI ation) Construe as adj. of skandha | kaiya-kRtA __ kesakalAu khandhi oNallai XIX 4, 6. | kaiyaha-kadApi M. (poetry) kaI oNAviya-avanAmita kau-kutas otyADiya D-(=avastRta ?) kaekacakku-kRtaikacakra omAlai-avamAlayati kakkasa-karkaza orasai D-(avatarati) He. Gr. IV 8 5 kakkha-kakSa M. kAkha, by Metathesis khAka avatarerohaorasau . kakkhaDa-(pIna!) pahuAesu sakakkhaDamANa 4.1 orAliya-See Notes p. 85 audArika the Desi II 11 kakkhaDo pINe does not usual sense in Amg. does not suit, also in X 4, 4 where it is suit. M. AroLI? an adi. of vayaNa. karkaza harsh seems olakkhiya-upalakSita M. oLakhaNe to suit

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kaMkaNa - Skt. kaMkhira-kAMkSi 118 kacarA D-Some entable M. kAcanyA, kaco-yA puNo kacarA pappaDA dinnabheyA XII 3, 8 kacola Da kind of pot M. kacoleM kaccha,-a country. See Introduction kacchava-for kaccha, like kuruva for kuru kacchAhiva - kacchAdhipa kaja-kArya M. kAja H. kajjA kajjala - Skt. M. kAjaLa kaMcaNa-kAJcana kaMcaNapura-kAJcanapRthivI kaMcaNamahi - kAJcanamahI kaMcaNamAla - kAJcanamAlA A name= kaNayamAla kaMci - kAJcI kaMcua-kaMcuka M. kuMcI kaMcullI - a bodice, to be tied with a string at the back. M. kAMcoLI kags - kartayati M. kATaNeM, G. kATavaM, H. kATanA kaThTha-kaSTa Vul M. kaTha kaThTha-kASTha M. kAThI stick, H. kATha kaThThamaya-kASThamaya kaDa - See kaDaya kauya-kaTaka M. kaDeM kaDakkha-kaTAkSa M. kaDAkhA with change of meaning kaDakkhai-kaTAkSayati kaDuya- kaTuka M. kahUM kaDuAviya - kakRta in the sense of "worried, worsted" kaDDhai - karSati M. kADhaNeM kaDhakaDhanta-kvathan (krodhena jvalan ) M. kaDhaNeM kaNaya-kanaka are-arraa kaNayanti - kanakakAnti A name kaNayateya - kanakateja A name kaNayadIva - kanakadvIpa Name of an island or country kaNaya paha- kanakaprabha Same as kaNayateya kaNayamaya - kanakamaya kaNayamAla - kanakamAlA A name; see kaMcaNamAla kaNiTTha-kaniSTha kaNira-vaNin kaNisa - kizAru, Desi II 6 kiMsAraammi kaNisaM kaNeri D - (=sphuraNaM ? ) Pai kaNI phuraNaM uvvahara samarasaMgamakaNeri XIV 2, 3 kaMTaiya- kaNTakita kaMTa-kaNTaka kaMTha - Skt. kaMDaas - kANDapati VII 3, 4 M. kANDArI - helmsman kaMDu - kanduka thambhiya kanDu kaiya nerAiya III 1, 9 See Emendations kaNNuakannahiM- karNopakarNeSu (through kannovakanahiM ) ahiM kaNNuakannahiM sIsai XVI 11, 2 'He (about him) is told from ear to earby good men.' See Emendations kattari-some warlike feat amongst the things learnt by Bhavisatta Dhokara kattarikaraNaparvacaI II 2, 7 kattiya - kArttika kaDakkhaNa- kaTAkSaNa kaDantariya D - (dArita) See kappariya below Desi II 20 kappariakaDaMtariA daliammi kaDappa D - (nikara) Desi II 13 Niare kaDappa M. kaDapA kaDAha - kaTAha M. kaDhaI kaDeM, kaDiyala-kaTitala kaThiNa - kaThina kaDila - kaTivatra Desi II 52 Nicchide kaDivatthe katthai - kacid Hc. Gr. II 174 kadama-karda kaDila after-kaTisUtra kaMta-kAnta

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119 kaMti-kAnti kamala-kamalasiri A name -kAnte kamalAeSi-kamalAdevI Same as above kaMtiura-kAntipura a town, about 20| kamalamahAsiri-kamalamahAzrI Same as above miles North of Gwalior; now kamalasiri-kamalazrI Same as above called Kotwal. kaMpiya-kampita kaMda-Skt. kaMpaNa-kampana kaMdai-krandati kaMpAvai-kampayati kaMdappa-kandarpa kaMpilla-kAmpilyA Name of a city. kaMdara-Skt. kaMbu-Skt. kaMdali Skt. A kind of ornament | kamma-karma M. kAma round the neck kambukaNTha kandalie kammayara-karmakara M. (poetry) kAmArI ravana IX 17, 4 kammadhara-karmadhara kaMndira-naMdina kammara-karmakara ef. Vedic karmAra. VII 1,3 kaMdukkai-? VIII 19, 17 See Emendations kaMdo-(=nIlotpalam) kammiya-karmika kanna-kanyA B. kane kaya-kRta kanna-karNa M. kAna kaya-kraya kannadhArI-karNadhArI kayaunna-kRtapuNya kannapaMguraNa-karNaprAvaraNa A mountain tribe | kayaMjali-kRtAMjali / kannADa-karNATa M. kAnaDA kayastha-kRtArtha kannAriya D-(=karNayoH aGkazena preritaH) AroheM kayanta-kRtAnta __kannAriu gaindu XIV 17, 8 kayamba-kadamba kannosannaI-karNopasanne (=karNamUle) "in whispers' | kayAi-kadAcid kannosannaI cavai jaNu 1 13, 10 kayAra D-tRNAyutkara) Pai kajavo kayavaro, kappa-kalpa (=kara ransome) so nAtthi jo na Desi IL 11 puDhe kayArakajava etc. mahu dei kappu XIII 3, 8 and others kayAvi-kadApi kappai-(dArayati) M. kApaNe, G. kApavu ... kara-Skt. kappaDa-karpaTa M.G. kApaDa karayala-karatala kappariya-(-dArita) See kaDantariya above karai-karoti kappUra-karpUra M. kApUra G. kapUra karaNa-Skt. kabburiya-karburita karaNAhivai-karaNAdhipatiH kama-krama karaNiya-karaNIya kamadu-kamaThaH (=bhikSubhAjanaM ?) Desi II 56| | karaMbiya-karaMbita Comm. kacchape bhikSubhAjane daitye ca kamaTha kararuha-Skt. zabdabhava eva. so kamaDha kahimi saMpAiu | karavAla-Skt. XIX 4, 4 Or possibly daitya-an| karaha-karabha evil spirit. Have you some-how | karAla-Skt. contracted the evil spirit karAliya-karAlita kamala-Skt. kari-karin

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120 kariNi-kariNI | kahai-kathayati karuNa-Skt. kahANaya-kathAnaka M.kahANI karoDi-karoTI kahi-kutra Konkani M. baiM kala-kalA kAosagga-kAyotsarga kalayajala-Watery pigment for the lip. | kANacchi-kANAdhi rasaNi aNaMgu ahari kalayajala XI 9, 10 kANaNa-kAnana kalayala-kalakala kANINa-kAnIna kalai-kalayati kAma-Skt. kalaMka-Skt. kAmadheNU-kAmadhenu kalaMkai-kalaMkayati kahu-kasmAt kalatta-kalatra kAI-kiM Old M.kAI kalami-kalama kAuM-kRtvA - kalasa-kalaza M. kaLazI kAurisa-kApuruSa kalahaMsa-Skt. kAmiNi-kAminI kalahoya-kaladhauta kAya-kAka kalAva-kalApa kAyara-kAtara G. kAyara . kali-Skt. kAraNa-Skt.. kaliya-kalita kAraNDa-kAraNDava kalaNa-karuNa kAriya-kArita kalevara-Skt. kAruNNa-kAruNya kallai-kalyam M. kAla with changed sense | kAla-Skt. GkAle, H. kala kAlAguru-Skt. kallANa-kalyANa kAhala-An instrument of the horn M. kallANamAla-kalyANamAlA A name kahaLA kallola-Skt. kAhAra-Cf. M. kahAra. kAhArakhora bhaDabhaMDabhora kavaya-kavaca XV 2, 10. Desi II 27 kAhAro parikavaDa-kapaTa khaMdhe-parikhaMdha-menial servant kavaNa-kaH punaH Old M. kavaNa kiua-cibuka kiuapamANa niutta V 9, 13 kavADa-kapATa M. kavADa kim-Skt. kavistha-kapittha kiMkara-Skt. kavola-kapola kiMkiNi-kiMkiNI kavva-kAvya kijai-kriyate Old M. kIje kavvaDa-karpaTa M. kAvaDI kittaNa-kIrtana kasa-kazA kitti-kIrti kasaNa-kRSNa kitti-kittiseNa A name kasAya-kaSAya kittiseNa-kIrtisenA kasAra-kaMsAra kiMdua-kaMduka kaha-katham kina-kinna -kathA kinnara-Skt.

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121 kiyattha-kRtArtha / kuMga-koMgudeza Modern Coimbatore and kima-katham Salem, roughly kimi-kRmi kucchiya-kutsita kiya-kriyA kuMciya-kuJcita kiya-kRta G. ki, H. kiyA kuhima-Skt. kira-kila Old M. kIra kuDila-kuTila kiraNa-Skt. kuDilla-" kirADa-A petty Bania, (here in ridi-| kuDumba-kuTumba cule) See Tribes and Castes of kuNai-karoti Bombay, Vol I kuNDala-Skt. kiriyA-kriyA kutiya-kutIrtha kila-Skt. kuddha-kruddha kilanta-kAnta kuMta-Skt. kilikiMciya-(kilivivAravaH kRtaH) Onomato-| kuMthu-Name of the 17th Tirthankara poetic for the note of the bird kuMda-Skt. lAvaka kupaha-kupatha kiliTTha-kliSTa kuppA-(kupyati) But in VIII 19, 9 and kilINa,-kiliNNa-klilanta __IX 20, 6 it appears to mean bhASate kilesa-kleza kumAra-Skt. kilesai-libhAti kumAri-kubhArI kivANa-kRpANa kuMbha-Skt. kiviNa-kRpaNa kuru-Skt. The name of a country and kisa-kRza its people. Also a kisalaya-Skt. kurukhetta-kurukSetra Indraprastha kisiya-kRzita kurujaMgala-kurujAMgala A country, Delhi prokisoyarI-kRzodarI vince of to.day kIDa-krIDA M. kIDa, with changed | kuruDa D-(vakra or caJcala) meaning kurula D-(kuTilakeza) M. kuruLe kIya-kRta kurulai D-(Akrandati) kIra-a people mentioned with khasa kuruva-kuru and port X 1, 11 kuruvai-kurupati kIrai-kriyate kula-Skt. kIla-krIDA kulakulai D-(Akrandati) kIlA-krIDate kulaphaMsa-kulapAMsana kIlaNa-krIDana kulattiya-kulatrI uttiya for ittiya owing to kuiya-kupita the preceding 3 kukuDa-kukuTa M. kukuDa-(kuMbhA) kuvara-kumAra M. kuvAra kukkhi-kuti kuvalaya-Skt. kukuma-Skt. kuviya-kupita 16

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122 kusarIra-kuzarIraM . 1 koha-krodha kusala-kuzala kiya=kiya kusalattaNa-kuzalatva kusAsaNa-kuzAsana khaiya-khAhita-khAba Pai vilumpiavamphi khaiaM kusuma-Skt. kSapita -------- kusumAuha-kummAyudha khagga-khaDga kuhaha-kuthyati decay of. jai uTThabhai to kuii khaja-khAya M. khAjA (karaMjA) ahaDajjhai to chAru Hc.Gr. IV 365, 3| khajar3a-khAbate kUDa-kUTa M. ko. khaMca. D-(karSati) M. khecaNe H. khiMcanA khaNa-kSaNa Vul M. khiNa kUla-kula khaNai-khanati M. khaNaNe kUva-kUpa G. kuvo khaMDa-Skt. kUvAra D-Plaintive wail, taM kUvAru maNivi | khaMDai-khaNDayati VIII 14, 1, ema karevi suiru kUvArau khaMDaNa-khaNDana IX 15, 12 kUva+Arava or rava khatta-kSatra G. khatrI kejara-keyUra khaddha-bhukta G. khAdhu keNaya-krayaNaka Old M. keNe-valuable khaMta-kSAnta kettiya D-kiyat khaMtavva-kSantavya kettyu-kutra khaMti-dhAnti M. khanta with changed kema-katham G. kema meaning keya kekI khaMdha-skandha M. khAndA 'kera-(saMbaMdhin) A possessive suffix | khaMdhAra-skandhAvAra / like taNa, taNiya khaMdhAvAra-Sktism keli kelI khappara-kharpara M. khApara kevala-Skt. khamai-kSamate Coll M. khamateM (gheNe) kesa-keza khaMpaDa D-(ArdI karoti) kesari-kesarin khaMbha-skambha ( stambha) M. khAmba keha D-kIhaz khammai-zAmyati koila-kokila G. H. koyala khaya-kSaya vul M. khaya-(roga) ko-kaH khayara-khacara koUhaLa-kautUhala khayAla-(khajAla!) taruSaMDa kokA D-(vyAharati ) M. kokaNe khara-Skt. koDi-koTi khariya D-(bhukta) Pai. khavakhariAya bhuttammi koDa D-Azcarya M. koDa But 'rough' would suit more. kodava-kodava See umma komala-Skt. khala-Skt. kova-kopa khalai-skhalati M. khaLaNe kosa-koSa khalabhaliya D-(=kSubdha) M. khaLALaNe kosiya kauzika A name khalu-Skt.

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128 khavaya D - ( skandha) Desi II 67 khavao khandhe | khora - A people kIrakhora khasabamvara X 1, 11 aas - kSapayati khoha - kSobha khoes - kSobhayati ga khasa-khasa people khAya-khAdita khAma-kSAma khAriya - kSArita khijai - khidyate khir3akI khitta-kSipta khivas - kSipati khINa-kSINa khIra-vIra i. e. payaH M. khIra & dish prepared from milk khuTTaD - ( = truTita ) M. khuTaleM Hc. Gr. XIV | 118 khuDai D- (=truSyati ) M. khuDaNeM khuda-kSudra khubhae-kSubhyate khura-Skt. khullaya-kSullaka khuda-kSubhyati khe- khedita kheja-khete cf. M. khAravaTa M. khijaNe kheDa-kSema OM. kheva kheDa D - ( = kheTaka) M. kheDeM kheDI D- (krIDAnauH) mudde kheDa D - ( = krIDA ) kheDDaya D- " kheDa D - ( ramate ) khetta - kSetra khema-kSema khera - khecara khera D-(= kheda) parivaDDiyakheraDa X 17, 5 kheri D khellara D=kheDra kheva - kSepayati kheviya - khedita khoNI- kSoNI i-gati inda-gajendra garava-gaurava gaggira D - ( gadgada ) gaMgA - Skt. gajiya - garjita M. gAjaNeM gaMjolliya D - ( romAMcitam ) Skt.. - gaNaNa-gaNanA gaNahara - gaNadhara gaMThi -granthi M. gAMTha gaMDa-Skt. gatta- gAtra gattiya gada-gadA gaha-gardabha tUNa - gatvA Prktism gaMdhovaya-gandhodaka salile emeva na ca kheDI XII 12, 16 gana - gaNanaM sArAsAraparikhkhaNagannai. II 2, 8 gabbha- garbha M. gAbhA interior gabbhiya - garbhin M. gAbhaNa gaMbhesari-garbhezvarI gaMtha-grantha gaMdha-Skt. gaMdhi-Skt. gama - gamanaM i. e. from that island, VII 3, 6. gamai - gamayati gamaNa-gamana garma = agam Prktism jeNa tudmANa pAsaM gamaM kuo IV 13, 10 pi-galA gaMbhIra-Skt. gaMbhIrattaNa-gaMbhIratva Prktism

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124 gammA-Amyate gAmiNi-gAminI gaya-ja gAra-kAra gayaura-gajapura Hastinapura, Capital of | gArau-gauravam Kurujangala gAri-kArin, kAriNI gayaNa-gagana mAriya-kArita....mayaMda-gajendra gAvagayabaiya-tapatikA gAviya-garvitagayasAla-jazAlA gAsa-grAsa gayA-ta G. H. gayA gAha-grAha (=pUrvagraha or Agraha) gayAri-jAri gijai-gIyate Old M. gIje gariTTha-gariSTha gijyyaha-gRhya garuya-guru G. garavI gala-Skt. ginhai-gRhAti galai-galati gira-gir galathai-(kSipati) He. Gr. IV 143 kSipeH giri-Skt. galattha etc. from gala+hasta! galhattha, gilai-gilati then Tory to eject by putting gihavara-gRhavaraH gihavaro dANaindo XII 3, 28 the hand on the throat gihAsama-gRhAzrama galathallai -=niHsAraya) To be connected gIya-gItA ___with the above XIII 8, 21; gIDha-gADha 13, 2. gujara-gurjara M. gujara G. gujarAta gavakkha-gavAkSa G. gokha gujjha-guhya M. gUja a sceret gaviTTha-gaveSita guDa-Skt. gavesaya-gaveSaka guDiya D-(alaMkRta bajIkRta) cf. Kumargavesai-gaveSayati Prati p. 449 taha pakkharasannAhaguDasi gavva-rva pamuhAuhasatyu gasei-asate guNa-Skt. gaha-graha guNaattam-guNavatvam gahagahai D-=saMkulaMbhavati) rahasiMha gayauna gaigahai guNamaMjari-A name III 1,12 guNamAla-guNamAlA A name gahaNa-grahaNa guNavaya-guNavata gahiya-gRhIta guNavvaya- " " gahira-gabhIra M. gahirA guNavanta-guNavat gahilla-grahila gutti-guptiH (bandhanam) Desi lI 101 mahIra-bhIra guMdala D-(=AkrandaH) M. godhaLa Confusion gAiya-gAikA (gItavatI) gumagumanta D-(-zabdaM kurvat) M. ghumaNe gADha-Skt. guru-Skt. gAma-grAma M. gAMva, G. gAMma, H. gAma gurukI-gurukA gAmiya-gAmin guruhAra-gurubhAra

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125 guliyau-(guDamizra) Pai kaMduo gulio does | citta D-=kSipta) not suit here ghuTa-ghuSTha gulagulai D-(zabdaM karoti) M. gulagula (goSTI | ghummai-pUrNate M. ghumaNe karaNe) ghulai-ghUrNate M. ghoLaNe gUDha-Skt. ghulivi-A bs. of above geya-Skt. ghusiNa-ghusaNa geha-gRha ghora-Skt. gahiNi-gRhiNI gholai-ghUrNate goyara-gocara ghosa-ghoSa goura-gopura ghosaNa-ghoSaNA goDa-goSTha M. goThA goDa-goDa name of a country Bengal gotama-gautama ca-Sktism gopaya-gopa caitta-caitya gotta-gotra M. gota gotavaLA cau-catur M. cau goyara--gocara cauka-catuSka An auspicious figure made up of grains of wheat M. ghara-ghata G. H. ghI cauka bharaNe caukkandha-catu:skandha ghaggharaya-gharghara ghaDa-ghaTa M. H. ghaDA caukkAsaNa-catuSkAsana ghaDai-ghaTate M, ghaDaNe cautha-cauttha cauttha-caturtha M. cautha ghaNa-ghana caupAsiya-catuSpArdhaka ghaNasAra-ghanasAra ghaMTA-Skt.. cauppaya-catuSpAda ghattiya D-(=kartita) cauraMsa-caturana ghara-gRha M. ghara G. ghera cauraMga-caturaMga M. cauraMga gharavA-gRhapati cauviha-caturvidha | cauvIsa-caturviMzati M. cauvIsa, covIsa gharavAsa-gRhavAsa ghariNi-gRhiNI cauviha-caturvidha ghallai D-(vipati) He. Gr. IV 334 cakka-caka M. cAka 422 etc. M. ghAlaNe cakkala-(vartula) ghavaghavanta D-(=parimalaHprasaran) M. ghamaghamATa cakaliya D-(cakravat prAnta) ghAya-ghAta M. ghAya-ghAva cakesara-cakrezvara ghAiya-ghAtita cakkhu-cakSus ghAijai-ghAtyate caMga D-(=cAru) Desi III 1 caMgaM cArU. ghANa-ghrANa M. ghANa bad smell __Coll M. cAMga, cAMgaTa ghAriya D-(ghatapUrNa) Suggested by Desi cacaMkiya-carcAGkita II 108 dhAranto ghevare cebha caccari-carcarI ghiya-ghata G. H.ghI | caMcala-Skt.

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126 caDai D-(Arohati or prApnoti ) M. caDhaNeM / cAuraMga-caturaMga caDakara D-caTatkAra cADuya-cATu caDula-caTula M. cATala (1) cANaka-(-cANAkSa) caDDaNa D-(mardana) H. Gr. IV 126 cAmara-Skt. caMDa-Skt. cAmaragAhiNi-cAmaragrAhiNI caMda-candra cAmIyara-cAmIkara caMdaNa-candana cAra-Skt. . caMdappaha-candraprabha the 8th Tirthankara --icchA ) caMdarAsi-candrarAzi A name cAraNa-Skt. caMdaleha-candralekhA A name cArahaDa-cAraMbhaTa cappA D-(=Akramate) M. cApaNe ? cAritta-cAritra camaka-camatkRti M. camaka cAru-Skt. camara-Skt.. cAlai-cAlayati caMpa-campA A mountain city, different | cAva-cApa from 797 of upper Bihar cAhai D-(=vAcchati) M. cAhaNe, H. cAhanA caMpada-cappai ciTThI-ceSThA camma-carman M. cAmaDI ciNai-cinoti cayai-cyavate citta-citra " -tyajati citta-Skt. cayAri-catvAri | cittaMga-citrAGga a name cara-Skt. ciMtai-cintayati cara D-carati cintavai-" caraDa D- cora) cintA-Skt. caraNa-Skt. cintAmaNi-Skt. cariya-carita M. (dina-) cariyA cindha-cihna See indha caritta-caritra vul M. carIta cinna-cIrNa carima-carama cinha-Skt. caruya-caru cira-Skt. cala-Skt. cirayAla-cirakAla calai-calati cirANaya-cirAtana calaNa-calana cirAvai-cirayati callai-calati cilAya-kirAta Hc.Gr. I 183 cavaha D-(=kathayati) He. Gr. IV 2 cihura-cikura He. Gr. I 186 -cyavate A technical Jain word for | cIrai D-( nastrabhinnAn karoti) M. ciraNe rebirth cua-cyuta cavaNa-cyavana cukA D-(= bhazyati) M. cukaNe H. cukanA capala-Skt. cuhiya D-(culukIkRta) cahoDa D-(=pizana ) C. M. cahADa cuNai-cinoti See ciNaha cAya-tyAga | cuNNa-cUrNa

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127 cuMbaha-cumbati [ chandAitta-chandasvas (svachandAna) vartI M. chaMdiSTa cuMbaNa-cumbana channa-Skt. cuMbijanta-cumbyamAna chala-Skt. cuMbira-cumbin chalai-chalayati cuDa-(= vaLyAni) M. cuDA bangles chavi-chavis cUDAmaNi-Skt. chAiya-chAdita cUriya-cUrNita M. cura. chAyacUra-cUta chAha-chAyA cUva-" chijai-chiyate ceya-cetanA M. ceva chitta-kSetra 15, 3 M. zeta ceDaya-ceTaka Kon. M. ceDA chitta D-(spRSTa) H. chInA M. zivaNe to touch ceNa-cetanA Desi III 27 chittaM chivie celiya-cela chidda-chidra codaya-codita chindA-chinatti H. chInanA coja-coya (=Azcarya) M. coja Desi III chinna-Skt. 14 cujamaccharie chivaha D-spRzati) M. zivaNe cora-Skt. chuTTai D-(mucyate ) G. chuTavU, H. chuTanA M. corattaNa-coratva suTaNe, cora-corayati -D ( prazyati) coraNa-Skt. chuDu D-(=yadi) colla D-(= aMgavastra) M. coLI, of women chuDu D-(=kSipta) only chuhai D-(=kSipati) cchoDai D-= muJcati) M. soDaNe, G. choDa, H. chUTa D-(=kSipta) choDanA cheya-cheda cha-SaS chakka-paTaka M. chakkA chajai-(rAjate) M. sAjaNe chaTha-SaSTha chaDa-paS chaDa-chaTA chaDaya D-(=siJcanaM) M. saDA. __ - chaha D-(muJcati) He. Gr. IV 91 muJcezchaDDa etc. chaNa-paNa M. saNa chaMDara-chA G. choDavU, H. chAMDanA, M. sAMDaNe chatta-chatra M. chata chattadhAra-chatradhAra chanda-chandam ja-yat Pronoun jaha-yati "-yadi Old M. jaI jaiyaha~-yadA jauNa-yamunA H. jaNA jakkha-yakSa M. jaksa very old, jakhINa a semihuman being jakkhakahama-yakSakardama jaga-jagat jagaDanta D--(=yudhyan ) M. jhagaDaNeM jaggaha-jAgarti M. jAgaNe jaMgama-Skt. jaMgha-jaMghA

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128 jaTTa -A country, probably, Jat-country | jasahaNa - yazodhana A name round about Bharatpur jasAmei=jasAm+ei jaDa - Skt. jasohara - yazodhara jasoha-yazaoghaH jaNa-jana jaI - janayati jaNaNa- janaka jahA - yathA jahi-yatra jahicchiya-yathepsita jaNaNi-jananI jaNavaya - janapada jA- yAvat jA-jAti jaNera - janaka jattA - yAtrA ,, - yAti jAiya-yAcita jaratha-patra jAIsara - jAtismara jANa-jAta jana =jam+na jama-yama H. jama jaMmpa - jalpati jaMpaNaya - jalpana pANa D - ( vAhanavizeSa) jaMbUdIva - jambUdvIpa jamma- jamman jammaNa - " jara-jarat jaya - jagat ,,--Skt. jaya-jayati jayakAra - ( jaya jayeti karoti ) jayaMta-Skt. jayanaMdaNa - A name jayasuMdari - A name jayAsi =jayA asi jarA-Skt. jala--Skt. jala - jvalati M. jaLaNeM jalajanta - jalayantra (= naukA) jalaNa - jvalana M. jaLaNa jaladevaya- jaladevatA jalantari - jalAntare jalabamma - jalavartma (=naukA ) jalavAhiNI-jalavAhinI jalahara - jaladhara jasa-yazasa ,,-jJAta "yAna 0 jANaya- ( jJAtR ) - jAna jANu-jAnu jAma - yAvat jAmahi - yAvat jAmAya - jAmAtR jAmAiya- jAmAtRka M. jAMbAI, H. jamAI jAmAuva " jAya-jAta jAya -jAyate jAra - Skt. jAla - Skt. ,, - jvAlA M. jALa jAlandhara - Name of a tribe and country probably in the Doab in Punjab jAliya - jvalita M. jALalA ji - (eva) M. ci, ca, G. ja jig - jyeSTha jiNa - jina jius - jayati jima - yathA jimmas D - ( = bhujyate) M. jevaNeM, G. jamavu jiva - ( yathA) See jima, M. jevi jiya-jita

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129 jiyai-jIvati jihaM-yathA jihaM-, | joga-yoga M. G. H. joga jogga-yogya M. jogA joyai D-(pazyati) G. jovU joyaMgaNa-jyotirgaNa (through joiMgaNa) joyaNa-yojana jovai-joyA jovvaNa-yauvana M. H. jobana joha-yodha coll M. jodhA a strong man, ___ originally, a fighter johai-gudhyate jIya-jIvita jIva-Skt. jIvai-jIvati jIvagAha-jIvagrAha jIvaNa-jIvana jIviya-jIvita jIha-jihA M. jIbha juarAya-yuvarAja jujai-yujyate jujjha-yuddha M. jhuja, jhuMja jujjhai-yuddhyate jutta-yukta jutti-yukti M. jugata juya-yuga juyala-yugala juyalaya-yugalaka juva-yuta juvA-yuvati juvaIyaNa-yuvatijana juvalaya-yugalaka M. juLe juvANa-puvana M. H. javAna jUa-yUta M. juA (vA) jUAra-yUtakAra M. jugAra, juvAra jUDa-jUTa M. juDI jUha-yUtha jeha-jyeSTha M. jeThA jettiya-yAvat M. jitakeMjetthA jesuji jetyahi-yatra M. jethe jethu-yatra jema-yathA-M. jaima in jema tema jeha-yAra joaNa D-(locana) joivi-yojayitvA joesara-yogezvara 17 sakiya D-(-vacanIya)? Desi III 55 vayaNije zakkiya jhaMkhai D-(=vilapati) He. Gr. IV 148 vilapejhakha jhaDatti-jhaTiti M. jhaTa quickly jhaDappai D-(=abaskandayati)M. jhaDapaNe, G. jhaDapa jhatti-jhaTiti jhaMpa D-(avapAta) M. jhApa, jheMpa a leap. jhaMpivi D-(chAdayittvA) M, jhApaNe, jhAMkaNe H. jhaMpanA jhalajhalanta D-(dIpyamAna) M. jhaLakaNe, jhaLALaNe jhallari-vAyavizeSaH jhallojhalli3 D-(zubdha) zasivi-dhvaMsitvA mANa-dhyAna jhAyai-dhyAyati jhINa-zrINa muNi-dhvani jhuNi Alatta siriNa saMcAlivi XVI 4,10 muluka D-(-vAyulaharI) muttAhalamAlajhulakarahi IV 10, 11 M. jhuchukU jhullukiya D-(=plaSTa) virahadavaggijhulakiyakAyata III 20,8 of M jhaLa lAgaNe to be scorched jhUra D-smarati Taka-A name for Punjab between

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130 the Beas and the Indus. See | Nau-na Cunningham, Ancient Geo- f-(=iva) remnant of pUrNa-nUnaM graphy, P. 148 Nacchiu-nAzayatu karahaM kajju ko Nacchiu x 4,7 TaMkAra-Skt. See Notes TiMTa D-=yUtasthAna) Desi IV 3 TeNTA | Najai-jAyate jUapayammi NaThTha-naSTa TiTAutta-TeNTAputra paData D-( gopayan ) Desi IV 20 Comm. NaDai gupyati Thaviya-sthApita vul M. Thiva, Theva Nasthi-nAsti gai-tiSThati vul M. ThAkato NaMdaNu-nandanaH ,-sthAne Old M. ThAI Nara-nara ThANa-sthAna M. ThANa Narakesari-narakesarin Thiya-sthita Old M. ThI NaranAha-naranAtha paravai-narayatti Naravara-naravara DaMkai-(dazati) M. DAMka paravarinda-naravarendra DajhA-dahyate NarAhiya-narAdhipa DaMbha-dambha M. DaMbha Naresa-nareza hara D-dara H. Dara Naresara-narezvara DasaNa-dazana M. DasaNe Nava-nava Dahai-dahati M. DAha Navara D-(kevalaM) DAla D-(zAkhA) M. DALI, dALI, Desi IV 9 | Navi-nApi (na) DAlI sAhAe Naha-nabhasU Dibha-Skt. NAi-na(cita) Dohiya-Deep M. Doha NAI D-(-iva) NAiNi-nAgiNI NA-nAma daka-dhvAkSa Pai DhaMkhAya kAyalA kAyA NANAviha-nAnAvidha DhakaI D-(-cchAdayati) I10,12 M. DhAMkaNa, DhAMpaNa NAma-nAma Prktism DhaNDhavAla or DhaMDha-? V 18, 5 NAyariya-nAgarika adj. of bhAsa; polite. Ja. dukai-daukate (=saMgacchati) cobi's arrefcus is a misreading. doyai D-(=kSipati) of dukkhamahannavi Dhoiya NAvai-jJAyate , D-(=iva) All Apbh. Na has been deliberately | NAsai-nazyati changed to na as shown in the | NAha-nAtha Notes. Some words that have NAhi (hiM)=na M. nAhIM escaped are given below Niivi-Nievi ( dRSTvA) Niutta-niyukta NA-nadI NigguNa-nirguNa

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131 NijiNai-nirjayati Nijmara-nirbhara M. nijharaNe NijjhuNa-nirdhvani NivaNa-nirdhana NiDua-nirdhUta NiNNAsayara-nirNAzaka NiNNAsiya-nirNAzita Nippaha-niSprabha Nipphala-niSphala Nivajma-nibadhyate Nibbhara-nirbhara NibhiNNa-nibhinna Nimmala-nirmala Niya-nija Niyaya-nijaka Niyai D-(=pazyati) NiyacchA-niyacchati (=pazyati) NiyANu-nidAna NiraMkusa-niraGkuza Nirattha-nirartha niraMtara-nirantara hiravaja-niravadha jiravasesa-niravazeSa NirAriu D-(=nizcitam) Niruddha-niruddha . Nilaya-nilaya Niloha-nirlobha NiviTTha-niviSTa Nivvahaha-nirvahati Nivui-nivRti NivbUddha-nirmUDha Nisi-nizA NihANa-nidhAna Nihi-nidhi NIsaha-niHzabda NIsAsa-niHpAsa Neha-leha | taiya-tvadIya tajhyaya-tRtIya tajhyaha-tadA tahaloya-bailokya tau-tava tao-tatas takkAla-tatkALa takkhaNa-takSaNa tajaha-tarjayati taDa-taTa M. taDa (lAvaNe) taDa-(almost=spaSTa ?) taDakiya-(taTaskRta) M. taDaphaNe taDi-taDit taNaya-tanaka (saMbandhin) See kera taNu-tanu taNuijjai-tanakriyate taNubbhava-tanU va taNuruha-tanuruha taNDava D-(samUhaH) M. tAMDA taNDavai-(=nRtyati) Pai lAsaM taMDavaM suits for taNDaviya vaNNa I 9, 1 colours were displayed tatta-tapta "-tatva tattha-tatra tasthahotadiNa-tadina taMta-taMtra tanha-tRSNA M. tahAna, also rarely tAnha, tAna tanhAviya-(tRSNAyita) M. tAnhavalelA tama-tamas tamAla-Skt. taMvira-tAmra M. tAMberA, tAMbaDA taMbola-tAmbUla in M. tAmboLI taraha-tarati M. taraNeM, G. tare taraMga-Skt. taraNa-Skt. taraNi-Skb.. taraha-Skt. ta-Demonstrative Pronoun

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tarala - Skt. taralAviya-taralita taru-Skt. taruNa - Skt. Also in M and H taruNa-taruNI tali-tale talera D - ( = nagararakSakaH ) Desi V 3 NayarArakhkhe talAro a XV 5, 6 This was a high police officer or magistrate cf. Nayadhammakaha XVI atreya 'bahave rAIsaratalava ramADaM ciyakoDuM niyainbhasiTThisenAvatisatthavAhapabhiyao tava - tapas tavai - tapati tavaMga D - ( = maJcaka) See Notes tavasi - tapasvI tasseya - tat zreyas taha - tathA tA- tadA - tANaya- trANa tAma- tAvat tAmahi - " tAya-tAta tAra-Skt. tAra-tArA A name tAriya-tArita tAla - Skt. tAva-tAvat tAvasa - tApasa tAvela - talA tAliya- trAsita tAhI - trAsyati ti-tri 132 tiDaNiya - triguNita tiya-bI tikAla - trikAla in M tAva G. and H. also tiriya tiryak tikkha - tIkSNa M. tikhA tichaka-triSaTka tiNa-tRNa M. taNa tiNavanta-tRNavat titta- tRpta tittaya- tettiya titha-tIrtha tithayara - tIrthakara tithaMkara - tIrthaMkara | tinANa- trijJAna tinna -tIrNa tibhAya - tribhAga tima-tathA timira - Skt. tirikkha - tirazva (pakSin ) tiriyattaNa- tiryaktva tila - Skt. tilaya - tilaka tilayadIva - tilakadvIpa tilayasundari - tilaka sundarI Said of bhavisANurUvA tiloya - triloka tilla - taila tillAru-tailAdaraH or tailAcAraH A ceremony immediately preceding marri-age, where taila, harikhiA are to be first used by the bride and then by the bridegroom tivagga - trivarga tivali-trivali tivAra - trivAra M. tivAra tiviha-trividha tiveya or tivezya - A Name tisaTThi - triSaSTi M . te (tre) saTa tisuddhi - trizuddhi tiha - tathA tihu~ - ? tihuM saMpanna guNaMtariNa XXII 10, 10 tiNa- tribhuvana tIra - Skt. tIvaNa D - (= azanavizeSaH) tIsa-triMzat M. H. tIsa, G. zrIza

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tIsama - triMzattama G. trIzamo, M. tisAvA tukkhAra - (= tuSkAra) Tokharian ? An attribute of horses from place of origin, like saindhava, vanAyuja tumha - yUyam tumhAra - yuSmadIya H. tumhArA, G. tamArA turaya-turaga turaMga - Skt. tuMga - Skt. tuTTha-tuSTa tuTThI-tuSTi tuDi - truTi M. tuTI, Coll M. tuTTI tuMDa D - ( mukhaM) Jacobi's vAsaNa ruMDaI VII tosaviya - toSita 1, 5 is bad tuhi- tUSNIma turaMgama - Skt. turaMta - tvaramANa M. turuta, G. tarata ? turiya- tvarita tulai - tulayati 133 he - tatra tettiya - tAvat Old M. tetuleM toi - tato'pi H. toI Or tobI toDai - troTayati M. toDaNeM, G. toDa toNIra-tUNIra toya - Skt. tethai-tatra cit, like kattha. Coll M. titheya terathu-tatra M. tetheM or titheM tema - tathA M. tema, G. tema tema - tathAcit teya - tejas toraNa -- Skt. tori - tava ? tori vasavvaDa maI vAsai XIII tosa -toSa Vul M. saMtosa tosa - toSayati tulla-tulya tuhu~-tvam tUra - tUrya tUriya-,, tUla--Skt. tUlipallaMka - tUlapalyaMka M. G. palaMga, Old M. tuLI | thavaka- stabaka a bed thAi tUsa - tuSyati tetIsa - trayatriMzat M. tetIsa, G. tetrIza tha thaka- tiSThati Old M. thAke D - (saubhAgya) M. thATa thaDa D - (abheyA paMkti:) M. thaTa or thaDa, G. thaTa thaDU D - (garvita ) Pai. gavvi thaNa - stana M. H. thAna thanta - tiSThat G. thata thaMbha-stambha bhai-stambhate thaMbhaNa - stambhana M. thAMbaNeM tharaharadda D-(=kampate) M. tharatharaNeM H. tharahariyaD - ( = kampita) Pai. veviaM ca tharahariaM thala-sthala M. thaLa in pANathaLa, usAceM thaLa, G. thaLa thaviya sthApita thANa-sthAna thAma - sthAnam (=valaM) Pai. thAma bala thAla - sthAli M. thALA G. thALa thAvasta thiya-sthita thira-sthira M. H. dhIra, G. thira thua-stuta thui-stuti i-tau 4 thutta-stotra terasa - trayodaza M. in dhanaterasa, G. terasa tesiya-tveSita ? para unbheu tesio XIII 7, 2 | thutyukAriya= ( = thutyukArita) M. thUthUkaraNeM teha-tAhara to- tatas thubvastavya dhuvvadda - stUyate

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yasya thUlAhala - sthUlaphala. sthUlAni phalAni i. e. pratyekaM | dayAvaru - dayAparaH 1. mauktikaM thobha - thova - stoka M. thoDeM G. tho thoilaya - stokaka thora - sthUla M. G. H. thora da dai - (davyAH ) daiyA - dayitA - daiva daivAyatta daivAyatta daMsa-daMza daMsaNa - darzana daMsiya-darzita dakkha-dakSa dakkhava - darzayati M. dAkhavato dakkhiNAvatta- dakSiNAvarta 134 daDha - haDa daMDa - Skt. daMDAas - daNDayati datta-Skt. daMta-Skt. daMti - dantin dappa - darpa daparyaMta-darpayat dapaNa-darpaNa dayAvaNa= dIna: Desi IV 35 dayAvaNo dINe dara - ( = ISat ) daramala D - ( = kampate) M. DaLamaLaNe daries - darzayati darisAvaNa-darzaka dala - Skt. dalas - dayati dalaNa-dalana dammai-damyate daya-dayA dalamalai = daramalai dalavara D - ( = nirdalayati ) M. taLapaTa karaNeM (samULa nAza karaNeM ) aafor-davAni davaNaya-(= damanaka) M. dauNA a kind of fragrant shrub held sacred dakkhina- dAkSiNya dasaNa- dazana daDatti D - ( = tat iti kRtvA) M. daDadaDa daDavaDa - (dabdai iti ravaM kRtvA ) cf. M. dabAdava | dasaviha-dazavidha paDaNAreM dahIM. In Hc. Gr. IV 330 aras sis vihANu seems to mean ' soon' and in IV 422 mayaraGreeder para apUra kArli 'a hasty attack' davva - dravya dasa - daza G. H. dasa daha - daza M. dahA dahai - dahati dahamaya - dazama dahi-dadhi M. G. dahIM astras for metre dAi - dadAti dAiya- dAyAda M. dAija dADima - Skt. G. dADama dADhA - daMSTrA M. G. H. dADha dANa-dAna dAma - Skt. dAya - Skt. (or AdAna ) dAyA- dAtR dAra-dArA damaka - appears to be coined to rhyme | dAridda - dAridrya with camakiya and may be con dAruNa-Skt. nected with dam to harm to dAvaI - darzayati Coll M. dAvaNeM, G. dAvuM overpower dAva-dApayati dAsa-Skt. dAsa-dAsI

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135 dAha-Skt. dukkaDa-duSkRta dAhiNa-dakSiNa H. dAhinA dukaMdira-duSkrandina dikkha-dIkSA dukamma-duSkarma dijai-dIyate Old M. dIje dukara-duSkara diTTha-dRSTa Coll and Old M. dITha. dukaliyAraya-duSkalikAra diTuMta-dRSTAnta dukaha-duSkathanIya dihi-dRSTi Old M. diThI. dukAla-duSkAla Coll M. dukALa diDha-dRDha dukiya-duSkRta diNa-dina dukkha-duHkha Coll M. dukha diNayara-dinakara dukkhada-duHkhada diNamaNi-dinamaNi dukkhalliya-duHkhita M. dukhalelA ditta-dIpta dukkhAviya-duHkhApita M. dukhAvaNe ditti-dIpti dukhaMDa-dvikhaNDa dita-dadat M. detA dugga-durga dina-datta duggai-durgati dippaMta-dIpyamAna M. dipaNe duggama-durgama diya-dija duggaha-durgraha diyaMvara-digaMbara dugghara-durgRha diyaha-divasa dugghoha-hastin Desi V 44 dugdhuNayA hatthI diyAvai-dApayati ducariya-duzcarita diva-diva duccAra-duzcAra divaDa-varSa dujaNa-durjana divasa-Skt. dujaya-durjaya divasayara-divasakara divva-divya duThThiya-duSThA disa-dizA M. dIsa duttara-dustara disai-dizati dustha-duHstha disi-dizA dutthiya-duHsthita dihi-dhRti duddhara-durdhara dINa-dIna dunaya-durNaya dIva-dIpa M. divA, G. divo dunirikkha-dunirIkSa dvIpa In M. lakhadIva, mAladIva, islands in | dunivAra-durnivAra the Indian Occan. dupeccha-duSprekSa dIviya-dIpikA M. divalI duppai-duSpati dIsai-dRzyate M. dise duppaya-dvipada dIha-dIrgha duppayAra-duSpracAra dIhara-, duppariNAma-duSpariNAma dukamma-duSkarman duppavaMsa (ca?)-duSprapaJca See Notes dukiya-duSkRta duppavaMca-,

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dupavaNa- duSpavana duppiyara - duSpitR dupeccha- duSprekSa duSputta- duSputra dumaduma dui-du dummai - dunoti dummaNa-durmanas dummaNavantaya= dummaNa dummAlaya - durmAruta dummuha-durmukha durakkhara - durakSara durakkhasa-dUrAkSasa durAyAriya- durAcArin durAloyaNa- durAlokana durAsa-durAza duriya- durita dukaM durla durlabha-durlabha dullakkhaya-durlakSa dullaMgha - durlaya dulla liya- durlakita dullaha- durlabha dullAlAi - dularlAyati duvAra-dvAra duviyapa - durvikalpa duviruddha - durviruddha duviha- dvividha duSva - dUrvA duSvayaNa - durvacana dubayaNaya - durvadanaka duvaka - durvAkya A Name duvvasaNa-durvyasana duSvasaMta-durvasanta duSvAya-durvA dubvAsaNa - durvAsamA duvvAsira- durvA sin dubviNIya- durvinIta duvvidurvidagdha 136 'duvvisaha - durviSaha dusaMkaDa - duHsaMkaTa dusaMkara- duHsaMkara dusama - duSamA Technical Jain term for a cycle of years. See Notes dusaha - duHsaha - dusIla duHzIla dui-duHkha duhiya- duhitR dUa ( dUya) - dUta dUmai = dunayati dUra-Skt. dUrAsa- durAza dUsa - dUSya dUsai - dUSayati dUsaNa-dUSaNa dUsaha - duHsaha dUva - durbhaga deha - dadAti M. deI, G. H. de dekhas - pazyati M. dekhaNeM, H. dekhanA dekhai = dekkhaha deva - Skt. As Voc., addressed to a king deva-devatA devaMga - devAGga Adj. of clothes deva-devatva devara-deva M. dIra, H. devara devaloya - devaloka devi-devI desa - deza G. H. desa desiya-dezita deha-Skt. dehura-devagRha M. devhArA 2 miniature wooden temple for domestic gods dokara - duSkara dokhaMDa-dvikhaNDa dokhaMDa-dvikhaNDayati dotthitadutthiDa - duHsthita

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137 domiya-dUmiya dharaNa-Skt. dosa-doSa Vul M. dosa. H. dharaNi-dharaNI dosa-dveSa dharaNiMda-dharaNIndra A name doha-droha dharaNIdhara-Skt. dohaya-drohaka dhavala-Skt. dohagga-daurbhAgya dhavaliya-dhavalita dohattaNa-drohatva dhAi (dhAiu ) D-(=rudanaM) viNiyattu lou dhAiDa dohalaya-dohalaka M. DohALe muaMtu XXII 2, 8 and addhavahiji dohiya-drohin viNiggaya dhAhihiM VIII 12,8 (=dhAirhi) dohittaya-dauhitra cf. M. dhAya mokalaNe-to cry aloud | dhAiya-dhAvita dhakkaDa-dharkaTa Name of a Bania family to dhADiya D--preSi M. dhADaNe to send which our author belongs dhAma-Skt. dhagadhaganta D-=ugraM jvalana) M. dhagadhagIta dhAra-dhArA M.G. dhAra dhaNa-dhana dhAraya-dhAraka dhaNa-dhaNamitta A name dhArai-dhArayati dhaNamitta-,, A name dhAvai-dhAvati M. dhAve dhaNayatta-dhanadatta A name dhAhAviya-dhAviya-dhAvita The r for metre's dhaNayaditti-dhanadIptiH A name sake. kara unbhevi dhAhAviu bhaNai VII dhaNayalacchi-dhanalakSmI: A name 3, 10 dhaNavai-dhanapati A name dhAhi dhAi (ha for metre) which see. dhaNavAla-dhanapAla A name ciThTha-dhRSTa M. dhITa dhaNasiri-dhanazrI: A name dhIya-duhitU dhaNiya-dhanyA (=priyA) Desi V 58 dhIra-Skt. dhaNu-dhanus dhIrAyara-dhairyAkara dhaNui-dhanuSya dhIriya-dhIrita dhaNuhara-dhanurdhara dhIrima-dhairya dhaMdha: D-(Agraha) Desi V 57 dhandhA-lajA | dhuaMta-dhuvan does not suit maM tuMTuM kari asagAhiM dhuku D-(=maMdaM sthitaM) M. dhukadhukaNe said of dhaMdhau VI 2, 8 Don't persist in life's last breath a wrong idea.' dhuNai-dhunAti dhana-dhanya dhutta-dhUrta dhamma-dharma dhuya-dhuta dhammilla-Skt. has borrowed-this word dhura-dhurA _form the Pr. Pai. kabarI dhammilla dhuraMdhara-Skt. dhaya-dhvaja dhuva-dhruva dhayavaha-dhvajapaTa dhuvai-dhunAti dhara-dharA dhUma-Skt. dharaha-dharati dhUpa-duhita 18

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138 dhUli-Skt. nava-Skt. dhUva-dhUpa navai-namati dhUvavatti-dhUpavarti navakAraha-namaskaroti dhUsariya-dhUsarita navama-Skt. dhoraNi-Skt. navara D-(kevalam ). dhobahaD-(=prakSAlayati ) M. dhuNe, ma.dhUnA navalla-(-nava) M. G. navala navahaliya-navaphalita.....naha-nadI Vul M. naI navi-nApi nau-na naha-nabhas naula-nakula -nakha naM-(va) nahanilaya-nabhonilaya (=deva) nacA-nRtyati M. nAcaNe, G. nAcavU, H. nAcanA nahu-nakhala najai-jJAyate nAi D-( =iva) naThTha-naSTa G. mATho nAitta-jJAti(?)ahimuhamiliya sayalanAittaI VII. nathi-nAsti G. nathI 13,1 naMdaa-nandakaH nAuM-nAma Old M. nAu, M. nAMva naMdaha-nandati nADi-nADI naMdaNa-nandana nANa-jJAna naMdi-nandimitta A name nAma-Skt. naMdimitta-nandimitra A name nAmaggahaNa-nAmagrahaNa naMdivaDaNa-nandivardhana A name nAya-jJAta nAyabhoya-nAgabhoga Same as nAyaseja which naMdIsara-nandIdhara see. maMdichaya-nandisata nAyamudda-nAgamudrA namasai-namasyati M. navasaNe with changed | nAyara-nAgara meaning nAyari-nAgarI mamiya-namita nAyariya-nAgarikA namu-namaH nAyariyAyaNa-nAgarikAjana namotyu-namostu nAyasiri-nAgazrIH A name. nayaNa-nayana H. nena nAyaseja-nAgazayyA nayara-nagara M. nera in jAmanera, pAranera names nAraya-nAraka of towns nArasiMha-Skt. name of a tribe nayavaMta-nayavat nArasIha-nArasiMha nara-Skt. nAri-nArI naraya-naraka nAliera-mAlikera Vul M. nArieLa, nAraLa narAhiva-narAdhipa nAvai D-=iva) nariMda-narendra nAsa-nAza Vul M. nAsa naresa-nareza naresara-narevara nAsai-nazyati naMdivaDaNa- " ,-nAsA

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189 mAsAya-nAsayA or nAsAyai ? | nihADiya-nirdhATita Cf. mAlavaNariMdadhADie lUDIe ghayaM dei nAsAya peyaM pasatthaM XII 3,7 manakheDambhi Pai end . nAha-nAtha Old M. nAho husband ninada-ninada nAhi-na ninAda-Skt. nAhI-nAbhi niMda-nidrA H. nInda niuMjai-niyur3e nidaha-nindati niutta-niyukta ninehaya-niHneha nioya-niyoga niSphaMkiya-niSpaGka nikAya-Skt. nippaMda-niSpanda nikya-niSkraya niSphala-niSphala nikAraNa-niSkAraNa nibaddha-Skt. nikkhaMta-niSkAnta nibaMdha-Skt. nikkhevaya-nikSepa nibaMdhaNa-nibandhana nikkheviya-nikSepita nibiDa-Skt. niggaMta-nirgacchat nibhara-nirbhara niggaMtha-nirgrantha nimbhiTa- nibhiTaI hArAvalithaTTaI V 9,9 niggaya-nirgata nimANiya-nirmAnita -nirgaja in NiggayAu gayasAlau IV 10, 4. | niMba-Skt. niggaha-nigraha nimitta-Skt. nigghiNa-nighRNa nimmacchai-nirmakSati nigghosa-nirghoSa nimmacchaNa-nimrakSaNa nighosa- " nimmajai-nirmajati nica-nityam Old M, nIca always nimmala-nirmala nizcala-nizcala nimmaha-nimmahaNa nicchaya-nizcaya Vul M. nicchaya nimmahaNa-nirmathana nijAvaya-niryAmika nimmANiya-nirmAnita nijiya-nirjita niya-nija nijIva-nirjIva nijjhAyai-nidhyAti (=pazyati) niyaya-nijaka nijjhuNa-nirdhvani In M. (ruNa-)jhuNa niyai D-(=pazyati) nidui-nitiSThati niyatraM-niyama niDariya-nirdarita M. beDara, G. niDara - --- niyacchai D-pazyati nitta-netra niyau-nikaTa Coll M. ADa nA nIDa (3) nitti-nIti niyatta-nivRtta nida-nidrA Vul M. nIda, nIja niyattA -nivartayati niyastha-(parihita) Desi IV 33 NiatthaM niddaDa-nirdagdha parihie It could however be traced nidaleha-nirdalayati to fa+16+a, where a undergoes niDa-jigdha yazruti and sta_regularly becomes niDaNa-nirdhana M. Not a Desi therefore, ,-nIta

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niyama - Skt. niyaMja- nitamba niyara-nikara niyala - nigaDa niyavi = niravi ( dRSTvA ) niyavi kiu ( kRtaM ) kathaM nilaya - Skt. tadanaMtara V 16,7 niyasivi -nyuSya ( = upoSya) nivvAhai jo niyasivi bhareNa XXII 10, 6 niyANa-nidAna niraMjaNa- niraJjana nirammaNA (Na) D - Desi I 22 has ammAiA for anumArgagAminI and I 49 ammaNuaMciaM for anu (mArga) gamanam . ammaNa thus seems to mean pursuit nirammaNAu therefore should mean of which no one is in pursuit, or which no body seeks. This sense suits the context very well. hukAliM jaivi nirammaNAu XVI 8, 10 niralaMkAra - Skt. niravarAha-niraparAdha niravasaMka-nirapazaGka niravasesa - niravazeSa niravekkha-nirapekSa nirAucha - nirAyudha nirAriu D - ( nizcitam ) See niru nirAvarAha = niravarAha nirikkhas - nirIkSate nirikkhaNa- nirIkSaNa niru - nizcitam 140 nirujama - nirudyama nirutta - nirukta (= nizcayena) M . niruteM niruttara - Skt. niruddha-Skt. nirutrayamANa- nirunnatamAna niraMbhaNa D- (= nirodhana) niruvama - nirupama niruvasagga-nirupasarga niroha - nirodha nirovama-nirupama nilINa - nilIna niva-nRpa | nivarDi D - ( = niSpatya ) cf. Hc. Gr. IV 444 valayAvalinivaDaNabhaeNa ghaNa uddhanbhua jAI. cammaTThasarI nivaDaM jAi masANi khau XX 9, 9. The anusvara, however, makes it difficult. Possibly it is a mistake. nivaDai - niSpatati nivasai - nivasati nivaha - Skt. nivANa ( - nivvANa ) - nirvANa, in the sense of nirvANasthAnaM= vizrAmasthAnam Hc. Gr. IV 19 has nivANu for nivvANuM - 'ahavA taM ji nivANuM varabhavaNaho pikkhaMtu nivANaiM V7, 7. M. nivArNe niveiya- nivedita nirAvasanna - niravasanna ( = viSaNNa) nir has inten - nivesai - nivezayati sive sense here. nivAras - nivArayati nivAraNa - Skt. nivAsa - Skt. niviTTha - niviSTa nivitti-niSTatti nivisa - nimeSa nivvanna- niSpannA (= jAtA ) bhavisattaho gehiNi nivvanI XX 14, 2 nivvavasAya - nirvyavasAya Old M. vevasAva roaes - nirvahati nivvAes - nirvAhayati nivtriDai ( = nivvaDai) - niSpadyate . nivviDau kajju kiM vitthareNa IV 5, 12 nivgs - nirvRtti nivtraya - nirveda nisanna - niSaNNa

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nisAyara - nizAcara nisi - nizA nisiyara - nizAcara niNa-nidhana niers - nihanti nimmara - nihanyate | nemittiya - naimittika nisRDhiya D- (=bharAnata) Pai niiDiyamakantabharoNayaM nerAiya-nIrAjana vatha - nepatha niThaNa-nizaNoti niees-nighaTTayati nesaNa- nivasana, as reference to surata shows vihaDiyanesaNAraM mihuNANa va surayAraMbhaI IV 8, 10M. nesaNeM nihasanti-niyasanti See Emendations nihAya nighAta nihANa-nidhAna nihAlai - nibhAlayati M. nihALaNeM nihALaM nihi-nidhi nihitta- nikSipta fuiss D - ( pAtayati ) nIra - Skt. nIsaha - niHzabda M. nIsAda nIsaMdeha - niHsaMdeha nIsarai-niHsarati nIla- niHzalya nIsAra - niHssAra 141 ' passage', if in kavaDiM is jiNabhavaNaho nIsArai V7, 2 nI0 nihINa-nihInA nihuya - nidhuta ( - nidhuvanaM surataM ) pai-pati nihelaNa D- (=gRha) Desi IV 51 NihelaNamagAra paija-pratijJA M. paija jaghaNesu paTTha - praviSTha old M. paiThA paita - payatta which see. paina - prakIrNa a noun nIsArai - niHsArayati nIsAraya - niHsAraka nIsAsa - nizvAsa netta- netra nemittanaimitta nIH sAhAra - niHsandhAra or niHsaMvAra acc. to He. Gr. IV 82. balu bhajjai nIsAhAru sAu XIV 16, 6 unmitigated defeat nIsesa - niHzeSa nu-kinnu nUNaM- nUnam Prktism i - nayati M. neI neura - nUpura M. nevareM neha-leha nokasAna kaSAya hAi-nAti nhavaNa-apana nhaviya - pita nhANa - snAna M. nhANe, nahANeM nhAvara - nApayati paivvaya - pativratA paisai - pravizati old M. paisaNeM 0 paisarai - pratisarati (= pravizati ) ) paisAra - pratisAra ( praveza or mArga ) old M. paisAra paisArai = pravezayati para-patigRha paIsai = paisai paraMjai - prayuMkte paukta-prayukta paura - paura patha-proSita pa ,, - pracura in M. ( bhara - ) pUra, also Vul. M. pacUra parisa- pauruSa paesa - pradeza pabholi - pratolI pabhosi- pradoSe

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142 pohaNa-pravahaNa | pacchae-To rhyme with niyacchae pabhohara-payodhara pacchanna-pracchanna paka-pakka M. pakA and also pAkA G., H. pacchAiya-pracchAdita pakkha-pakSa M. pAkhA (wing of a house)| pacchima-pazcima Vul M. pacchama pakkhaya-pakSa side pacchila-,G. pAchalA pakvatta-prakSipta? (=prakSubdha) raNarasapakkhatti dhaNa- pacchuttAviya-pazcAttApita cf. Vul M. pachitApa vaipurti XIV 7, 12 pajalaMta-prajvalat pakkhariya D-(saMnaddha) Desi VI 10 pakkharA- pajatta-paryApta turayakavace. See guDiya pajjaliya-prajvalita pakkhavAya-pakSapAta pajjAlai-prajvAlayati M. pAjaLaNe pakkhAlai-prakSAlayati pajjutta-paryupta pakkhi-pakSin M. pAMkharUM, H. paMkhI paMca-Skt. pakkhiya-pAkSika meaning 'partial' paMcatta-paMcatva pakkhitta-prakSipta paMcama-Skt. pagaliya-pragalita paMcami-paJcamI pagAmu-prakAmam paMcaviha-paJcavidha paguNa-praguNa paMcAla-Skt. Name of country and paghosa-praghoSa people in the Doab, contiguous paghosiya-praghoSita to kurujaMgala paMka-Skt. paMcAsaya-paJcAzat paMkaya-paMkaja paMcuMbara-paJcodumbarANi Possibly five varipaMkayasiri-paGkajazrIH (=kamalazrIH) eties of fruits of the Ficus paMkiya-paMkila Religiosa kind were prohibited paMgaNa-prAMgaNa mahu majju masaM paMcubarAI khajaMti na XVI 8, paMgurai D-(=prAvRNoti) M. pAMgharaNe i See also XX 3, 3 paMguraNa D-(prAvaraNa) M. pAMgharUNa paMceDiya D (=vinAzita) appears to have pacaya-pratyaya similar sense with pheDiya wh. pacakkha-pratyakSa occurs in the same line jeNa loyassa pacakkhai-pratyAkhyAti lohattaNaM pheDiyaM dukaMdappadapaM ca paMceDiyaM paJcakkhANa-pratyAkhyAna IV 13,8. Desi VI 15 has paJceDaM.. pacArai D-(upAlabhate) He. Gr. IV 156/ musale, so that our word means upAlambhejhaMkhapacAra musalita-musalena hataM-totally crushed. pacAsana-pratyAsanna paMjara-Skt.. paccuttara-pratyuttara paTTa-Skt. paccUsa-pratyUSa paTTaNa-pattana pATaNa as latter part of names paJceliu D-(pratyuta) paJceliu Ayaho piu vuccai of many cities. VI 22, 5 He. Gr. IV 420 gives | pahAsaNa-paTThAsana (=siMhAsana) pacAliu for pratyuta paTavai-prasthApayati M. pAThavaNe pacchA-pazcAt G. pAche, H. pIche | paDai-patati M. paDaNe

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148 paDaha-paTaha | paDisaha-pratizabda M. paDasAda paDAya-patAkA paDisara--pratikUla) Probably from pratisvara paDikUla-pratikUla Desi VI 18 paDisaro cea paDikUle paDikkhalai-pratiskhalati paDihAra-pratihAra paDigAhai-pratigRhAti paDIva-pratIpa paDiggahaya-pratigraha paDu-paTu paDicchai-pratIcchati paDuttara-pratyuttara paDicchaNa-pratIcchana (=svIkAraH) paDuttiya-pratyukti cf. uttapaDuttiyAI XXI 8, 1 paDijaMpada-pratijalSati paDhA-paThati M. paDhaNe, pADhe, ma. paDhanA . paDipaTTa-pratipaTTa paDhama-prathama paDiparihava-pratiparibhava paTukka-pradaukita Probably a Prakritism paDipahara-pratiprahara in Sanskrit paDipillai D-vipati paNaya-praNata paDibaMdha-pratibandha "-praNaya paDiviMda-pratibimba paNaiNi-praNayinI paDibiMbai-prativimbayati paNacciya-praNartita paribhaDa-pratibhaTa paNaTTha-pranaSTa paDimiya-paritrAMta paNamiya-praNamita paDima-pratimA paNavA-praNamati paDimalla-pratimalla paNavAya-praNipAta paDiyakkha-pratipakSa jAlagavakkha-pakkhapaDiyakkhahi | paNAma-praNAma IX 4, 5 contrast to pakkha (not | paNAsaNa-praNAzana ekkha as in Jacobi) a wing of a| paNAsiya-pranAzita door or some such thing | paNIha-(praNidhi) puNu puNu vi samittahi kayapaNIha paDiyaMkiya-pratyahita XIII 12, 5 Loss of find i for paDiyacchaD-pariyacchaDa which see rhyme. Pai at aforet suits here. paDirakkhiya-pratirakSita paMDariya-pANDurita paDirava-pratirava paMDava-pANDava paDivayaNa-prativacana paMDiya-paNDita paDivaira-prativara patta-patra M. pattA in a diff. sense, H. pattA paDivakA-(prativAkyaM karoti) patta-prApta paDivakta-pratipakSa pattala-patrala M. pAtaLa ? paDivajAi-pratipadyate pattANaI-pratyAyayati, so tumhahaM vivAu pattANaI paDivanna-pratipanna XVII 7, 2 paDivaniya-, patti-patnI In XX 3, 2 our text rightly paDivAya-pratibAca (=prativAkya) reads paratiya and not pattiya. paDivAiya-pratipAdita pattiyai-pratyAyayati paDivAlai-pratipAdayati pattthaNa-prArthanA paDisakara-parisakkA which see pattthANa-prasthAna ta

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144 pasthiva-pArthiva "-pravRtta padarisiya-pradarzita payatya-padArtha padekkhai-prapazyati payaMdhiya-pragandhita padhAiya-pradhAvita payana-painna (prakIrNa, siJcita) paMti-paMkti Old M. pAMti payaMpai-prajalpati- - paMtha-pathin payarakkha-pAdarakSa paMthiya-pathika payalaya-paya-pada plus an Apbh.diminutive patraya-pannaga termination of M. are pannayA-parNakAni Betel leaves muNINaM tahA payahiNam-pradakSiNam pannayA jehiM dinA XII 3, 21 payANaya-prayANaka pannArasa-paJcadaza payAra-prakAra panhu-pralava M. pAnhA payAva-pratApa pappaDA-parpaTa M.G. pApaDa payAsa-prakAza papphulliya- praphulla -prayAsa pabbhaTTha-prabhraSTa M. bATa payAsai-prakAzayati panbhAra-prAgbhAra payAsaya-prakAzaka pabhaNaha-prabhaNati payAsira-prakAzin pabhoya-prabhoga payAhiNa-pradakSiNa pamatta-pramatta payAhiNai-pradakSiNaM karoti pamANa-pramANa para-param pamAya-pramAda paraesa-paradeza pamAyai-pramAvate parama-Skt. pamukka-pramukta paramatttha-paramArtha pamuha-pramukha paramappaya-pamAtman pamuhoi-pramukhaH cit paramehi-parameSThin pammuha-prAGmukha paramesara-paramezvara paya-pada Vul M. paya parampara-paramparA parammuha-parAGmukha "-prajA paravasa-paravaza payai-prakRti parasa-sparza payaMga-pataGga parAiya-parAyAta payA -pravartate parANae-parAyaNati payaDa-prakaTa parAmarisai-parAmazati payaDai-prakaTayati parAyaya-parAgata payaDAvA parAhava-parAbhava Apada) jaMmajjhu parAhaviH 'duhu payaDAvaNa-prakaTIkaraNaM aNuhaviu paI XII 10, 12 payaDi-prakRti pari-pari payaMDa-pracaNDa pariubai-paricuMbati payatta-prayatna parivaNa-paricuMbana "-payas

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145 pariosa-paritoSa pariyai-parivartayati ,-paridveSa pariyaNa-parijana parimosaha-paritoSayati pariyatta-parivRtta parikkha-parIkSA pariyattai-parivartate parikkhaD-parIkSate pariyattiya-parivartita parikSaNa-parIkSaNa pariyara-parikara parikhivai-paridhipati pariyariya-paricarita parikhuhiya-parikSubhita pariyala-(paritala!) a small dish. M. parela, parigaliya-parigalita paraLa pariggaha-parigraha pariyANa-paridAna paricatta-parityakta parirakkhA -parirakSati paricAya-parityAga parivajApaDivajA-parivartayati paricitta for paracitta I 9,6 parivattara-paripaktima. nimmajiu parivataratoe~: parihiya-pratiSThita XVI 2, 5 paridvaviya-pratiSThApita parivattha-parivata pariNayaNaya-pariNayanaya. pariNaya and naya are parivADi-paripATI ___ synonymous XIV 3, 1. parivAya-prativAta XXII 1, 11 pariNai-pariNayati parivAra-Skt.. pariNAma-Skt. parivAsa-parivana muNiyasthA mi jjhINaparivAsa V paritta-parIta 9, 2 paripuMgala-(=zreSTha) jaMpara bhavisayattu paripuMgala IX | parivIDha-paripITha 8, 6 See gires pariveyai-parivedayate kAyaradhariNi kAvi pariveyaiH parippamANa-paripramANa XIV 11,7 pariSphuDa-pariskuTa parisakara-pariSvakate (parikramate) pariSphariya-pariskarita parihA-paridadhAti paribhAvai-paribhAvayati parihaNa-paridhAna H. pahiraNa paribhUya-paribhUta parihatya D=(dakSaH) Pai parihattho daccho. maI miH parimala-Skt. liTa parihatyu vahaMtau VIII 2, 4 parimaliya-parisUdita M. maLaNe parihava-paribhava parimAi-parimAti i. e. parimANaM. Or perhaps parihAi-paridhApayati parihAviya-paricApita to read like Jacobi sagaiparimA iva parihAsa-Skt. __V 8,5 parihaya-paribhUta parimiya-parimita parihoi-paribhavati parimuka-parimukta parisama-parizrama parimusai-paripRzati paroppara-parasparam parimokala-parimukta palaya-pralaya pariyacchA-(=pazyati) Old M. pariyesaNe palaMva-pralamba pariyaMcai-pari+aMca which see palaMbiya-pralambita 19

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146 palAvapalAviya-pratApita palAsaya-palAzaka palitta-pradIta M. palitA a torch palippai-pradIpyate paloira-pralokin paloyA-pralokate paloyaNa-pralokana palova-paloyaha pallaMka-paryaGka M. palaMga pallA D-paryasyati pallava-Skt. pallava-A country, whose capital is given as fore XVII 2, 2 pavajA-apacate pavaMca-prapaJca pavaDiya-pravardhita pavaNa-pavana pavattaha-pravartayati pavana-prapanna pavara-pravara pavarisaha-pravarSati pavahai-pravahati pavANu-pramANaM pavAla-pravAla pavAsa-pravAsa pavAha-pravAha pavAhai-pravAhayati pavitta-pavitra ,-pratta pavittaviya-pravartita pavitti-pravRtti, (-prabhRti in ajjupavitti Nisibho. yaNu parihariu maI XX 3, 12 pavissamANa-pravizan pavesa-praveza pavva-parvan pabvaiya-pravajita pabvaya-parvata pavaya-Name of a country between the Ravi and the Sutlej pavvayavA-King of the above pavayanarinda-, pasaya-mRgavizeSa Desi VI4 pasabho mRgavizeSaH or prasta would suit pasayacchi both in V 14, 2 and in V 15, 4 pasaMsaha-prazaMsati pasasaya-prazaMsaka pasaMga-prasaMga pasastha-prazasta pasana-prasanna pasara-prasara pasaraha-prasarati pasAya-prasAda Old M. pasAya pasAriya-prasArita pasAhaha-prasAdhayati pasAhaNaya-prasAdhana pasiddha-prasiddha pasiddhi-prasiddhi pasuva-pazu pasaya-prasta "-prasana paha-pathin -prabhA pahaya-prahata pahacula-prabhacUDa A name pahaMjaNa-prabhAna pahaNaha-prahanti pahara-prahara ,,-prahAra paharaha-praharati paharaNa-praharaNa paharisa-praharSa pahasaha-prahasati pahANa-pradhAna pahAra-prahAra pahAya-prabhAta M. pahATa pahAva-prabhAva pahAvai-prabhavati pahiya-pathika

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147 "-pAza 30 pahiha-pradhRSTa in pahiho tahiM dunirikkhe khayAle IV | pAvaja-pravrajyA 3, 1 pAviTTha-pApiSTha pahiTThaya-prahRSTa pAsa-pArtha.jeNa tumhANa pAsaMgamaMtakuo IV 13,10 pahirai-(from parihai by Metathesis) pari M. pAsa, pAzI, G. pAse, H. pAsa dadhAti M. peheraNe, H. peheranA, peherAva pahilaya-prathama M. pahile pAsi-pAce, pArthAt . aNNahiM pAsiu aNNahiM pahu-prabhu pahacaDa-(prabhavati) He. Gr. IV 390 M.| pAsaMDiya-pApaNDika lijai II 1,7 pohacaNe, H. pahUMcanA pAsAya-prAsAda pahutta D-(prabhu ) saggaho ko na pahuttau XII 3, pAseiya-prasvedita H. pasInA ? G. parasevo pAika-padAti Old M. pAIka, H. pAI ( dala ) pAhaNa-pASANa pAivi-pAvivi see pAvaha pAhariya-prAharika pAhANa-pASANa pAusa-prAdRS M. pAUsa, H. also pAhuDa-prAbhRta (=upAyana) pADiya-pAdita pi-api Prktism pANa-prANa piu-pItaM pANi-prANi piuhara-pitRgRha pANigahaNa-pANigrahaNa ggahaNa- " pika-pakka M. pIka, pikalele 'pANiya-pAnIya pikkhaD-prekSate pANiyahAri-pAnIyahAriNI picchai-prekSate H. pIsanA ? pijai-pIyate pAmara-St. piMjara-Skt. pAya-pAda M. pAya. caMdappahapAya chitta XII 14, 4 piDivi-(mArayitvA) M. piTaNe =pAdau spRSTau. . pAyaDa-prakaTa piMDa-Skt. pAyaDai-prakaTayati piMDavAsa-piNDavazya ? (sahajana) pAyasa-Skt. pipIli-pipIlikA pAyAra-prAkAra pimma-preman pAra-Skt. piya-pita pAraka-parakIya M. pArakhA "-priya G. H. piyuM, piyA pAraNaya-pAraNaka M. pAraNe piyai-pibati pAraddha-prArabdha piyaitta-prINayita pAraMpara-paramparA (=purANa) pAraMparakavvaI lajhivi bheu | piyaulliya-priyA XIV 20, 17 paraMparA suits well. piyamma-preman ... ... . pAraMbhiya-prArabdha pAriyacchi piyayama-priyatama pAla-Skt. piyara-pitR pAla-pAlayati piyallaya-priya pAlaNa-pAlana piyasaMdari-A name pAva-pApa piyAra-priyatara H. piyAra, pyAra G. also .. pAvai-prAmoti piyAsa-pipAsA piyAra

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148 pillai D-(prerayati, vipati) / puraeva-puradeva "pisuNa-pizuna puraMdara-Skt. pihiya-pihita puraMdhu-. pihimipAla-pRthivIpAla puraya-gopura? in IX 4,4; gardenhouse? pihu-pRthu in VIII 10,5 pihumai-pRthumati A name purayaNa-purajana pIDa-pIDA puravaD-purapati . .. pIDijaMti-pIjyamAnA puravAla-purapAla pINa-pIna purAiya-(purAkRta) pINiya D-(=dhArita) H. penA purANa-Skt. pIla-pIDA puri-purI pIliya-pIDita purisa-puruSa pIvara-Skt. purisayAra-puruSakAra puMgala D-(zreSTha ?) tuTuM vaNivarakumAri kuli puMgale | purusa-puruSa occurs much less frequently V 14,7 See paripuMgala. than purisa puMgava-Skt.. puresa-pureza pucchaha-pRcchati G. pUMchay, H. pUchanA pulaya-pulaka pucchaNa-pRcchA M. pusaNe pulaiya-pulakita pucchiya-proJchita(-pramRSTa) lihivi naM pucchiu X 7, puliMda-A name of a wild tribe men22M. pusaNe ___tioned with bancarasabara XIX 11,2 puja-pUjA pugdha-pUrva pujai-pUjayati puzvaesa-pUrvadeza pujai-pUryate puSvavAsa-pUrvapArtha puja-Skt. puSvavideha-pUrvavideha a country puMjai-puJjayati pugvi-pUrvam puMjaviya-puJjita puhai-pRthivI puTTha-pRSTha M. puTThA pUya-pUjA puNanna-punarna pUra-Skt. puNu-punar pUraha-pUrayati puMDa-puNDU pUraya-pUraka putta-putra pemma-preman putti-putrI peya-Skt. occurs in AII 3, which is ,,-putri in putticojju an interjection mainly in Maharastri often occurring in IV 7 peraha-prerayati puna-puNya pesaha-preSayati putrimA-pUrNimA Vul M. punivA pesaNa-preSaNaM (kArya) puSpha-puSpa pesala-pezala pura-Skt. pesana-painya purao-purataH | poya-pota

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149 pha poyaNaDara-potanapura identified with takSazilA / phaDa D-(=maNDalI) in apphaDi. M. phaDa poTa-prauDha potta-potra (vara) M. pota baiha-see baisai Past Part M. baiThA, baiThaka, posthaya-pustaka M. pothI H. baiTha popphala-pUgaphala M. pophaLa baisai-upavizati Col M. vaisa, baisaNe pomalacchi-pagralakSmIH kamalazrI: Paraphrase of | bahasaNaya-upavezanakaM (=siMhAsana) In all the of proper names is our author's passages where it occurs it is habit closely associated with rajju. eha pomAiu-for pAmoiDa overjoyed. tau sohagneM saMpaya iu baisaNa rajju XX[ 6,93B jaNu pomAiu VIII 19, 5 Jacobi's 8,7 and 9,7 genial suggestion baisAraha-upavezayati Causal of baisai posai-puSyati baIsaha bahasaha posaha-pauSadha bajjhai-badhyate baddha-Skt. phaMsa-sparza M. phAMsa badhuyatta-bandhuyatta Loss of anuswara for phaMsai-spRzati metre phaMsaNa-pAMsana baMdiggaha-bandigrAha phagguNa-phAlguna Marwadi phAgaNa, phAga baMdiNa-baMdina Bard phaTTara D-(sphaTati) dArayati baMdha-bandha phaMdaha-spandate baMdhA-banAti pharasu-parazu M. pharasa baMdhaNa-bandhana pharaharaMta-onomatopetic baMdhava-bAndhava Coll M. baMdhava phala-Skt. baMdhu-Skt. phalaya-phalaka baMdhuyatta-bandhudatta A name phalaha-, bappa D-=pitR) M. H. pApa, G. bApu, bApujI phaliha-sphaTika baMbhayAri-brahmacArin phale-phalati baMbhacera-brahmacarya phAra-sphAra M.phAra baMbhattaNa-brahmatva (bAmaNatva) phADiya D-(sphATita) M. phADaleM baya-baka phAya-( spArzaka) sparzayogya bala-Skt. phiTa D-(prazyati) M. phiTaNe balavaMta-balavat phuhara-sphuTati M. phuTaNe, ma. phuranA - bali-lin balikiya-likriyA phuDiya-(dhata said of adhara) sphaTita M.phuTalelA balivaNDa D-(balAtkAra) kara livaMDau ca bakara pharA-sphurati maMchala ahimuhaM Sar. Kanth p. 130 phulla-Skt. M. vaDI phusai D-spRzati (=mArTi) He. Gr. IV 105 | babbara-parvara a tribe, coupled always with pheDai D-(spheTayati?) M. pheDaNe. Causal of the Khasas phiDa! see paMceDiya ef. thAu vi pheha tAsu bahala-Skt.

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150 bhakkha-makya . . bahiNi-bhaginI M. bahINa, G. beNa, H. bheNa | bhakkhai-bhakSayati bahiriya-badhirita M. bahirA bhagga-bhaMga bahu-Skt. bhaMga-Skt. bhaMgi-Skt. bahutta-" M. bahuta, bahuteka, II. bahota bhaMgura-Skt. bahuviha-pahuvidha bhajai-bhajyate bahuha-bahudhA bhaMjai-bhanakti bANa-Skt. bhaMjaNa-bhaMjana bAra-dvAra G. vAra' bhaTTha-bhraSTa bArasa-dvAdaza Coll M. G. H. vArasa, mean- bhaha-bhaTa ___ing the 12th day of the month. bhaDabhaNDaI-bhANDAni ships II 22, 12 bAraha- " M. bArA bhaDAraya-bhaTTAraka bAla-Skt. maDAriya-bhaTTArikA bAlahAri-bAladhAtrI bhavisaho bAlahAri XII 6, 8. | bhaNai-bhaNati pAsaNa-vana Coll M.vAsana a rich garment | bhaMDa-bhANDa bAha-bASpa bhaMDaNa D-(kalaha) Desi VI 101 kalahe bhaMDaNaM M. bhAMDaNa bAhira-pahim M. bAhera, H. bAhAra bhaMDAriya-bhANDArika bAhu-Skt. bhaMDulla-bhANDa M. bhAMDavala with a slight bAhubali-Skt. Son of the Tirthankara change in meaning Reabha bhaNNai-bhaNyate vi0-dvi0 bhatta-bhakta viNNi-dvau bhattAra-bhartR bhatti-bhakti biMba-Skt. bhattivata-bhaktimat bIya-dvitIya maMti-bhrAMti H. bhAMti bujjhai-budhyate Old M. bumaNe, bunAviNe bhamai-bhramati buddha-Skt. bhamara-bhramara be-dvi M. G. H.be bhamADai-bhramati This s is common in M. bolla D-(=bhASaNaM) G. tAbADaNe, unADaNeM, dekhAraduM, bhamADavU gollai D-(=kathayati) He. Gr. IV 2 bhamira-amin kathervajara etc. bhaya-Skt. bollavai-Causal of above bhayaMkara-Skt. bohi-bodhi ...... .... bhayabhIsai-(=bhayena bhIto bhavati) vohiya-bodhita In kAlAgurukhaMNDaI bohiyAI I 9, | bhayAvaNa-bhayAnaka M. bhayANa ....3 caused to burn like incense. | bhara-Skt. bharaha-bharati bhauhA-bhrUH) "-smarati bha .

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151 bharaDakkhiyaD- (=visphArita) bharaDakkhiyakoyaNa | bhAva-Skt. bharaha-bharata bhAva-bhAvayati bhallaya-bhadraka bhAvaNa-bhAvanA bhali= F. for Skt bhalla aspear. bhAvayatta bhavisANurU in XI 8,3. bhava-Skt. bhAsa-bhASA bhavayatta-bhavadatta a name. bhavaNa-bhavana bhAsaha-bhASate "-zramaNa M. bhovaNe with slight change | bhAsaMtareNaM-bhASAMtareNa IV 13, 7 Prktsm. in sense bhAsiya-bhASiNI bhavaMta-amat bhAsiNi-" bhaviya-bhavya bhAsara-Skt. bhaviyaNa-bhavyajana bhiDi-dhukuTi bhaviyatta bhavayatta bhiMgAra-zRMgAra Old M. bhAMgAra wafer-read qfafa=refe see Emenda bhiSa-mRtya tion to VII 6, 7 bhijaMta-bhivamAna bhavisa-bhavisayatta "-bhaviSya bhiDai D-= Akramate) M. miDaNe, H. bhiDanA bhitti-Skt. bhavisaruva bhavisANurUva bhinna-Skt. bhavisata bhavisayatta bhisaM-bhRzam bhavisayatta-bhaviSyadatta A name bhuSa-bhUtaM Sktsm. aNiTuM kaNiTuM bhuraM sappahAeM bhavisANumA-bhavisAgurUva III 26,9 bhavisANurU-bhaviSyAnurUpA A name bhavIsa-bhaviSya bhIma-Name of the King of siMhaladvIpa bhave-bhavet "-Skt. bhavva-bhavya bhIha-Skt. bhasala D-(bhramara) bhA-bhAsa bhuaMga-bhujaMgaprayAtam bhANu-bhAnu bhuMjai-bhuMkte bhAmaha-mati bhuMDiNI D- (varAhI) Desi VI 106 kolammi bhAmari-(dhamaNaM, i. e. pradakSiNaM) bhuMDabhuMDIrA bhAya-bhAga bhutta-bhukta "-pAta Vul M. bhAyA brother-in-law, bhuva-bhuja G. H. bhAI bhuvaNa-bhuvana bhAyaNa-bhAjana bhUya-bhUta Sktsm. bhAyara-bAta bhUmi-Skt. bhAra-Skt......... bhUlayA-bhUlatA Prktsm bhAriya-bhArika M. bhArI very much, G. | bhUvAla-bhUpAla A name bhArI Heavy | bhUsiya-bhUSita bhAla-Skt. meya-bheda .. bhAlapala-bhAlatala bheri-Skt.

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bhesivibhISayitvA bhoiya-bhogika bhoga - Skt. bhogga-bhogya bhoja - bhojya bhoya-bhoga bhoyaNa - bhojana bhovAla = bhUvAla ma-mA mai-maMti maIMda - mRgeMdra ,, = sIhakandhara A name maiMdakaMdhara - mRgendrakandhara A name maila - malina H. maila maila - malinayati maivaMta - matimat maua - mRdu M. maU. mauDa-mukuTa - mauna ma malAi - mukulayati mauli-mauli maUra-mapUra maUha - mayUkha maMbhIes - ( = mA bhaiSIH iti vadati maM-mA maMsa - mAMsa magga-mArga M. mAga maggara - mArgayati M. mAgaNeM, H. mAganA maMkuNa - matkuNa maMgala - Skt. maMgala mAMgalya macakuMda-mucukunda maca-ma maccai - (=mRdgAti) maccha - matsya Vul M. mAchalI 152 ,,--matsya A country macchara-matsara ( = daMzamazakAdi) daMsamasayamacchara saMgahi XIX 10, 10. M. macchara macchariya-matsarita majja-maya majjai-majjati majjaNa-majjana majjA = majjAya. piTTivi majjArahiu nimANita XVII 10, 9 He was beaten and dishonoured beyond limit majjAya-maryAdA majAra - mArjAra M. mAMjara majza-madhya majjhattha- madhyastha maMDu-maMkSu maMjari - Skt. maDaka D - (= ghaTa) M . maDakeM maDakai=maDapphara which see maDapphara D - ( = garva ) Pai maraTTo maDa pharo gavvo maDaMba D - ( = pallI ) maDha-maTha maNa - manas maNajoe~ - manojavena piya-manaH priya maNaveya - A name mahara - manohara maNAu-manAka maNi - Skt. maNig=maNa+iThTha maNivalaya - Skt. maNua-manuja majja-manojJa manoja "? maNoraha - manoratha moha-manohara maNohirAma - Sktsm for. maNAhirAma maMDa-maMda maMDai=Loc of maNDaa - Skt. maNDapa jo maNDa raNabharadhuraho khaMdhu XIII 8, 14 or maMDayati maMDaNa - maNDana maMDala - Skt. maMDalagga - maNDalAgra ( asi: ) Pai karavAlaM maMDa laggaM ca

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153 maMtiNa- , maMDaliya-mANDalika . marai-mriyate maMDava-maNDapa M. mANDava maraTTa D-(=garva) Pai. maraho maDappharo dappo maMDAya- D-modakAdi khAdyam ) maraNa-Skt. matta-Skt. maraNatta-maraNatvam jAijarAmaraNataviNAsaNi Xx -martya 11,8 mattavAraNa-Skt. marAla-Skt. masthaya-mastaka 46-Skt. Name of a country masthAsUla-mastakazala marukuMda-Name of a flower of the maddaNa-mardana Jasmine variety maMta-mantra mahaveya-marudvega A name maMtai-maMtrayati mala-Skt. maMtaNaya-maMtraNa malaya-Skt. maMti-maMtrin malA-mRdanAti maliNa-malina maMthara-Skt. malitta-malitva maMda-Skt. malla-Skt. maMdira-Skt. mallara-? mallaragaNAi III 23, 1 mana-mAnya malhaMta D-(lIlAyamAna) Desi VI 119 malharNa mantrai-manyate lIlA mannara-mannarabahu kamalA samau AiyA XII 5, 7. masaya-mazaka mamma-marma masarakara D-(Snap one's fingers) mammaNa-manmanaH masANa-zmazAna M. ma(na)saNa maya-mata masi-maSI maha-mahA maharavi-mahAdevi mahaggha-mahArgha mayagala-madakala mahagghima-, mayaMka-mRgAMka mahaNa-mathana mayaNa-madana mahattaNa-mahatva mayaNaveya-A name mahattara-Skt. mayaNAya-mainAka name of an island maharithama-mahArthatva country mahaMta-mahat mayara D=(cAravanitAH) NaM gayajomvaNAu mayara- mahaMtaya- , uIV9,4. Is it to be connected | mahaMtara-mahattara with Sk. madarakta? mahamahai D-(=prasarati) He. Gr. IV 78 mayaradvaya-makaradhvaja mahamaho gandhe mayaraMda-makaranda mahalla-vRddha mayarahara-makaragRha (-madana) mahavA-maghavA mayarAya-mRgarAja mahavvaya-mahAtrata "-mRta 20

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154 mahA0-Skt. mahAiya D-mahAtman ) . . mahAyaNa-mahAjana mahAlasa-Wrong for mahAjaseNa xV 7,7 mahi-mahI mahima-mahiman mAhiya-mathita mahiyala-mahItala mahila-mahilA mahivai-mahIpati mahivAla-mahIpAla A name mahisa-mahiSa mahIyala-mahItala mahIhara-mahIdhara mahu-madhu mahutta-muhUrta mahumAsa-madhumAsa mahuyara-madhukara mahura-madhura mahesa-maheza mahoyara-mahodara A name mAi-mAti mAiya-mAtR mAesara-mAyepara A name mANa-mAna mANai-mAnayati mANaNa-mAnana mANayArI-mAnakAriNI mANiNi mAninI mANibhadda-mANibhadra A name mANusa-mAnuSa mANesaramANibhada mAma-mAtula mAmaha-mAma mAya-mAtR M, mAya, H. mAI mAyaMga-mAtaMga mAyari-mAtR mAyahiya-mAgadhI mAraha-mArayati H1697-name of a people and country mAkhya-mAhata mAla-mAlA mAla-mAlatI mAlI-Skt. mAlUra D-=zrIphaLa) mAsa-mAMsa ,,-Skt. mAippa-mAhAtmya mAhuliMga-mAvaliMga M. mAhALuga mi-api miga-mRga frey-Fetery a barbarous people and their country micchA D-(icchati) micchaha na daNDa XIII 13, 5 micchatta-mithyAta micchA-mithyA miNai-mimIte mitta-mAtra -mitra miriya D-(-mudraH) ? VII 2,9 milai-milati millai-muMcati misala-mizca M. misaLa misalA-mizrayati M. misaLaNe mihuNa-mithuna M. mehuNa mIsiya-mizrita mua-mRta ma. muvA muai-muMcati muka-mukta, mukkha-mUrkha mugga-mudra M. maga, H. muMga G, maga muSa-mucyate, mUtrayati muccha-mUrjA mujjhai-muddhati muDhi-muSTi muNai-(-jAnAti) from nA . muNaMti-(gaNayanti)

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156 muNAla-mRNAla | mogara-mudara M. mogara muNi-muni moDai-moTayati muMDA-muNDayati mottiya-mauktika M. G. motI muttAhala-muktAphala moya-moda mudda-mudrA moha-mUlya M. mola mudiya-mudrita mora-mayUra M. mora G. H. muddha-mugdha moha-Skt. -pUrdhan mohA-mohayati muvA-mubhA mohaNa-mohana musai-mRzati mohiNi-mohinI muha-mukha muhalohamala-mukhyamohamalla muhapatti-(-mukhapatrAvali) kayAhapatti pasAhiyatila This has entirely disappeared from the Prakrits, with the exception yahi XI 9,3? of the Magadhi. It has been changed muhappiya-mukhapriya to'. But a secondary has muhala-mukhara appeared in some Prakrits, espe. muhavaMta-mukhavat mahAsaddhi-mukhazuddhi cially the Amg. and through it the Apbh. This however, only in the muhiya-mukhI muhiyai-mudhikAyAm (sudhA) body of the word and not initially Therefore there are no words muhutta-muhUrta beginning even with this secondary muhullaya-mukha 7. A few cases like grote are sporadic. mUDha-Skt. The words that have been given meiNi-medinI below, are all second members of metta-mAtra compounds etc., or such as have meraya-mAmaka an affix or preposition before them. #-Skt. melai-meLyati yaNa-jana melAvaya-melApaka yaNiya-janita melAvA-melai which see -tanita mellai-millai yavattA-yavatrA (preparation of yava) 0yala-tala mesa-meSa 0yallA-calati meha-megha yANai-jAnAti mehuNa-maithuna yANiDa-jJAtum mehesara-meghezvara A name moiya-mocita mokallA- mocayati) M. moLaLe (karaNeM) mokalaNe e-rati . with change in sense. rahaya-racita mokkha-mokSa | raudda-raudra

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156 raurava-raurava* rauravakALa means the time | ravaDa in daDavaDaravaDa paDaMtiM dahieM XVI 4, 4 a foetus has to pass in the Onomatopoetic. womb of the mother, which | by Hindu and Jain philosophy is regarded 'a place of confinement and filth VI 12, 5. | rakkha- rakSas rakkha- rakSati rakkhaNa- rakSaNa rakkhasa-rAkSasa rakkhasi - rAkSasI raMgAvali - Skt. rasaNA-razanA rasaMta - rasat rasAyaNa - rasAyana rasoi - rasavatI (= pAkaH ) Old M. rasoya, H. rasoI, rasaI razcaMta - rajyamAna raja - rAjya vul M. rAja raha - ratha Old M. rahaMvara raMjai - raMjayati rahasa- rabhasa raMjaNa-raMjana rahiya-rahita raDai - raTati M. raDaNeM rAi-rAtrI raNa-Skt. rAI - rAjI or rAjikA raNajhaNaMta - ( nAdaM kurvan ) Onomatopoetic. rAula - rAjakula (= prAsAda) Old M. rAULa raNaraNaya- raNaraNaka rANau - rAjA M. G. H. rANA raNaraNaMta - ( = kvaNat ) Onomatopoetic rANI - rAzI M. G. H. rANI rakta-rakta rAma-rAmA rati - rAtrI Vul M. rAta rAya-rAga raMdha- raMdhra ranna - araNya M. rAna rama- ramate ramaNa - Skt. ramaNi - ramaNI ramaNIya - Skt. raMbha - rambhA ramma- ramya ramma- ramyate raya-rajas " rata ravaNa - ramaNa ravanna - ramya ravi - Skt. raviMda - aravinda rayaNa-ratna rayaNacUla - ratnacUDa A name rayaNAyara - ratnAkara rayaNa-rajanI kha-Skt. vipada - raviprabha A name rasa-Skt - rAjan M. rAya 22 rAsi - rAzi M. rAsa riGa-Rtu mensis riusoNiyajala thaMbhai III 4, 4. , - ripu " rikkha-RkSa (nakSatra) rijjhai - Rdhyati riMcha-RkSa riMcholi-paMki riddha Rddha riddhi - Rddhi rihaMta D - ( = zobhamAna) kalahoyakaMti riklaMta u XVI 3, 8 risaha RSabha risiRSi rua-ruj " ruta

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157 ruai-roditi H. ronA. rodati in Jacobi is lajai-see leDa: Passive incorrect Skt. lauDi-laguDa sakkha-vRkSa M. mahArUkha laevi, viNu-see lei. Absolutives rucai-rocate lakkha-lakSa rumaMtau-rudhyamAnaH in X 10, 5, is more | lakkhai-bakSayati natural than Jacobi's ojhaMtau lakkhaNa-lakSaNa lagga-lagna ruNaruNa D- karuNaruditaM) laggaha-lagati ruNaruNai D-(karaNaM roditi) laMghai-laGghanyati ruddha-Skt. lacchi-lakSmIH ruMda D-=vipula)M. ruMda ,, -mother of Kamala rulaghulaMta D-nivasan or gadgadakaNTha in II 9, laja-lajA 9; VII 7, 8; VIII 12, 7 etc. | lajai-kajate ruvai-roditi hajaNaya hajAra sahakahA-(mandaM vahati) vAmagi utti lahalahA vAu lajAvaNija-lajjanIya . IV 5,4 lajira-salaja ruhuruhaya D-(-utkaNThA) In III 20, 11 etc. | laMchaNa-lAMchana Not in II 5, 8, where our text laDaha D-mukumAra or sundara) reads huMtu tuhUM lahiya-Fond behaviour of fondled rUva D-rUpa children, M. OR rUsai-haSyati M. rusaNe Dua-laDka M. lADU re-Skt. laha-labdha M. lAdhaNe reNu-Skt. kanbhar-Thabhyate M. lAbhaNe rera-? bhamiya rera XV5,6 laMpaDa-laMpaTa reharekhA M. regha laMbakana-laMbakarNa See kanapaMguraNa reii-rAjate) rAjati in Jacobi is a vya-latA mistake ,,-see . Past Participle romaMca-romAJca lalaMta-DhaLat romaMciya-romAnita laliya-kalita rovaha-roditi lava-Skt. rosa-roSa lahai-labhate rosiya-roSita roha-rohaka lahuArI-laghutarA, A for a metri causa rohiNi-rohiNI __or laghukAriNI, an epithet of blame. lADa-lATa Name of Gujarat without ___Kathiawar. M. lADa in lADavANI, a lai-lA Imperative of sub-caste of Banias lai-Interjection. H. le lAyai-lagayati M. lAvaNe laiya-(gRhIta, svIkRta) from lA / kAliya-bAlita

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lAvaya lAvaka a bird M. bAvI lAviya - see leDa Causal Past, Part. M. lAvilA lAvana - lAvaNya lAha-lAbha Old M. lAho lAiva -lAghava for-Skt. lijai D - ( = AdIyate ) from kA Passive litta - lipta kIla-lIlA lihas - likhati M. lihiNeM lIha-rekhA luMca - lacati 158 luda- lubdha luliya- lulita lumbha-lubhyate luhai D-(=mArSTi ) lei - ( =lAti) lesa- lezya loNa - lavaNa in M. loNaceM & kind of pickle loya-loka ,, - koca (i. e. kezaluJcanaM ) in XXI 11, 7 koyaNa - locana kola - Skt. lAha-lobha ,,--Skt. lohajaMgha - Name of a minister. See Introduction lhikara D - ( = nilIyate ) Hc. Gr. IV 5, 5 nilIne NilIa lhikA: M. likaNeM to hide | va va-iva ,,-vA. hoi na hoi va jei I 4, 8 0 vai-pati vaira-vaira varAya-vairAja air-for variya - 39 vaisavaNa-vaizravaNa vaisAhaha - vaizAkha vaMsa - vaMza vaMsayAla - vaMzajAla vaka - vAkya vakaravakra vakkhANai - vyAkhyAnayati M. vAkhANaNeM * vakhkhiya-pakSaka vagga-varga vaggaivalgati ara - vyAghra M. vAgha vaiMka-vakra M. vAMka. vivaMka of Jacobi is due to bad splitting up of text majjhi mahattarANa na kayAivi vaMkavi vaMku vuccae XII 5, 17- In the midst of great people, even a crooked man does not say crooked things.' vaMkuDa =vaMka M. vAMkaDA i-vakrayati vacca - jati Hc. Gr. IV 225 janRtamadAM ca Kon. vacata, G. vacakuM vacarA- (= Sk. vacA & herb that is supposed) when eaten, to clear the throat. eg . brAhmI muNDI vacA saMSThI pippalI madhumitA / paJcarAtraprasaGgena ko kilAH svara ucyate // ) XII 3, 23 vacchala-vatsala vacchala - vAtsalya vajja-vajra vaijjai - see vayai=tradati Passive sAhammiyaba- vajjai - varjayati M. vajA karaNeM ) cchallu vaijjai XX 11, 2 vacchayala - vakSaHsthala vacchatthala - Sktism vajjarai D - (= kathayati ) Hc. Gr. IV 2 kathe jara etc. vajAvara - vAdayati M. vAjavaNeM vajjoyara - vajrodara A name

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158 vaMcara baca In the text XV 17, 2 caMcivi vammaha-manmatha ___wrong for vaMcivi vammahatI-manmathAyamAnA Denominative. "-vaJcayati vaya-vayas vaMcaNa-vaJcana vaMcchai-vAncchati "-vAc 0vaTTha-0paTTa vayai-cadati taM ghaNu vilasaMtavayaMtahami III 7,13 vA-vartate vayaMsa-vayasya vaDavANala-vaDavAnala vayaMsiyA-vayasyA vaDDa D-(=mahat) Desi VII 29, vaDDo mahAn 0.] vayaNa-vacana M.vADa in vADeM ko.. Jacobi's vuDa -vadana in XII 6, 3 is not happy vayaNija-vacanIya vaDAra vaDDayara Comparative vara-Skt. (=zreSTha) var3amANa-vardhamAna "-, (varayita) vaDDA-vardhate M. vADhaNe "-, -prasAdaH) vaDAraha-see vaDai Causal XII 4,8 varaha-varayati vaNa-vana in M. vaNavA? varaitta-varayitA -vraNa M. vaNa varaMga-varAGga vaNaya-vanaja varaMgaNa-varAGganA vaNi-vaNij M. vANI, G. vANio, H. baniyA varayara-varatara vaNiutta-vaNiputra varAiya-varAkI varADiya-varATikA vaNija-vANijya Coll M. vaNajelA jANe varAya-varAka vatta-vaktra varAha-Skt. ,,-vArtA M. H. bAta, Guj. vAta vari-varam M. bareM,G. vALaM vattai-vartate or vartayati variya-vRta vattayAra-vArtAkara a messenger variTTha-viriSTha vattiya-vartita varisa-varSa Coll M. varIsa, G. barasa vastha-vala --meghajalaM) vahAriya-vardhApita G. vadhAre, vadhAra varisai-varSati H. barase, barasAta vaDAvaNa-vardhApana Vul M. varadhAvA varei-varayati vaDAviya-vardhApita valai-valati M. vaLaNe vaDiya-varSita valaggai D-(Arohati) Pai. valaggamArUDhaM, He. vaMdA-vandate Gr.IV 206 AvhezcaDavalaggau. M.vaLagaNe vaMdaNa-vandana valaNa-valana vaMdaNahatti-pandanabhakti valattha D-(=paryasta) banna-varNa ------ valaya-Skt. vanai-varNayati M. vAnaNe vali-Skt. (=trivali) vamAla D-(=kalakalaH) Pai kalayalo vamAlo valla-In kuruvallaI poyaNavallahaM XIV 13, 14 is ya-or (puJja) He. Gr. IV 102 a.suffix meaning belonging to.' puMjerArolavamAlo M.G. H. muMbaDvAlA, dillIvAlA

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160 vailaha-vallabha 0. M. vAleM, G. vhAlA vAyaI-vAcayati vavagaya-vyapagata vAyaraNa-vyAkaraNa vavasAya-vyavasAya 0. M. vevasAva vAyasa-Skt. vasa-vaza vAra-vAra ( velA) vasaha-vasati vAraha-vArayati vasaMgaya-vazaMgata Sktism. vAraNa-Skt. vasaMta-Skt. vAravAra-vAraMvAram --- vasaha-vRSabha M.G. vaso 0vAla-0pAla e.g. bhUvAla vasu-Skt. vAlai-valayati / vasunaMdaya-vasunandaka a sword. vAvaraha-vyApriyate M. vAvaraNe vasuMdhara-vasundharA vAvaraNa-vyAparaNa M. vAvara and vApara vasaMdhari- , A name vAvAra-vyApAra vasamai-vasamati vAvi-bApI H.G. bAvaDI vasaha-vasudhA vAsa-Skt. (vasatiH) vaha-(1) dasadisi vahakayaMtra orAliu XV 14,7 -Skt. ( gandha) vahai-vahati -vAsas vahaNa-vahana vAsai-vAzati , -vasana VII 1,740 bhaMDArahiM saMjaviyaI / -vAsayati / vahu-vadhU G. vahu,ma. bahU, B.baU.also in M. vAsana-vAsanA vohara-vadhUvara .,-vana (from vas) . vAsara-Skt. vahua-, vAiya-vAdita vAsava-vAsavadatta A name -vAdin vAsavadatta-, vAiNI-vAdinI vAsahara-vAsagRha vAhatta-vAvitra vAha-vAha in kevalavAhaho an Adj. of vANi-vaNim M. vANI,G. vANiyA XIV 8,51 candappahanAha vANiyaya vAha-vyAdha vANija-vANijya vAhai-vAhayati vAhaNa-vAhana vANijiya-vaNij vi-api vANI-Skt. viaNakkheM-(viaNa=vedanA Pai and akkha akSi, vAma-Skt. with a pained eye. Or. vi and vAmIsiya-vyAmizrita aNakkha which see.XII5, 19 vAmoha-vyAmoha viujjhai-vibudhyate vAmohaNa-vyAmohana viuNArau-dviguNatara vAya-pAta in aMsavAya viuddha-vibuddha vAya-vAk viula-vipula "-vAta viulahari-vipulagiri One of the five hills surrounding Rajgir in Bihar "-bAta viusa-vidvat "-bAda

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viesa - videza vioya-viyoga vioha-vivodha visaya-viMza vikucchiya - vikutsita vikrama - vikrama vikraya-vikraya vikiya - vikrIta M. viki-leM vikkhAya - vikhyAta vikkhAi - trikhyAti vikkheva - vikSepa vigas - vikRti vigatya - vikatthaka vigaya- vigata 161 viDaMba - Skt. viDaMbai-viDambayati viDaMbana - viDambana vitta D- See vidavai Past Part fac D-See fag Pass. vivai D - ( = arjayati ) Hc. Gr. iv 108 arjavidava etc. virg - viSTa viNaya - vinata ,,-vinaya viNAsa - vinAza viNAsa - vinazyati viNAsaNa- vinAzana viggada-vigraha viNiya - vinIta biNiutta-viniyukta vitta D - (= vyAkulIkRta) Desi VII 64, viNioya - viniyoga viggovo AulA viNioya - viniyojayati viNiggaya-vinirgata viNimmiya - vinirmita viNiyatta-vinivRtta viNiroha - vinirodha viNivAra - vinivArayati viNIya- vinIta viggucus - vigopyate viggova-vigopa vigdha - vighna vicalliya- vicalita vicita-vicitra vicca-vartmana vizva D - ( - samIpamAyAti ) jai ehau vizva mama viNu-vinA sarIra XIX 6, 3 viNoya-vinoda vitta - Skt. vicchAya - Skt. viccheyaya-vicchedaka vicchoya D - ( = viraha ) vicchoiya D - ( = virahita ) vijaya- vaiyaka vijA-vidyA vijJAvaca - arre vijAhara - vidyAdhara vijjijjai-vInyate vijjujjala-vidyudujvala vijjuppaha - vidyutprabha A name vijjula - vidyut vije D - ( = mArgeNa or artha) kayavijje in I1I | vidaviu - vidrAvita ( = nAzita ) 9, 4 etc. viANa - vidvANa 21 ,, - vRtta M. bitaNeM, G. vItyuM vittaMta-vRtAnta vittaviya-vartita vitti-vRtti vizya vistRta - vithara - vistara vithariya - vistArita vithAra- vistAra vithAras - vistArayati virithana - vistIrNa vidita - vidizA A name of a city

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162 vihAraNi-vidAraNI viyaDa-vidagdha viddAviya-vidrAvita viyaNa-vijana vihuma-vidruma viyaNiya-vitanita videsiya-vidveSita viyappa-vikalpa viddha-Skt. viyappA-vikalpate -vRddha viyaMbhai-vijRmbhate vidvaMsai-vidhvaMsate viyaMbhaNa-viz2ambhaNa vinaDai-vinaTati viyarai-vitarati viMda-vRnda viyallai-vicalati viMdhaNa-vedhana viyasai-vikasati vinatta-vijJapta viyANai-vijAnAti vinappai-vijJapyate viyAra-vikAra vinavai-vijJapayati M. vinavaNe ,,-vicAra vinANa-vijJAna viyAraNa-vicAraNa vinnAsa-vinyAsa viyAriya-vidArita viSpa-vipra viyAla-vikAla vippiya-vipriya viyAliu-vigAlitaM? sA amieNa viyAliu maggai vipphurai-visphurati VIII 19, 4 She wants strained vinbhama-vibhrama amrta.' The reading piyAliu noticed in foot notes would vibbhADiya D-=nAzita ) Desi VII 70 mean dearer, better. 'She wants viSphADiya. M. vAbhADe kADhaNe to tear something better than amata.' into shreds viyAsa-vikAza vibhIsAvaNa-vibhISaNa viyujjhai-vibudhayati vimaNa-vimanasa viraiya-viracita vimahaNa-vimardana viracamANa-virajyamAna vimala-Skt. viratta-virakta vimala-Skt. Name of a person viralliya D-=kRzIbhUta ) M. viraLa hoNe vimala-vimalabuddhi virasa-Skt. vimalabuddhi-Skt. A name viraha-Skt. vimANa-vimAna viruAra-virUpatara VI 10, 8 vimIsiya-vimizrita viruddha-Skt. vimukka-vimukta virua-virUpa vimuha-vimukha virUa-virUpa (=ayukta) virUau kiyau janna samAvibhaya-vismaya fore VIII 15, 7 vibhala-vivhala viroliya-viloDita vibhiya-vismita viroha-virodha viyakSaNa-vicakSaNa virohaya-virodhaka viyaDa-vikaTa vilaya D-(vanitA) vibhava-,,

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163 vilakkha-vilakSa 2, 9 and pulayavi0 dehu XIX 12, 1 vilakkhima-vailakSyaM. uvasamiyavilakkhima XI12,11 Not in II 2, 9 where our readvilagga-vilagna ing the laterale is correct. vilaMbiya-vilaMbita visaTTai-dalati He. Gr. IV I76 vilavai-vilapati visanna-viSaNNa vilasai-vilasati visama-viSama vilasiya-vilasita visarisa-visadRza vilAviya-vilApita visahai-viSahate vilAsa-Skt. visAya-viSAda vilAsiNI-vilAsinI visAla-vizAla vilijjai-vilIyate visiTTha-viziSTa vilitta-vilipta visatta-vis paTTaNi suttavisuttaI cAhaI III 5, 7 vilihai-vilikhati the ins and outs of city life. valINa-vilIna visuddha-vizuddha vilukka D-see lhikkai. hariyattu kouhaleNa vatthaMtari visaddhi-vizuddhi vilakao XII 5, 11 concealed | visUrai D-(=khiyate) He. Gr. IV 182 under a garment.' . khidejuravisUrau vilevaNa-vilepana visesa-vizeSa vilohai D--visaMvadati) He. Gr. IV 129 visesai-vizeSayati visaMvadeviaviloha etc. visesaNa-vizeSaNa vivajai-vivarjayati vihaMga-vibhaMga vivajniya-vivarjita ,, -Skt. vivattiya-vivartita vihaMjai-vibhakta vivara-Skt. vihai-vighayati vivaraha-viSNoti vihaDapphaDa D-( tvaritaM) Hc. Gr. IV 174 vivarAmuha-viparAGmukha __mentions it among 'bhASAzabdAH ' vivarIya-viparIta like Ahitta, lallaka, viDira most of vivarera-, which, strangely enough, he vivAya-vivAda does not mention in his vivAha-Skt. Desinamamala. viviha-vividha vihaDAvaNa-vighaTana viboha-vibodha vihaMDai-vikhaNDayati visa-viSa vihatta-vibhakta -vRSa vihattie-vibhaktyA visaya-viSaya vihatttha-vihasta visai-vizati viharai-viharati visajai-visarjayati vihala-viphala visaha-dalita Pai vi. vihaDiatthe; Hc. Gr. ,, -vivhala IV 176. ahimANamaraTTa visaTTagai III vihalaMghala D-(-vihvala ?) Adj. of gatta, in

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164 XVIII 5, 3 and of karoDi in XX | vIsAsa-vizvAsa 12,5 vuccai-ucyate vihava-vibhava buddhi-vRSTi vidavattaNa-vidhavAtva bur3hiya-vyutthita vihasai-vihasati vutta-ukta vihANa-vidhi vunna D-(=viSaNNa) , -vibhAna (prabhAta) vegga-vega vihAya-vidhAta (1) paramesara taho kAI bihAyau | veDhai-veSTayati M. veDhaNe XVIII 4, 2. It appears how- veya-vega ever to mean 'happened' and | , veda thus should be connected with veyaMga-A Country-maru veyaMga kuMga verADa vi Skt. vidhA ___X 1, 12 vihAra-Skt. veyaDiya D-(=pratyupta) Desi V II 77 vebhaDiaM vihAvai-vibhAvayati paccutte vihAsa-Skt. veyaDha-vaitADhya vihi-vidhi veyaNa-vedanA vihiya-vihita veyArai D-(=pratArayati) vikArayati ? Desi vihinna-vibhinna VII 95 veAriamavi payAriyakacaMsu. vihuNai-vidhunoti verADa-vairATa Name of country. The matsya? vihura-vidhura The present Alwar and round vihullI-(viphullA?) IX 22, 2 niyakajavihullI about it. heartily delighted in her work, | verAya-virAga enthusiastic over it. velA-Skt. vivai-vibhUti velAula-velAkula vidvasiya-vibhUSita vellahala D-(=komala) Desi VII 96 vellahalo biheya-vidheya mauavilAsIsu M. velhALa vihoya-vibhava vesa-dveSa vITa-pITha , vezyA Coll M. vesvA vINAlAvaNi-vINAlApanaM cf. M. lAvaNI a kind "-veSa of popular song, sung to the accompaniment of a strinced | vehava-vaibhava instrument. voiya-vyapeta vIyarAya-vItarAga vola D-(kalakala) Desi VI 90 tumule bamAla vIra-Skt. M. bola bolA vIsa-vizati volai D-(=gacchati) 0. M. voLaNe vIsaddha-visrabdha vohitya D-(pravahaNa) vIsamai-vizrAmayati vohitthiva D-, vIsaraha-vismarati M. visare vIsavai-vizrAmayati M. visAve sai-zacI

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165 saMu-, . saha-satI. | saga-svarga saI-svayam samgaiM-? Desi VIII 4 quotes saggaha-mukta saitta D-(-mudita) Desi VIII 5 sayatta mudita as the view of some. If we read Possibly from sacitta ? saggaI adj. of dAraI, the sense sahattaNu-svatva (abhimAnaH)? mailipaI na hoMti would be clear. He then phullu saIttazu cArahahiM XV.8, 10 goes to open doors' i.e. to sau-zata courtezans, as the next line "-samam (saha) in the Kadvaka shows. so saggaI dAraI parisakai XVI 9, 8 sauNa-zakuna saghaNa-saghana saunna-sapuNya saMka-zaMkA saurisa-supuruSa saMkiya-zaMkita sauhuM-sammukham saMkula-Skt. saesa-svadeza saMkeya-saMketa saMvacchara-saMvatsara saMkha-zaMkha saMvaddhaNa-saMvardhaNa ,-saMkhyA saMbarai-saMvRNoti saMkhutta-saMcabdhi saMvaraNa-Skt. saMkheva-srakSepa saMvaliya-saMvalita saMkhoha-saMkSobha saMvAra-Skt. saMkhohai-saMkSobhayati saMvArai saMvaraha saMga-Skt. saMvAsiya-(=samAzvAsitaH)? tiM vayaNi dhaNavai saM. saMgai-saMgati vAsiu III 8,9 saMmaga-Skt. saMvAhai-saMvAhayati saMgaya-saMgata saMvihANa-saMvidhAna saMgara-Skt. saMsai-zaMsati saMgaha-saMgraha saMsaya-saMzaya saMgahai-saMgRhNAti saMsAra-Skt. saMgAma-saMgrAma saMsiya-zaMsita saMgicchaNa-saMgRkSaNa? to bahumaMgalasaMgicchaNaI caMdaNa. sakalaMkai-kalaGkayati caukkanimmacchaNaI VIII 5,9 saka-zaka saMgha-Skt. sakkA-zaknoti saMghai-saMghaTTate sakasAmaMta-strakasAmanta Doubling of ka saMghaDai-saMghaTate sporadic or metri causa saMghaDaNa-saMghaTana. sakAra-satkAra saMghAya-saMghAta sakkeya-sAketa ? zAkeya see Introduction saMghAriya-saMhArita (mArita) ma. saMghAra p. 7 sabaviya D-(abhipreta) Desi VIII 17 sakkha-sAkhya sacavi taha ahippee sakkhi-sAkSin saccha-sAkSAt

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saMcchada - svacchanda sacchAya - Skt. sajala - Skt. saja-Skt. sajjaNa-sajjana sajjiya- sajjIkRta saMcalas - saJcalati saMcallai -," saMcAra - Skt. saMcAra - saJcArayati saMcAlas - saJcAlayati saMcuNiya-sancUrNita sacchavAya - for satthavAya saMjaya - saMyata saMjama - saMyama saMjali -saMjvalita java - saMyacchati sajjhasa-sAdhvasa saMca= saMcaya ? mallajujjhaAvaggaNasaMca ( = paricaya ) satataM - svatantra satta-sapta II 2, 7 saMca-sacinoti saMcaya - Skt. satva sattakkhara - saptAkSara sattama - saptama saMcara - Skt. saMcaras - saJcArati satti-zakti saMcaraNa - Skt. saMjAya -saMjAta saMjaya - saMyuta saMjjutta-saMyukta saMjoya-saMyoga saMjoya - saMyojayati saMjoya D - ( dRSTa) See joyai saMjottivi-saMyojya 166 saNa-sanidra saha-sneha saha-paSTi saNa-kSaNa M. saNakADI saNakumAra- sanatkumAra saNAha-sanAya saMvai-saMsthApayati saMThiya-saMsthita saMDevaya-saMdevaka (AraTat ) or sImA (?) Desi VIII 7 saMdeva sImA. gAmahaM kukuDasaMDevayA I 5, 6. "" sattu - zatru sattha-sArtha ,,-zAstra sarathantha - zAstrArtha satyavAya sArthavAha satthavAhika - " sallA sadda - zabda saddaddaNa-zraddhAnaM saddaddANa-zraddadhAna sahUla - zArdUla saddalavaNa - zAlavadana a people sadvim - sArdham saMta - zAnta "--sat saMtatta-santapta saMta-santapyate saMtANa - santAna saMtAvaya-santApaka saMtAvas - santApayati saMjha - saMdhyA M. sAMja saTTa-(=sattha meaning svastha ) ? pINuNNayasadRiM ... saMti - zAnti va II 1, 4 satira - zAntigRha saMtosa - santoSa saMya- saMstuta dhu-saMta saMdiTTha-saMdiSTa

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167 saMdIviya-saMdIpita samaladdha-samAlabdha saMdesaya-saMdeza samavaya-samavayas saMdeha-Skt. samavasaraNa-Skt. saMdhANa-saMdhAna samavAya-Skt. saMdhi-saMdhi The Apbh. word is feminine | samasamai-onomatoptic duhasAyari samasamaMtu saMdhukkaNa-saMdhukSaNa 0.M. sAMdukaNe ___ acchai VIII 20, 5 saMna-saMjJA samahara-samabhara (samaharu karevisaMbhUya) uhiya saya. saMnajjhai-saMnayati lavi samaharu karevi XIV 15,16 saMnaddha-Skt. samAula-samAkula saMnahai-saMnayati samAesaNa-samAdezana saMnAha-Skt. samAosio-samAtoSitaH saMniya-saMjJita samAgama-Skt. saniu-zanaiH samAgamaNa-samAgamana sappai-sarpati samAgaya-samAgata sapparivAra-saparivAra samANa-samAna sappurisa-satpuruSa samANai D-(bhukte) He. Gr. IV I10 bhuje. sabara-zabara rbhuja...samANa sabbhAva-sadbhAva ,,D-(samApyate) He. Gr. IV 142 samApeH saMbajjhada-saMbadhyate samANaH sama-Skt. samANu-samAnam samau-samam samAyaya-samAgata samakkha-samakSa samAyaraNa-samAcaraNa samagga-samagra samArai-samAracayati He. Gr. IV 95 samArasamaggala-samagrala ceruvahattha...samAra samacchariya-samatsara samAruhai-samArohati samaMjasa-Skt. samAlaviya-samAlapita samaDakvaya D-(sagarva to be connected with samAlahaha-samAlabhate ___maDapphara) II 5,9 and III 8,2 samAliMgita-Skt. samatta-samApta samAlIDha-Skt. samaya-samartha samAvaDai-samApatati samaMti-samantri samAvatta-samAvRtta samani-samanvita samAsa-Skt. samappai-samarpayati samAsai-samAste "-tamApyate samAsei- , samappaNa-samarpaNa samAhaya-samAhata samappaha-samaprabha samAharai-samAharati samaya-Skt. samai in XXII 7, 10 is also samAhi-samAdhi a Sktism -samAdhigupta samara-Skt. ! samAhigupta-samAdhigupta

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168 samAhutta-samAhUta [ saMpuDa-saMpuTa samicchaNa-samIkSaNa saMpuDai-saMpuTIkaroti samicchiya-samIkSita saMpuna-saMpUrNa samiDa-samRddha saMpesai-saMpreSayati samiddhi-samRddhi saMpesaNa-saMpreSaNa samillivi-saMmillivi see millai saMphAlai D-(sapATayati) M. phALaNe samIra-Skt. saMbajjhai-saMbadhyate samIla-(sama?) hubha rayaNi bahalakajjalasamIla saMbaMdha-Skt. ____ IV 4,9 saMdala-zaMbala samIva-samIpa saMvohai-saMbodhayati samuccaya-Skt.. saMbhama-saMbhrama samuccaliya-samuccalita saMbharai-saMsmarati samujjala-samujvala samalai D-(zruNoti ) G. sAMbhaLavU samutthiya-samusthita saMbhava-Skt. samuttarevi-samuttIrya ,,-saMbhrama samuttuMga-Skt. saMbhavai-saMbhavati samudda-samudra saMbhAlai D-(saMzruNoti ) M. saMbhALaNe samunaya-samunnata saMbhAvai-saMbhAvayati samuNNoNNa-samunnatonnata=ever louder and saMbhAsai-saMbhApate louder samu0 ghoso huo pAyaDo vaMsayAle saMbhAsaNa-saMbhASaNa huyAlo IV 3,7 saMbhUa-saMbhUta samupphAliya-samut-sphAlita sammai-sammati samunbhaDa-samudra sammajiya sammArjita samubbhava-samudbhava sammatta-samyaktva samubbhiya-samUrvIkRta -Skt. samuvvahai-samudvahati sammaviya-sammApita counted amongst samUha-sammukha sammAijai-sammIyate samUha-Skt. sammAihi-samyagdRSTi samei-sameti sammANa-sammAna samosarai-samavasarati sammANai-sammAnayati saMpaI- sampadU sammilai-sammilati saMpautta-saMprayukta saya-zata saMpajai-saMpadyate saMpatta-saMprApta sayaja-svakArya saMpaya-sampad sayaNa-zayana saMpahAra-saMpradhAraNa? "-svajana saMpAiya-saMpAtita sayastha-svArtha saMpAlai-saMpAlayati sayala-sakala saMpAvai-saMprApnoti sayavatta-zatapatra

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sayasakkara- zatazarkara sayA-sadA sayAi - sadAcit sara-svara " - saras sarai-sarati M. sare "smara saraNa-zaraNa saraya- zarad sarala - Skt. sarasa-Skt. sarasai-sarasvatI ,,--sarUpa ,,,--svarUpa salakkha- salakSya sA salAya - zalAkA salila - Skt. 169 salla- zalya salla-zayita sallehaNa-saMlekhanA savha - sarvataH ? Pai savatto sarvataH sajalaMtari va ravi XII 12, 7 bhiMgAra saha- sabhA saha-sahate sarAya-sarAga sahaesa - svadeza sarisa - sadRza Old M. sariseM, Coll M. saraseM sadasya svahasta Perhaps to read sayatthu - sarIra-zarIra svArtha. vavagayapayAva nAsaha sahatthu XIII sarIraDhaya-,, with Da added 7, 14 sarUva sarUpA A name sabvAya satrAta savvura - savvu+6. para savvura chajai XII 6, 12 sasi - zazin 0 sasiyateM - 0 zazivRttena bhAlayaleNa addhasasiyateM V savaNa-zramaNa " - zravaNa sabatti - sapatnI savaMti - for samaMti which see. savippa-vikalpate sabva-sarva - samvaggaNasavaggaNa ( doubling of a metri causa) - savalgana (?) tAhimi kariva diyaya savvaggaNa XV 16, 8 9, 16 sasippa - zaziprabha A name. sasirohiNi-zadhirohiNI A name. sasura- zvazura M. sAsarA, H. sasarA sahasakkha - sahasrAkSa sahasatti - sahasA sahasA Skt. sahAya - Skt. sahAva-svabhAva saddAraMba - ? Does it mean a particular - region celebrated for mangoes sahAraMcasaMjAyayA bhavvaaMbA XII 3, 17. Or sahakArAmra ? savakkha-svapakSa saddAsa sahasra sahA siya-sahAsa sahi-sakhI sava= savva which see savaDhammuha D - ( = abhimukha ) Desi VIII 21 | sahiyari - sahacarI ease rese sahi-pRSTaH bhUvAlakaji sacau sahidu XIV 12, 9 sahiya- sahita sahu-saha sAkeya - sAketa See sakeya sADa D-sAda (= avasAda ) sANa-zvan sAma-zyAma sAmaggi- sAmagrI sAmaMta - Skt. sAmana - sAmAnya

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-170 sAmaka-zyAmala sAvatta-sApalya sAmAiya-sAmAyika sAvana-sAmAnya sAmi-svAmin sAvaya-zrAvaka sAmiNi-svAminI sAsa-zvAsa sAmiya-svAmin sAsaNa-zAsana sAmisAla-, sAsaya-zAzvata sAmudiya-sAmudrika sAsu-3vazrU M. sAsa, G. H. sAsa sAya-sAda sAhai D-(kathayati) Hc. Gr. IV. 2 sAyai-AsAdayati sAhaNa-sAdhana sAyara-sAgara sAhammiya-sAdharmika sAra-Skt. sAhasa-Skt. sAravai D-(samAracayati) Hc. Gr. IV 95 sAhAra D-saMdhArayati He. Gr. IV 82 saMTageH samAracevahatthasArava etc. sAharasAhaTau does not suit any of sArisaja-(twice) and sArisija (once) our passages, where maNu sAhAriu, zarasainyaM, or zarasaja. sAra-zara lengthen maNu taNu sAhArami occur. See II 5, ed metri causa, as in Pai. Ping. 6; 9, 23; 12, 2; VIII 20, 6 etc. sija-sainya. The usual Pr. for sainya | | sAhAraNa-sAdhAraNa is no doubt sina; but sija is not | sAhiThiya D-( saha arjitaM)? Pai sAhaTibha impossible: or saja-saja which is | sAharioM less objectionable. In two | sAhiya-sAdhita places (1) nijIva jAya pharisArisajja | sAhu-sAdhu AIV 4, 11 and (2) sannaha karivi | sAhukkAra-sAdhukAra karisArisajju XIV 16, 13, it is si-Asi which see. preceded by kari and means | siuM-samam In appuNu siDa, siu putteNa etc. 'elephants and archers.' In (3)| siMhaura-siMhapura-a town and country on kayA sArisijA gayA lIlagaMDA XV 15, the north side of the Salt-range 7 it is also coupled with 791, in the Punjab. It bounded on the although not compounded. Indus in the West. M 6 h. says The & in Art is due to the it was conquered by Arjuna. influence of kari in (1) and (2) Geographical Dictionary of Dey. and thus continued in (3) where | siMhaladIva-siMhaladvIpa also the influence of sijja is | siMhAsaNa-siMhAsana seen. sikAra-sItkAra sAla-zAlA sikkha-zikSA sAlaNaya-sAraNakaM a kind of dish like curry sikkhavai-zikSayati VI 23, 3 sikkhAvaya-zikSApada or vrata sAlaya-zAlaka G. sALo, H. sAlA siMgAra-zRGgAra sAli-zAli M. sALa siMgArai-zRGgArayati sAva-cApa | sija-zayyA

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171 -svapiti sijAvatti-zaghyAvatiH siviNa-svara sijjhaha-sidhyati sisira-zizira siMcai-siJcati sihara-zikhara siha-ziSTa See sIsaha sihAsana-siMhAsana siddhi-zrechin sihi-zikhin sidila-zithila sihiNa-stana siviliya-zithilita sIyala-zItala sitta-sikta sIla-zIla siddha-Skt. sIsa-zIrSa siddhakkhara-siddhAkSara (namo arihaMtANaM) .. sIsai D-(kathayati) He. Gr. IV 2 kathevasiddhi-Skt. ____ jarapajara...sIsasAhAH siMdhava-saiMdhava sIha-siMha siMdhu-Name of a country, on the | sIhakaMdhara-siMhakaMdhara A name of maiMdakaMdhara banks of the Indus, after all | sIhAsaNa=siMhAsana . the tributaries have joined it. | su-Skt. sinna-sainya subha-zruta sippi D-(zakti) Coll M. zIpa, H. sIpa ,-suta siviyA-zibikA muai-suvai (su-pati) simira-zibira siya-zrI suaNa (muyaNa)-sujana -sita suaccha-Skt. siyavaMta-zrImat suaMdha (ayaMdha)-sugandha siyavAha-zrIvAha or sitavAha. But the latter | suapaMcami-zrutapaJcamI won't do, as there is no before suAsa-sua+Asa siya0 already. An attribute of | sui-zruti candraprabhanAtha. ahimuhuM caliu dhavalasiyavAhaho suiru-suciram caMdappahaNAhaho IV 12,9 sukaya-sukRta sira-zirasU H.sIra sukiyasiri-zrI sukula-Skt. siriyAhara-zrIdhara obj. of ThANa XI 1, 10. sukesa-mukezA A name. sirivahaNa-zrIvardhana A name. sukesiyasirivatta-zrImat See Notes, on XI 6, 12 saka-zukla sirihara-zrIdhara A name. sirIkhaNDa-zrIkhaNDa sukiya-sukRta silAyala-zilAtala sakina-zukla silIsaha-liSyati sukkha-saukhya siva-ziva sivanayara-zivanagara (=nirvANa) gaya sivanayari | saNai-pRNoti XXII93 iMDIra-cauNDIra

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ra mutAriya-"" utAra-sutArA A name. suvvaya-suvratA A name. suvA-bhUyate utta-zrotra susaha-zuSyati susama-suSamA sussAra-susAra -zrota muha-zubha sukkha -sudakSa suddha-zuddha sahakammiya-zubhakarmika suddhi-zuddhi suhacAra-zubhAcAra suMdara-Skt. sahaciTThI-zubhaceSTA suna-anya muhaDa-subhaTa sunha-stupA M. sUna mahattya-sahasta (dAnazIla) supAyanavA-? 0cours among the names | saMhaha-subhadra of eatables to be offered to suhappiya-sukhapriya Sadhus, in XII 3. muhamasaha-zubhAzubha suppasana-suprasana muhamma-sudharma A name. suppaha-suprabha A name. suhava-subhava suppAhUva-suprabhUta suhAseva-sukhaseva samarai-smarati suhAi-sukhAyate samitta-sumitrA A name. suhAvai-sukhayati summai-zrUyate suhAvaNaya suhAvaya (? zobhanaka) sura-Skt. suhAvaya-mukhadAyin suraya-surata suhAvaha-sukhAvaha surahi-surabhi suhAsiya-subhASita sarAulaya-purAkula sahi-muhad surAlaya-Skt. suriMda-sureMdra -mukhita suresara-surezvara muhuma-sUkSma suva-muta sUra-zara savai-supati "-svapiti sUrappaha-sUryaprabha A name. savaka-suvAkya A name. seiya-svedita G. parasevo navapaMcami-saapaJcamI The fifth day of the | seu-setu bright half of kArtika (rarely of | seja-zayyA M. zeja kAlguna and ASADha also see VI 3,4) / sehi-zreSThin M. G. zeTha suvanna-suvarNa seNAvai-senApati M. zeNavaha suvaraha-smarati seNiya-zreNika King Bimbisara of magadha, muvasuMdhara-A name. who figures prominently in saviNa-svama legends. suhiya-"

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173 "-hRta / haha D- ApaNa) M. hATa in bAjArahATa seyaMsa-zreyAMsa The eleventh Tirthankara | haNai-hanti M. haNaNe "=siya (sitA) in XII 3, 11 hatti-bhakti in vandaNahatti serau-svairam hastha-hasta G. hAtha seva-sevA hasthApahatttha-hastApahasta sevA-sevate hattthAvAra D-(sAhAyyaM) Desi VIII 60 sevaya-sevikA hatthAraM sAhaje sesa-zeSa hatyi-hastin Old M. hAthilaM, G. hAthI soaha-zocati hatthiyAra D-(-zastra) M. hatyAra, H. hatiyAra soUNa-See suai (Noti) hasthinAyapura-hastinApura sokkha-saukhya hammada-hanyate soNiya-zoNita haya-hata soNDIra-zauNDIra "-Skt. somappaha-somaprabha A name. somAla-sukumAla M. somaLa tepid hayagIva-hayagrIva A name soya-zoka hayAsa-hatAza soraMbha-saurabhya hara-gRha See jiNahara, paihara, sayahara solasaviha-SoDazavidha harai-harati solaha-SoDazan M. soLA haraNa-Skt. solahama-poDaza (ordinal) hari-Skt. sovai-svapiti hariNi-hariNI sovaNa-sovana haribala-A name. sovana-sauvarNa hariyatta-haridatta A name. sovaraNa-sopakaraNa hariyaMdaNa-haricaMdana sovANa-sopAna harivAhaNa-harivAhana sovAsiNi-suvAsinI Coll M. savAzINa harisa-harSa sosai-zoSayati M. sosa harisiya-harSita soha-zobhA 0hala-phala in muttAhala, thUlAhala sohai-zobhate hali-halA sohagga-saubhAgya halliya D-(=calita) Desi VIII 62 hallibha sohamma-saudharma one of the Svargas calitaM M. hAlaNe, hAlacAla sohalaya-(zobhanaka ?) M. sohaLA- ---- halluttAla-halla+uttAla 'agitated' sohiNi-zobhinI hallohaliya D-(vyAkulita) See halliya sohillaya-zobhin hallohalihuva-(vyAkulIbhUta) hasai-hasati hA-Skt. hANi-hAni iMsa-Skb. hAra-bhAra in gurahAra etc. hakAra D--AkArayati, zabdApayati) hAra-Skt.

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174 hAri-hArin / hAriya-hArita huvaya-bhUta hAva-Skt. huvAsa-hutAza hAhAkAra-Skt. he-Skt. hAhArava-Skt. heu-hetu hijai-hIyate hehAsaha-adhomukha Coll M. heThA inferior, G. hidu-nAyaralou payaDa pAhiTThau XVIII 9, 11 Desi VIII 67 Akula does not | hemaMgaya-hemAGgada A name. suit. adhastAta? hesiya-heSita hiTThAmuha-heTThAmuha hoi-bhavati M. hoI, H. ho hiMDai-hiNDati Addendum hima-Skt. amhatau-asmattaH or asmAkaM ? kiM avasANi himagiri-Skb. ____ amhatau hosai I 14,3 hiya-hita caMcaha-wrong for vaMca which see. hiyaya-hRdaya Old M. hiyeM, G. hiyu, H. hiyA | paujoviya-prodyotita hiyaDaya-hRdayaka This Da popular in G. pattANa-pratyAyayana hiyA, manaTuM pucchAiya-to be connected with pucchaDhiyavaya-hRdayaka pronchati ? pucchAiyau karevi namughaVI 22,5 fefofcus-onomatopotic he should not be left after hINa-hIna making him dejected (lit. hu-khalla 'wiped off). hua-bhUta H. huvA baMdi-bandin hua(ya)-bhUta baMdiya-" huavaha-hutavaha bAvIsa-dvAviMzati huMkAra-Skt. buDDui D-(=nimajati) M. buDe hutta-abhimukha Desi 70 hutto'bhimuhe bhaMgurAvatta-bhaMgurAvarta (=palAyanaM-rout XIV huyAsa-hutAza ___4, 9.)

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"GAEKWAD'S ORIENTAL SERIES." WORKS PUBLISHED Rs. a. p. 1. Kavyamimaysa by Rajasekhara, edited by C. D. Dalal, M. A. and R. A. Shastry ... ... 2-0-0 2. Naranarayanananda by Vastupala, edited by C. D. Dalal, M.A. and R. A. Shastry ... ... 1- 4-0 3. Tarkasangraha by Anandajaana or Anandagiri, edited by T. M. Tripathi, B.A. ... ... ... ... 2-04. Parthaparakrama by Prahlada nadeva, edited by C, DDalal, M.A. 0-6-0 5. Rashtraudhavanga Mahakavya by Rudrakavi, edited by E. Krishnamacharya, Introduction by C. D. Dalal, M.A. ... ... 1-1 6. Linganusasana by Vamana, edited by C. D. Dalal, M.A. ... ... 0-87. Vasantavilasa by Balachandrasuri, edited by C. D. Dalal, M.A. ... 18. Rupakashatka by Vatsaraja, edited by C. D. Dalal, M.A. ... ... 2- 4-0 9. Mohaparajaya by Yasah pala, edited by Muni Chaturvijayaji, Introduction and appendices by C. D. Dalal, M.A. ... ... 2- 0-0 10. Hammframadamardana by Jayasinhasuri, edited by C. D. Dalal, M.A. ... ... 11. Udayasundarikatha by Soddhala, edited by C. D. Dalal, M.A. and E. Krishnamacharya ... ... ... ... ... 2- 4-0 12, Mahavidyavidambana by Bhatta Vadindra, edited by M. R. Telang 213. Prachfnagurjarakavyasangraha, collection of old Gujarati poems 12th to 15th centuries, edited by C. D. Dalal, M.A. 14. Kumarapalapratibodha by Somaprabhacharya, edited by Muni Jinavija yaji ... ... ... ... ... ... ... 7- 8-0 15. Ganakarika by Bhasarvajna, edited by C. D. Dalal, M.A.... ... 1- 416. Sangftamakaranda by Narada, edited by M. R. Telang ... ... 2- 0-0 17. Kavindracharya List, List of works in the collection of Kavindra - charya, a 17th century pandit edited by R. A. Shastry with a foreword by Dr. Ganganatha Jha. ... ... ... ... ... 0-12-0 18. Varahagrihyasutra, edited by R. Shama Shastry ... ... ... 0-10-0 19. Lekhapaddhati, Specimen Sanskrit Letters, etc., 8th to 15th centuries, edited by C. D. Dalal, M.A. (shortly) ... ... 20. Panchamikaha or Bhavisayattakaha by Dhanapala, edited by C. D. Dalal, M.A. and Dr. P. D. Gune, M.A., Ph. D, ... 21. A Descriptive Catalogue of the palm-leaf manuscripts and im portant paper manuscripts in the Bhandars at Jesalmere. Compiled by C. D. Dalal, M.A., and edited by L. B. Gandhi ... ... 2-8-0 22, 23 Parasuramakalpastra, with commentary by Ramesvara and Paddhati by Umananda, edited by A. Mahadeva Shastri B.A. Director, Adyar Library volumes (shortly) ... ... ... 24. Tantrarahasya, edited by Dr. R. Sama Shastry, B.A., Ph.D. Curator, Government Oriental Library, Mysore (shortly)

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IN THE PRESS. 1. Samarangana by Bhoja (a work on Indian Architecture) edited by Mahamahopadhyaya T. Ganapati Shastri, Curator for the Publication of Sanskrit Manuscripts, Trivandrum 2. Tattvasangraha of Santarakshita, with commentary by Kamalastha, edited by Embar Krishnamacharya, Adhyaksha, Sanskrit Pathasala, Vadtal ... 3. Nyayapravesa of Dinnaga with commentary by Haribhadrasuri and Panjika by Parsvadeva, edited by A. B. Dhruva, M.A., LL.B. Principal, Central Hindu College, Benares ... ... ... gAyakavADa orienTala sirIjha. kAvyam 1-12-0 1-8-. mudritagranthAH | 16 nAradakRtasaGgItamakarandaH ... 2-0-0 1 rAjazekharakRtakAvyamImAMsA ... 2-0-0 | 17 kavIndrAcAryasUcIpatram ... ... 0-12-0 2 vastupAlakRtanaranArAyaNAnandaH ... 1-4-. 18 vArAhagRhyasUtram ... ... 3 AnandajJAnakRtatarkasaGgrahaH ... 2-0-0 19 lekhapaddhati: ... ... (sampUrNaprAyA) 4 prahlAdanadevakRtapArthaparAkramaH ... 0-6-0 20 dhanapAlakRtapaJcamIkahA (apabhraM5 rudrkvikRtraassttrauddhvNshmhaakaavym| zabhASAyAm ) 6 vAmanakRtaliGgAnuzAsanam ... 0-8-0 21 jesalamerubhANDAgArIyagranthAnAM sUcI (sampUrNa7 bAlacandrasUrikRtavasantavilAsaH... ' ... ... 2-8-0 8 vatsarAjaviracitarUpakaSaTam ... | 22 parazurAmakalpasUtraM savyAkhyam (sampUrNaprAyam) 9 yazaHpAlakRtamohaparAjayanATakam 2-0-0 | 23 parazurAmakalpasUtropari umAnandapaddhatiH ( sampUrNa10 jayasiMhasUrikRtahammIramadamardanam / 2-0-0 prAyA) 11 soDalakRtodayasundarIkathA ... 2-4-. | 24 rAmAnujAcAryakRtaM tantrarahasyam ( sampUrNa prAyam ) 12 bhaTTavAdIndrakRtamahAvidyAviDambanam (bhuvanasundarasUriTIkAyutam) 2-8-0 mudhamANagranthAH 13 prAcIneMgUrjarakAvyasaGgrahaH 1 bhojakRtasamarAGgaNam 2 zAntarakSitakRtatattvasaGghahaH 14 somaprabhAcAryakRtakumArapAlaprati kamalazIlakRtapaJjikAyutaH bodhaH ... ... ... 7-8-0 3 diGnAgakRtanyAyapraveza: haribhadrasUrikRtavRttipa15 bhAsarvajJakRtagaNakArikA saTIkA rzvadevakRtatatpaJjikAbhyAM vibhUSitaH (kAravaNamAhAtmyopetA)... 1-4-0 / (prathamo bhAgaH)... ... 2

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