Sandesha Rasaka

Author(s): Abdul Rahman, Jinvijay, H C Bhayani
Publisher: Bharatiya Vidya Bhavan
Catalog link: https://jainqq.org/explore/002918/1

Page #1

सिं घी जैन ग्रन्थ मा ला
संस्थापक ख० श्री बहादुर सिंहजी सिंघी 22-04- (प्रन्थाङ्क २२) *****
कवि-अब्दुल रहमान-कृत
रन्दे श रासक
संपादक श्री जिन विजय मुनि श्री हरिवल्लभ भायाणी, एम्. ए.
SRI DALCHAND JI SINGH
श्री डालचन्द जी सिंधी
प्रधान संपादक श्री जिन विजय मुनि सम्मा नाचार्य- भारतीय विद्या भवन-बंबई *********000000 प्रकाश क .************-*-*-*-*-श्री
भारतीय विद्या भवन चौपाटी रोड,
मुंबई, नं०७ वि.सं. २००१]
[मूल्य रू. ७-८-0 *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*--*-*-*-*-*-*-*--*-*-*--*-4-12-04-10-08- मुद्रक-रामचंद्र येसू शेडगे-निर्णयसागर प्रेस २६।२८, कोलभाट स्ट्रीट, कालबादेवी, बंबई.

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सिं घी जैन ग्रन्थ मा ला
***********[ 22 ]*****
कवि - अब्दुल रहमान - कृत
सन्देश रासक
SRI PALCHAND JI SINGHI

श्री डालचन्द जी सिंधी 卐
SINGHI JAIN SERIES ************[ NUMBER 22 ]***********
ABDUL RAHAMAN'S
SAMDESA RĀSAKA

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कलकत्ता निवासी साधुचरित-श्रेष्ठिवर्य श्रीमद् डालचन्दजी सिंधी पुण्यस्मृतिनिमित्त
प्रतिष्ठापित एवं प्रकाशित
सिंघी जैन ग्रन्थमाला
[जैन भागमिक, दार्शनिक, साहित्यिक, ऐतिहासिक, वैज्ञानिक, कथात्मक- इत्यादि विविध विषयगुम्फित प्राकृत, संस्कृत, अपभ्रंश, प्राचीनगूर्जर-राजस्थानी आदि नानाभाषानिबद्ध; सार्वजनीन पुरातन वाय तथा नूतन संशोधनात्मक साहित्य प्रकाशिनी सर्वश्रेष्ठ जैन ग्रन्थावलि.]
प्रतिष्ठाता श्रीमद्-डालचन्दजी-सिंघीसत्पुत्र ख० दानशील -साहित्यरसिक-संस्कृतिप्रिय श्रीमान् बहादुर सिंह जी सिंघी
नियामक एवं प्रधान सम्पादक श्री जिन विजय मुनि आ चार्य-भारतीय विद्या भवन-बम्बई
संरक्षक एवं संचालक श्री राजेन्द्र सिंह जी सिंधी
तथा श्री नरेन्द्र सिंह जी सिं घी
व्यवस्थापक तथा प्रकाशक
भा र ती य विद्या भवन
ॐ बम्बई

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कवि - अब्दुल रहमान - कृत
सन्देश रासक
[ संस्कृत-टिप्पनक-अवचूरिकादिसमेत अपभ्रंश मूलग्रन्थ तथा आंग्लभाषानुवाद- विस्तृत प्रस्तावना - टिप्पणी- शब्दकोषादि समन्वित ]
प्रो० हरि वल्लभ भायाणी, एम्. ए.
प्राध्यापक प्राकृत, संस्कृत एवं प्राचीन गुजराती आदि तुलनात्मक भाषाशास्र )
संपादक
श्री जिन विजय मुनि
( सम्मान्य नियामक - भारतीय विद्या भवन )
तथा
co

प्रकाश क
श्री जयन्तकृष्ण ह० दवे, एम्. ए., एलएल. बी.,
ऑनररि रजिष्ट्रार
भारतीय विद्या भवन बंबई
aur dat
विक्रमाब्द २००१] * प्रथमावृत्ति; पंचशत प्रति * [ १९४५ ख्रिस्ताब्द
[ मूल्य रू० ७-८-०] *
*

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SINGHI JAIN SERIES
A COLLECTION OF CRITICAL EDITIONS OF IMPORTANT JAIN CANONICAL, PHILO.
SOPHICAL, HISTORICAL, LITERARY, NARRATIVE AND OTHER WORKS IN PRAKRIT, SANSKRIT, APABHRAMSA AND OLD RAJASTHANIGUJARATI LANGUAGES, AND OF NEW STUDIES BY COMPETENT
RESEARCH SCHOLARS
ESTABLISHED
IN THE SACRED MEMORY OF THE SAINT-LIKE LATE SETH ŚRI DĂLCHANDJI SINGHỈ
OF CALCUTTA
BY HIS LATE DEVOTED SON DĀNASILA-SAHITYARASIKA-SANSKRITIPRIYA ŚRÍMAN BAHADUR SINGHJİ SINGHI
DIRECTOR AND GENERAL EDITOR
ŚRI JINA VIJAYA MUNI (HON. DIRECTOR - BHĀRATĪYA VIDYA BHAVAN - BOMBAY)
SOLELY PATRONIZED AND CONDUCTED BY
SRI RAJENDRA SINGH SINGHI SRI NARENDRA SINGH SINGHI
AND
PUBLISHED BY
BHARATIYA VIDYA BHAVAN
BOMBAY

Page #6

THE
SAMDESA RASAKA
OF
ABDUL RAHAMAN
(A unfque work of a Muslim Poet in Apabhramsa Language )
CRITICALLY EDITED WITH SANSKRIT TIPPANAKA & AVACURIKÅ. ENGLISH TRANSLATION, EXHAUSTIVE INTRODUCTION, NOTES, APPENDIX, INDICES ETC.
BY ŚRI JINA VIJAYA MUNI (Hon. Director - Bhāratīya Vidyā Bhavan)
AND Prof. HARIVALLABH BHAYANI, M. A. (Professor of Prākritic and Sanskritic Languages, Old Gujarati
and Comparative Philology)
AUT
>
PUBLISHED BY J. H. DAVE, M. A., LL. B., Hon. Registrar BHARATIYA VIDYA BHAVAN
BOMBAY
[1945 A. D.
V. E. 2001) • First Edition, Five Hundred. Copies *
voor on [Price Rs. 7-8-0] * *
*

Page #7

:00.sams.
2
॥ सिंघीजैनग्रन्थमालासंस्थापकप्रशस्तिः॥ अस्ति बङ्गाभिधे देशे सुप्रसिद्धा मनोरमा । मुर्शिदाबाद इत्याख्या पुरी वैभवशालिनी ॥ बहवो निवसन्त्यत्र जैना ऊकेशवंशजाः। धनाढ्या नृपसम्मान्या धर्मकर्मपरायणाः ॥ श्रीडालचन्द इत्यासीत् तेष्वेको बहुभाग्यवान् । साधुवत् सच्चरित्रो यः सिंघीकुलप्रभाकरः॥ बाल्य एवागतो यश्च कर्तुं व्यापारविस्तृतिम् । कलिकातामहापुर्या कृतधर्मार्थनिश्चयः ॥ कुशाग्रीयस्वबुद्ध्यैव सद्वृत्या च सुनिष्ठया । उपाय॑ विपुलां लक्ष्मी कोट्यधिपोऽजनिष्ट सः॥ तस्य मनकमारीति समारीकुलमण्डना। अभूत् पतिव्रता पत्नी शीलसौभाग्यभषणा। श्रीबहादुरसिंहाख्यो गुणवाँस्तनयस्तयोः । अभवत् सुकृती दानी धर्मप्रियश्च धीनिधिः ॥ प्राप्ता पुण्यवता तेन पत्नी तिलकसुन्दरी । यस्याः सौभाग्यचन्द्रेण भासितं तत्कुलाम्बरम् ॥ श्रीमान् राजेन्द्रसिंहोऽस्य ज्येष्ठपुत्रः सुशिक्षितः । यः सर्वकार्यदक्षत्वात् पितुर्दक्षिणबाहुवत् ॥ नरेन्द्रसिंह इत्याख्यस्तेजस्वी मध्यमः सुतः । सूनुवीरेन्द्रसिंहश्च कनिष्ठः सौम्यदर्शनः ।। सन्ति अयोऽपि सत्पुत्रा आतभक्तिपरायणाः । विनीताः सरला भव्याः पितुर्मार्गानुगामिनः । अन्वेऽपि बहवस्तस्याभवन् स्वस्रादिबान्धवाः । धनैर्जनैः समृद्धः सन् स राजेव व्यराजत ॥
अन्यच्चसरस्वत्या सदासक्तो भूत्वा लक्ष्मीप्रियोऽप्ययम् । तत्राप्यासीत् सदाचारी तच्चित्रं विदुषां खलु ॥ नाहंकारो न दुर्भावो न विलासो न दुर्व्ययः । दृष्टः कदापि तद्गेहे सतां तद् विसयास्पदम् ॥ भको गुरुजनानां स विनीतः सजनान् प्रति । बन्धुजनेऽनुरक्तोऽभूत् प्रीतः पोष्यगणेष्वपि ॥ देश-कालस्थितिज्ञोऽसौ विद्या-विज्ञानपूजकः । इतिहासादि-साहित्य-संस्कृति-सस्कलाप्रियः ॥ समुन्नत्यै समाजस्य धर्मस्योत्कर्षहेतवे । प्रचाराय च शिक्षाया दत्तं तेन धनं धनम् ॥ गत्वा सभा-समित्यादौ भूत्वाऽध्यक्षपदान्वितः । दत्त्वा दानं यथायोग्यं प्रोत्साहिताश्च कर्मठाः ॥ १८ एवं धनेन देहेन ज्ञानेन शुभनिष्टया । अकरोत् स यथाशक्ति सत्कमोणि सदाशयः॥ अथान्यदा प्रसङ्गेन स्वपितुः स्मृतिहेतवे । कर्तुं किञ्चिद् विशिष्टं स कार्य मनस्यचिन्तयत् ॥ २० पूज्यः पिता सदैवासीत् सम्यग्-ज्ञानरुचिः स्वयम् । तस्मात् तज्ज्ञानवृद्धयर्थ यतनीयं मयाऽप्यरम् ॥२॥ विचा3वं स्वयं चित्ते पुनः प्राप्य सुसम्मतिम् । श्रद्धास्पदस्वमित्राणां विदुषां चापि तादृशाम् ॥ जैनज्ञानप्रसारार्थ स्थाने शान्ति नि के त ने । सिंघीपदाङ्कितं जै न ज्ञा न पीठ मतीष्ठिपत् ॥ श्रीजिनविजयः प्राज्ञो मुनिनाम्ना च विश्रुतः । स्वीकर्तुं प्रार्थितस्तेन तस्याधिष्ठायकं पदम् ॥ तस्य सौजन्य-सौहार्द-स्थैयौदार्यादिसद्गुणैः । वशीभूय मुदा येन स्वीकृतं तत्पदं वरम् ॥ कवीन्द्रेण रवीन्द्रेण स्वीयपावनपाणिना । रस-नांगाङ्क-चन्द्राद्धे तत्प्रतिष्ठा व्यधीयत ॥ प्रारब्धं मुनिना चापि कार्य तदुपयोगिकम् । पाठनं ज्ञानलिप्सूनां तथैव ग्रन्थगुम्फनम् ॥ तस्यैव प्रेरणां प्राप्य श्रीसिंघीकुलकेतुना । स्वपितृश्रेयसे चैषा प्रारब्धा ग्रन्थमालिका ॥ उदारचेतसा तेन धर्मशीलेन दानिना । व्ययितं पुष्कलं द्रव्यं तत्तत्कार्यसुसिद्धये ॥ छात्राणां वृत्तिदानेन नैकेषां विदुषां तथा । ज्ञानाभ्यासाय निष्कामसाहाय्यं स प्रदत्तवान् । जलवातादिकानां तु प्रातिकूल्यादसौ मुनिः । कार्य त्रिवार्षिकं तत्र समाप्यान्यत्र चास्थितः ॥ तत्रापि सततं सर्व साहाय्यं तेन यच्छता । ग्रन्थमालाप्रकाशाय महोत्साहः प्रदर्शितः ॥ नन्द-निध्येङ्क-चन्द्राब्दे जाता पुनः सुयोजना । ग्रन्थावल्याः स्थिरत्वाय विस्तराय च नूतना ततः सुहृत्परामर्शात् सिंघीवंशनभवता । भा विद्या भ व ना येयं ग्रन्थमाला समर्पिता ॥ आसीत्तस्य मनोवाञ्छाऽपूर्वा ग्रन्थप्रकाशने । तदर्थ व्ययितं तेन लक्षावधि हि रूप्यकम् ॥ दुर्विलासाद् विधेर्हन्त ! दौर्भाग्याचात्मबन्धूनाम् । स्वल्पेनैवाथ कालेन स्वर्ग स सुकृती ययौ ॥ इन्दु-ख-शून्य नेत्राब्दे मासे आषाढसझके । कलिकाताख्यपुर्यां स प्राप्तवान् परमां गतिम् ॥ पितृभक्तैश्च तत्पुत्रैः प्रेयसे पितुरात्मनः। तथैव प्रपितुः स्मृत्यै प्रकाश्यतेऽधुना पुनः॥ इयं ग्रन्थावलिः श्रेष्ठा प्रेष्टा प्रज्ञावतां प्रथा। भूयाद् भूत्यै सतां सिंघीकुलकीर्तिप्रकाशिका ॥ विद्वजनकृतालादा सच्चिदानन्ददा सदा । चिरं नन्दत्वियं लोके श्रीसैंघी ग्रन्थपद्धतिः ॥
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->०
१४ १५
१६
॥सिंघीजैनग्रन्धमालासंपादकप्रशस्तिः॥ स्वति श्रीमेदपाटाख्यो देशो भारतविश्रुतः । रूपाहेलीति सन्नानी पुरिका तत्र सुस्थिता ॥ सदाचार-विचाराभ्यां प्राचीननृपतेः समः । श्रीमच्चतुरसिंहोऽत्र राठोडान्वयभूमिपः ॥ तत्र श्रीवृद्धिसिंहोऽभूद् राजपुत्रः प्रसिद्धिभाक् । क्षात्रधर्मधनो यश्च परमारकुलाग्रणीः । मुज-भोजमुखा भूपा जाता यस्मिन् महाकुले । किं वय॑ते कुलीनत्वं तत्कुल जातजन्मनः॥ पत्री राजकुमारीति तस्याभूद् गुणसंहिता । चातुर्य-रूप-लावण्य-सुवाक्सौजन्यभूषिता ॥ ऋत्रियाणीप्रभापूर्णा शौर्योद्दीप्तमुखाकृतिम् । यां दृष्ट्वैव जनो मेने राजन्यकुलजा ह्यसौ ॥ पुत्रः किसनसिंहाख्यो जातस्तयोरतिप्रियः । रणमल्ल इति चान्यद् यन्नाम जननीकृतम् ॥ श्रीदेवीहंसनामाऽत्र राजपूज्यो यतीश्वरः । ज्योतिभैषज्यविद्यानां पारगामी जनप्रियः । भागतो मरुदेशाद् यो भ्रमन् जनपदान बहून् । जातः श्रीवृद्धिसिंहस्य प्रीति-श्रद्धास्पदं परम् ॥ तेनाथाप्रतिमप्रेम्णा स तरसूनुः स्वसन्निधौ । रक्षितः, शिक्षितः सम्यक्, कृतो जैनमतानुगः ॥ . . . दौर्भाग्यात् तच्छिशोर्वाल्ये गुरु-तातो दिवंगतौ । विमूढः स्वगृहात् सोऽथ यदृच्छया विनिर्गतः॥ १
तथा चभ्रान्स्वा नैकेषु देशेषु से वित्वा च बहून् नरान् । दीक्षितो मुण्डितो भूत्वा जातो जैनमुनिस्ततः ॥ १२ हातान्यनेकशास्त्राणि नानाधर्ममतानि च । मध्यस्थवृत्तिना तेन तत्वातत्त्वगवेषिणा ।। अपीता विविधा भाषा भारतीया युरोपजाः । भनेका लिपयोऽप्येवं प्रत्न-नूतनकालिकाः ॥ तेन प्रकाशिता नैके ग्रन्था विद्वत्प्रशंसिताः। लिखिता बहवो लेखा ऐतिह्यतथ्यगुम्फिताः ॥ स बहुभिः सुविद्वमिस्तन्मण्डलैश्च सत्कृतः । जिनविजयनाम्नाऽसौ ख्यातोऽभवद् मनीषिषु ॥ तस्य त विश्रुतिं ज्ञात्वा श्रीमद्गान्धीमहात्मना । माहूतः सादरं पुण्यपत्तनात् स्वयमन्यदा ॥ पुरे चाहमदाबादे राष्ट्रीयशिक्षणालयः । विद्यापीठ इति ख्यातः प्रतिष्ठितो यदाऽभवत् ॥ भाचार्यत्वेन तत्रोपोनियुक्तः स महात्मना । रस-नि-निधीन्द्वब्दे पुरा त त्वा ख्य मन्दिरे॥ वर्षाणामटकं यावत् सम्भूष्य तत् पदं ततः । गत्वा जर्मनराष्ट्रे स तत्संस्कृतिमधीतवान् ॥ २० तत भागत्य सँल्लमो राष्ट्रकार्य च सक्रियम् । कारावासोऽपि सम्प्राप्तो तेन स्वराज्यपर्वणि ॥ २१ क्रमात ततो विनिर्मक्तः स्थितः शान्तिनिकेतने । विश्ववन्धकवीन्द्रश्रीरवीन्द्रनाथभूषिते ॥ सिंघी पदयुतं जैन ज्ञान पीठं तदाश्रितम् । स्थापितं तत्र सिंघीश्रीडालचन्दस्य सूनुना ॥ श्रीबहादुरसिंहेन दानवीरेण धीमता । स्मृत्यर्थं निजतातस्य जैनज्ञानप्रसारकम् ॥ प्रतिष्ठितश्च तस्यासौ पदेऽधिष्ठातृसज्ञके । अध्यापयन् वरान् शिष्यान् ग्रन्थयन् जैनवायम् ॥ तस्यैव प्रेरणां प्राप्य श्रीसिंघीकुलकेतुना । स्वपितृश्रेयसे ह्येषा प्रारब्धा ग्रन्थमालिका ॥ भयवं विगतं तस्य वर्षाणामष्टकं पुनः । ग्रन्थमालाविकासाय प्रवृत्तिषु प्रयस्यतः॥ बाणे-रव-नवेन्द्रुग्दे मुंबाईनगरीस्थितः । मुंशीति बिरुदख्यातः कन्हैयालालधीसखः ॥ प्रवृत्तो भारतीयानां विद्यानां पीठनिर्मितौ । कर्मनिष्ठस्य तस्याभूत् प्रयत्नः सफलोऽचिरात् ॥ बिदषां श्रीमतां योगात संस्था जाता प्रतिष्ठिता। भा र ती य पदोपेत विद्या भवन सज्ञया। भाहूतः सहकाराय सुहृदा स मुनिः कृती । ततः प्रभृति तत्रापि सहयोग प्रदत्तवान् । तअवनेऽन्यदा तस्य सेवाऽधिका झपेक्षिता । स्वीकृता नम्रभावेन साऽप्याचार्यपदाश्रिता ॥ नन्द-निध्याक-चन्द्राब्दे वैक्रमे विहिता पुनः । एतद्ग्रन्थावलीस्थैर्यकृत् तेन नव्ययोजना ॥ परामर्शात् ततस्तस्य श्रीसिंघीकुलभास्वता । भा.वि द्या भ व ना येयं अन्धमाला समर्पिता ॥ प्रदत्ता दशसाहस्त्री पुनस्तस्योपदेशतः । स्वपितृस्मृतिमन्दिरकरणाय सुकीर्तिना ॥ देवादरूपे गते काले सिंघीवर्यो दिवंगतः । यस्तस्य ज्ञानसेवायां साहाय्यमकरोत् महत् ॥ पितृकार्यप्रगत्यर्थ यत्नशीलैस्तदात्मजैः । राजेन्द्रसिंहमुख्यैश्च सत्कृतं तद्वचस्ततः ॥ पुण्यश्लोकपितुर्नाम्ना अन्थागारकृते पुनः । बन्धुज्येष्ठ गुणश्रेष्ठो बर्द्धलक्षं प्रदत्तवान् । प्रन्थमालाप्रसिद्ध्यर्थ पितृवत्तस्य कांक्षितम् । श्रीसिंघीबन्धुभिः सर्व तगिराऽनुविधीयते ॥... विजनकृताहादा सच्चिदानन्ददा सदा । चिरं नन्दत्वियं लोके जिनविजयभारती॥
9.. . -nurarNMmmmmmmmmm
. ..... . . . .........

Page #9

सिंघी जैन ग्रन्थमाला
० अद्यावधि मुद्रित ग्रन्थनामावलि
१ मेरुतुजाचार्य रचित प्रबन्धचिन्तामणि मूलग्रन्थ. २ पुरातनप्रबन्धसंग्रह. ३ राजशेखरसूरिरचित प्रबन्धकोश. ४ जिनप्रभसूरिकृत विविधतीर्थकल्प. ५ मेघविजयोपाध्यायविरचित देवानन्दमहाका ६ यशोविजयोपाध्यायकृत जैनतर्कभाषा ७ हेमचन्द्राचार्यकृत प्रमाणमीमांसा ८ भट्टाकलङ्कक्कृत अक अन्यत्रयी ९ प्रबन्धचिन्तामणि - हिन्दी भाषान्तर. १० प्रभाचन्द्रसूरिरचित प्रभावकचरित 11 Life of Hemachandrāchārya : By Dr. G. Bühler. १२ सिद्धिचन्द्रोपाध्यायरचित भानुदयणिचरित १३ यशोविजयोपाध्यायविरचित ज्ञानबिन्दु प्रकरण. १४ हरिषेणाचार्यकृत बृहत् कथाकोश. १५ जैनपुस्तकप्रशस्तिसंग्रह - प्रथम भाग . १६ हरिभद्रसूरिविरचित धूर्ताख्यान. १७ दुर्गदेवकृत विष्टसमुचम १८ कवि अब्दुल रहमानकृत सन्देशरासक.
**
EX X
ap संप्रति मुद्यमाण ग्रन्थनामावलि २७
१ खरतरगच्छगुर्वावलि. २ कुमारपालचरित्र संग्रह ३ विविधगच्छीयपट्टावलिसंग्रह ४ जैनपुलक प्रशस्ति संग्रह भाग २ ५ विज्ञप्तिलेखसंग्रह ६ उद्दद्योतनसूरिकृत कुवलयमालाकथा. ७- उदययसूरिकृत धर्माभ्युदयमहाकाव्य तथा कीर्तिकौमुदी आदि अन्यान्य अनेक प्रशस्त्यादि कृतिसंग्रह ९ बित्ने भर सूरिकृत कथाकोषप्रकरण. १० मेघविजयोपाध्यायकृत दिग्विजयमहाकाव्य. ११ न्यायावतारवार्तिकवृत्ति १२ महामुनि गुणपालविरचित जंबूचरित्र ( प्राकृत ). १३ जयपाहुनाम शास्त्र. १४ कोऊहलविरचित लीलावती कथा ( प्राकृत ). १५ गुणचन्द्रविरचित मंत्रीकर्म चन्द्रवंशप्रबन्ध १६ नयचन्द्रविरचित हम्मीरमहाकाव्य इत्यादि, इत्यादि.

*
● मुद्रणार्थ निर्धारित एवं सज्जीकृत ग्रन्थनामावलि
१ भानुचन्द्रगणिकृत विवेकविलासटीका २ पुरातन रास-भासादिसंग्रह ३ प्रकीर्ण वाणाय प्रकाश, ४ भद्रबाहुसूरिकृत भद्रबाहुसंहिता ५ सिद्धिचन्द्रोपाध्यायविरचित वासवदत्ता टीका. ६ जयसिंहसूरत धर्मोपदेशमाला. ७ देवचन्द्रसूरिकृत मूलशुद्धिप्रकरणवृत्ति ८ रत्नप्रभाचार्यकृत उपदेशमाला टीका, ९ यशोविजयोपाध्यायकृत अनेकान्तव्यवस्था. १० जिनेश्वराचार्यकृत प्रमालक्षण. ११ महानिशी भसूत्र १२ तरुणप्रभाचार्यकृत आवश्यकबालावबोध १३ राठोड वंशावलि. १४ उपकेशगच्छप्रबन्ध १५ सिद्धिचन्द्रकृत काव्य प्रकाशखण्डन १६ वर्द्धमानाचार्यकृत गणरत्नमहोदधि १७ प्रतिष्ठासोमकृत सोमसौभाग्यकाव्य. १८ नेमिचन्द्रकृत षष्टीशतक ( पृथक् पृथक् ३ बालावबोध युक्त ). १९ शीलांकाचार्य विरचित महापुरुष चरित्र ( प्राकृत महाग्रंथ ) २० चंदप्पहचरियं ( प्राकृत ). २१ नम्मयासुंदरीकथा ( प्राकृत ) २२ नेमिनाह चरित्र ( अपभ्रंश महाग्रंथ ). २३ उपदेश पदटीका ( वर्द्धमानाचार्यकृत) २६ निर्वाणलीलावती कथा ( सं . कथा ग्रंथ ) २५ सनत्कुमारचरित्र ( संस्कृत काव्य ग्रंथ ) २६ राजवल्लभ पाठकङ्गत भोजचरित्र. २७ प्रमोदमाणिक्यकृत वाग्भटालंकारवृत्ति. २८ सोमदेवादिकृत विदग्धमुखमण्डनवृति २९ समयसुन्दरादिकृत वृत्तरत्नाकरवृत्ति ३० पाण्डित्यदर्पण. ३१ पुरातनप्रबन्धसंग्रह - हिन्दी भाषांतर. ३२ भुवनभानुचरित्र बालावबोध. ३३ भुवनसुन्दरी चरित ( प्राकृत कथा ) इत्यादि, इत्यादि.
* *

Page #10

CONTENTS
(3-4)
(1-14) one-sixteen
seventeen
1-75
1 2-48
2-7
3
7-20
13-18
Abbreviations Babu Shri Bahadur Singhji Singhi Preface Introduction
A Critical Study of the Grammar and Metres of the Saņdesarāsaka
Introductory I Grammar I Orthography
Nasalisation
Interchange between and y, etc. II Sound-changes
Prosodic Alterations Vowel-changes Consonant-changes
a) Single Consonants
b) Conjuncts
Law of Shortening of the Finals, etc. III Morphology
Stem-formation : Affixes Nominal Flexion Some Cases of Special Morphological
Interest Masculine and Neuter A-stems Feminine A-stems Masculine l-and U-stems Pronouns Numerals Vorbal Flexion Present Imperative Optative Future Preterit Participlc, etc. Passive Postpositions
Indeclinables XÅ. T.
15
18 20-40
20 25-35
35 35-38

Page #11

II Metres
IV Compounds
V Some Syntactical Remarks
VI Conclusion, Dialect of the SR.
A. Mātrāvṛttas
( 2 )
B. Varnavṛttas
General
I (a) Four-lined Metres: Rhyme a b, c d (b) Metres of the Doha-type
(c) Metres with the Rhyme-type ab, cd, ef (d) Strophic Metres
II
Metres of the Gatha-type
Metrical Emendations
Table Showing the Metre of All
the Stanzas

III Form and Structure
IV Summary of the Contents
Notes Appendix I
Appendix II
Additions and Corrections
संदेशरासक: Text with Sanskrit व्याख्या and अवचूरिका
gange.fore शब्दकोश प्राकृतशब्दसूचि वनस्पतिनामसूचि विशेषनामसूचि छन्दोनाम सूचि

41-42
42-46
46-48
48-75
48
50-71
50
62
65
66
69-71
71
71-74
75
76-78
78-94
95-99
100-101
102
103-106
१-९०
९१-९३
38-996
११८-१२१
१२२-१२३
१२४ १२४

Page #12

4
A. B. C.
abl.
abs.
acc.
AM.
Ap. As.
Bh.
BLOCH Ch.
- -
CK.
DAVE
Deś. f. fem.
fut.
gen.
GL.
Guj.
Ho.
Hr.
imper. instr. KD.

ABBREVIATIONS
The three Mss. used for constituting the text of the SR.
ablative.
absolutive.
accusative.
'Apabhramsa Metres' by H. D. VELANKAR (JUB. II. iii, Nov. 1933. pp. 32-54; V. iii, Nov. 1936. pp. 41-71). Apabhramsa.
Apabhramsa-Studien by L. ALSDORF, Leipzig,
1937.
Bhavisattakaha von Dhanayala ed. H. JACOBI, München, 1918.
Chando'nusasana of Hemacandra (pub. Devkaran Mulchand Sheth, Bombay. 1912). Chandaḥkosa of Ratnasekhara (= Appendix I to AM, I, JUB II iii Nov. 1933, pp. 54-61). Gujarati Language by T. N. DAVE, London,
1935.
Desināmamālā of Hemacandra (BSS. XVII).. feminine
future genitive
Gathalakṣaṇa of Nanditaḍhya (ed. H. D. VELANKAR ABORI, XIV. i-ii, 1933; pp. 1--38). Gujarāti
Hemacandra's Prakrit Grammar (= VIII chapter of the Siddhahema) ed. P. L. VAIDYA,
1928.
Harivamsapuraṇa ed. L. ALSDORF (Hamburg,
1936)
imperative.
instrumental
Kavidarpanam ed. H. D. VELANKAR (ABORI XVI i-ii, 1935 pp. 44-89; pp. 37-60).

Page #13

KP.
loc. Már. m, masc. Ms(s). n. new. nom. OWR. part. PISCHEL
Pk. plur. Pp.
pres. pret. San.
Der Kumārapālapratibodha by L. ALSDORF Hamburg, 1928. locative Mārwāri masculine manuscript(s). neuter. nominative Old Western Rājasthani participle. Granmatik der Prakrit-Sprachen by R. PISCHEL, Strassburg, 1900. Prākrta plural Prākrita-Paingalam ed. C. M. GHOSH (Bibliotheca Indica, 1902) (The references are to the section on the Aran unless this indicated otherwise ) present preterit Sanatkumāracaritam ed. H. JACOBI, München, 1921. Svayambhữechandas of Svayambhū ed. H. D. VELANKAR (JUB. V. iii, Nov. 1936, pp. 72-93). Les Chants Mystiques de Kānha et de Saraha: ed. M. SHAHIDULLAH, Paris, 1928. singular Saṁskṛta Sandesarāsaka Rāmacaritamānasa of Tulsidas "Gujarati Phonology' by R. L. TURNER (JRAS. 1921) Notes on the Grammar of the Old Western Rajasthani Language by L. P. Tessitori (I. A.) Vrttajātisamuccaya of Virahānka ed. H. D. VELANKAR (JBBRAS, n. s., V. i-ii 1929, pp. vocative Varnaratnākara of Jyotirīśvara-Kavisekharām cārya. ed. S. K. CHATTERJI and Babua Missa, Calcutta 1940.
Sc.
SHAHIDULLAH:
sing.
Sk. SR.
Tulsidas TURNER
TESSITORI
Vus.
Foc.
VB.

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स्वर्गवासी साधुचरित श्रीमान् डालचन्दजी सिंघी
बाबू श्रीबहादुर सिंहजी सिंघीके पुण्यश्लोक पिता जन्म-वि. सं. १९२१, मार्ग. वदि ६ 5 स्वर्गवास - वि. सं. १९८४, पोष सुदि ६

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दानशील-साहित्यरसिक-संस्कृतिप्रिय स्व. श्रीबाबू बहादुरसिंहजी सिंघी
.
अजीमगंज-कलकत्ता
जन्म ता. २८-६-१८८५]
[ मृत्यु ता. ७-७-१९४४

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Babu Shri Bahadur Singhji Singhi
My dear, sincere, and noble friend, Babu Shri BAHADUR SINGHJI SINGHI, who, under my special inspiration, had founded this SINGHI JAIN SERIES in 1931, in sacred memory of his saintly father, Babu Shri DALCHANDJI SINGHI and realizing whose uncommon devotion to the cause of learning as well as his ideal munificence, I also dedicated with my heart the dynamic and the precious portion of my remaining life to the Series, seeing whose fairly satisfactory and prompting progress in course of last twelve years who had, to find it in more advancing and comprehensive form in future, cherished an intense desire which resulted in associating the Series with the BHARATIYA VIDYA BHAVAN, according to a scheme outlined by me in the latest works published last year in it, is now no more to see the publication of this work! Full one year has now passed since the sad demise of that noble man. This is the first work of the SERIES that is being published after he departed from amongst us. In his revered memory, I am penning few lines here.
ON THE 7TH OF JULY, last year (1944) Babu Shri BAHADUR SINGHJI SINGHI left his mortal coils at the comparatively early age of fiftynine. His loss has been widely felt. His aged mother received this rude shock so ill that she did not long outlive him. His worthy sons have lost an affectionate and noble father, the industrialists and businessmen of the country one of their pioneers, the large number of his employees a benevolent master, scholar. ship one of its best patrons and the poor people of his native district a most generous donor. To me his loss is personal. My contact with him was a turning point in my life. Whatever I have been able, during the past fifteen years, to achieve in the field of scholarship is due directly to him. The financial assistance with which he backed up my activities was the least of his contributions. But for his love of scholarship with which he inspired me, this chapter of my life would have been entirely different.
* सं. रा.

*

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( 2 ) Babu Shri BAHADUR SINGHJI SINGHI was born in Azimganj, Murshidabad, in Vikram Samvat 1941, in the ancient family of the Singhis, who were of old the treasurers of the Mughal emperors. The family had passed through many vicissi. tudes of fortune and in the 17th century it migrated from Rajputana to Bengal, but thanks to the energy and enterprise of Singhiji's father, Babu Shri DALCHANDJI SINGHI, the family firm became a very flourishing concern.
Babu Dalchandji Singhi, was born in Azimganj (Murshidabad) in the Vikrama Samvat 1921 ( 1865 A. D.), and died in Calcutta on the 30th December, 1927. Owing to financial difficulties, Dalchandji Singhi had abruptly to cut short his educational career and join the family business at the early age of 14. The family had been carrying on business in the name of Messrs Hurisingh Nehalchand for a long time though, in those days, it was not at all a prominent firm. But having taken the reins of the firm in his own hands, Babu Dalchandji developed it on a very large scale; and it was mainly through his business acumen, industry, perseverance and honesty that this comparatively unknown firm of “Hurisingh Nehalchand" came to be reckoned as the foremost jute concern with branches in almost all the important jute centres of Bengal. The fruits of Dalchandji Singhi's toils were immense, and the reputation of the firm in commercial circles was, indeed, unique.
Having thus brought his jute business to the most flouri. shing condition, Babu Dalchandji Singhi diverted his attention to the mineral resources of India and spent many lacs of rupees in prospecting the coal fields of Korea State (C. P.), limestone deposits of Sakti State and Akaltara, and the bauxite deposits of Belgaum and Sawantwadi and Ichalkaranji States. His scheme for the Hiranyakeshi Hydro-Electric Project and manufacture of aluminium from bauxite ores, the first of its kind in India, is yet to be developed. His mining firm, Messrs Dalchand Bahadur Singh is reputed to be one of the foremost colliery proprietors in India. While so engaged in manifold business, he also acquired and possessed vast Zamindari estates spreading over the districts of 24-Perganas, Rangpur, Purnea, Maldah, etc.
... But the fame of Babu Dalchandji Singhi was not confined to his unique position in commercial circles. He was equally

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well-known for his liberality and large-heartedness, though he always fought shy of publicity attached to charitable acts and often remained anonymous while feeding the needy and patronizing the poor. A few instances of his liberality are given below.
When Mahatma Gandhi personally visited his place in 1926, for a contribution to the Chittaranjan Seva Sadan, Babu Dalchandji Singhi gladly handed over to him a purse of Rs. 10,000.
His War contribution in the first world-war consisted in his purchasing War Bonds to the value of Rs. 3,00,000; and his contribution at the Red Cross Sales, held in March 1917, under the patronage of H. E. Lord Carmichael on Government House grounds, Calcutta, amounted to approximately Rs. 21,000, in which he paid Rs. 10,000 for one bale of jute which he had himself contributed. His anonymous donations are stated to have amounted to many lacs.
In his private life Babu Dalchandji Singhi was a man of extremely simple and unostentatious habits. Plain living and high thinking was his ideal. Although he had been denied a long academic career, his knowledge, erudition and intellectual endowments were of a very high order, indeed. His private studies were vast and constant. His attitude towards life and the world was intensely religious, and yet he held very liberal views and had made a synthetic study of the teachings of all religions. He was also well-versed in the Yoga-darśana. During the latter part of his life he spent his days mostly in pilgrimage and meditation. Noted throughout the district and outside for his devoutness, kindness and piety, he is remembered even now as a pride of the Jaina community.
During the last days of his life, Babu Dalchandji Singhi cherished a strong desire to do something towards encouraging research in important branches of Jaina literature and publishing their editions scientifically and critically prepared by eminent scholars. But fate had decreed otherwise; and before this purpose of his could become a reality, he expired.
However, BABU BAHADUR SINGHJI SINGHI, worthy son of the worthy father, in order to fulfil the noble wish of the late

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Dalchandji Singhi, continued to help institutions like the faina Pustaka Pracăraka Mandala, Agra; the Jaina Gurukula, Palitana; the Jaina Vidyabhavana, Udaipur, etc.; and also patronized many individual scholars engaged in the publication of Jaina literature. Besides, with a view to establishing an independent memorial foundation to perpetuate the memory of his father, he consulted our common friend, Pandit Sri Sukhlalji, (formerly a Professor of Jainism in the Benares Hindu University), an unrivalled scholar of Jaina Philosophy, who had also come in close contact with the late Babu Dalchandji Singhi, and whom the latter had always held in very high esteem. In the meanwhile, Babu Bahadur Singhji Singhi incidentally met the late Poet, Rabindranath Tagore, and learnt of his desire to get a chair of Jaina studies established in the Viśva Bharati, Shantiniketan. Out of his respect for the Poet, Babu S'ri Bahadur Singhji readily agreed to found the chair (provisionally for three years) in revered memory of his dear father, and pressingly and cordially invited me to organize and conduct the same. I accepted the task very willingly, and felt thankful for the opportunity of spending even a few years in the cultural and inspiring atmosphere of Viśva-Bhäratī, the grand creation of the great Poet, Rabindranath.
During the period of 10 years of my principalship of the GUJARAT PURATATTVA MANDIR, Ahmedabad, and even before that period, I had begun collecting materials of historical and philological importance, and of folk-lore etc., which had been lying hidden in the great Jaina Bhandars of Patan, Ahmedabad, Baroda, Cambay, etc. I induced my noble friend Babu Bahadur Singhji Singhi, also to start a Series which would publish works dealing with the vast materials in my possession, and also with other allied important Jaina texts and studies prepared on the most modern scientific methods. Hence the inauguration of the present Singhi Jaina Series.
At an early age Babu Bahadur Singhji joined the family business and by pushing ahead with his father's enterprises, succeeded in making the firm the foremost in the mining industry of Bengal and Central India. Besides he also acquired vast zamindaries and had interests in many industrial and banking concerns. This early preoccupation with bnsiness affairs prevented his having a college education. But Singhiji was

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studious and introspective by nature. He devoted all his spare time to study and cultural development. He acquired an excellent command over several languages. Art and literature were the subjects of his choice. He was very fond of collecting rare and invaluable specimens of ancient sculpture, paintings, coins, copperplates and inscriptions. His manuscript collection contained a large number of rare works of historical and cultural importance, among which mention must be made of a unique manuscript of the Koran which was handed down from Baber to Aurangzeb and bears the autographs of all of them. His numismatic collection, especially of Kushan and Gupta coins, is considered the third best in the world. He also had a good and large collection of works of art and historical importance. Singhiji was a Fellow of the Royal Society of Arts (London), a member of the Royal Asiatic Society of Bengal, the Bangiya Sahitya Parishad, the Indian Research Institute and a Founder-Member of the Bharatiya Vidya Bhavan. He was also the President of the Jain Swetambara Conference held in Bombay in 1926. Though he had made no special study of law he was well up in legal matters. On one occasion in the Calcutta High Court when he found that even his distinguished lawyers were not properly representing his case he himself pleaded out the case successfully, much to the surprise of the opposite party who was a manager of a big European firm.
Though a highly religious and leading figure in the Jain Community he had an outlook which was far from sectarian. More than three-fourths of the six lakhs and over of his donations were for non-Jain causes. More often than not he preferred to give his assistance anonymously and he did not keep a list of his donations even when they were made in his name.
To the Hindu Academy, Daulatpur, Rs. 15,000). to the Taraqi-Urdu Bangala 5000/. to the Hindi Sahitya Parishad 12,500). to the Vishuddhanand Sarasvati Marwari Hospital 10,000/. to several maternity homes 2,500). to the Benares Hindu University 2,500). to the Jiaganj High School 5,000). to the Jiaganj London Misson Hospital 6000). to the Jain Temples at Calcutta and Murshidabad 11,0001:

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to the Jain Dharma Pracharak Sabha, Manbhum 5,000). to the Jain Bhavan, Calcutta, 15,000). to the Jain Pustak Prachar Mandal, Agra, 7,500/. to the Agra Jain Temple 3,500). to the Ambala Jain High School, 2,100). for the Prakrit Kosh 2,500). to the Bharatiya Vidya Bhavan 10,000/.
At the Singhi Park Mela held in Decembar, 1941, at his Ballyganj residence in which Viscount Wavell, then Commander-in-Chief and Lord John Herbert, Governor of Bengal and Lady Herbert participated, he donated Rs. 41,000). for the Red Cross Fund.
Really speaking, he did not in the least hanker after name and fame even though he was a multi-millionaire and a big Zamindar, and even though he was a man of superior intellect and energy. He was by nature taciturn and a lover of solitude. Art and literature were the pursuits of his choice. He was very fond of seeing and collecting rare and invaluable specimens of ancient sculpture, painting, coins, copperplates, inscriptions, manuscripts, etc. He spent all his spare time in seeing and examining the rarities which he had collected in his room as well as in reading. He was seldom seen outside and he rarely mixed with society and friendly circles. Wealthy persons like himself usually have a number of fads and hobbies such as seeing the games and races, visiting clubs, undertaking pleasure trips etc., and they spend enormously over them, but Singhiji had none of these habits. Instead of wasting money on such things, he spent large sums on collecting ancient things and valuable curios and on the preservation and publication of important literature. Donations to institutions and charities to individuals were, for the most part given by him anonymously
how it from my own experience that these gifts, donations and charities reach a very high figure at the end of every year. But he was so modest that on his being requested so often by me he did not show the least inclination to part with the names and whereabouts of the individuals and institutions that were the recipients of such financial aid from him. By chance I came to know of a very recent example, just now, indicative of this characteristic of his nature. In the year 1941 he shifted,

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like other innumerable inhabitants of Calcutta, his headquarters to Azimganj (Dist. Murshidabad) when the fear of the Japanese invasion was looming large, and decided to stay there with his whole family during war time. Taking into consideration the present grievous condition of the country as well as the excessive scarcity of the grains in Bengal, he had stocked grains in large quantities with a view to distributing them gratis according to his capacity. Thereafter the problem of food became rather more serious and the prices had risen inconceivably high. Babu Bahadur Singhji Singhi could have earned four to five lacs of rupees if he had, like many other miserly merchants, sold of the hoarded lot of grains, taking undue advantage of the prevailing conditions. But he resisted the temptations, and had been daily distributing freely the grains among thousands of poor people who showered blessings on him; and he enjoyed a deep self-satisfaction. This is the most recent example that puts us in adequate knowledge of his silent munificence.
Really he was a very silent and solid worker and he had no desire to take active part in any controversies, social or political, though he had sufficient fitness and energy to do so. Still however he was skilful enough to do what was proper at the particular time. The following incident will best illustrate this statement. It was in the fitness of things that a wealthy multimillionaire like him should give an appropriate contribution in the war funds. With this view he arranged in the second week of December, 1941, an attractive show, styled Singhi Park Mela in the garden of his residential place at Calcutta in which all the local people and officers of name and fame, including the Governor of Bengal, Sir John Arthur Herbert and lady Herbert as well as the Commanderin-chief (now the Governor-General) Viscount Wavell, had also taken part with enthusiasm. This show fetched thousands of rupees which were considered substantial financial help to the war funds.
As mentioned above, the series was started, in 1931 A. D. when I worked as a Founder-Director of the Singhi Jain Chair in Viśvabhārati at Shantiniketan, at Singhiji's request. It was, then, our aspiration to put the Singhi Jain CHAIR and the SINGHI JAIN SERIES on a permanent basis and to create a centre at

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( 8 )
Viśvabharati for the studies of Jain cult in deference to the wishes of the late Poet Rabindranath Tagore. But unfortunately I was forced to leave this very inspiring and holy place on account of unfavourable climatic conditions etc. which I had to face during my stay of about four years there. I shifted, therefore, from Viśvabharati to Ahmedabad where I had formerly resided and worked in those glorious days when the GUJARAT VIDYAPITH and the PURATATTVA MANDIR had been established as a part of the movement for national awakening and cultural regeneration. I went there in the hope that the reminiscences of those days and the proximity of those places would serve as sources of inspiration in my literary pursuits.
During this period my aim of life had centred round the Singhi Jain Series and I devoted every iota of my energy to its development and progress.
In June, 1938, I received, to my agreeable surprise, a letter from my esteemed friend Sri K. M. Munshi-who was, then, the Home Minister of the Congress Ministry of the Bombay Presidency. In that letter he had mentioned that Sheth Sri Mungalal Goenka had placed a liberal sum of two lacs of rupees at his disposal for the establishment of a good academic institution for Indological studies and he had asked me to come down to Bombay to discuss and prepare a scheme for that. Accordingly, I came here and saw Munshiji. Knowing that he had a fervent desire of founding at Bombay an institution of the type of the Puratattva Mandir, I was extremely delighted and I showed my eagerness to offer for that such services as might be possible for me. We, then, began to draft out a scheme and after some deliberations and exchange of ideas the outline of the BHARATIYA VIDYA BHAVAN was settled. Accordingly, on the auspicious full-moon day of the Karttik of 1995 (V. S.) the opening ceremony of the Bharatiya Vidya Bhavan took place amidst the clappings and rejoicings of a magnificent party which was arranged at the residence of Munshiji. The brilliant achievement and the wide publicity which the Bhavan has been able to secure during his last five or Six years' short period bear eloquent testimony to the inexhaustible fund of energy and unsurpassed skill of Munshiji. As I am inseparably linked up with it from the very conception,

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I also feel the same amount of joy and interest at the Bhavan's progress as Sri Munshiji, its Founder.President and therefore I have been always offering my humble services in its various undertakings and activities.
On the other hand, the Singhi Jain Series is the principal aim of my remaining life and the results of my thinking, meditation, researches and writings have all been devoted to the development of the Series. As life passes on, the time of activity is also naturally shortened and therefore it is quite appropriate, now, for me to chalk out lines of its future programme and permanence.
As Babu Bahadur Singhji Singhi, the noble founder and the sole patron of the Series, had placed the whole responsibility of the Series on me from its inception, he had also the right to expect that more and more works may more speedily and splendidly be published. I have neither seen nor come across any other gentleman who can match with him as regards generosity and unbounded zeal for the revival of ancient literature. On the works of the Series he had spent through me more than 75,000 rupees during his life-time. But he had not even once asked me, during this long period of a dozen years, as to how and for what works the amount was spent. Whenever the account was submitted to him, he did not ask for even the least information and sanctioned it casting merely a formal glance on the account sheets. But he discussed very minutely the details regarding things such as the paper, types, printing, binding, get-up, etc. as well as internal subjects like Preface and others, and occasionally gave very useful suggestions thereon with deep interest. His only desire being to see the publication of as many works as possible in his life-time, he was always ready to spend as much, after it, as required. He did not labour under a delusion that the things should be done in this or that way when he was no more.
As these were his ideas and desires concerning the Series and as every day that passed left me all the more convinced of the fickleness of my advanced life too, it was imperative for us to draw out a scheme for its future programme and management. Just at this time a desire dawned in the heart of S'rī
† . .

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(10
)
Munshiji, to the effect that if the Singhi Jain Series be associated with the Bhāratiya Vidyā Bhavan, both the institutions would not only be admirably progressing but the Series would get permanence and the Bhavan, unique honour and fame by its hereby becoming an important centre for the studies of Jain culture and the publication of Jain literature. This well. intentioned desire of Munshiji was much liked by me and I conveyed it in a proper form to Singhiji who was, besides being a Founder-Member of the Bhavan, also an intimate friend of Munshiji since long. Eventually he welcomed this idea. I also came to a final decision of associating the Series with the Bhavan, having consulted my most sincere friend, life-long companion and co-worker, Pt. Sukhlalji, who is a well-wisher and an active inspirer of the Series, and who is also an esteemed friend of Babu Bahadur Singhji. Luckily we all four met in Bombay in the bright half of Vaišākh (V. S. 1999) and on one auspicious day we all sat together and unanimously resolved, at the residence of Munshiji, to entrust the Series to the Bhavan.
According to that resolution, the publication of the Series thereafter began under the management of the Bhāratīya Vidya Bhavan under my sole supervision and direction.
In addition to transferring all sorts of copyright of the Series, Singhiji also donated a liberal sum of Rs. 10,000 which will be spent on erecting a hall, to be named after him, in a prominent place in the Bhavan. In appreciation of this generous donation of Singhiji, the Bhavan has also resolved to style permanently the Department of Jain Studies as the “Singhi Jain S'āstra Siksāpitha”.
In the mean time we considered to purchase for the Bhavan a well-equipped library of a retired professor living in Calcutta and consequently I was entrusted with the work of making a proper move in the matter. I then went to Calcutta for this very purpose and started negotiations through Singhiji with the professor whose demand was somewhere about Rs. 50,000/-. Singhiji asked me just casually as to what arrangement had been made for meeting with the costs. I promptly replied that there was no cause for worry so long

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( 11 ) as donors like himself were there. He smiled at it with a suppressed sense of satisfaction and also remarked that he had to assume the role of a negotiator for a buyer who he himself was eventually to be. He considered seriously my candid utterance and made up his mind from that moment, lucky of course for the Bhavan, to donate the Library to the Bhavan. He invited the professor concerned to his residence and talked in my presence about the approximate cost of the whole collection which appearing rather more to him and to me, the bargain could not be struck. He himself thereafter suggested to me to go in for the Nahar collection and promised with his usual preparedness to make complete arrangements in due course of time for the same. As was natural with him, he disallowed me at the same time from making known his intentions to any one. From close association with him I very well knew this aspect of his sobre mind. This taciturnity of his mind was so much developed that even his sons who are equally able and worthy did not get a clue to his intentions till they were put into practice. But to our great mishap he did not live long enough to present this literary treasure to the Bhavan himself; but his eldest son and my beloved friend, Babu Shri Rajendra Singh has fulfilled his father's wish though he was totally ignorant of it and has got this unique collection for the Bhavan and spent Rs. 50,000/- for the purpose.
Singhiji began to take keen interest in the progress and development of the Bharatiya Vidya Bhavan, seeing that it had at last become the centre of research and literary activities of Shri Munshiji and mine. In his last visit to Bombay he had also expressed to me his sincere desire to come and stay occasionally with us in the building of the Bhavan at Andheri when it is made over to us after the war.
At this time he also expressed with great enthusiasm his generous desire in clear terms as to how increasing progress of the Series can be achieved and how more works can be brought out with added speed. He also told me to make an arrangement, as I wished, regarding as much publication as possible of the works in the Series till I and he were alive, whishing me not to worry at all concerning the expenses. He mentioned that

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( 12 )
he would not feel satisfied even if the present rate of the publication which is three to four works annually be raised. to two works per month. What a noble zeal and a domineering passion for the advancement of learning and literature !
Having been fully reinvigorated by this unequalled enthusiasm and liberality I came to Bombay and was immersed in making plans of a large-scale production of the works in the Series and its extension in pursuance of his eager desire.
By the end of 1943 his health began to decline. In the first week of January, 1944, when I went to him at Calcutta in connection with the work of the Bharatiya Itihasa Samiti I found him extremely unwell. Notwithstanding his ill-health he talked to me for more than a couple of hours on the day of my arrival there. The first thing he did in the course of this lengthy, though very sweet talk, was to give me a mild reproof for undertaking the long and tedious journeys to Calcutta, Benares and Cawnpore in spite of my ill health. He discussed with absorbing interest the details of the Samiti's proposed History of India, a subject of great interest to him. I could see that he was at that time quite forgetful of his physical ailments. Our talks then drifted to the subject of the History of Jainism in which connection also he expressed his opinion about the material to be utilised for such a work. At the termination of our talks, which this time lasted for over three hours, I found him much exhausted and drooping in spirits.
On the 7th January his health took a turn for the worse. On 11th January I went to take leave of him, which he, full of emotions, gave with a heavy heart, exclaiming “Who knows whether we shall meet again or not?” I requested him to take heart and remain buoyant and assured him that he would be soon restored to normal health. But while I was stepping out of his room, my eyes were full of tears and his last words began to eat into my heart. Ill-luck prevented our second meeting. That lofty and generous soul finally left its mortal habitat at mid-day on 7th July, 1944. May his soul rest in peace!

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( 13 ) Singhiji's worthy sons Though the heavy loss caused by his sad demise is irreparable for me and the Jain community at large, still it is, indeed, a matter of real consolation that he bas left behind him equally illustrious and worthy sons. His sons, Babu Rajendra Singhji, Babu Narendra Singhji and Babu Virendra Singbji are treading in the foot-steps of their revered father. "It gives me a great pleasure to record here that during the past year on the Series alone they have spent about Rs. 20,000/-. They also handed over a some of Rs. 5000/- to the Indian Research Institnte of Calcutta for the publication of the Jain works in Bengali language. In last January these Singhi brothers spent in the sacred memory of their late father and their grandmother who had passed away soon after her son, a big sum of about two lacs for social purposes and for helping the poor with food, clothes, etc.
I have already mentioned how Babu Rajendra Singhji made a generous donation of Rs. 50000/- for the purchase of the famous Nahar Collection of Indological works which now forms a most precious part of the Bhavan's library. Babu Narendra Singhji has donated Rs. 3000/- for the foundation of a Jain Bhavan at Calcutta for which Babu Bahadur Singhji had already contributed Rs. 15000/-. He liberally gave Rs. 5000 at the ocasion of the celebration of the 'Viraśāsana Mahotsava' in November 1944 which was held by the Digambar Tain Samaj. Further he has shouldered the responsibility of continuing now under his patronage to help the work of social and religious upliftment among the Sarāk tribe of Bengal which was started by his illustrious father and for which the latter had spent thousands of Rupees. Babu Rajendra Singhji and Babu Narendra Singhji have also very generously promised to continue to meet all the expenses of the Singhi Jain Series and requested me to bring out as many works as possible, at whatever cost so that this unique Series founded and cherished by their late lamented father may continue to bring to light the invaluable treasures of Jain literature and culture.

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( 14 )
In recognition of his unique assistance the Bharatiya Vidya Bhavan has decided to perpetuate Singhiji's memory by naming its indological library as Babu Bahadur Singhji Singhi Library. Further, one of its main halls will bear his name as Babu Bahadur Singhji Singhi Hall. The Bhavan's Jain Department will also be known as the Singhi Jain shastra Shikshapith.
9. AUGUST 1945 BHARATIYA VIDYA BHAVAN, BOMBAY,

JINA VIJAYA MUNI

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PREFACE
WHEN for the first time in 1912-13 A. C., I began to
examine the Jain Bhandars at Patan, my primary object then was to find out with a view to research the literary works composed in the Early Vernaculars. At that time I had yet little aquaintance with Sanskrit and Prakrit, but with Old Gujarati (or the Old Western Rajasthani, as it is known among the scholars) I had cultivated a considerable familiarity. Of course I was as yet only a fresh student of it. My perusal and study of the research articles dealing with Gujarati language and literature that were being published in the early Reports of the Gujarati Sahitya Pariṣad and also in the early numbers of the periodicals like the 'Gujarati' had created in me a desire to know more and undertake investigation into these subjects. I had already come in close touch with the Rasa compositions by the Jain monks of which there was such a profusion, and my visit to the Bhandars of various places had given me some idea as to what a big number of such works had been preserved in the Jain Mss. collections. The Bhandars at Patan were since long very famous for being the oldest and richest Mss. collections pertaining to this subject and so, when I got an opportunity to live in Patan near Pujyapada Pravartaka Shri Kantivijayaji Mahārāj whom I considered as my highly revered Guru, I began to prepare a list of the Old Rusūs found in those Bhandars in order to satisfy my curiosity and to have a general idea of how great an amount of such sort of vernacular literature was lying buried there. In this list the information was being gathered under the heads like title of the work, name of the author, date of composition, date of copying, extent of the work in Granthagras, number of folios, condition of the Ms., etc.
During these years a controversy was raging in Gujarat among the scholars of Old Gujarati as to who was the earliest poet in Old Gujarati, and the non-Jain scholars almost unanimously had assigned that place to Narasinha Maheta, But there were one or two Jain scholars who had declared their

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objection to such a view and who, on the ground of some pre-Narasinha Jain works that were within their knowledge, were trying to assign the honour of being the first poet of Old Gujarātī to Vinayaprabha Upādhyāya, who had composed his Gautamasvămirāsa at Khambhāt (Cambay) in 1412 V. S. I too got interested in that controversy and accordingly I began to search carefully for older Gujarāti poetical works, In one of the Bhandars I found a Ms. copied in 1357-58 V, S., the years during which the Hindu rule in Gujarāt was nearing its end and Independent Gujarat was vanishing for ever between the jaws of Time. The Ms. contained a collection of many small works in Sanskrit, Prākrit, Apabhraṁsa and Old Gujarāti. Among these was found a poetical work called Nemināthacatuspadikit of Vinayacandra which appeared to be a charining and typical representative of Old Gujarāti works. There was no doubt about its being some 75 or 100 years older than the Gautama. svāmirāsa and hence I prepared a complete copy of it and sent it to be published in the Paryusaņā special number of the monthly 'Jain Svetāmbar Conference. Herald’of the year 1913. At that time I had no specialized study of that subject so that I could supply an explanatory review, notes eto. on it, but my eagerness to continue my research in that subject and to search for and examine more literary works of that type was increased to a degree and from that point of view I continued my efforts.
.;. It was about that period that I found a Ms. of the Sandesarāsakco in the same Bhandār.* This Pātan Ms. contained the bare text of the poem without any thing like the Sanskrit Avacūri or Țippaņa. On a superficial examination, its language appeared to me to be of a different sort from the language found in other Rāsās and it was not properly intelligible to me, since I knew yet practically nothing of the Apabhraṁsa grammar. But my continuous reading and study of Old Gujarātī works had indirectly acquainted me somewhat with that language and consequently I could grasp the essence of the contents of the Rāsaka. I had read many times the Prthvirāja-Räsau before and I could
„*. It was in this very Bhandar that I discovered Prthvicandacaritra, the ne oldest and earliest extensive prose work in Old Gujarati. .'

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( three
make out that the language of the present Rāsaka was to some extent of that sort which was found in the PrthvīrājaRäsar, though the form appeared quite different. I became eager to study the Rāsaka and I copied it completely with my own hand. I also hoped to possibly find in the Bhandars some other Ms. of this poem containing some Tabbā (Gujarātī gloss) or Bālāvabodha on it, so that it can facilitate the understanding of the poem. For I had already come across in those Bhandārs some Mss. of the works like the Bhāvanāsandhi written in the same sort of language and containing a Gujarātī gloss.
After this some five to seven years elapsed. During this, I was progressing in my study of the Prākrit grammar. The study of Hemacandra's grammar helped me to peep into the exact nature of Prākrit, Apabhraṁsa etc. In 1918 A. C. when in Poona I was enganged in examining the Jain section of the Government Manuscript collection brought to the Bhandarkar Oriental Research Institute, I came across another Ms. of this Rāsaka there, and I was very glad to find that that new Ms. contained, as I had anticipated, a chāyā-like Sanskrit Avacūrıktī on the text of the Rāsaka. I had then a mind to get prepared a transcript of that Ms. After this when I joined the Gujarāt Vidyāpīth and undertook to organize the activities of the Gujarāt Purātattva Mandir, I thought of publishing the Rāsaka in the Purātattva Granthāvali that was to be started by that Institution. I acquired the Ms. from Pātan as also from Poona and started to note down the variant readings, etc. gradually. But much progress could not be made in that owing to my being occupied with other undertakings. In the meanwhile I received a letter from that great indologist and German savant Prof. Hermann JACOBI. He had asked from me some information regarding the works of Apabhramsa literature that could be found in the Patan Bhandars. For it was Prof. JACOBI who had started a new era in Apabhraṁsa studies by publishing the Apabhramsa texts Bhavisattakaha of Dhanapāla and the Sanatkumāracarita of Haribhadra and had begun to search diligently for the literary treasures of that language. I sent him particulars regarding the Tiscttthilukkhance-Malumpurāna of Puşpadanta together with

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a transcript of the Harivansapurāna contained therein, which I had got previously prepared. Afterwards I informed him of this Samdeśarāsaka also. In the meanwhile, when I decided to go to Germany, he wrote to me: "When yow come, please bring with you the Ms. of the Sandesarūsaka or a transcript thereof. I am very eager to see that work' etc. Accordingly I took with me the transcript that I had prepared with my own hand and when in the summer of 1924 I saw that revered and aged Professor in Hamburg, I handed over to him that transcript. He was very much thankful to me for the transcript and said that when he returned to his home at Bonn, he would, at leisure, go through the transcript and write to me his opinion etc, regarding the work in detail. And he kept the transcript with him. But unfortunately he could not do or write anything in connection with this matter during my stay in Germany, being engaged as he was in some more pressing work.
I returned from Germany and remained wholly occupied in establishing the Singhi Jain Chair at Shantiniketan, in planning the Singhi Jain Series and other such works. When the Bharatiya Vidya Bhavan was established in 1938 and the Bhāratiya Vidyā Series' was started, I earnestly desired to publish this Samdesarāsaka which was occupying my attention since so many years. And so acquiring again the Mss. at Poona and Pātan, I got a fresh press-copy prepared from them. After collating variants, I thought of publishing the work serially in the Bhāratiya Vidyā (the Hindi-Gujarāti quarterly). In the mean time I came to know of a third Ms. of the Samdesarāsaka which was in the Jñānabhaņdār of Achārya Shri Jinaharisāgarji at Lohāvat in Marwar. I acquired that Ms. also from the Acharya. Besides the text, that Ms. also contained a Tippaņa-like short Sanskrit commentary by some different writer. Hence I decided to print that commentary also. Thus ultimately the printing of the text of the present work with the variants from the three Mss, and the Sanskrit commentaries from the Poona and Lohāvat Mss. was begun in 1941.
In the beginning my intention was to publish merely the text with the Sanskrit commentaries and a few prefatory

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(five lines by way of introduction. And accordingly I got the whole thing printed. But then some friends suggested that if the work is published with the indication of the critical apparatus and a critical introduction, it would add to the utility of that fine work for those interested in Apabhramsa. So I entrusted that task to my dear pupil and enthusiastic co-worker Prof. H. C. Bhayani, M. A., who, since last three or four years is deeply engaged in the study of Apabhramsa language and literature and who has acquired a substantial knowledge of that subject. As the result, the present work with its more substantial form is placed in the hands of the learned.
PREFACE
That Prof. Bhayani has spared no pains in studying his subject with requisite minuteness will be clear to all the discerning readers who will go through the pages of the 'Critical Study.' He has carefully investigated and recorded in a systematic manner the rich variety of grammatical forms and different types of metres that are evidenced in this poem. He has also treated the form and structure of the poem, has given an extensive summary of the contents and some informative notes from exegetical or metrical point of view, and has prefaced all this with a brief introduction intended to point out the specially interesting features of the poem. Thus Prof. Bhayani has increased the importance and utility of this publication for which I offer him sincere congratulations.
*
Following is the description of the three Mss. which I have utilized in editing the present text and the commentaries: Ms. A It is a Ms. from the Jain Section of the Government Mss. collection which is in charge of the Bhandarkar Oriental Research Institute, Poona and bears the number 181 of 1881-82. It contains 12 leaves. The date of copying is not given but looking to the condition of the Ms., it appears to have been written about 300 years ago. It is written in the Jain Devanagari script. The text of the Rasaka is in a slightly bigger hand. Every side contains 11 to 12 line of the Rasaka text and above each line is written, in a finer hand, something like a Sanskrit translation of the text which is styled Avacārikā. The copyist of this Avacurikā appears to be different from the scribe who had copied the text, for there is difference in the style of the characters. It seems that somebody must have

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entered this Sanskrit Avacūrikā for his own guidance in the Ms. in his possession that was containing only the text. The name of the scribe is given thus at the end of the Ms. : mazh: I BATTAA
HII 0. 724yèolested. But from this it cannot be made out whether this Nayasamudra is himself the author of this Avacūrika or he has merely copied it. It is certain that he was a Jain monk. There have been many Jain monks bearing the name Nayasamudra and some of them have also some works in Old Gujarāti, etc, to their credit. But as the present scribe has given neither his spiritual lineage and preceptor, nor his date, there is no means to know anything about his time or his identification.
The scribe who has copied the text in this Ms. has not bestowed sufficient care on his task and consequently he has included as a part of the text those stanzas also which give the definition of some particular metre employed in a staza of the poem. For example, the 18th stanza of the text is composed in Raddā metre. In the Ms. which must have served as the prototype to our Ms., somebody must have marginally entered the stanza defining Raddā metre from metrical treatise of an author called Nandaddha. The scribe of our Ms., considering this definition stanza as a part of the text, copied it runningly with other stanzas of the text. Similarly because the 21st stanza is in Paddhaďı metre, a stanza giving the definition of this metre has been included in the text as its part. The stanzas of the poem also have been numbered erroneously so that the last stanza, instead of being numbered 222 or 223, bears the number 216.
Ms. B -- This Ms. was acquired from the Jñanabhandar of Achārya Shri Jinaharisāgarji at Lohāvat in Marwar. It contains 28 leaves in all. The name of the copyist is not given. But doubtlessly he was a Jain. Though the name is not given he has mentioned the place and the day, from which we know that writing of this Ms. was completed at Hisāradurga (i. e. Hisār fort in the Punjab) on the 8th day of the bright half of Āşādha, Wednesday. If some more trouble had been taken to put down the number indicating the year also, we would have got at least the exact date of the Ms. But as that thing is not done, it is not easy for us to say in what century the copy was prepared. Though if any scholar wishes to exactly find out

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(seven
this date with the help of the ephemeris, he can do so because given the month, the fortnight, the Tithi and the day of the week, the corresponding year can be calculated. Having at present little time at my disposal, I could not undertake it. I wish some expert would try. : This Ms. contains, along with the text, short Tippaņa-like Sanskrit commentary, which gives just slightly more renderings of the original text than those given in the Avacūrika in the Ms. A. The scribe of this Ms. appears to have very little familiarity with Sanskrit and so he has committed many blunders of a grammatical or orthographic nature in copying the commentary on each stanza.
There are two stanzas at the end of this Țippaņa-like commentary, which give us some inforination regarding its author, etc. The author of this commentary was a Jain monk named Laksmicandra, who was a disciple of Devendrasūri of the Rudrapalliya Gaccha. He has also mentioned the names of his father and mother and his family, which is seldom done by any Jain monk. According to this he belonged to the Prāgvāta family (i. e, the Porwād caste of the Banias). His father's name was Hūliga and mother's Tilakhū. He had composed this commentary in 1465 V.S.*
The second stanza indicates in what manner he prepared this commentary. The stanza is defective and its text appears in places corrupt, so the exact meaning cannot be made out. He says that he has not seen with his eyes any commentary of this poem, nor has he studied this poem before a teacher, nor has he listened to this Šāstra on the earth directly from the roouth of its author (?). But what explanations of this poem he heard from the mouth of the Kşatriya named Gāhada, he wrote them out in the form of
• There & Ms. of the Dharmabhyudayakävya in Jain Bhandars at Pātan
written by the same Lakşmicandra, at the end of which he has given 1446 V. S. 18 the date of copying. There has been given the same stadza which is found in the commentary on the Samdeśarāsaka with slight variation. It is as follows:
श्रीमत्प्राग्वाटवंशांबुधिशशिसदृशो हालिगस्यांगजन्मा पुत्रो मातुस्तिलख्वाः प्रविदितचरणो रुद्रपल्लीयगच्छे । श्रीमद्देवेन्द्रशिष्यः रस-सुख-जल-भूवत्सरे काव्यमेनं लक्ष्मीचन्द्रो लिलेखाखिलगुणनिधयः सूरयः शोधयन्तु ।

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this vārtā (vārtika?). In this if anything that was not proper was unguardedly written by him it was not he, but, Gahaḍa who was to be held answerable for that. Thus it appears that Lakṣmicandra learned the purport of the poem from some Kṣatriya named Gahada. We do not know any thing else regarding this Gāhada.
PREFACE
From this commentary of Laksmicandra we can see that he was not a good student of Sanskrit. He must have only a working knowledge of that language. In spite of his defective knowledge of Sanskrit and his immature study he has enthustastically tried to explain the purport of the Rasaka by writing in his broken style a commentary in the form of this 'vārtika', and to-day it has certainly proved of considerable help in understanding the poem. It is probable that the Avacārikā which is found in the Poona Ms. (A) was prepared by some student on the basis of the substance of this commentary of Lakṣmicandra. From what is said by Lakṣmicandra we can also surmise that possibly there was nothing like a Sanskrit commentary on the Samdesarāsaka before one written by Lakṣmicandra himself. So in course of time this Apabhramsa poem of Abdala Rahamana being felt difficult to understand, Lakmicandra, who found the poem very attractive and worthy of study, learnt it from some Kshatriya called Gahada who knew its language and purport tolerably well, and composed this vrtti or vārtika in his own words. Since, the text of the Rasaka as found in this Ms. and the one which forms the basis for the commentary are in some places at variance with each other, it is to be concluded that either the text and the commentary were copied from two different Mss. or the prototype of this Ms. must have been copied in the said manner. Ms. C This is from a Bhandar at Patan. The number of the leaves is 17, and the script is Jain Devanagari. The copyist is Muni Manasagara, who was a disciple of Upadhyaya Devasagara. Some Bhaṭṭāraka - the name has been scored off by somebody got this copy prepared by Muni Manasagara. Here also the date of copying is not given. So we cannot say what must be the exact date, but looking to the condition of the Ms. it appears to have been written during 1700-1750 V. S.
This Ms. contains merely the text of the Samdesarāsaka. The copyist has not put down the numbers to the stanzas, but

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(nine some space is left empty at the end of each stanza. This possibly means that as in other Mss., here also, the copyist intended to write the numbers with red ink or vermilion, but due to some reason it was left undone.
To give some idea of the size, characters etc. of these three Mss., a half-tone block of one page of each Ms. is given herewith.
I have sought to record at the base of the text of the Rāsaka the variant readings that are found in these three Mss. One who examines these variants will see that the text of the Rāsaka has come down to us with plenty of variants. The spelling and pronunciation in a spoken vernacular is subject to continual change dependent upon its currency in different places at different times and among different peoples. The work which becomes more popular and current, gathers still richer crop of variants. It is difficult to decide which one of the Mss. offering numerous variants is more correct and faithful to the original. If the author's date is definitely known, we can say that the Ms. which is written nearer to this date is more reliable. But when the author's date is indefinite, we cannot take it as a never-failing criterion that the earliest Ms. is the most reliable one. For a later Ms. can prove more authentic than an earlier one, if the former is copied from a prototype which is earlier than the latter. In such circumstances it is a very difficult task to constitute an authentic text of a work which abounds in variants. To illutrate this let us suppose here are two Mss. of a vernacular work composed in the 11th century. One of these is written in the 15th century and presents that form of language which, after successive transformations was current in that century. On the other hand the other Ms. is written in the 18th century, but as it is an exact reproduction of its prototype which belonged to the 18th century, we should consider this latter Ms, more authentic when we want to study the language of that work. I have many a time come across such cases during my researches.
But when we have no definite idea as to the time of the author, nor can we find any sure ground to fix the tradition of the Mss, the obviously least objectionable course would be to accept the majority reading in the constituted text and record

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the remaining ones below. And in cases when all the Mss. disagree on a particular reading, grammar, metre and general style of the authar should be the criteria of selecting the reading
This is normally the method which I have followed in editing the present text. On examining the text one will find that the three above-described Mss. of this work presnt abundant variants. What is more, the text of the Rāsaka as given in B. and the words of the text which are found interspersed with Laşmicandra's commentary contained in the same Ms. differ at places from each other. As all the the three Mss. are undated, there is no evidence to consider any of them as older and more authentic than the rest. Hence generally I have accepted two criterions for the selection of the reading. The first is to accept that reading in the constituted text which is correct and found in the two Mss., the reading of the remaining Ms. being recorded below. The second is when the three Mss. mutually disagree, to select that reading which appeared to me superior to others from a metrical, contextual, or stylistic view-point, the other two readings being given below.
There is no sort of consistency in the variants in each of the three Mss. No uniformity is to be found in any one of the Mss. regarding grammatical forms or orthography. In all the Mss. a substantive of the A-stem is found now inflected, now uninflected. In the case of verbal forms also sometimes we find a fuller form, while at other times it is found in a mutilated condition. And if one carefully examines the poem, one would discern that at times the author himself was responsible for employing such varying forms. The same sort of inconsistency is observable in the indication of the y-glide that appears in the place of the elided intervocalic consonants. In some places only a is found, while in others it is preceded by y. Thus as much lawlessness was found in the variants offered by the Mss., I had to adopt the above-described method of selecting the readings. I am aware that such a method is not absolutely scientific or satisfactory, but under the circumstances I could not find any less objectionable alternative.
From the information that I have, I think there can be found still many more Mss. of this work from the Jain

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Bhandars. There is also the possibility of finding out another Sanskrit commentary or gloss on the text. For example, when the printing of the present text was finished, Shri Agarchand NAHTA of Bikaner sent to me an incomplete Ms. of this work from his private collection. There were seven leaves only, containing the first 109 stanzas of the text. The Ms. contained the Sanskrit Vartika also, which was mostly identical with the Avacurika given here, but it was by a different author. Its first stanza was word for word the same as the first stanza of Lakṣmicandra's commentary, excepting the fourth pada, which instead of reading a gaga: as in Laksmicandra, reads
fg. Accordingly we come to know that some Labdhisundara was the author of this commentary. The Ms. being incomplete, we have no means to know whether the author had said at the end anything regarding himself, his Guru, etc. Can this Labdhisundara be in any way connected with that Nayasundara who is mentioned at the end of the Poona Ms.?
PREFACE
Most of the readings of this Bikaner Ms. (N) are the same as those found in B, but there are places where the two Mss. differ and hence it appears that the Bikaner Ms. also has a different Ms. tradition from that of the three Mss. previously described. From this, it will be seen that to prepare a really critical edition and present the text in a purer form, we should acquire as many Mss. of the work as is possible to get, and work on them with sufficient diligence.
As Prof. Bhayani has, in his 'Critical Study' exhaustively treated most of the specially interesting and novel features of this work, it is not necessary for me to touch those aspects and I confine myself to saying a few words regarding the date of the author. I have not come across any definite external evidence which would fix our author's date. No reference to the Samdesarāsaka is found in any other work. We have to make a probable guess regarding the author's time and here our first definite ground, which supplies at the same time the terminus ad quem for the date of the poem, is Lakṣmicandra's commentary that is published here along with the text. The commentary is composed in 1465 V. S. (1409 A. C.). Therefore, it is obvious that the author of the Sandesarasaka flourished earlier to this date. But to say how much earlier ६ सं. रा.

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PREPACE would be a matter of mere speculation. Still considering the form of its language and the nature of the information given in the text regarding the geographical places, I have reasons to believe that Abdala Rahamāna* the author of the present Rāsaka was born in some place situated on the western borders of India before the period of--though not much earlier to-the rise of Sultan Muhammad alias Shihabu-d din Ghori who established the sovereignty of Muslim rule on the throne of Delhi.
From the description given in the Rāsaka, it is clear that at that time the city of Multan in the Punjab was famous as the greatest of the holy places of the Hindus in the furthest pricincts of the north-western India. The temple of Sun god and Suryakunda that were there were famous all over India and it was a prosperous centre of Hindu culture. From this description we also gather that Multan was a flourishing city. We can, therefore conclude that in the times of the author of the Samdesartis ka the ominous shadow of foreign invasion had not yet engulfed the city, and the Hindu cultural atmosphere held there its continuous and unrivalled sway. After Shihabu-d din's invasion that glory of Multan disappeared never to get established again. The mention of Khambhāt (Cambay), moreover, along with Multan in the Punjab and Vijayanagar or Vikramapura (to-day in the Jesulmere State) in the Marusthali is also noteworthy. The husband of the lady from Vijayanagara, who, suffering long separation sends the message to him, had gone to Cambay to earn riches and there being no end to his ambition, he does not leave Cambay for years. The message-carrier also is going on his way to Khambhāt with a written message to some similar enterpriser from Multan who has gone to Cambay with the same purpose. From this we can gather that the poem was composed about a period during which Cambay was a great centre of trade and commerce tempting enough to draw businessmen and enterprisers from far off countries like Sind, the Punjab etc. If we look into the history of Canıbay we see that it was during the reigns of the Cālukyan kings
*
The text of the Sr. gives the naine of the author as Addahamūna, which is rendered by the commentaries as Abdala Rahamăna. So this form of the name is adopted by us, though current Muslim name is probably Abdul, and not Abdala.

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Siddharāja and Kumārapāla that Cambay had reached this height of fame as a flourishing trade centre. Soon after the death of Kumärapāla, the royal sway of Anahillapura vas weakened and the political chaos consequent upon this brought down the decline of Cambay. When, through the shrewdness and skill of Vastupāla, Viradhavala took in his hands the administration of Cambay, it was almost in the state of a deserted city. It was during the reigns of Siddharāja and Kumārapāla that the north-western boundary of the kingdom of Gujarat had reached right up to the banks of the Indus and hence it was natural that the merchants from that frontier would run their business firms in Cambay which then occupied the position of being the foremost port of the kingdom of Gujarat. From all these I infer that the Samdesarāsaka must have been composed during the reign of Siddharāja or Kumārapāla i. e, in the latter half of the 12th century or at the latest, the first half of the 13th century of the Vikrama era.
From the point of view of language also, the above suggested date appears to fit well. The particular form of language in which the poem is written gives us an impression that it must have been living and understandable by all at that time. The poet's aim was to make his work charming and attractive to the average man of his times and he can succeed in his aim then and then only, when he composes the poem in easy language and a plain style. The poet Abdala Rahamāna being an inhabitant of some place in the western part of India and different from the Hindus in religion and culture, cannot possibly have acquaintance with the language that he employs in the Rāsaka right from his birth. His mother-tongue or his language of common day-to-day intercourse must have been different. So he must have mastered this language from some seat of Hindu culture (perhaps it was Multan). From his statement we understand that he was well-versed in Sanskrit, Prakrit and Apabhramśa. That he had acquired proficiency in Prakrit is directly evidenced by the present Rāsaka. For, he has given in the Rāsaka some fine Prakrit Gāthīs also and in introducing himself, he tells, in explicit words, of the notable reputation he has acquired in the field of Prakrit poetry and Prakrit songs (see stanza 4 in the text). For one possessing such a sound knowledge of

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Prakrit and Apabhraíía, not to be knowing Sanskrit appeared next to impossible in those times. Thus this much we can say on good grounds that Abdala Raharāna was very learned. He had composed many poems, songs etc. in chaste Prakrit. The cultured and the élite of that period considered Prakrit as a language of the yesterday which was a valuable source of literary enjoyment by virtue of its literature of tenderness and beauty. But only those could properly understand that language who had studied well its grammar and literature and who were otherwise also well-red. For the averagely-educated and uninitiated, Prakrit had become somewhat difficult to grasp. Consequently to cater to the contemporary literay demand, the authors had to write their works in Apabhramśa also which was the literary dialect of the time accessible to the common people. Actuated by some such motive Abdala Rahamāna seems to have composed his poem in the popularly current dialect of Apabhramśa. Hence he expresses his apprehension that the highly learned the well-educated would not touch his work considering it to be mediocre or worthless, while those who are quite illiterate would not understand this and so they also cannot be expected to eagerly welcome this. But those who are neither ignorant, nor very learned, will certainly read this poem frequently.
By this time Apabhramsa also had acquired such a status in the literary world as could place it side by side with Sanskrit, Prakrit and Paiśācī which possessed rich literatures. There were two styles of Apabhraṁsa then current: the 'classical style' and the 'popular style', called Gramya Apabhrarisa by Hemacandra in his Kūvyānu-sāsana. The former style was, like Prakrit, characterised by well-defined and rigid grammatical rules and in it were composed in a tone of elegence great epics and voluminous narratives. The other style was like the unsophisticated people, direct, natural, uncomplicated and characterised by a flexible grammar. We can place Sardesarrāsaka in this second category of the works in the popular style. Its language and sentiments earmark it as meant for the common people. Fortunately now we have come to possess a good number of Apabhramsa works written in the classical style, but we have not been so far similarly lucky in coming across works in the popular style which are very important and useful in the study

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PREFACE
(fifteen of the development of our modern vernaculars. From this view the present mork should receive a good welcome.
The language of the Samdesarāsaka is, as I suggested just abore, not enclosed in a rigid grammatical frame, but has a considerable flexibility of form. This fact suggests that the work was composed when Apabhramsa was passing through its last stage of decay and the New Vernaculars like its daughters were leaving behind their childhood stage. This period was, as already stated, the second half of the 12th century or the first half of the 13th century of the Vikrama era. In other words, this was exactly the period which covered up the whole ife, from childhood to death, of Ācārya Hemacandra, the .ast grammarian to treat the fully developed form of Apabhramśa. Hemācārya died in 1230 V. S. Cambay had reached its height of progress and prosperity during his life-time. Soon after him the power of the kingdom of Gujarat waned and Cambay also fell to evil days. Within fifteen or twenty years after Hemacandra's death are started the series of invasions by Shihabuddin Ghori on the Punjab and the northern India, jhe Hindu kingdoms of Anangapāla of the Punjab, Cāhamāna Přthvīrāja of Delhi and Rāştrakūta Jayacanda of Kanauj are lestroyed, Multan which was like a stronghold of Hindu culture .s ravaged and the trade relations established between Gujarat and north-western India become disconnected. The glimpses of the lost glory of these places are preserved in this poem. As we do not find such prosperous state of these cities restored to them at any time afterwards, I come to the plausible conclusion that our Rāsaka was composed before—but not much earlier to-the rise of Sultan Muhammad Ghori.
This work of Abdala Rahamāna attractively handles âtheme that is very simple and popular. In his descriptions nowhere do we find exaggeration to achieve effect or depiction of unreal sentiments. It gives a vivid picture of most natural emotions in direct words. The description of various seasons reflects the common experience. It is the climate which we find in Rājasthāna i. e. in Marusthala, Sind and the borders of the Punjab that is pointedly described here. The poet calls the hot wind blowing in summer by the name Jhakhadā

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sixteen)
PREFACE and it is known in Marusthala even today by the same name (Jhankhar). The Avacūrikā notes Dunduyūlaka i. e. Dundālo as its another name. Again, in the description of Autumn, there is a reference to putting of the Tilaka-mark of sandal-paste on the head of horses and cows. Most probably it is indicative of the occasion of the Navarätra and Vijayādaśami festival. In Rājasthān, to-day also it is a custom to perform the worshipping ceremony in the horse's stable and the cowstall during the Daśerā festival, and it is considered a specially festive occasion anong the Rājput families.
Among the Muslim poets who have composed in Indian vernaculars Amir Khusaro's (died in 1325 A. C.) name comes first and after him comes the famous poet Malik Mohammad Jāyasī (c. 1540 A. C.) who composed his Padamārata in the Avadhi language. But until now we had not come across any work of a Muslim author written in the earlier and more widely employed cultural languages of India, Prakrit and Apabhramśa. As such, the present Apabhraṁsa poem interspersed with Prakrit can be considered as a very important work. Its date also is earlier to those of the above-named two poets and its subject matter too is very attractive. Accordingly, Abdala Rahamāna appropriates the honour of being the first Muslim poet to assimilate Hindu culture and to master the Hindu literary style prevalent in his times.
Let us hope that following Abdala Rahamāna, who having drunk deep at the fount of Hindu culture and inspired by noble sentiments composed his invaluable work in the then common literary language of India, our Muslim brethren of today also becoming inspired by similar sentiments will make their best contribution to the Indian literary treasures by composing works of value in our national literary language.
I conclude this preface in the words of Abdala Rahamāna himself:
जेम अचिन्तिउ कजु तसु सिद्ध खणद्धि महंतु । तेम पढंत-सुणताह जयउ अणाइ अणंतु ॥
9th August,
1945
JINA VIJAYA MUNI.

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Page #47

eighteen) metres, in the charming manner in which the figures of speech are employed, in the easy flow of language or in the mastery of poetic craftmanship in general there is not a trace that can hint at the hand of a non-Hindu poet. And presupposes on the part of the author a sound literary training on traditional lines and a close familiarity with Sanskrit, Prakrit and Apabhramśa masterpieces. The author's claim for these distinctions made in the introductory portion of the poem is thus anything but hollow. Parallels (from Prakrit, Apabhraíśa or Vernacular literatures ) to the expressions and ideas contained in certain passages of the Samdesarūsaka have been pointed out in Appendix I at the end, and this also emphasizes Abdala Rahamāna's well-versedness in the classical and contemporary literatures.
But this has no adverse implication as to the originality of the author. Though a Samdeśakāvya, the Saņdesarīsaka is far above the common run of such type of compositions, the lifeless or mediocre imitations of the Meghadūta, some of them claiming our attention by their only virtue of being tours-de-force. This one fact of being able to produce something refreshing even from a theme that is overexploited speaks much favourably regarding the poetie powers of Abdala Rahamāna. As to his sense of form, descriptive powers, melodious diction etc., let the reader himself be a judge. .
Lastly the language and metres of the poem are of no small interest. The author has not composed in the classical Apabhramśa which by his times was long dead'. He has adopted the living' literary medium of Late Apabhramsa which has strong admixture of Old Western Rajasthani (especially its northerly idiom) with a touch of the early form of one (Braj?) of the Western Hindi group of dialects. Most of the metres employed in the Sandesartisaka were currently used for early Vernacular poetic compositions also. One occupying himself with the study of the linguistic, metrical, structural or literary aspect of the Apabhramśa and Early Vernacular literatures cannot afford to neglect this fine literary piece from Abdala Ralamāna's pen.
I am grateful to my revered Guru Achārya Shri Jinavijayaji for the opportunity and encouragement he gave me in my present studies in the Sardesarāsaka. I express my sense of gratitude towards Prof. Dr. Sunitikumar CHATTERJI and Prof. Mahendra Pandya for kindly taking the trouble of going through the Critical Introduction and Summary' respectively and making some valuable suggestions.
HAKIVALLABH C. BAAYANI.

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सिंघी जैन ग्रन्थमाला ]
[ सन्देश रासक
यदि शहा हा लिंगस्यांगजन्माडोमा तिलचा द्रविदित चरण। रुद्र जी गये । श्रीमदवेंद्र शिष्यः त्रारम गत वसरे छत्त्रिमलली चंद्रश्च का खिलगुणनिधयः सरया सायं वृत्रिनीश्या विला किनारे।। यानचानाणि चानाकमुख नदिउ विमया वा श्राविशाखं कचित्। किंच त्रियाउ स्पमुखता याया तितामा सास्त्रमया विमूढ मतिनावाची निदान | शायदन्यथा मया प्रोको कश्चिदर्थस्तथाय दीनद नेवजानामितिनाले व गाइड: लिखितंश्रीष हिसार डी प्राषाढदिव्यष्टया सुंधवासरे।
नवजुनीय सुपिढियगाहपियकंरिवरी एयारिसंम्मिसमर घादिरदो यनिलायम हियरंमद हियरे कंदप्पो खिवसरजाल जाणरकरु कमिश् दियधणु दुखाउन्नियहमयणञ्चयिविरहिणिपलित्तिहिं तंफरसनमिल्देविद विण्यम धियानमित्रिद्धि निमजे पिय निमकुवतपनणियजत्रु, श्रासामिविवरकामि सहिवहाऊपडिवु जंपद्विवितंबलियदीत्रवितुरियश्चंत रियदिसिदक्षाणतिजा मदरसिय आमन्तपदाववरियदिहुणा तिणिकत्तिहरिनिय जमवितावसुमि मुखांत द्विमदंतु ते पढेत सुरणेत्यह जय ऋणाय तु समाहामिदमंदेसरास कं ॥2उपध्यायश्री श्री श्री देवसागरत सिक्ष्यमुनिमानसागरलिखिते सहाश्री श्री श्री श्री प ।। यादृशं पुस्तकंदृष्ट्ा । तादृशेलिषितंमया । यदिसुण म
BC सञ्ज्ञक आदर्श प्रतिकृति
१७
B

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सिंघा जन ग्रन्थमाला]
[सन्देशरासक
B
बर्दियाशिसहशाहालिगस्योगजन्मायुबामाततिलथाविदितचरणरुद्रपलीयगळे श्रीमदवंदियात्राकरम
गत वन्सदेवनिमनालयाचश्चकारा खिलराणनिधयामरयासोधयंडा सुन्निनीयहमा विलाकिस। यार्बनचानाणिचानाकर्वमुखत्तस्चिदंउनिमयाचाचाविशाम्नचित्य क्लिवियगारस्पमुखताथायात्रा हतिक्रतामासाचत्रमयाविमूढमतिनावानी निदानवाशायदन्यथामयोपानीश्चिदर्थस्थायदान हनवजाना मितिआनात्यवगाडा लिखितश्री हिसारडयोप्राषाढसदियष्ट म्यानुधवासरे।
www.anellstranyarg

नवलुबनीय सुरणपटियगाहपियरिदरीदि है प्यारिसंम्मिसमरघाणदिरारदमा यरंजिलायेमित्रहियपरमहहियरे केदप्यारिखवसरजाले जश्ऋणरकरुकदिउँमश्य दियघणुदुखाउन्नियहमयागऋयिविरहिणिपलिन्निहि तफरसमिल्लविउह विण्यम दिपालगिजामत्रिदि तिमपियनिमऊवज्ञाङ्गतंयत्तरिणयनंनुन्तु आसीमिविवरकाभि णिदिवटाऊपडिबु जंपडिवितेबलियदीऋछिस्तुरियश्चतरियदिसिदक्षरगतिशिगजा मदरसिय अामन्नपहाववरियदिदुपाडतिणिकतिहहरसिय जेमअचिनाउकजनमुमि घुवर्णसदिमहंतु तेमपतसुरगतयेहजयउंऋणायउभंतु समाधमिदंसंदेसरास कं ॥ उसयग्रीश्रीश्रीदेवसागरतसिपमुनिमानसागरलिखित सहाण्त्री श्रीश्रीश्रीपबामियामिनी ॥ याहरीपुस्तकंदृष्ट्वा तादृशेलिवितमया।यदिमुमण

BC सञ्ज्ञक आदर्श प्रतिकृति

Page #50

A CRITICAL STUDY
OF THE GRAMMAR and METRES of the SAMDESA RASAKA
By
H. C. BHAYANI, M. A.
INTRODUCTORY As one of the few texts of late, vernacular-coloured Apabhramśa, as a metrical work composed in a score of metres most of them of considerable interest from the view-point of the Middle Indian prosody, as a valuable specimen of the Apabhramśa tru-literature and as probably the only non-religious literary Apabhramsa work published so far, the HTT75 proves unique enough to make itself a focus of studious attention. In addition to this, the fact that it is from a Muslim author's pen is of no small interest. Hence, at the instruction of Acharya Shri Jinavijayaji, who has brought out for the first time this critical edition, I have dealt below with the grammatical and metrical aspects and the literary form of the inti+, as also lave supplied a stanzawise summary in Englisli to facilitate reference.

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SAMDESARASAKA
GRAMMAR'
I ORTHOGRAPHY
$ 1. A conflicting and confused orthography is quite characteristic of the Ap. Mss. The spelling of grammatical forms and words even in the same Ms. presents bewildering variations. One form now exhibits an , now an q. Another form has at one time one of its vowels nasalized, while a second time it appears without the Anunasika. Similarly in the writing of a or, in the introduction of the '' or in the choice of or much consistency is not to be found. There are two or three facts which can be advanced to explain this remarkable orthographic variation of the Ap. Mss. One explanation which obviously suggests itself is to assume that in the speech of the author there actually obtained an option of pronunciation in the case of the forms or words concerned, the orthographic diversity being but a reflex of these optional pronunciations. But this sort of assumption works in a limited number of cases only. As regards the others, there is enough evidence, brought forth by ALSDORF (and JACOBI) through a statistical analysis of the form-and word-variants occuring in some Ap. Mss., to prove that either confusion of phonetically similar forms or divergent scribal practices lie at the basis of this variation. Further, it seems quite probable that some types of variants, indicative of a stage of language more advanced than one represented by the text, bear influence of the spoken idiom of the scribes and as such, are to be considered modernisms from a relative view-point.
C1
These are the chief agencies responsible for the inconsistencies and divergences in the Ap. orthography. It is to be noted that even after taking everything into consideration, there would still remain, as is amply borne out by the treatment below, a number of cases where it is considerably difficult to achieve some measure of certainty as to whether a particular form is really reflective of an actual alteration in pronunciation already developed in an author's time or it is merely a
'scribal' variant.
1 As regards the method of treatment I have followed ALSDORF so far as it was suitable. The sections on grammar in his Hr. and KP. have been throughout kept before view and at several places drawn upon, JACOBI's works are also consulted..

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GRAMMAR
31
50
In dealing with the orthography of the Sr., the following cases come for consideration :
Nasalisation § 2. As remarked at the outset, one and the same case-ending is at times nasalised, at times the Aņunāsika is Wanting. Only the statistical method can help to bring order into this state and to decide the dominant or preferred tendency. The question of nasalisation arises in connexion with the following forms:
(1) Locatives and instrumentals. The figures for the nasalised and unasalised cases are?:
in of
in orang loc. plur.
13
13 instr. » loc. sing,
15 instr. »
11
11 A few of these cases can perhaps be transferred from the singular to the plural or vice versa, because their context is pot helpful in deciding one way or the other.
$ 3. In bringing out the significance of the figures given above, some special remarks are called forth. The state of atlairs regarding the orthography of the Mss. of the Sr. is in a way quite different from that of the Mss, of the Hr. In the case of the latter text the Mss. disagree among themselves regarding the spelling of a form at its each particular occurrence in the text, though, taken by itself each particular Ms, is for the most part consistent in spelling that form. Thus, for example, in one Ms, of the Hp, styled A, the ending of the gen, and the loc, sing. of the feminine 3-stems and of all the sand 3-stems is mostly written fe, while the Mss, styled B and C have almost always instead. Now in contrast to this the Mss. of the Sr. show, barring insignificant exceptions, complete agreement in spelling a form at its one particular occurrence. Thus, for a form occurring at a particular place in the text,
Hero as elsewhere below, the figures giving the number of timos a particular type of forms is attested in the Sr. are to be taken approximately, since at several places the text was found obscure or uncertain of interpretation,

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SAMDESARĀSAKA
either all the three Mss. of the Sk. have me or all of them liave P. They scarcely differ among themselves. IIence, the principle of determining the probably original spelling by the substantial majority of one sort of variants over those of the other sorts, though fully valid for the Mss. like those of the Hr., does not serve to solve the orthographical tanglo of the Miss. of our text and consequently we have to fall back upon the alternative of assuming in tlie case of the endings like those considered above a varying pronunciation as 'iz ONE The proportion of the nasalised and umnasalised cases (2:3) indicates that the tendency to pronounce the final vowel of this ending unnasalised was comparatively stronger. These remarks are in substance applicable to other cases of nasalization considered below.
§ 4. (2) Genitives. As we shall see under $ 51 A, the Apabhramsa presented by our test too, like the Svetämbara (or Gurjara) Apabhramsa of the San., has the assimilated' genitives. And since in the San. the gen. plur. differs from the sing. only in having the final vowel of the ending nasalized, we can naturally expect to find a parallel state in our text. But the genitive plural forms of the feminine 3-stems only come up to this expectation. They take fe in the singular, and op in the plural. For the rest such a distinction does not exist. The gen. plur. ending of the 3-stems is completely identical with the sing. ending except possibly in one case JHVIDTŠ 193d (plural?) in the constituted text and in random cases in mostly one Ms., e. g., A FIN-99m 549,1; but such cases are too scanty to deserve more consideration. It is instructive to note that there occur about four gen. sing. forms ( Flat 50c,
are 1046, a t 1316, 31r8fa47 1310) with their ending nasalised. As Front points out, their nasalisation is but tlic result of confusion with the plural ending and as such unjustified. Can it suggest that in the case of the gen. plur. ending of the 37-stems too, the nasalisation was optionally present?
$ 5. (3) Nom. and Acc. plur. forms of neuter stems. In our text there is no trace of the neuter forms in °31š, excepting three cases which can be shown as occurring under specific conditions ( $ 52. Remarks). The casc-ending of the two out of these three is written 36 and of the remaining one, 3. In the Prakrit passages we come across one or

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GRAMMAR
two cases having their cuding unnasalised. There does not occur a singlo casc of enlarged' nom. sing. form of neuter 3-stems with the ending 343.
$ 6. (+) Pres. indic. 1.sing. In 17 cases all the three Mss. read the ending as Pers, only once they agree in reading Cari. Individualy, onen two lissliare , and thrice only one (C). Thus bern also the tendency to clrop the Anunāsika is overwhelming
$ 7. (5) lres indic, 3, plur. The following tigures indicate the comparative strength of different variants for the endings :
19
11 Quite casually some one Ms. reads for peor confusing the third person singular forms in 35 with the plural forms in °3rš, nasalizes them. B has some 19 cases of pres. 3. sing. in 3.
$ 8. (6) Individual words. Once (1540) all the Miss. read 35, once (117) two and twice (650, 1600) only one, while thrice (800, 92a, 1341) they agree in realing . So also the second person singular pronoun appears its de at all its occurrences, while once (776) we have the molern form ă (Ba). The pronominal forms 73 74*, ag 76, 12-4, 15 816 etc. (more than a dozen occurrences) too appear without their final vowel nasalized. Further are to be mentioned to 770, 1836 etc. (in coinbination with other particles: 121d, Beer (B - 916); (CFE) 121a; the locative adverbs at 1020, Free 412 (cf. lIc. II 161); 73 740, 730, 99«. Such forms without the nasal mark are frequent in the Ap. texts composed in Eastern India as can be seen from the Doli-Bo-. There also we come across 7, h ete, See SHAHIDULLAII, p. 5; JACOBI : San. p. XXVIII mid.
Interchange between and a $ 9. Writing y for or vice versa is not uncommon for the orthography of the Jain Mss. in general. But in the Mss. of the Sr. such cases are numerous and what is specifically noteworthy, all the three Mss. show a remarkable agreement in having 7 or at a particular place. This latter fact would suggest the probability of having in fact phonetically

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SAMDESARĀSAKA
developed into 9. That it was actually so in some cases at least is clearly demonstrated by (i) 99 rhyming with fama and Rt rhyming with art, and by (ii) Joe (faryo = fà35= Faetoft) with the genitive ending instead of re.
Such interchange of 7, is seen also in the language of the Dohā-Kosas and in Old Bengali. For the development of medial °° into y under limited conditions in Own. see Tessitori, $ 4 (5).
On the other hand in some other cases the orthographic origin of q is suggested by a glance at the variants : Cfalsely reads a for x 15 times, B 7 times and A 4 times.
§ 10. 2 is read for medial or terminal
(a) in the stem: 19 (= = a) 22a, 72 ( = 575 = fat) 266, 105d etc., 449% (= 92 = 2a) 441, 3173 ( =3153=3ifah) 148a, fasa (=ayz = fanteft) 200d, perhaps also opi (unë 'as if') 53d, 0121 ( as if') 1700, 9143 (=9155 = 1991) 183d, ( = 5 = mat) 205d, Pk.' 24 (= 45% = BSH) 40a.
(b) in the ending: 3707 for oso in the enlarged' instrumentals 68c; affumu 91c, 1777 91d.
§ 11. Conversely is read for you in as (= HITJE *7477:) 220, SISTË (= 377 i. e. 31 ufafra) 45a, BET (= 347124 =
of) 1595, asie (= 721 i. e. galeri) 169a. The fact that C wrongly reads for u in 17 cases, B in 13 cases and A in 9 cases suggests that most of the above-considered cases may be simply orthographic.
§ 12. Y a-śruti. In our text the conditions regulating the appearance of the fagfa can be formulated thus : forfat is obligatory between 3p 31 and 37 311, forbidden before or 33 and facultative in other cases. The solitary exception free (only in B) 1376 is not quite certain as the particular text where it occurs has considerably suffered in transmission. .
§ 13. q and 7. Initially both of or I appear. Non-initially, when single, ou alone is permitted; when double or compounded with a mostly it is written for and quite casually on.
1
The language of the Pk. Gāthās of the Sr. is considerably influenced by Apabhrathsa. Henco at several placos the illustrations from these Gåthās too have been included in this treatment. On the other hand, doubtful or obscure cases have not been touched upon as a rule,

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GRAMMAR
14. ब् and व्. Many Ap. Mss. do not distinguish बू and व्. They write always व् for both. Unlike these, the
Mss. of the SR. write ब् and c fairly correctly. Only in sundry cases they are confused with each other, as: णिवड (= णिविड = निबिड) 47c& etc., विउणउ (== बिउणउ = द्विगुणकम् ) 136b, वलाहय (= बलाय = बलाहक) 1600, वाह (= बाह = बाष्प) 95b and 109b, वोलंत (= बल्लंत i. e. अब्रवीत् ) 950, पुप्फंवर (= पुष्पंबर = पुष्पाम्बर) 202b, Pk. वरहिणी (= बरहिणी = बर्हिणी) and वरह (= वरह = बर्ह) 213a; बलियडय (= वलियडय) 80b, बाउलिय (= वाउलिय = व्याकुलिता) 94b. For वश्रुति, म् >y and elision of an intervocalic c see S$ 30, 33.
II Sound-Changes $ 15. Apabhraṁśa phonology is non-existent as an independent entity. It is fundamentally identical with the Pk. phonology. Only a few alterations are peculiar to Ap. or figure in it with a strikingly greater prominence and as such they merit special consideration. Some of these have been already anticipated in the section on Orthography. In the following treatment changes that have been caused under the stress of metre are dealt with first under a separate caption.
Prosodic Alterations $ 16. A light syllable is made heavy
(a) by lengthening : आलंकियउ (= अलं == अलंकृत enlarged) 48d, पावासुय (= पवा from + /वस्) 102c, 184a, पावास (=प = प्रवास) 118e, साहार (= स = सहकार) 134d, पासाहण (= पसा = प्रसाधन) 1790, संगाइ (= संगइ i. e. संगेन) 1560 (at the end of a Doha-pāda), कुणाइ (= कुणइ = क्वणति) 217b (at the end of a Paddhadi-pada); हीय (= हिय = हृत) 1610, लीअय (= लि° i. e. लात) 1760, कीयय (= कि = कृत enlarged) 199d, अग्गीहर (= अग्गि = अमिगृह) 1940;
(b) by gemination of a simple consonant (i) either in the seam of compounds : णवम्भिस (= णवभिस = नव-बिस) 171a, चिरग्गय (= चिरगय= चिरगत) 181, सब्भय (= सभय) 2080, परव्वस (= परवंस = प्ररवश-) 2178, Pk, दलब्बहल (so to be read metri causa for the textual दलबहल) 1la, (ii) or in the body of the word (confined -mostly to continuants like nasals, sibilants, liquids): तमाल ( = तमाल) .660, गंमिजद (ग°).64d, गम्मियइ (गमि) 117f, गम्मियउ (= गमि) 67d,
1 The Prakritised passages of the Se mostly in Varşavrttas and the section.
called वनस्पतिनामानि (St.55-63) have been partially left out of consideration

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SANDESARĀSAKA संमाणिय (= समा ie. समम् ) 780, किम्म-इ (= किम-इ i. e. कथमपि) 1180, दुम्मै (= दुम = द्रुम.) 194d; तुस्सार (= तुसार = तुषार) 184d, वुल्लीण (= वोलीण = व्यवलीन i. e. व्यतिक्रान्त ) 204c. विज्जम्भइ (= विजृम्भते) 250 is probably regular as being based on a pronunciation *विजंभते;
(c) by the preservation or addition of an Anus vāra: (the Pk. acc. sing. = शुभम् ), णायं (= गाइँ ‘as if') 58d, Pk. अमियंझरणो (= अमिय-झरण = अमृतक्षरण ) 38.
It may be remarked en passant that later on, the tendency to consonantal gemination for metrical reasons noted above becomes stronger and stronger so much so that it comes to form a striking characteristic of the language of the Dingala (or Old Mārwāļi) poetic literature cultivated by the bards of Rājaputānā.
S 17. A heavy syllable is made light
(a) by shortening a long vowel : गंधमोय (= गंधामोय = गंधामोद) 203a, झल' (= झल = ज्वाला) 1371%; सियल (= सीयल = शीतल):2100, बहिरयंति (-चही' == बधीरयन्ति) 2180 : हय (- हय = भूत) 8710 etc. कवालिय 185d is not कापालिक but कपालिन् enlarged with "कः खार्थे". Pk. पहर 72a is aecording to Hemacandra (I 68) shortened from hair, but really speaking it is freshly formed from the verb /पहर (cf. s 46, iii.);
(b) by simplification of a geminated consonant in the seam of compounds : उमुक (= उद् + *मुक्न i. e. मुक्त) 250, उरुन्न ( = उद् + *रुन i. e. रुदित) 9706, उछित्त (= उद्+क्षित ) 1200, उसास (= उद्+श्वास) 1916, उससंतिय (= उद्श्व सती enlarged) 830, उवेय (= उद्+वेग) 1360, उणंदीयइ (= उद्+नंद्यते) 182b, दुसह 1200, etc. (7 times), निभंति (i. e. निर्भ्रान्तम् ) 138d ; सउन्न (= सम्+पूर्ण) 24e, 980, समा= सम्+/मा as in समाइ 81b and समाणा 800; PK. समुह (= सम्+मुख) 130, सपुण्ण (= सम्+पूर्ण) 33a (of. 831 end);
(c) by the we a ke ning of the अनु खा र to अनुनासिक in सिंगारु (so to be read metri causa) for सिंगारु ( = शृङ्गारम्) 1670.
___Vowel-Changes (1) Change in the quantity of the rowel.
8. 18. The causative suffix 'आव becomes °अव when applied to the roots either ending in a long vowel or having a heavy root. syllable : ठवइ 274, ठविय 135c and संठविय 1950 (all from /ठा), णिम्मविय (from /णिम्मा) 31; विंभविय 46ca, उल्हवइ 137f, 1380, धीरवइ 116d. मावई
1. Desy झला "मृगतृष्णा", "व्यर्थ तृष्णा" is different. Our word is preserved in
Dingal, Seu Te i Krisan Rukamani-ri, 140 b.

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GRAMMAR
(meaning माइ) 1416 appears to be an exception and बोलावियउ • बोल्लावियउ from / बोल ) a fresh analogical formation (cf. Guj. बोलाव्यो ). ( 2 ) Change in the quality of the vowel.
$ 19. 'अ' becomes इ ( mostly in the closed_syllable): णिमिसिद्धु ( = णिमिसडु = निमिषार्द्धम् ) 19d, 30, 68a, 182c, ससिहर' ( = ससहर = शशधर ) 426, 910, ईखोड ( = इक्खोड = अक्खोड = अक्षोट ) 566, बलियडय ( = बलयडय = वलय + ड enlarged ) 806, उकिंख ( = उक्कंख उत्काङ्क्षा) 108a cf. also the variants for उक्कंखिरिय 2600 ), कोसिल ( = कोसल्ल= कौशल्य ) 1866, गग्गिर ( = गग्गर i. e. गद्गद ) 290, 66c.
It is of orthographical interest to note that in the variants, A reads 19 tines इ for अ, B 13 times and C 30 times. For this tendency under special condition in OwR, see TESSITORI § 2 ( 1 ).
9
S
$ 20. 'अ' becomes उ in अंजुलि ' ( = अञ्जलि ) 1306, पउदंडड ( = पय: = पददण्डकः ) 140a and 'उहर ( = पर्यं = पदधरा) 246.
In the variants उ is read for अ 4 times by A, 5 times by B and 9 times by C.
$ 21. 'इ' becomes अ in विरहणि ( = विरहिणी ) 220 ( Pk. 1166 ), सिहण ( = सिहिण = * शिखिनी i. e. स्तनौ ) 28d, 1356, धरति ( = धरित्ति = धरित्री ) 416, दयवर ( = दि° = द्विजवर ) 440, णिवड ( = णिविड = निबिड ) 470, 64c, etc. (9 times; in all cases except two, B reads णिविड), णिरवक्खि (= णिरविक्खि i e निरपेक्षम् ) 780, वसण ( = वसिण - वशेण ) 950, भज्जरिय (भजिरिय ) 980, सलज्जरिय ( = सलज्जि ) 98d, आमंगियइ ( = अभि° from अभ्यङ्ग) 1016, घरणिय ( = घरिणिय = गृहिणी enlarged ) 1036, विणग्गय ( = विणि': विनिर्गत) 1220, 1426, सिवण ( = सिविण = स्वप्न ) 1540, नंदणी ( = नंदि° = नंदिनी ) 170d, दंति ( = हिंति ? ) 171c, सरि ( = सिरि = श्री ) 171d, विलत्तउ ( = विलि° = विलिप्त enlarged) 1780, णंदीयइ ( = णिं = निद्रीयते ) 182, विवह ( = विविह = विविध ) 1950, परिखिल्लारी ( = परिखिल्लिरी ) 219c; cf. also the variants for किंकिणी 26d, 219d.
§ 22. As regards the cases noted above certain phonetic limits allow themselves to be clearly distinguished. Firstly, excepting दयवर, वसण and दंति which may be the result of scribal carelessness, in all the cases becomes only when it is
=
1 ससिहर occurs also in tho Veli Krisan Rukamani-ri, 27 d. cf. दिणियर = दिणयर ( - दिनकर ) in Dhota-Maruri Duhd.

2 अंजुलि occurs also in the Rāmacaritamānasa I, 191, 7.
SHAHIDULLAH connects / मुण with Sk. / मन् (of. PiscHEL, $489 ), but its derivation from Sk. √ by anaptyxis appears least objectionable.
2 सं. रा.

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SAMDESARASAKA
followed or preceded by another in the adjoining syllable. Secondly, out of the two g's thus occurring in juxtaposed syllables, one that stands in the initial or final syllable of the word is preserved; the other becomes . But when both the 's occur medially or if the word is dyssyllabic, it is the final that is preserved. In the second is essential for the individuality of the form and also it is long. So the preceding though initial has to change. Thus the process of dissimilation plays here an active role. In the variants is read for 25 times in A, 16 times in B, 30 times in C. For the general tendency of > in OwR. See TESSITORI § 4 (1). § 23. becomes .
10
(a) In individual words: फरसउ (= फरु = परुष enlarged ) 180, 1440, 2220, पलट्टिहि ( = पलुट्टिहि ) 1170; उत्तंग ( = उत्तुंग ) 246, चउग्गणी ( = चउग्गुणी i. e. चतुर्गुणा ) 1567, कुसम ( = कुसुम ) 183f, 193d, Pk कुक्क (=) 16 b. In the last four cases the second of the two 's in the consecutive syllables is dropped. The cases णिवडब्भर ( = णिवडु i. e. निबिडोद्धुर) 470, सलिलब्भव ( = सलिलु = सलिलोद्भव 666, रहसच्छल (= रहसु° = रभसोच्छल ) 1790, सूरग्गउ (= सूरु° = सूरोद्गमः ) 1816, गंधकरिस (= गंधु° = गन्धोत्कर्ष ) 1950, सुकुलग्गय (= सुकुलु = सुकुलोद्गत ) 1520 may have an orthographic origin. Among the Mss., C exhibits a stronger tendency than either A or B to drop the 3-hook. A drops it 5 times, B 5 times, but C 18 times. The figures exclude the cases of nominative singular forms without the -hook. For the tendency of > in OwR. see TESSITORI, § 5 (1).
(b) The ending of the nominative sing. of the masculine -stems is dropped sometimes when it is followed by an enclitic: इक-इ ( = इकु -इ = एकम् +अपि ) 99d, अन्न- इ ( = अन्नु = अन्यद् + अपि ) 1176, पुण-वि ( = पुणु वि = पुनः+अपि ) 137f, etc.
(c), prefixed to adjectival words as an emphatic element becomes A. For the examples see § 48, ii.
$ 24. The cases of
appearing as
and appearing as have been previously dealt with under §§ 10, 11. Further, 'उ° becomes व in णेवर ( = णेउर = नूपुर) 27d, 171d, आवलय (= आउ° = आकुल enlarged) 113d, गोवर (= गोउर = गोपुर ) 178d; Pk. पावस ( = पाउस = 1536.
• प्रावृष्)
For the same tendency in Gujarati see TURNER 'Gujarati Phonology' (JRAS. 1921), § 29.

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GRAMMAR
11
-%25. ए becomes इ'
(a) always, when in a closed syllable: पिक्खइ (= पेक्खइ = प्रेक्षते) 960 and other forms and derivatives from Vपिक्ख, मिल्हउ (from / मल्ल) 860 and other forms of Vमिल्ह, इक्क (= ऍक = एक) 1000 and its other derivatives, सिन (= सज्जा = शय्या) 173c, etc. etc.
(b) casually, in an open syllable : इम( = एम) 54a, तिम( = तेम) 103d, जिम (= जेम) 103d, किम (= केम) 69b, इहु (= एहु = एषः) 151d, हिमंत ( = हेमन्त) 186b, 2040. ____ef. TESSITORI, S7 (1).
826. ओ° becomes °उ
(a) always, when in a closed syllable : दुग्गच्चिय (= दो = *दौर्गत्यिक) 18d, मुत्तिय (= मो = मौक्तिक) 118d, जुन्ह (= जो = जोन्हा = ज्योत्स्ना) 160d, कंदुट्ट (= कंदोह) 162, कुंज (= कोंज = क्रौञ्च ) 164c, णवजुव्वणी (= णवो = नवयौवना) 220a.
(b) casually, in an open syllable : णिउइय (= णिओं = नियोजित) 1120, विउय (= विओइ = वियोगी) 200d, सुसंतिय (= सो = शोषयन्ती enlarged) 1230.
cf. TESSITORI, $ 8. $ 27. Vowel contraction. (a) In individual words:
अया">आ in सुन्नार (= *सुन्नआर = स्वर्णकार) 108a, साहार (= सहआर = सहकार) 134d, similarly सहार 211d, अंधार (= अंधआर = अंधकार) 13903; "इई">ई in तीयय (= *तिईयय = तृतीयक);
अ>ओ in तो (= तउ = ततः) 18d, 290, सामोर (= सम्मउर =*संबउर - शाम्बपुर), 420, मोर (= मऊर = मयूर) 212b, Pk. आसोय (= आसउय = अश्वयुज enlarged)1720, ef. also इंदोअ (= इंदओव = इन्द्रगोप)143d, चंपएल (= चंपयएल = चंपकतैल)187d; cf. relevant cases from TESSITORI $ $ 9, 11; • इअ>s in पडिलिउ' (= प्रति+अलीकम् ? ef. Pali अलिक 'contrary'; पञ्चलिउ
1 A comparison of the infleoted forms of one specimen of Ap. like that
represented by, say, the Mahāpurāņa of Puşpadanta with those of another specimen like one represented by our text (e. g. instr. sing. in 'एण or 'ऍण : that in 'इण, instr. plur.in एहिँ or ऍहिँ: that in 'इहि, loo.sin. in 'ऍ: that in 'r, gen. sing. in 'इहँ: that in हि, abs, in 'एवि or ऍविः that in 'इवि; nom. sing. in उ: that in 'अ, abl. sing. in 'अहाँ: that in 'अह eto.) naturally compels one to include the terminational elements, also in the phonetic treatment. But to do so appears premature as yet, since it involves unsolved chronological and dialectological problems
relating to Apabhramsa. 2. See KATRE: A Muslim contribution to Apabhramśa literature'--The
Karnataka Historical Revier, Jan.-July 1937, p. 18f. ' पडिला oours also in the so. VIII 350.

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12
SAMDESARĀSAKA Hc. IV. 420) 896, 100d, 1061, 1621.m-cf. Ardha-Māgadhi afsuite = fa+stata; i.. 0. 3°>3 in VIST (="Thi. e. +VY5) 1100, 223a-beside Vects at 91a, 4974 (=T8374 = fra enlarged) 124d-beside f839 222e. For the loss of the final o of yfir <) in a compound when followed by a dissimilar vowel see PiscHEL, $ 163, where it is said to be mostly confined to Ardha-Māgadhi.
§ 28. (b) Besides the above-considered cases, there is a series of contractions which possesses a morphological interest :
firstly, osy is contracted to 311 at the end (i) of the enlarged masc./neu. 37-stems: paro (=p i. e. enlarged with #: anel") in तूरारव 218d and PK. तंडुला (= तंडुलय i. e. तण्डुल enlarged) in तंडुलाखीरी 16a; (ii) of the nom. acc. plur. forms of masc./neu, 37-stems: e. g., becomes a 1660 (see § 41).
secondly, ct is contracted to at the end of the enlarged fem. 5-stems. Thus Sk. Agf appears in Ap. as HR in accordance with the Law of Shortening of the Finals (see § 41). When enlarged with "कः खार्थे", it becomes मंजरिय. Finally मंजरिय is contracted to H (2100) and consequently it converges,with the tatsama üht. For other such cases in our text see § 41 (d);
thirdly, following the analogy of such enlarged feminines in y, final out of whatever origin is in some cases contracted to ई: pret. part. चडिय becomes चडी 161d and probably तुट्टिय becomes ad 786, qirasa (= arrasar?) becomes que 790, offee (162 d) becomes qiset 89b;
finally, for the instrumentals in <°59 see § 56.
This tendeney has fully worked out itself in Gujarātī. See TURNER, § 27 (3), (4); Dave, p. 6.
§ 29. Loss of initial vowel. ape ( = 397 = 39 Fr?)95 d, ( = 377007 = 37204) 146a, traz ( = 371) 1836, Pk. 340.
cf. Tessitori $ $ 2 (4), 5 (3).
§ 30. Like the ya-śruti, va-śruti too appears in stray cases (between 3 and a following vowel, as also between any two vowels) to bridge up the hiatus created by the elision of
1 2
See Hp. p. 154, $ 25; As. p. 7 ff. This raises a strong presumption in favour of there being for at those places where ALSDORF would rather have anfaa. See Hp. p. 159 foot-note,

Page #62

GRAMMAR
an intervocalic stop : रुवइ ( रुदति ) 25a etc. ( thrice ), उवर ( = उदर ) 1350, केवइ ( = केतकी) 53d etc. ( thrice ), चावइ ( = चातकी) 1330.
cf. TESSITORI, § 34.
§ 31. Anusvära and Anunasika. For the Anunāsika see §§ 2-8. Final Anusvära is present in 27a, 82c etc., 28c, 41a etc., f 91c (ff 82c), i 96d, 97d etc.; besides these, in 53d, i 166d and 201a (the last two, Pk, accusatives used adverbially) it owes its presence to metre. It is a quite possible alternative to assume that समुह, सउण्ण and समाइ ( see $ 17 (b)) represent respectively, etc. through a weakening of the nasal in संमुह (= संमुख ), etc. With उण्ण and संपुण्ण cf, कि-वि and किंपि . Consonant-Changes
13
a) SINGLE CONSONANTS
$ 32. Voicing. The stray cases of voicing that are met with in the SR., to wit, अणेग ( = अनेक ) 1776, एग ( = एक ) 180d, बग (= बक) 140d (besides one case of the preservation of a voiced consonant in (=)137e) are quite familiar to the Prakrit. 189a retains the . (a) 164c and perhaps 188d-reading uncertain-(-) present rare cases of voicing a voiceless stop in the group (nasal+stop)-a trait of the Sindhi-Panjabi-Lahnda group.
§ 33. Changes of and a A. Intervocalic (through ) becomes, which according to C. below is occasionally1 elided: (=) 628, उन्नवियय ( = उन्नमित enlarged ) 1487, रवन्नड ( = *रमण्यकम् ) 180c, 2016, रवणिज (=ft) 207d; (loc. sing. from*==) 43c, etc., सउ (= सकुँ = समम् ) 746, 79, 99a, परक्क ( = पयुँक्क = प्रमुक्त ? ) 111c, 2176, सूरग्गड ( = * सूरुग्गबुँ = सूरोद्गमम् ) 1816, पंचउ (= पंचवुं पञ्चमम् ) 183d, सुयरंतिय ( = *सुवँ° = सुंम = स्मरन्ती enlarged ) 1916, धूइण (= * धूर्विण = धूमेण ? ) 1936. Elsewhere in the text, the is retained in the words that are identical with or allied to the above-treated cases, eg. पंचमु 53e, रमणीउ 183a, etc. In वम्मह ( = मन्मथ ) 976, 103 (quite common in Pk.), though initial, has become a through dissimilation. in इम
B. Conversely nasalised (i. e.) becomes म् 540, जिम 108d, तिम 103d, किम 696 respectively from एम < एवँ, etc.
1

This and similar facts indicate that in the mixed language of the SR. forms belonging to an earlier phonetic stage and those belonging to a later stage stand side by side with each other.

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14
SAMDESARĀSAKA C. In tervocalic original or secondary (i. e. resulting from an original q, 7 or h) is elided in a considerable number of cases:
(a) before the. initial इ or ए of an ending or a sufilx; (i) in the final syllable : सरलाइवि (= सरलाविवि, abs. from / सरलाव = *सरलापय्) 26b, मंनाएवि (= मनावेवि) 746, भाइयइ (= भावि i. e. भाव्यते) 526, चडाइयइ (= चडावि from / चडाव) 520, लाइयइ (= लावि from Vलाव i.e. लागय्) 189a, सुहाइयइ (= सुहावि = सुखाप्यते) 189b; धूइज्जइ (= धूवि fromvधूव = धूपय्) 1894 ; रुइवि (= रुविवि, abs. from / स्व). 67a, मंनाइ (= मंनावि, abs. from Vमंनाव); भाइण (= भाविण = भावेण) 950, 183d, धूइण ( = *धूविण = धूमेन) 1930;
भाइ (= भावि i. e. भावेन) 19c, ठाइ (= *ठावि = ठामि from स्थामन्) 43c, etc.3 पाइ (= *पावि = पापिन्) 191f, पाइय (= पाविय from / पाव = प्राप्) 11403; (ii) in the body of the word : कयवर ( = कई = कवि) 44d; .
(b) before (mostly) the terminational उ and medial उ or ओ : रंउ (= रवु = रवः) 45b, etc. (five times), संताउ (= संतावु = संतापः) 760, जीउ (= जीवु = जीवः) 1548, 217d, पाउ (= पावु = पापम् ) 206d, तंडउ (= तंडवु = ताण्डवम्) 212b; सउ, सूरग्गउ, पंचउ (see A. above); मयउ (= *मयवु = मृगव्यु) 836; सउन्न (= *सँवुन्न = संपूर्ण) 24c, तिउर (= *तिवुर = त्रिपुर)420, अउव्व (= *अवुव्व = अपूर्व) 4600; पउक्क (see 833); विउद्धी (= विबुद्धिय i. e. विबुद्धी enlarged) 154a; कओल (कवोल = कपोल) 187b.
(c) before : तिहुयण (= त्रिभुवन) 18a, etc. ( thrice), भुयण (= भुवन) 180d, etc. (thrice), सुयरतिय (see A. above), cf. सकोयल (A B;= सकोमलम् ) 1230, धुय (= ध्रुवम् ) 2096; णिअत्तय (= णिवत्तय = निवृत्त enlarged) 30d, Pk. अणियत्त (= अणिवत्त = अनिवृत्त) 84ca and अणियत्ती (= अणिवत्ति = अनिवृत्ति) 128a, इअ (-इव) 193d; गेय (= नैव) 30d, 990, 111b etc.; गोयंगण (= गोवंगण = गोपाङ्गना) 1460.
In many a case the alternative form with the go preserved also occurs in the text. This tendency to drop intervocal a is discernible in the Midland dialects Braj, Khari Bolī, etc. For Early Maithili cf. VR. $ 18. 834. Miscellaneous.
A. °स् becomes हू' in' सनेह (= संदेस = संदेश) 190, Pk. 4b, दह 1 Dingal has yet in accordance with this tendency. In the light of
other cases from the text collected here (cf. PISCHEL see also $ 35 (vi) below) there would remain no diffioulty in the way of connecting a with Tag against a which otherwise suggests itself as the Sk. original of Bag (See KATRE: 'A Muslim contribution to Apabhramsa Literature'-The Karnataka Historical Review, Jan.July 1937, p. 16). The derivation is also supported by the com. and the
subject-matter of the poem. 2 In désinences thé g in the gen. sing., in the h-future and in 'fe of the
pres.2.sing.derives from an original सू.

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GRAMMAR
15
H
= दस = दशन् ) 586, 1450, दियह ( = दिवस ) 123b, Pk. 1260, 1276, णिवेहिय = णिवेसिय = निवेशित ) 189d, Pk. वरिहण (= वरिसण = वर्षण ) 840 and Vसाह ‘ tell' ( = शास्, not साधू) as in साहेइ 826, साहि 1046.
B. Loss of g. Only four genuine cases of the elision of an intervocalic are offered by our text: pres. 3. plur. forms in (see § 62), (776) from, the pronominal form ger ( = तुह ) 786, 86d, etc. and probably वहाऊ ( < *ववाहुय = वर्त्म + वाहू+ उक ) 2220. दीउन्ह ( = दीहुन्छ = दीर्घोष्ण ) 836 etc. is haplological (see § 40. iii). The other cases are either only apparent or doubtful: 3746, etc. is quite satisfactorily derivable from समम् (see § 33. A.) and hence we need not look for it to (= ). सइत्तिहिं 169a is not सहिताभिः as taken by the com. सइत्त ( = सयत्त ) is altogether a different word. cf. Des. VIII 5: सयत्तो मुदितः.
For this tendency in the langunge of the Doha-Kosas, see SHAHIDULLAH, p. 34. For OwR. see TESSITORI, § 37.
b) CONJUNCTS
35. i. of the passive appears as in V (from Vक्ष ) : शिांति 103d, झिज्झउ 1650, झिज्झंत 165. The alternative form also occurs: f 156b. cf. Markandeya, Prākṛtasarvasva, p. 63; 7, 20.
ii. a of times), झलकंत 1316, , see § 46. i.); 1310, जलिय 1700.
iii Geminated (from
):
becomes aspirated in the forms of Ve 86c, etc. (refer to the under). For this change in Early Maithili see VR. 22. cf. TESSITORI, § 42. Old Bengali also has
from.
optionally becomes or a. 131c, etc. (four झलकंतिय 140 and झलक्किय 10Gd (all from / झलक 113c. Foms with () also occur: feet
=
iv. The group (sibilant+stop) appears as double stop (a) in the seam of compounds: (a) 120d, Pk. 1496, चक्कय ( = चतुष्क enlarged ) 125b ( contrast जोइक्ख 86 = ज्योतिष्क ), दुत्तर ( = दुस्तर) 1420, दुक्कर ( = दुष्कर ) 204d, Pk. दुष्पिच्छ ( = दुष्प्रेक्ष्य ) 11a (b) in other cases: सकुलिय ( = सक्कुलिय = शष्कुलिका ) 236, Pk. अवहट्टय ( - अपभ्रष्ट enlarged) 6a.
V. The group (nasal+non-nasal stop) is assimilated to double nasal in संनेह' (= संदेस = संदेश ) 19, Pk. संनेहय 4c, cf. संनेहडउ (A) 800( otherwise संदेसउ 686, etc.), सामोर ( = *सम्मउर = * सम्बउर = शाम्बपुर ) 42a. In Early Maithili this tendency to assimilate a post-nasal

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SAMDESARĀSAKA
stop has already set in. See VR.8 13, end. For Gujarati . cf. TURNER, "Gujarāti Phonology' (JRAS, 1921), $ 78.
___vi. Nasal+c on son a n t instead of double consonant is found in मुंदडउ (from मुद्रा+'s enlarged) 816 (cf. Early Avadhi मूंद), निंद (= निद्रा) 190a, 191b, णंदीयइ (= निद्रीयते) 1828, अंसु (= अश्रु) 890, 1180, (already in Pk.), फंस from स्पर्श in फंसहि 980; पंखुडिय (= पक्खुडिय) 27d, मुंध (= मुग्धा) 66d, मुंधि 82d, etc. (five times), विभल (= विन्भल = विह्वल) 46c ; ओसासंभम (= उच्छ्वास-भ्रम) 976, संकाश (= सत्काश?) 1630.
836. vii. Simplification of a double consonant. This New Indo-Aryan tendency is attested by several words:
(a) without compensatory lengthening in सकुलिय (= सकु = शष्कुलिका) 230, कणयार ( = कणियार = कर्णिकार) 600, वखाणियइ ( = वक्खा from व्याख्यान) 656, कपूर (= कर्पूर) 79&; इकत्ति (= इक्वत्ति from एकत्र) 800, इकल्लिय (= इक्क° from एक+ enlarged) 92b, इकट्ठ (= इकट्ठ = एकस्थ ) 180d-all of these are words with their first two syllables heavy in the original; चूडिल उ (= चूडिल्लउ = चूडा+इल enlarged) 110d (cf. चूडिल्लउ 113f) and झलकंत (from/ झलक) 131c, 140cx-both with a heavy suffix; मयउ (= मयव्वु
= मृगव्यु) 83b, आलस (= आलस्य) 105d, पलुटंति (ef. पलहि 1300) 195d, सवि (= सवे = सर्वे) 209b; °स (= °स्स) of the pronominal gen. sing. as in तसु 85d, 94e,f, जसु 70a, कस 49a and °स (= "स्स) of the future as in कहिसु 910, पयासिसु 117b.
(b) with compensatory lengthening in वेसा (= वेस्सा = वेश्या) 460, ऊसास (= उस्सास = उच्छ्वास) 9766, ऊसारिय (= उस्सारिय= उत्सारित) 186d., नीसास (= निस्सा = निःश्वास) 830, 85c, नीसरइ (= निस्स = निस्सरति) 54c, वीसरह (= विस्स = विस्मरति) 54c, दीसहि (from दिस्स° = दृश्य ) G8d, सीस (= सिस्स - शीर्षन् ) 178c, पीसियइ (from पिस्स = पिव्य॰) 1878, संमीसियइ (firom संमिस्स = सम्+मिथू) 1870, Pk. दूसइ ( from दुस्स = दुष्य) 400 and आसोय ( = *अस्सउय = अश्वयुज् enlarged) 172c ; in the the gen. ending in जासु 70a and पियासु 70b-all these cases involve simplification of °स्स; बोलावियउ (= बोल्ला from Vबोल्ल) 41c, वोलंत ( = बोलंत) 950, फोफल (= फो फल = पूगफल) 1880, सामोर (= सम्मउर = सम्बउर = शाम्बपुर) 426, ईखोड (= इक्खोड = अक्षोट) 56b, ताकं (= तकं from.Vतर्क) 104a, जागतिय (= जग्ग० from * जाग्र i. e. जागृ) 1470, परावसि (= परव्वसि = परवशा) 151b, साव (= सव्व = 4) 2020; आभंगियइ (= अभं° from अभ्यङ्ग B C reads अभिगियइ) 1010. - $37. viii. Simplification of a consonant-group following a long syllable, with once more reduction of the consonant resulting from this simplification is seen in दीह (= दीघ = दीर्घ) 25c, वाह 956 or बाह (= *बाफ = बाप्प) 1096 etc., जी ह ( = *जीभा =जीहा) 132a; Pk. माइ' (= माय = *माता - मात्रा) 32a and तंतीवाय (= तंत्रीवाद्य) 10cs. Most

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17
of these cases are already known to Pk. (especially to Ardha-Māgadhi)".
In Parerea ( = * = fake = fans) 130d, in the postposition are in Authfel = #F1*; contrast Halle 203c) 166a and probably in fata (=37fam) 137a this sort of double reduction (or “double shift") is seen even though the preceding vowel is short..
§ 38. Anaptyxis'.
(a) Some notable cases in general: E ( E) 19d, 886 and ATE 1006 (otherwise üle 23a); Fata (from ) 86a, wafa 181a and gata 1036 etc. (otherwise fa 976, FR# 165d); af (= sf) 171d, pifaa (from a)183d, TheZ (from ) 223b, leta 164a, BRFeat (from ) 223c, Pk. arauft (aresoft) 213a, ara (=a) 2130—all these on the one hand and afa ( =qf) 2040, ita ( = 59$) 1910, etc., (7) re ( = 599) 195a, Pk, arreu (=ano)84a—all these on the other; this collocation shows the newly-developed tendency of using a as the parting' vowel side by side with the old 5. Further we have to add grau (= a) 940, etc., ofan ( = FUT) 177Q; AUTRE ( =*72) 83a and Faut (= Text ) 82a (both metri causa); afssiga( = sfatafana i. e. tryfera) 28a;
cf. TESSITORI, S 2 (6) a.
(b) Certain form-types based on anaptyxis. The absolutives in a ($ 68) like Aakre have evolved from the prototypes like fase by the dissolution of the consonant-group in the final syllable. Same is the case with the passives in Farla. ($ 71). Forms like Sk. argd would give **ing and after the substitution of the active for the middle endings, 173; difference in accent would develop this further into the (PISCHEL § 91 ). And finally the gerundives in ora/507. ($70): here also the Sk. gerundives like cat would give feet and freut in accordance with the difference in accent, the twofold development being exactly parallel to that of the passive ending. _-_of. also the two isolated instrumentals उससंतिया and वरसंतिया'
§ 39. Gemination. It relates to the intervocalic stops -which otherwise are elided in the Middle Indo-Aryan. It
1 of. SHAHIDULLAH, p. 37-38. 2 It is to be borne in mind that the casos noted in this as well as the
next article mostly concern words that are semi-tatsama or modified borrowings' from Sanskrit.
3 . T.

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appears in पंडित ( = पंडित ) 20e, मणमत्थ ( = मन्मथ ) 8300, तत्तक्खणे ( तत्क्षणेत्य पडिल्लिय( cf. पडिलिङ 106d, see § 27)162d, fff(from अलिकय ( = अलीक enlarged)211a, Pk. सयलज
82α, तिलक = तिलक ) 1680, ( = सई ° = शैलजा ) 40.
18
Three novel cases based on
assimilation are पंडित (= पाण्डिc )
190, णित्तु ( = नित्यम् ) 202d ( beside णिच 115d) and रत्थ ( = रथ्या ) 218 ) (beside 1756).
§ 40. Other casual phenomena.
in
i. Consonantal assimilation is found in फोफल ( = फोप्फल: * पोप्फल = पूगफल ) 1886. cf. also 46c (BC) भिंभल = *भिन्भल = विब्भल = विह्वल. Note also vocalic assimilation in सित्रण ( for सिविण ) 154a from सुविण ( = खप्न ). Besides these cases of regressive assimilation, we have fasa (§ 35, i)for fa a case of progressive assimilation. ii. Me tathesis explains पावयण' (= पावणय = प्रापणक) 28e, and विसुंठलय 1150 for विसंकुलय. Both may be simply orthographic. iii. Loss of a syllable (or a consonant): (a) haplological in दी उन्ह ( = दीहुन्ह = दीर्घोष्ण ) 836, 1110, Pk. 900, जाइसि ( = जाइसिसि ) 41d, gitaftu ( = gqzfafagr=g:afuar) 85b, 147a; similarly fra 115c to be somehow derived from दुक्ख + खिद्य ( ? ) ( cf. Pk. खिज्जिअ = खिन्न ) ; छेअर ( = छेययर = छेकतर ) 180, पहियण पहिययण = पथिकजन ) 316, णिद्दयर (=fagaur=fidant) 67d; (b) relating to a medial followed by a conjunct in कंटग्ग ( = कंटयग्ग = कण्टकाय ) 2066.
iv. Contamination appears responsible for V (in r 95c, 140). If fr (49c, Pk. 37a) cannot be satisfactorily explained as made up of + (participial suffix, see § 46. ii.), we have to assume that it has resulted from गहिर ( = गभीर) being contaminated with गुहा or कुहर. cf, SHAHIDULLAH, P. 35 mid.
Law of Shortening of the Finals
41. Following ALSDORF (see As. p. 7) we can thus express the law: the most outstanding change that characterises the Ap. linguistic stuff as contrasted with the Pk. one is the shortening of the final vowel of all the mono- or poly-syllabic words. In other words, all the purely Ap. words (including the feminine bases) always end in a short vowel. This powerful tendency is intersected by (1) Prakritisms and (2) lengthening due to secondary contraction. The latter counter-tendency gains much ground later on and becomes a normal feature of the New Indian phonology.

=

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19
In several of the exceptions to the above law in our text, the length of the final vowel is protected by a following enclitio. Thus we have #fè 410, 470, 480; Fa 1950, 1960 (Pas-fa also occurs), Fra 1976; a-fa 80b; #-94e, 183c, d ; -gu 94f, a-103a, RF-4 1936.
Contraction explains (a) nom, and acc. plurals (see § 28. ii.) TET 316, Eforie 316, 3 pl 55d, 1776, 806, er 1506, TU 1666; Tia 746, 11641 82b, TIET 41a; (b) acc. sing. aret (masc.) 886; (c) fem. nom. singulars in °377° : qatar 70a, affer 92a and AFETT 92B (each of the three ending a 917 ); cf. Tie 113f; (d) enlarged fem. F-stems appearing with : grijdt 29a, Vis 296, faeda 48a, with 50c, faiat 68d, fait 706, Pasaiat 118e, quidi 155a, forjat 186a, triat 217d; ET 780, 1990, fase 1540, 7311 of 1566, 747 1610, fast 182d; AUTENTI-gufts 216c,d, 926483 2170; vagaquir 220a, ora fti 2206; FATE 205d; Fis 179d, 219d, fiat 219c; fôrtie 210a, #TIF 2106. 341eft-qrafts 151a,b are metrically unsupportable. (e) masc. in 59 appearing with : 977 796, afeit 896; (f) enlarged 3-stems appearing with °5: fią (= fam) 59c, 317€ (= 3764) 566; (g) 776 (in a Dohā) quite fapıiliar to the New Indian.
There are prosodic grounds for सो 1110 (in a यमक) and दिसासु 2016 (at the end of a trochaically closing 9).
The rest are the feminines # 27c, jai 55c, 731 169d; pronominal plurals # 45a, à 940, 2066; the indeclinable seat 916.
§ 42. Light and heavy endings. Most of the dyssyllabic flexion-endings in Ap. appear in a double form, as light (-u) or heavy (--). Thus the absolutives end in efa or gfa. This double set of endings has arisen either due to the end syllable of the stem being anceps or due to the employment of the Pk. endings besides the corresponding usual Ap. ones. As in the San. and KP., here also in every case the forms with the light endings far exceed those with the heavy ending. Thus masc, 37-stems :
instr. sing. in ogur (70) 26 times in pur 9 times;
1 These six words except it occur in the Dohā-portion of the text
whose language appears in certain respects a bit more advanced in
development than that of the rest of the text. 2 Fem. forms in '317 or soccurring in Prakritized stanzas have been
excluded from this consideration,

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SAMDESARASAKA
instr. plur. in 's/af about 60 times in 8 times; gen. sing. in almost always in an once, in ens (in a Doha) twice;
present indicative:
4 times;
3. sing. in erg almost always in 3. plur. in /fe or a 34 times in i 22 times, in एहि once.
optative:
2. sing. in 7 times in thrice. absolutive:
in / अवि 61 tiraes in एवि 5 times.
In most of these cases (excepting the pres, 3 plur. forms) the cause of the employment of the forms with the heavy ending is the trochaic rhyme (of the पद्धडी Or दोहा ).
Regarding the vowel-harmony in the case of the h-endings of the genitive, see § 51 A.
43. Sandhi. In a compound in many cases the initial Vowel of the second member is joined with the final vowel of the first, but frequently also the two members are merely justaposed without such vocalic coalescence, this being quite usual in the Pk. sandhi. So we have f 130a, and - 536, विवरंतर 49c and घण-अंतर 1420, दीहुन्छ 666 and पीण उन्नय 45c, etc. भाउलं 208b is भा-आकुलम्.
Specially to be noted are the four cases of sentence-sandhi: नासासिहसि (= न आ ) 191e, णाविउ (= ण आ ) 1970; Pk. ताणणु ( = ताण अणु ) 7a', and perhaps विसमुट्ठियउ (= विसमु उट्ठियउ ) 86.
Initial conjunct in the seam of compounds is represented by a single (e. g. - 24a) or conjunct (e. g. - 866) consonant according to metrical convenience.
III MORPHOLOGY
STEM-FORMATIGN: AFFIXES
§ 44. We come across a stray remnant of the old consonant declension. It is the dative faf (from far in the sense

1 For the Pk. sandhi-law governing these cases see R's (ed. JACOBI), introduction, pp. xxviii-xxix.
2 णिग्विणे ( = निर्घृणाय ? ) 85d and पयहत्थिण ( com. = पादत्राणहस्ताः ) 1400 are not clear to me.

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21
of विघ्नकर्तृ) 850. It appears in the final position in a वर्णवृत्त each one of whose quarters closes with a रगण.
The semi-tatsama fem. instr. forms whilar (= 3294 ) 830 and aifan (=aamat) 83d also occur in an identical metrical position.
§ 45. Normalization of the stems.
i. Stems in ° , "3 02°37 are transferred to the standard °37-declension (a) either by the addition of the stem-enlarging suffix ( = "*: ari") as in 377774 ( TESTIFTE) 22a, 41 (F1f47) 22a, iga (q) 60d; Afere (fa) 159b; siga (8) 506, 317 (3495) 616, non (8) 192d; and the feminines in 4 like ufora 45d, etc. (see 41, (d)); or directly as in zire (instr. sing. from ve) 24a, jaft (instr. sing. from jqe) 53d, asfor (instr. sing. from a for) 203b, BA ( = 375) 158b, dag (= JAFT) 167a, 1890, afo (loc. sing. ap=) 1870, 189a, sqa (=4) 1956. Cf. Dingal locatives like a (from ae), af (from no).
ii. Under the influence of masc. z-declension, the fem. 27- and 5-stems take also og to form instr. sing. (see $$ 54, 56).
$ 46. Stem-forming suffixes.
i. The verbal determinative e signifying momentary and rapid action in a general way is represented in a few words : चमकउ 500, Vझलक (from ज्वल) in झलकिउ 106d, etc., थक्किय (from pur) 142c, 75* 1480, quiafa (from 7?) 1886.
ii. The suffix er forms adjectives in the sense of the present participle. We have fat 26a, 941, fafta 134a, faf 133a eto. (thrice), sfere 28a etc. (four times), Ralfse 46a, afery 506, fazlista 118a, TEST 133d ; RT 98c, affar A 219c (see § 22).
Action nouns in 37 (or re). Te 52b, Jure 1050, TA 113a, 324h 1136, °ge 173d, 7# (f.) 45d, afts (f.) 62b. .
iv. Patur forming agent (and action ) nouns appears casually. Aface cut 196, RT 131d, Foto 136a, forrado 158d, f. uefort 45d.
r. A fresh mode of forming agentives with the addition of 77 (= °F) has made its appearance: #99 226, 227 22d, Jeram 67c. cf. 1947 Ho. IV 412. These when enlarged become the precursors of the Hindi agentives in ger (e. g. gèet, fade).
Here we can scan the beginning of that analytical mode of breaking up the unitary basic idea of a verbal-root into two distinct elements : an action noun and the general verb signifying

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SAMDESARĀSARA
'to do': With the NIA, languages it has become a normal feature. Thus for example, to express the concept 'to rejoice', Guj. uses two elements prie pat (lit. 'to make joy') instead of a single word ricô. The same mode of expression lies at the basis of Ap. 85/9-77, 47-77; Hindi jżu; Guj. šert (= *gozler), afza-ER ( = 7706+#TT:) etc. as contrasted with Sk. ftan, 477,
24, 2, at etc. If we are to follow the com. there occurs a quite modern case at 194d 7 E - F to where we would · have an expression exactly equivalent to Guj. 974a proto lie down'. But for an objection against accepting this sense see notes on 194d.
vi. a (:= °c) in laat 19a and 3-67 107a, # (f.) in ASA 24a, HAFTA 79a and Pk. fiat 15a and rur in Brac FT 210 are the suffixes forming abstract nouns of quality. In the following cases an adjective seems to be employed to signify its quality :
foto (i. e, sec) 18c, 0376 (i. e. BTEUTET) 50d, parazo (i, e. fcorca) 87c, farmee (i. e. Fierca ) 135a. Cf. § 48. ii. . vii. Only one word takes the possessive suffix ®37ias (enlarged): MENS 51c,
§ 47. Stem-enlarging suffixes.
i. p (from ": cart") is not merely a suffix. It has got definite morphological significance, for which see & 53.
In ferretg 56, 13a, es has been attached to the numeral, while in 178379 (from TE) 77a, it appears twice.
ii. 3 (enlarged), the only other pleonastic suffix that we meet with in the Sr., is confined to the language of the Dohās.
53 696, 700, 800, 81a, afs453 806, EJ (or jo) 816; aiefs 816 and Jais 69a exhaust the list. The stanza 81 has no less than three forms in 31
§ 48. Prefixes.
i. 3foro forms negatives from adjectival words. Refer to the शब्दकोष for the words with अण.
ii. 1° (<5°?) as an emphatic element is prefixed to the adjectival words as in Toft ( = f ) 289, 290, 41b, 94d, 136c, anfitta (= TTTTTT)29c, astea (este )28a, Tas ( )596, 7H ( = ) 123c and are (= 1T)171a. cf. p in the Pascākhyānaka (1199 A. C.), p. 70, 1. 3 (HOS, vol. 11), what (= :) in the Samarāiccakahā (ed. JACOBI), p. 14, 1. 7.; Heifen. (= alifa).

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23
Paiāsaddamahannavo. This type of words are casually encountered in some modern vernaculars also. Cf. for example Dingal Aho, ma ( = 79 ) etc., Gujarātī HOS, 999 (= ), Hindi सकुशल, Bengali सचकित, Awadhi सभीत, Marathi सकाळी (Sk. *सकल्ये = कल्ये).
§ 49. Formation of the feminine bases.
Ap. has evolved its own laws of forming the feminine bases. Although there prevails a considerable option in the employment of particular suffixes, the chief tendencies allow themselves to be distinguished fairly clearly.
To start with, we have to take two basic facts into consideration. Firstly, the suffix *7 appears to be established in the language of our text as the feminine counterpart of the enlargement in °अय. Thus to a mase. करंतउ corresponds the fem. करतिय. Secondly, a new tendency has been developed in accordance with which the adjectival or participial (especially the present part.) 3-stems keep their base unchanged in the masc. as well as the fem. declension. Keeping these two facts in view we can explain the formation of the feminine bases in our text with considerable clarity.
i. Present participle.
There are four types of feminines formed from the pres. part. : (a) corresponding to a masc. Fia, we have the fem. Fa (Sk. fem. in Pret); (b) corresponding to the enlarged masc. #tas, we have the fens. करतिय'. This करतिय further appears as करती through contraction; (c) #ta without any addition or change serves as a masc. as well as a fem, base; (d) this formal identity of the masc, and the fem. base is extended to the enlarged cases also, so that a parallelism has come to be established between the bases in °अंति and °अंतिय on the one hand and °अंत and °अंतय on the other. One case of this type of the fem. pres. part, in the SR. is at 1676.
The numerical strength of these various types as represented in the Sr. is as follows: 10 in sifa, 17 in itaa (two or three of these, interpretable either way, as in esta or sifat ) and 10 in Osirit, 14 in °अंत, 1 in अंतय. Thus those in अंतिय/अंती score the highest figure.
ii. Preterit participle. 1 When métro roquires, we have also thaai with the upshortened final,

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24
SAMDESARASAKA
In the case of the 'regular' (§ 67) participles in, the fem. is regularly formed by a (-a); that is, the masc. and the fem. bases are identical in form. Those participles that represent the inherited stuff i. e. those that are er or 'irregular' (mostly the participles from Sk. af roots) take optionally in the fem., e. g., 4, 5, gf etc. besides, etc. But as suggested at the outset, one can legitimately look upon these bases in as counterparts to the enlarged masc. bases in (e. g. etc.). Further, on the analogy of the 'regular' pret. participles, some 'irregular' ones also have taken up the in the masc. (e. g. 186c, f 1646) and as a result they too have identical masc. and fem, bases.
iii. Adjectival compounds.
As regards the formation of the feminine from the adjectival compounds, it is to be observed that there prevails a free choice between, and . Bases in (more than a dozen) are fewer in number when compared with those in (about 3 dozen). Besides these there are about a dozen bases in . Simple adjectives also show a preference for 4. On the whole there appears in our text a strong tendency to reduce the other types of the fem. bases to one in °.
cf. TESSITORI's observations (§ 57 (2)) on the feminines in OwR,
§ 50. Gender. Hemacandra (Hc. IV 445 ) informs us that in Ap. gender-confusion prevails to a remarkable degree. This observation is supported by JACOBI in his account of the language of the San., wherein the nom./acc. neuter plur. ending is taken by the masculines also, while conversely, there are some nom./ acc. neu. plur. forms ending in . The change that has set in in the language of the San. has fully worked out itself by the time of the SR. Here, excepting three cases (see § 52, Remarks.), two of which are metrically conditioned, the nom./acc. plur. forms in are totally absent. And the second characteristic neuter form, viz., the nasalised nom./acc. sing. in also being quite unknown, almost all traces of the neuter have vanished from the morphology. There is not the slightest distinction between the masc. and the neu. declension. In this connection we have to note the fact that all the New Indo-Aryan vernaculars, except Gujarāti, Marāṭhi and Konkaṇī have lost the neuter.
Other cases of change in gender are aff. (f) 134c, 216d

Page #74

GRANNAR
the wore as also the areak gives the fem. gender even to its Sk. rendering wala:!), te f. 786 and au masc. (9) 2020, 214d. .
It is probable that the epithets F IT and more 31a are fom., as rendered by the oom. ( sacrum). In the Rāmcoaritar münasa too we come across such epithets taking the feminine gender of the substantive they qualify.
NOMINAL FLEXION $ 51. Some cases of special morphological interest.
A. Assimilated h-endings of the genitive. As in the Sretambara Ap. (see San. p. 2, Kp. p. 55, § 15.) here too we find assimilated genitives. The ending of the genitive is not determined primarily by the gender but by the type of the stem. Thus 8-stems, whether masc, or fem. have 37€ in the gen., 5-stems, whether masc. or fem. have ople. No genitive form of the 3-stems is attested in the Sr. It will be noted that hand-in-hand with this correspondence of the ending with the stem, there prevails the principle of vowel harmony, the vowel of the ending being determined by the stem-final. So the a-stems have the affix of the f-stems, °R. It should be marked that in bringing about this state of affairs phonetic forces have also played some part, as it is by following the general tendency to change ğ to s that the fem. ending of has become fe.
B. Three notable form-categories of the Pat-stem.
(1). Endingless' genitives. According to Hc. IV 345, the ending of the genitive is occasionally dropped in Ap.;. that is, the bare stem can function as a genitive form. That the rude has for its basis some genuine Ap. grammatical tradition is indicated by the Vālmīki-Sutras III, 4, 16 which too teach the same thing. ALSDORF (As. 56 ff.) raises objections against this rule and after an examination of the alleged examples of such genitives advanced by Hemacandra and Pischet, he attempts to establish that in the available Ap. linguistic material one does not come across a single form which can be genuinely regarded as an 'endingless' genitive. All the alleged cases of such forms can be justly looked upon as previous members of regular or loosely-formed compounds. It is, ALSDORF thinks, from these loose compounds (cf. § 75 below) that such a rule must have come to be abstracted, but in a scientific treatment of Ap. grammar it cannot claim a place."
4 #. T.

Page #75

26
SAÚDRGARĀSAKA 'Now, though it is true that in the stanzas cited by Hemacandra or elsewhere in the Ap. literature come to light so far, there is nothing to indicate that Ap. employed bare stems as genitives, still if one glances at later linguistic developments, there is much there to create a strong presumption in favour of a factual basis for the rule given by the ancient Ap. grammarians. Thus, for example, in Dingal or Old Mārwārī literature cases of genitively used bare stems occur apace. There they are not anything like casual but make up a regular category of forms. And the language of the Sr. which bears unmistakable influence of some early vernaculars offers us several clear cases of such ‘endingless' genitives.
Further, these together with the endingless' insts./loc. (see (2). below) and nom./aco. (see § 52, Remarks.) forms point out that in the case of the whole of the 27-declension at least, the bare stem without any flexion-ending could appear in the singular (as yet rarely in the plur.) of almost all cases. Add to this the formal confusion and the consequent impression of "endinglessness' that could be caused by the homophony (1) of the instr./loc. forms in 'ç of the fem. 8-stems and the nom./aco. forms in of the fem. E-stems ($ 54, Remarks.), as also (2) of the insts. gen. forms in °57 of the 's-stems and the nom./acc. forms in 'set of the enlarged fem. 37-stems ($ 56, Remarks). All these facts are strongly indicative of the active process of disintegration of the old morphological system, the final result whereof is seen in the languages like, e. g., Dingal which in consequence of so to say the total loss of the flexion-endings at times use in both the numbers and all the cases the bare stem without any addition or modification whatsoever.
Below are collected the cases of the genitively used naked stems attested in the Sr. They relate to the masc. as well as the fem. 37-stem.
y yada (= qarat) 70a, 7 AT 86a, sia ... H 109a, forcat 987€ 1576, yhta...forjat 158d-159a, gutas... Son 191c, ET 47a, 51a, d, w e cafea 51a, foa (with #07, v etc.) 101d, 686, 716, 806, 885, 92d, forcy (with v377) 956.
(2). Employment of the bare stem in the instr./00. (sing:). As in the genitive, so in the instr./loc. too the bare stem without any ending appears occasionally. Of course phoneti

Page #76

27
cally the form is got by the reduction of the final of the old ending. As the unenlarged present participle has lost gender-distinctions to a certain extent, we find 'endingless' forms in the case of the feminine-stems also. Casually we get a variant in for the forms considered here. Instr. sing. : नवय 185c, for 1966, f. उट्टंत, पडंत 1360, अलहंत 190.
GRAMMAR
100c, विरह 1036, धूम 109d, सुललिय 183c, कंदप्प (plur.) 218a, perhaps
(plur.)2166;
Loo. sing. : चरण (plur. ) 27d, दर 28d, जुयलय 52c, सुयण 95c, मग्ग 105d, दक्खिण 1126, विओय 1150, पल्लव 134c, संनिह, घर 1670, कुंडवाल 1750, सिज्जासण 179d, वसंत 215d; f सिज्ज 196c.
Early Awadhi, Early Maithili and Early Marwari freely use such forms.
(3). Nom. plur. ing.
At a few places it appears quite plausible to suggest that also is employed as a nom. plur. ending. Thus, argentor eget e पबेसि (216) ' = अबुधत्वेन, अबुधाः (मत्काव्ये) न खलु प्रवेशिन : '. पयहत्थिण किय पहिय पयहि (v. 1. पहिहि ) पवहंतयह ( 1410 ) = ' पयसि ( or पथि ) प्रवहन्तः (= संचरन्तः ) पथिकाः पादत्राणहस्ताः कृता:' Fem. सुसंतियहं and लीलंतियह ( 123c, d) also are nom plurals. Possibly 103d presents a similar case of the nom. plur. in अह. The line reads जिम तुम्हहि तिम मुंधि पहिय झिज्यंति णिरु. Here it is difficult to construe the instr. ff. Obviously the line means हे मुग्धे यथा यूयम् तथा पथिकाः अपि अतिशयम् क्षीयन्ते Now B. offers a variant for af. If this is accepted, we can take it as an honorific form of तुम्ह. '
This nom. plur. ending is nowhere attested so far in the extent Apabhramsa texts. Only Early Maithili uses this commonly. "In the Early Maithili of the VR. an affix -aha features commonly for the plural in the adjectives and passive particle (sic) (=past) forms" (VR., § 26). CHATTERJI'S suggestion that this is the same as the Ap. gen. sing. and plur. ending is most probable.
§ 52. Masculine and Neuter-stems.
The following paradigm of the endings can be prepared from the text. The figures give the number of times a form with a particular ending occurs in the text.

1 Alternatively we have to note that as TURNER derives Marathi efl, gift from Pk., (BSOS., VIII i, p. 205), we can take afft of SE. 103d as a nominatively used instrumental.

Page #77

SAMDESARĀSAKA
Ste.
Sing. Nom. Acc. 07; .
Instr. 50; ora 20, 9; OPE/TE 9;°3 6. Gèn.. 37€; a 9. Abl. OSTE 4. Loc. ° 93, t/t 12; 03 12.
Voc. : 037. Plur. Nom. Acc. °37.
Instr. Polska 47, ope/state 8, ogle/git 8, °84 2. Gen. Abl. 378 1. Loc. P/SP 143 1.
Voc. °37. Remarks. For some general observations consult g 51 B. end.-Nom. Acc. sing. Even after ruling out (i) the indeclinables, (ii) the cases (more than 50 ) which can be obviously construed as words forming a compound with the preceding or the following word rather than as nominatively or accusatively inflected forms and (iii) the cases (about 30 ) for which there is an acceptable variánt in '3 in any one Ms., there still remains a substantial number of words (roughly 25 ) for which there is no other alternative but to assume that in these oases the bare stem is used as a nom. or acc. sing. form. For such 'endingless' forms of other cases see § 51. B. The Dohākos'as also use the bare stem in the nom. acc. sing. of the systems. See SHAHIDULLAH, p. 38; San., p. XXVIII.-In Prakritised passages et appears in the nom/acc, sing. instead of "3. The only s form 886 ocours in a Tel.-Instr. sing. In a Prakritised stanza ocours H 110c with the o of the ending lengthened metri causa to
g. Out of the 9 forms in bot, six (For-HÜCUT 69 and forescar-farceur 97 at the end of the Dohā-pādas and TESTUOI-YETUTET 209 closing the Paddhaçi-pādas) are metrically conditioned. The remaining are विणएण 746, पिएण 1386 (both occurring in Dohas) and विरहेण 86d. The forms in sta/gree are in 49d, afgre 50a, 117f, 1920 (in ope), Carafois 50d, prestare 1050, SAE 106c, af 154d and nefart 1870. The Dohākos'as also employ of in the sing. of the instr. and loc. See SHAHIDULLAH, p. 38; San., p. XXVIII mid. cf. TESSITORI 8 59 end.—Gen. sing. An isolated form in osig, viz., forang 706, cours at the end of a Dohā rhyming with the pronominal alg, while पहियस्सoccurs in a वर्णवृत्त (856). There does not occura single form in °E.-Abl. sing. The forms are formaty 24a, quantage

Page #78

GRAMMAR
Loc. sing.
89a, g 1416 and 186d. cf. TESSITORI § 61 end. It is to be noted that Early Maithili also had these three forms for the loc. sing. pure stem without any affix, forms in, forms in (See VR. § 35). In Prakritised passages is found for. 996 and 1036 owe their y to the influence of the following 4. Twice if is used, in 196 and 115d. Nom. plur. For the forms in see § 51 B. (3). The only representatives of the neuter plur. forms are सयाइँ — तुलसीयलाई 62c, d and 174a. The first two of these occur in the section listing trees and at the end of the Paddhaḍika-pada. The remaining qualifies the masc. plur. . Cf. JACOBI'S observations in the San. on the tendency to use indiscriminately the masc, and neu. forms in the nom, plur. - Instr. plur. Trochaic rhyme explains the occurrence of six (18 d and e, 202 a and b, 205 a and b) out of the eight forms in 'gf. The stanza 115 in which सरेहि occurs is a वर्णवृत्त. There remains only चलणेहि 25d. Gen. plur. Once is attested in a Prakritised stanza: मुक्खाह 250. - Abl. plur. The solitary case is a 1026. The Dohākošas have ag for both the singular as well as the plural.
§ 53. The enlarged declension of the a-stems. For gog's Apabhramsa ALSDORF has shown that there the phenomenon of enlargement (by the addition of i. e. "") in the case of the ar-stems is conditioned by word-rythm, firstly because in a substantial majority of the cases, the enlargement takes place after a heavy syllable and secondly because the enlarged stem appears mostly before those case-endings which consist of one mora, the normal stem appearing before those consisting of two moras. This latter fact means that the enlargement is mostly confined to three cases: nom./acc. sing., nom./acc, plur. and loc. sing. These observations are applicable also to the language of the SR. The only difference is that here the enlarged stem is most prominent in the nom./acc. sing. and plur., while else where it gives the impression of a phenomenon tending to vanish. This is clearly shown by the statistics of various enlarged forms attested in our text:
nom/acc. sing. in a
(14 pres. part., 50 'regular' pret. part, 100 the rest.)
1 किंसुबह and पलासर 2090, b are doubtful,

29
164
cases

Page #79

30
SAMDESARĀSAKA
6
instr. sing in Copy (3) and argu (3) 6 cases loc. sing in ®34 nom./acc. plur. in Paper (8) and art (8) 16
gen. plur. in step (3) and Rate (1) 4 Remarks. Instr. sing. 51968 78a occurs in a Dohã and probably has got the 'zo suffix which appears in the instr. sing. 'iz the enlarged form as a rule. #ins 1566, metri causa for store, stands at the end of a Dohā-pāda. Pogas 696 also occurs in à Doha. The other three instrumental forms ( 4 68c rhyming with 'नयण, and कहिययण-रहिययण 91 c,d) actually end in °यण (see s10. (b)). These are quite peculiar forms. All the three are inflected from the enlarged pret. part. - Loc. sing. e46 806 in a Dohā has the suffix *34. In the case of papere 102d, 199d and forens 102d the enlarged form appears probably to avoid the vocalic groups (cf. 22), which otherwise would be the result. In °पिक्खणइ 53d, पिक्खणय has developed a semantic shade slightly different from that of former and as such it has come to be à different independent word. The rest is goure 94f. - Gen. sing. The three cases in the viz., site-990 ne 54a, 6 and 'guirre 223e are all from the enlarged pres. part. It is to be noted that only the enlarged pres. part. has come to stay in Guj., Hindi, etc. The only form in ostrę is 991€ 250. Thus, really speaking nom. is the only case seriously concerning itself with the enlarged stem. In the nom. plur. out of the eight forms (against 3 in the HP.) in oara, four are pres. parts. Note the fact that like the pres. part., it is the enlarged form of the pret. part. that has been later on generalized in Guj. $ 54. Feminine s-stems. Sing. Nom. Acc. o37
Instr. *3rs, op, oarfe/zfe, Gen. 316, 34 Abl. PETE
Loc. , BF, 37 Plur. Nom. Acc.
Instr. Bife
Gen. STE Remarks. For the endingless instr., gen. and loc. forms see 8 51. B. - Nom. Acc. sing. For forms in 31 see $ 41.- Inst. sing. All the forms ( 147a, b, c, d, 196c, d, 1980, 6, 204a, b, c, d,) in oore

Page #80

31
and all these forms
OTE.
are formed from the enlarged stem in occur at the end of a pada. 113f is the only form in arts. Inst. sing. in, af 120d, is doubtlessly formed from But besides this there are seven forms', to wit, gaf 29d, कणयंग 41c, तिरच्छि and तरलच्छि 97c, उतट्ठि and कुरंगि 97d, दीहरच्छि 107d, all to be construed as instr. sing., for which it is difficult to decide whether we have to take them as formed from the fem. stems like बीहरणयण, तिरच्छ etc. or to explain them as bare °इ stems employed to serve as instrumentals without any ending. For, the former alternative forces us to assume fem. ar-stems like, तिरच्छ, बीहरच्छ ( भिन्त in the case of the loc. भित्ति 96d) etc. for which there is no evidence, while as to the latter, though supported by the developments in the case of er-stems (see § 51 B. (2)) and in Dingal, we hesitate to subscribe to it in the light of the loc. sing. forms in °s viz., बाहडी ( m. c. for बाहडि ? ) 816, दिसि 1420, णिसि 136, 147c, etc. (8 times in all), f 1756, 183e which can be well considered as inflected from दिस, जिस, etc. Still instr. तरलच्छि 970, perhaps loc. is 27a and above all the gen. instr. and loc. forms considered under § 51 B. (1), (2) make it tenable at least in some cases of the forms in that the tendency to employ the endingless stem in the fem. -declension also had already made a beginning. Cf. (from a masc. -stem) § 55, Remarks. It is obvious that the forms in, if any, are the result of the influence of the masc. -declension. The consequences of the convergence of the nom/acc. (forfe), instr. (f) and loc. (for) forms in the fem. declensions are quite patent. Similarly it is the masc. er-declension that is responsible for the one probable instr. sing. form in अहि (आउन्नियहि required by the context for the textual 'आउन्नियह 2226; cf. दयवर and वसण respectively for fa, afe § 22). Cf. also the instr. sing. in of the fem. -stems (§ 56).- 136c, is the only abl. form. in 'अह : सरयह 161d; in 'अहि : सिजहि 185c. Many of the loc. sing. forms with the affix detailed under § 56, Remarks, can be with equal justification regarded as formed from the fem. er-stems with the affix . Loc. plur. in: fa 586, 148a; in आसु : निसासु 173ळ, दिसासु 2016, 2156.
Loc. sing.
-
GRAMMAR
§ 55. Masculine - and J-stems. Sing. Nom. Acc. Instr.
1 As to meme 140b, see § 76.
.
इण
+3
02

Page #81

32
SALİDESARĀSAKA
Geri.
.
.
oft
.
Loc.
Voc Plur. Nom. Acc.
Instr. Alle Loc.
इहि Remarks. Nom. sing. If ze 1586 is erg, then the normalization has affected the nom. (acc. also. Instr. in Eur : offroyon 1850, forte 480, 187d. For instr. and loc. sing. in , the result of the influence of af-declension, see § 45 (b). Is for 2036 an endinglegs instrumental? The only gen. sing. form is freetime 890. Loc. plur. PTER 1446. $ 56. Feminine 5-stems. Sing. Nom. Acc.
Instr. °53 (°57, "I), FE/FE, T? Gen. Loc. OR, 54 ($)
Voc.
Plur. Nom. Acc. , '3 (3)
Instr. ople
Gen. Loc. ORE Remarks. For forms in generally, see § 41 (d). In the HP. in such cases the § stands, with negligible exceptions, after a heavy syllable. This restriction does not apply to the language of our text. — Instr. sing. in 5 : fofas and waters (so to be read m. c.) 151a, b.; in ogey Bree 440, PHERT-
PART 980, d, faitetty 118a, facsaiata 1350, Asday 147a, sfoafata 147c, 1806 (rhyme-secure), pie 1906; in (see $ 28): gati 18e, fapt (B ofera) 1516, suid 155a, sifo # 1826, fassaat 1900; in opere : 10 forms ocourring at 104a, b, 125a, b, 136c, d, 1246, 159a, 2206, 222b. For the probable endingless instrumentals and homophony of certain feminine forms see $ 54, Remarks. — Gen. sing. OT 500, AR 105d, Parfemalfe 132d, goaftit 196a, OPB 205d. for has its nasalization probably from the plural. Gen. sing. in alt see Ho. III 29; cf. Dhūrtākhyāna (Singhi Jaina Series No. 19), p. 52, note 1)": fal 26c, Edfa 51a, sticla 530, gülae 530, erfa 1186, tasu 176a, Taifata 191b; viat 50c, famaiat 157a. Note that such instr. and gen. forms in °84 are homophonous with the enlarged fem. stems in 59 like fata, istifa etc, and 1 In the light of these forms, a similar explanation for the Owr. fem. gen.
in 837 (TESSITORI, 8 62) seems more probable than those given by TEBSITORI,

Page #82

88
consequently they succeed in creating the impression that they are endingless gen. forms. Loc. sing. off 105c, fff 117e, रणिहि 1606, पसिहि 1796, दीहरिहि 1900: Nom./Acc. plur. Only 3 forms in, all of them occurring at the end of the Paddhadika pada:s and gufte 216c, d, 217c. Gen. plur. affe and पचहंतिहिँ 168c, नारिहिं 1740, किंकिणीहिँ 179d and perhaps परिखिल्लरीहिं and किंकिणीहिँ 2190, d. सहीण and वलहीण 2030, d. occur at the end of the Paddhadika-pada Loc. plur. तरंगिणिहिँ 1416, पुक्खरिहिँ 1416, दुत्तरिहिं 1420, सरिहिं 1420, दिसिहिँ 1450, अक्खिहिँ 176d. It is not necessary to take of as plur. with the com.
No fem, 3-stem is attested in the SR.
Pronouns
§ 57. Personal.
1. person
4
Sing. Nom.
Acc.
Instr.
Loc. Gen.
Plur. Nom.
हड़ (हउँ )
मई 191f
GRAMMAR
1096, 1176 etc.

(about 14 times)
Insts. अम्हिहि 1146
Gen. अम्ह 120d ..
2. person
मह 1040
99%, 117d etc. (12 times); महु 916, 189d, 197b, d; मज्झ 104d, 197a
तुहु, नूँ (?) 776
तुम्हहिं 186, तुम्हि 117
Remarks. For the question of nasalisation in various forms see § 8. 1976, 1970 as also 1916 are used accusatively. has variants and a. Only in 94e and 222c, 109c has no variants. Elsewhere (41d: A C, 88α: CE, 92c: A C, 2220: B तुह) it alternates with तुह. तुअ or तुय occurs 8 times ( 1140, 86 etc). Besides this, we have to accept a (C) at 76a to make the construction grammatically faultless. The existence of in our text is rendered somewhat doubtful because at two out of three places of its occurrence (109c: A4, 110c: A
B,
1910 : A
B तुय ) it is attested in only one Ms. 1056 is the only possessive pronoun. Cf. TESSITORI, §§ 83-84, 86, 87.
तह 124a पर 77
ger (g), JE (?), ̈ तुज्झ 120, 1916
58. Demonstrative and relative. 5 सं. रा.

Page #83

Croa.
SANDESARĀBAKA A. Demonstrative.
a) a masc./neut.
fem. Sing. Nom. 53, 4, ** (n.) 1560
FT 27 A.co.
266, 27 eto. Instr. faror 1922, 223c, do 1995 Fafor 25e,%28b;ăm 1070
trg 200, 850, 99d, 1220 T 98C
TE 260, ag 2784 "Loc. af 183a Plur. Nom. à 776, 103a, 206b; (-a) 27c. & 940, få 135d, 1676 Acc.
* 4la Instr.
falle? (C) 1746 Gen, free 20d, 212 Remarks. y occurs at 30d, 916, 1996. nis metrically conditioned at 1116 (see $ 41 end). Another occurrence (as n.) is 816, in a Dohā. The third is at 159c, where metre requires . The last is at a 1976, where the length is protected by the enclitic.
b) ** The following forms occur :
Nom. Acc. sing. a 8 (f, at 199e, n. at 151d), E 204d, (f.) 91d, ya 20d, 151a, sen (f. acc.) 74a, 83d, 850, 1056; plur. 84 30c, 660; loc. sing. sfor 113e.
B. Relative.
masc./neut. Sing. Nom. 5, 67 816, si (n.) 19e etc.
A.co. 5, 306 etc; (f.) 1610 Instr. for ( A FOTO) 91d, RT ( A ) 92a
Gen. g 3, 519 70a. Plur. Nom. R 21c, 64a, 138a
Instr. frie 776
Gen. fare 610, 626; (f.) 167a, 174a. Remarks. The places where occurs are 20a, 23d, 76a, 1180, 183d. At 76a it appears to be used conjunctively. $59. Interrogative and indefinite.
A. Interrogative Sing. Nom. 180, 25e, #-gg 94f, \ 646, tap (f.) 1990
Acc. Pa 956 . Gen. 95d

Page #84

ORAMAR
Abl. 410 Loc. #124d
B. Indefinite Sing. Nom. H 4, **2; fat (n.) 916; # (f.) 50a, E-fat (f.) 3.
A.co.(n.) 1100, ff, 19 121d Instr. 470, - 137f.
Gen. (f.) 4-43, *a-fa 2, ***+ 2, Fifa 1 Plur. Nom. Ara 3, $ 450
(f.) #-fa 46e, f-fat 949, 1800, fra 195d, 196a $ 60. Numerals. * 100 and $ 180, (C#) 80 (Pastoral double' 136, par 85 3-fq 112 both'), 18 (atere 112 third'), T 43 (astroft 156 'four-fold', 7324 125 'a tetrad'), 1 74, *31, orao 27, A 64 and 7 58, 974 62.
VERBAL FLEXION $ 61. There is only one regular conjugation in Ap., viz., the 37-conjugation. The forms with G-stems appear quite sporadically. The Sr. has the following such forms; pres. ind. 3. sing. te 108 a, b, RT 826, de 104d; 3. plur. ot 2050 and the forms in exfe/TTE ($ 62);' imper. 2. plur. forgots 19d. Almost all of these except those in teleste appear under metrical stress. The same is the ground for the employoient of prob. 1. sing. Hut 956 and 3. sing. ar and are 120c, d, the only middle forms. There is no pres. part. in 19.
The following 'root-verb's are attested: Jl, ZT, HT, EHT, 97; , ; d; (?). For their various forms see the index s. vv.
Forms of Vate: epfe (3. plur.) 640, up (3. sing, negative) 19a, 1040.
Of the Anite verb we have here: 1. The Present Indicative; 2. The Imperative, 2. and 3. person; 3. The Optative, 1. and 2. sing. ; 4. The future.
Of the infinite verb we have: 1. The Present Participle ( also ased as Preterit and Conditional); 2. The Preterit Participle; 8. The Gerundive; 4. The Absolutive; 5. The Infinitive.
$ 62. Present. Sing. 1. ** (ar) 23, 3 Plur. 3. Parte (afp) 17 + 4 (pags.) 2. at 5, af 1
ofte ( 7 3. Per
2 10 wie 20 + 4 (pask.)

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SARDEGARĀMAKA
Remarks. For the nasalization of the endings see $ 6.-1. sing. iš 306 and robes (B®3) 790. - 1640, and art, The 164d have been employed simply to effect alliteration. ar 91a has a variant mult (C). In a Prakritised stanza .ocours
*(=A ) 104a. Cf. FRÅ 2136. See Hc. III 141 .com.--2. sing. FTIF 165c is used to bring about the yamaka. For the 3. plur. forms in en see TESSITORI, $ 117, Remarks.
The present part. famail is used with 783 (pres. 1. sing, from V 3773) at 790 to singnify continuity of a present action (cf. TESSITORI, S 125).
$ 63. Imperative. 2. sing. ° 16, of 10, 1; 38, €37 3
Pang: peg 82e, R317 : FIRE 68c. 3. sing. Pts 4 (F32, H3, 53). 2. plur. og 2 (gue, forgue).
3. plur. osig 1 (twic). . : Remarks : Once is of the 2. sing. is lengthened to 'g for metre's sake : 0 95d.
§ 64. Present Participle. It always ends in sta (enlarged stad). For its feminine see 49. i.
It is used at two or three places' to denote a state in pasto Thus get 754 789 sfocat fate(1006) "O dear one, the dye of love that used to overflow on that occasion;" wieder etteder (950) «Under loss of discrimination (she said". Perhaps Porziat 186a, arte, fagoto 200c, d, eriat 217d also denote the habitual pasti, For gas 650 see $ 73, 3.
Further, Hc. III 180 teaches that the present participle can be used to denote conditional also. Our text offers three exam. ples of such à use, all in one stanza; guiat 100a, era 1000, afat 100d.
Both these uses of the present participle are still quite living in the modern Gujarāti. The unenlarged form serves for the conditional, the enlarged one for the preterit. For other NIA. vernaculars see Buoch: L'indo-Aryen, pp. 261–265.
$265. Optative. 1. sing. 3 ( M) 2. sing. ouis (ueeg, fete) Remarks, Cf. TESSITORI, $ 120.

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: GRAMMAR
- $ 66. Fature. -future
-future sing. 1. 'ng 2 .: 2. oste 1
po 2 3.
Tak 2 Remarks. 1. meg 91c, 4aeg 1176. 2. osa 41d; Senereller 1910, enlargler 191f. 3. fees 1970, APEK 1976.
$ 67. Preterit Participle.
The suffix it (enlarged 43 ) forms the pret. part. Besides the 'regular' class of the pret. part. so formed, there is another which represents the direct phonetic development of the Sk. pret. part. But the number of such irregular' part. is on decline and the tendency to normalize them by adding to them also the suffix (e. g. 654 186c for gy) has already made its appearance (See $ 49 ii.). Another tendency that is to be specially noted is the contraction of the suffix it to in several cases in the fem. of the pres. part., e. g., 947, facere, cet (see § 28). This is a modern' trait, characterising the New Indo-Aryan vernaculars like. Hindi and Gujarati. The following are to be noted: # 83b, Jy* 256, 99#2036, FR3 2176 (all from *Het i. e. m), JE 786, TgE 130c, ev 154d,
33 1866, 673 1926, glu 2040, (i, e. a) 86c, besides etapa 1766. AM 806 (in a Dohā) is of special interest as in Old Guj. this type of pret. passive part in Ram is quite familiar to us.
$ 68. Absolutive..
The numerical strength of the various types of absolutives as represented in our text is as follows: esta 34, 3ê 27, glat 5; ogtag 11; ° 28; 2, '3 1, apfen 1. Those in '52 (see § 38 b.) are Aartre, ofte 950, fazenge 188d and Pk. gfuta 2130; in 's, was 132d; in pfa, i 1990. Besides these there ocours pas 191e (cf. epic faa) and an interesting case of
compound' absolutive refa oft 1086, which is a precursor of the Modern Hindi atas #, $* etc. $ 69. Infinitive.
In sture: FETE 80a; in Tuts : curs 710; in 3: FEU 81a; in 37: FEU 2186.

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38
SAMDESARĀSAKA
Of these, only the form in aur is known to the Dohdkofas. Cf. also TEKSITORI, § 134 end.
$ 70. Gerundive.
In oqe (Sk. Otell): posary 20d, 21d, siforsures 820, stare 82d, fars 99d;
in open and fun (Sk. * as in ea, opie etc): PH ( 5 times), sifra, pasforen; qafore (twice), afecer;
in Parforen (Sk. Parafta): Agrore. . With °74 / cf. the passive endings °575/5cm ($ 71).
§ 71. Passive.
The three types are represented thus: passives in 59: 33, ingo: 13, in osto (metri causa): 3. Besides these there are some 20 irregular' passives which represent the further phonetic development of the corresponding Sk. forms: forte, fo, fotos, T; pat, 17, RT, tus, y=x, rgras; grila, srila; from the causative : 4555, 95. Note also 51ESTF, 91545. For the origin of news see § 38 (b). Cf. T&SSITORI, $ 136 (both the types). The fact that so many passives in gro are attested in our text supports the derivation of the affix oto from Sk. g of the passive against TESSITORI, unless it is proved that they have been borrowed from a synchronous vernacular.
§ 72. Causative and Denominative.
A. *3* is the general causative suffix which in certain cases becomes shortened to esta in accordance with 19. Further, in declension the oq of this one is occasionally dropped according to $35.
195 (from VH) 1416 and acila 266 (cf. frasefar 123d) are used as simplex. It is by a rare chance that one comes across the 'irregular' forms like are 165d representing the direct phonetic continuation of the Sk, forms.
B. The instances of the nouns, etc, used as verbal bases are: (a) (in app :) aniorare 65a from galfara, farena 168a from Press, efforeg 208d from aforce, teraso 210c from firies, afecha 218d from att; (b) (in ara/:) ga 266 and a 123d from a fare 96d from सच and सुहाइयइ 1896 from सुख.
POSTPOSITIONS $ 73. Thanks to the working of the phonetic forces, the old system of the case-endings eventually became completely worn out by the time of the New Indo-Aryan stage and one

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89
of its direct results was that the postpositions, which had had only & conplementary or supplementary status in the late Middle Indo-Aryan (or Apabhramba) stage, now began to function importantly as unaided indicators of various case-relations and the analytical stage was completely achieved. The language of our text knows of several such postpositione.
1. We find here some four instrumental postpositions baving the general sense 'with'.
Frete ( loc. sing. of een = Fre *company') means with; in the company of': flat-larut-tfait se taken ( 43a) If a stroll is undertaken in the company of various vidagdkas -'; het Pere T au-Eriefe The beds appear charming with (or by the presence of) young damsels'. This postposition is seen commonly used in Guj. in the form met. The Jain romance wypu (mid-fifteenth cent.) uses frèt in the same sense as noted here,
Cf. TESSITORI, $ 70 (3). . (=474) is found in a-lagu THPT ER ( 47c) “Some lady jast laughs with someone". E is a variant of : gelagu # 746, PART 79a, RT 99a. Cf. Owr. f* (TESSITORI, $71), Early Maithili fit, (VR., $ 36). Once informe (= AFT f.) is found : T oatfory " with thee".
afg-aras (= 8 enlarged) 'together with' is used thrice : Hauffeur AfHS (1870) together with musk', kg aitame (1886) 'together with nutmegs,' T The afts (191d)? e s corresponds to the Guj. ang close with' in usages like Britaš close with chest'. 2. The ablative postpositions are gas, gas, ti, afia.
3 with the loc. adverbs of place denotes 'from' as in fare Ne 65c from that place'. See Hc. IV 355. It is fairy common in Old Western Rajasthāni. See TESSITORI, $ 72 (10). Looking to its origin, gqs is the enlarged pres. part. of Va (=*) used in a preterit sense. The whole phrase fare ne Biterally means having been at that place, (he came here )' and this sense has eventually veered round to from that place”. (See As. pp. 22-24).
Pas (= fear enlarged) is another such postposition. HC. IV 489, 4 has frarerurgs from the heart'. Modern Gaj. Oft is closely allied with this fe. See ALSDORF, As. pp. 24-26. The one case in our text is a HOT GTE 87 --43 866 “And the forhead (also skull) is not removed from the left hand even for a

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40
SAMDESARĀSAKA
moment'. Cf. the com. : ततः कपालं क्षणमपि वामकरान् न दूरीभवति. Can the problematic सिहरहियइ 148d be brought in line with the abova? For OwR. cf. TESSITORI, S 72 (3); (6). .. रेसि is employed to signify the causal relation. due to', ! because of', 'on account of'. Thus कुकवित्त-रेसि 210 =कुकवित्वेन हेवना i. e. कुकवित्वात्, Ordinarily रेसि is a तादर्थ्यनिपात. See He. IV. 425; Haribhadra's पंचाशक-प्रकरण:19, 40 (रेसिम्मि ).
लग्गि ( := abs. of Vलग्ग) with the adverbs of time denotes tempus a quo' i. e. it has the sense 'since' as in कइय-लग्गि 122d = कदा प्रमृति : since how long'. Cf. TISSITORI, $ 72 (a) where लगइ, लगी are noted in both the senses 'up to', 'from'. ...3: The genitiv.e..postposition तणि (fem. of तणउ; see He. IV 422, 20) quite obviously cannot govern any other case except the genitive. Accordingly मइ तणि (94 f.) appears to be a suspect, standing perhaps for an original मह तणि 'my'.
Cf. TESSITORI, $ 73 (4); DAVE, p. 58. 4. महि is a locative postposition : मणमहि means in the mind'. It is loc. sing. from मह, which is connected by BLOCH with मध allied to Sk. मध्य.
Cf. TESSITORI, S 74 (7); Dave, Index s. v, māhi.
$ 74. Indeclinables. Adverbs appear in the Sr. in any one of the three forms : with the °उ of the nom./acc., with the °s of the instr./loc.or altogether without any affix. We have चिरु, थिरु, धीरु, भणु, णिमिसिद्ध etc.; तुरिय, पुनरुत्त सव्व-वार, णिमिस, खर etc.; जिरवरिख, निभंति, अणियत्ति, इत्यंतरि etc. Note खणु 19d, खण 86c and खणि 866; खण 67a and खणद्धि 223d; निरंतर 148c and निरंतरिण 64d; cf. also पुणु 960 etc. (5 times), पुण 67a etc. (6 times) and पुणि 101a, 117d; पर 790 and परि 189d. Following is the list of other indeclinables arranged in semantically allied groups : अइ, लइ (thrice); अन-इ, अरु, अह, य (6 times); अहव (अहवा), व (= वा at 4ld and in कत्थ व etc.?); इम and व (29a, 123c), किरि, जणु (thrice), णजइ (twice), णं (8 times%3B at 132a = इव), णाइ (twice ; णाय, णायं), धुंय (= ध्रुवम्); इत्थ, कत्थ (कस्थ ब, कत्थ वि), तत्थ (तत्थ व, तत्थ वि); इम and एम and एव, किम, किम्म-इ' and केम (Pk. 116), जिम and जेम, तिम and तेम ; कइय, जइय, तइय; कह (equivalent to कथम्, कुत्र, कुतः (410)) (कह व, कह वि; कहकह व, कहकह वि), तह (तह ; तह :व, तह वि); कहि, तहि ; कि (कि-ति, कि-हु) and किं (किं-पि) and कॉइ, जं, तं; चिय, जि (twice), °इ (5 times); जइ (जइ वि) and अहं (1016), तउ and तो; जाम, ताम and ताव and ता; ण or न, गहु (26. times ; णहु वि), णेय (4 times), म; णिक दर; पर (परि); पुणु (पुण, पुणि); पुरउ ; हिव (twice ). : .. .: 1...CH.OWB. किम्ह-r, wrongly derived by TENSITORI (S2 (1)), trom *कॉन, कपमपि.

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§ 75. Compounds?.
Already in Prakrits, the strictness of the Sk. laws of nominal composition has been considerably tempered. Cf. PISCHEL, $ 603. The same tendency more strengthened prevails in Ap. We can roughly distinguish three types of such loseness of composition as gathered from the Ap. material of the text.
Firstly, there are several cases of 'permissible' looseness sanctioned by the Sk, scholiasts with the words "
H asta 7496917 HAE:”. Accordingly, we have for 7-Pane AG-HEC-4f877-7f2TTO 19a for fox7-paleta-le etc.; 3771€ na RTRS UTE 51c for 3 tafo-Biglasure; turags AESFUEur 52d for 2014-#EE5-FUTETUTS; faze Ffl-E 122c for 194-8ffor-ye; 14 ct ThiIGE 205d for 1977-ci-se.
Secondly, within a compound the order of various members has no regard to mutual grammatical or logical relations. We can almost say that any member can precede or suceeed any other member to suit metre and rhyme. This fact is recognised by the grammarians as wê qera raiatza:. The examples are: xha-JYTE 256 = 34#-TfFHE-HE; Otac-agur 27d=770-at = 7207-(717)-ngeet; 3T01-5R3f&120c = ff$77-370773-318; Figa-gaisa-stūri-athair; 1776= -3 -95ahore: 90-9f8fw-HR 1840 = 740-FR-qfeffa; tel@-Asformat 193a = Asformar- 2; 9733-114a= â zapool-'ris; fer-5<714 2160 = 9777?-FER.
Among these special attention is to be drawn to the last two instances of the cornpounds with the order of the members transposed for metrical convenience. Apart from a few genuine cases of 'endingless' forms, it is such cases that must have substantially contributed to make current the view that Ap. uses the bare stem also in the genitive. For in the case of the words in such expressions held together by the strength of context but otherwise appearing hanging in the air without any grammatical element connecting them inter se, one can easily say that here the bare stem (azati, UTTRY) functions as a genitive form'. But the cases attested here, as also lots of
1
2
Those compounds which, though printed in the constituted text with their components separated, can be easily made out from the context have been left out of consideration. They also banish ALSDORF's doubts (As. p. 61) against 5739-(Hc. 383, 3c) being a transposed Karmadhāraya equivalent to 71-77377. Hence also there is no need to assume that in the said case the genitive ending is to be supplied to te from the succeeding words.
6 . 37.

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SAMDESAKASAKA
similar cases in Dingal works and in the Ramacaritamanasa make it abundantly clear that we have to look upon them as free constructions-as a loose type of compounds.
42
रयण-ताडं किहि परिघोलिर- सवणि 46d for परिघोलिर- रयणताडंक-सवणि offers case of the fusion of the above types.
Lastly, the extreme cases of this tendency to loose composition are offerred by a few instances of tmesis, which at the same time pointedly show how much the poet cared for metre and rhyme at the cost of everything else and how at times he left the reader (or the hearer) to gather the intended sense entirely from the context. Thus we have,
यि दइय-सोय- असहन्त भरु 103c = णिय-दइय-सोय-भरु असहन्त निम्मल- फुरइ -करु 1220 = निम्मलकरु ( = चन्द्र's epithet) फुरइ णवघण- जंति -तलि 130d = णवघणतलि जंति
Here we get a peep into that process as a final outcome of which the power of unrestricted word-composition has peterred out in the New Indo-Aryan vernaculars.
For the instances of some verbal compounds see § 76. end.
§ 76. Some syntactical remarks.
Supply of the ending from the adjacent word in accord. At certain places the prior of the two adjacent words-either the substantive or the attribute-appears without the requisite case-ending which is to be supplied to it from the immediately succeeding word. There are some four such cases:
पहिय पवहंतयह 546 = पहियह पर्व '
भयमेसिय अइरावइ... खिवंतियइ 1400 = भयभेसियइ अइरावइइ... खिवं तरंगिण जंतिहि 1616 = तरंगिणिहि जंतिहि
Pk. कयहरिस वरहिणीहिं 2130 = कयहरिसहि वर
मयणअग्गि विरहिणि (i. e. °ण ) 2220 = मयणअग्गिण विरहिण
wide scope.
Notable case usages. Genitive has developed a very (a) Genitive absolute. Besides the usual type seen in पवसंत ( = पवसंतह), ण पवसिया 700; तुव ( instead of तइ A B ) हिअयट्ठियह, विरहु विडंबइ काउ 76a and perhaps मुद्धह विलवंतियह 25d, there is a series of cases wherein the genitive of the present participle is employed in an absolute phrase to signify continuity of an action while another action is performed. The construction be rendered into English by while......-ing'. तुय सुयरंत ( = सुयरंतह), समाहिमोहु विसमुट्ठियउ 86. your memory......"
can
6

Thus
"While cherishing

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43
- गेउ गिरत (= गिरतह) पाइउ पढंतह, इम विलवंती (= तिय) दिण पाइउ 157ab “While singing songs and reciting the Prakrit (gāthās), (I) who was thus bewailing, reached the (final) day (of the rainy season)"
(पिय) सुमरंत (= सुमरंतह)......इम जग्गंतह...अस तग्गंतह, जामिणि गमियह 158 “The night is passed keeping awake, cherishing the memory of the loved-one and carrying on to live somehow”.
दक्खिणमग्गु णियंतह, मह अइत्थिरिसिउ दिदू 159ab “While watching the road in the south, I saw the sage Agasti (Canopus)". __ एम सुन्नहियय भमंतह, रयणि विहाणिय 1998. “While wandering thus absent-mindedly, the night dawned". ___The usage is quite living in Guj. Cf. TESSITORI, $ 124; DAVE,p. 51.
(b) Genitive for the accusative. Besides the numerous examples of #4 and #ut governing genitive of the person tobe-communicated-to, the following cases of the genitive of the object are to be noted:
तुअ हिययट्ठियह छडिवि 750 (i. e. त्वाम् हृदयस्थितम् मुक्त्वा )
तुम सुयरंत 868, तसु अणुअंचि 130a, इम करुण भणंतह इक्किक्कह ण कुइ धीरवइ 1666d, बिलवंतियह आसासिहसि 191e, मज्झ संतोसिहइ 197a, महु मिल्हिहइ 197b.
Adverbially genitive is used instead of accusative twice : णकंतह 104c, d.
(c) Genitive with the word of comparison : सुन्नारह जिम 108a and जमजीहह णं (i. 9. यमजीला इव) 132a. As instr. postpositions, संमाणिय and सरिस (573. 1) should govern instr. But originally being words of comparison, they take the gen. also. So besides मियणाहिण सरिसउ 187d, we have सरिसु जाईहलह 188a and तुअ संमाणिय 78b. Guj. regularly uses genitive with the particle of comparison. ____Locative. Locative Absolute. Only two cases are met with : अणकियइ णियइ पउयणि 102d and पइ पोरिसनिलएण (i. e. पइ पोरिसनिलइ) 77a. The latter of these two cases also supplies an example of instrumental being used for locative.
णियभुयणि पत्त 130d and तरुसिहरिहि चडिउ 144a, चूयह सिहरि चडि 144d illustrate the locative of goal.
Several times singular is used for plural: वस-वीण-काहल-मुरउ 45a, तह (i.e. महीरुहाम् ) णामु 64b, बगु...चडिउ 144a, कयंबिण 146c, अंगगि 146d, दसह दिसि 148a, चित्तविचित्तइ तणुपंगुरणिहिँ 167d, तिहि भमिरइ 174b, भमरु 2050. Pk. आएहि...पुच्छिएण पवास-दियहेण 126a, सूरससिबिंबे 2a, लक्खणछंदाहरणे 6b.
Ellipsis. The author seems to be remarkably fond of ellipsis. At several places the sense of the sentence remains incomplete

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44
and at times even the immediate context is in no way helpful in suggesting the words kept understood. Com. supply the necessary words in most of the cases. The following cases have come to my note: 46: supply a after . 21ab: supply a in the beginning. 76a: supply after a. 95d: supply farg before a 108ab: a is the understood object in b. 133cd: the description refers to the सहकार 141d : refers to विद्युत् 152: दिr is वर्षाप्रान्तदिन 1890 : दिवस is to be understood after अंगुलमत्त. 193d : supply दुम्म after उज्जाणहँ. 196a : supply दानं after दिंति. 196d: we have to understand प्रियं प्रति. 202d: fa: are understood. 218d:
supply जनाः. 219ab: supply a.
SAMDESARASAKA
Tmesis. We have already dealt with several cases of tmesis ( 875 ). To those add one more : सं- केवइ- जणइ 2010 = केवइ संजणइ.
Anaphoric construction. Lastly, a few cases remain to be mentioned wherein the substantive being attended with a detailed description is felt incapable of directly conveying its relation with the subsequent words in the sentence and consequently an anaphoric pronoun is used which expresses the relation of the substantive with other words. For parallels in other Early Vernaculars see VR., § 38.
व-घण-रेह - विणग्गय निम्मलकरु सरयरयणि पञ्चक्खु अमियभरु झरतउ फुरइ तह चंदह जिणणत्थु पियह संजणिय-सुहु मुहु विरहग्गिधूमि कइयलग्गि झंपियड 122 "Since how long is covered with the smoke of separation-fire (your) face which brings happiness to (your) lover and which has the object of conquering that moon which becoming manifest on an autumn night, coming out of the row of fresh clouds and shedding its burden of nectar shines serene-rayed".
फलहारिण उन्नमियउगंधवहि कुंजरसवण- सरिच्छ पहल्लिर ( साहारु ) तह पत्तिहि ... कीरपंति परिवसइ 133cd-134ab. "The tree, bent down with the weight of (its) fruits, dangling due to wind like elephant's ears: in its leaves resides the row of parrots".
Pk. माणुस - दिव्व-विजाहरेहिँ णहमग्गि सूरससिबिंबे आएहिं जो णमिजइ २ " by human beings gods and Vidyadharas, by the solar and lunar orb in the heavenly path by all these, Who is bowed down to-"
The use of the infinitive with (or an interrogative particle) and to denote impossibility of performing an action because of its extreme nature is peculiarly Apabhramsa. We find this construction in, e. g., Hemacandra's illustrative stanzas, in the Paramappapayasu of Joindu. The idiom is current

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even in the Modern languages. The three cases occurring in the Sr. are: 77 TUS HIC 710, FET 79413 81a and f agur 31 2186.
There appears a decided bias in favour of using the pret. part. in impersonal construction. Note छावडइ पहराविउ 78a, मइ रुनु 109d, eller af 3 142b, face pe 1446, ATA s 1440, men 3675 145d, tilaj TOP 5 146a, FE AITES 215b, etc. It is also to be noted that excepting the first case (in a Dohā), all the other cases have the instr. in ospe.
Here we can say that two steps intervene between the type of usage attested here and the one in the modern vernaculars which has shed the passive sense and serves to express the past directly. Thus, firstly if for expressions like say
erg afts by the goose was climbed' the climbing was done by the goose', those like हंसि (insti.) चडिउ (cf. छावडइ पहराविउ) get current and then secondly, if as a result of the phonetic development of sta into a (i. e. endingless instr. see § 51 B. ii) by the reduction of the final , our expression takes the form (instr.) afts (so common in Dingal, etc.), then the natural confusion of the h (instr.) with the homophonous nom./acc. A would give us without any difficulty the modern active expression de 257 the goose climbed the goose did the climbing'.
Thus, in the end the old passive was lost from the pret. And eventually it met the same fate in the present, where it developed a potential (and later on a mild imperative [cf. TESSITORI, § 137 ]) sense. Some indications as to this are supplied by अंबरु पुणि रंगियइ —the cloth can be dyed again', अंगु अभिगियइ "the body can be annointed', alau gu ffens 'riches can be won back and for afera 'how (it) can be turned', all occurring in 101.
An important result of this tendency was the development of a new passive (cf. TESSITORI, $ 126 (2)i; Dave, p. 47) which probably made the first beginning by the pret. passive part. in Stora, the successor of the old pret. part. In our text (in a passage whose language appears comparatively more advanced) is attested समाणा 180 (= संमिताः) from Vसमा and perhaps पच्छुत्ताणिय (f.) 1 According to TESSITORI (who follows in this matter HOERNLE § 484)
originally this was a potential passive developed from the causative) which in course of time became ordinary passive (see § 140), while the participle in '37193 is connected by him with the same in 37toto in Sk.

Page #95

46
SAÚDESARİSAKA 1992 from Vega-V Tag TSH ( = 928°+3Tg?). TESSITORI notes that they are found in Jain Mahārāştri, in Sindhi and Avadhi.
Lastly, the attention remains to be drawn to three cases of compound verbs so current in the modern vernaculars wherein a second verb used auxiliarily in conjunction with the absolutive of the main verb serves to express an aspect or state of the action denoted by the main verb. Thus Guj. ang 'to eat', E TEŽ to finish by eating', to eat up'; Filo to see', FTE TEST
to look on'. Similarly here forgot ay tap 180 Who would listen on-listen completely-patiently ?? (Cf. Guj. Het zeg, qe te etc.; cf. KELLOEG Hindi Grammar : $ 442, 754d); 74at eft T3 95d The thief stole away the belongings' and the his ofR 192d "All the trees completely shed (their) leaves'. Cf. the com.: B e ca: Erfor gerar Tar: = ferat:! Note also are at 1050 'I cannot tell'. Cf. TESSITORI, $ 132.
§ 77. Conclusion. The dialect of the Sr.
The linguistic material analysed and classified in the foregoing articles allows us to draw some broad conclusions regarding the proper affiliation of the dialect used in the Sr. But before we take it up, it is necessary to draw attention to one important point.
JACOBI has brought forth and discussed sufficient evidence to prove that Apabhramśa properly so called was a mixed language in so far as it borrowed most of its vocabulary from the literary Prakrits and its grammatical constructions from the ETHISTS (or the popular dialects).' And it is thus explained: the 27198 being considered vulgar as compared to the literary Prakrit, they could not make their appearance in literature in their pure, unmixed form. Hence they penetrated literature just like popular cross-threads in the general basic texture of the literary Prakrit, and the result was Apabhramsa. This means that, the standardized classical Apabhramśa apart, the form of Apabhramsa at successive chronological stages oan vary in accordance with the advance in the development of the popular dialects that lie at the basis and, according to the lateness of Ap., we can expect a greater degree of admixture of the popular dialects, till that process in due course leads to a form of language like one represented in the Prākrta-paingala. 1 This and the following few statements have been worded after what is
observed by JACOBI at Bh. p. 68*.

Page #96

GRAMMAR
47
.. The Sx. presents to us an Apabhramsa," which is in this manner considerably mixed with the traits of popular dialects synchronous with the Author's time. A reference to the parallels and correspondences with the developments in various New Indo-Aryan vernaculars as pointed out previously at relevant places—and particularly at $$ 36 (a), (b), 46. v. Remarks, p. 26 (second paragraph), $$ 73,75 (end) and 76 (end portion) will make this point clear. Yet, doubtless, it is still to be called Apabhramba, as its phonology (mostly unsimplified conjunots) and its system of inflections show. Besides some traits of the Classical Apabhramsa (that which is treated by Hemacandra in his Prakrit grammar), viz., Æ> () (33 A.), imperatives in R, 3 and 34 ($ 63), absolutives in fa, la, gfa, play, &, Brfa ( 68 ) and the s-future as well as the h-future ($ 66), we can pick up several other traits which have been shown to be peculiar to the tarrat or ytt BTTÄ. These are : (a) use of the bare stem in the nom, of the masc. 37-stems, (b) instr. sing. forms of the masc. 3-stems in
and Fe, (c) assimilated h-endings of the genitives, (d) pronominal instrumentals Perfor, fator, stor, (e) present 3. plur. forms in ee. All these make it plain that the dialect of our text possesses all the chief characteristics of the श्वेताम्बर or गुर्जर अपभ्रंश. It is to be noted that the features like the absence of nasal in forms elsewhere found nasalized ($ $ 2–8), assimilation of a post-nasal stop ($ 35, V), nominatives in 37 side by side with those in 3, instr. sing. forms in P, bare stem in the instr. and the loc. of 3-stems normalization of the 5, 3-stems ($ 45i), increasing use of postpositions, looseness in composition, new words like viet, sigla etc. are not special to any particular localised form of Apabhramśa but are commonly indicative of the lateness of Apabhramśa.
But we can go still further: (a) total absence of the 371-forms in nom. sing. of the masc. 3 stems; (b) most of the postpositions collected under $ 73; (c) change of opo to opo seen in apriluft (G. चोगणी as against H. चौगुनी) and फरसउ (G. फरसु); (d) fem. genitives in 4 ($ 56, Remarks ), pret. passive participle in apropar
1 Or auf as at one place the author of the SR. calls it. But this aag is
different from one, represented by the language of the PP. On this Apabhraṁsa tradition in New Indo-Aryan cf. CHATTERJI, Indo-Aryan and Hindi, p. 99. San. pp. XXII-XXIV; KP. pp. 65–66. Note that the author of the Sr. follows Eastern Grammarians in the division of languages into 4, 9744, acg and dance (SR. 6).

Page #97

48
SANDESARĀSAKA
($ 67,76 end); (f) genitive constructions like a HUGE ($ 76, p. 43), (g) words like H, RFA, fa, fet, tala, a, ATET, 3456, 16a, , gt-these features characteristically belong to the Old Western Rājasthāni, while (a) development of go into a ($ 34); (b) loss of neuter ($ 50); (c) use of the bare stem in all cases (8 51 B. 1. end); (d) s-absolutives; (e) words with the pleonastically prefixed to ($ 48. ii), as also the words aE15, E, 346_these features are peculiar to the northerly section of the Owr., as one can judge from their occurrence in Dingal or Early literary Mārwārī.
Lastly there are a few facts which clearly indicate the influence af the then dialects of the Midland (Early Braj, Hindi, etc.) over the language of the Sr. Thus (a) loss of an intervocal व (833 C.); (b) agentives like संजीवयर, उल्हावयर as compared with Hindi लुटेरा, चितेरा etc.; (c) the compound absolutive दहेवि करि (in a Dohā) point to such Midland influence.
As suggested at relevant places (e. g., p. 19, note 1) the language of the Dohās of the Sr. differs in several points from that of the main portion of the text and it is closely allied to (though more advanced than) the language of the Dohās of Hemacandra.
II METRES
§ 1. Before we proceed to treat the metres of the Sr., a general note on the differing Ap. metrical traditions is called forth. Besides the two well-known works, Hemacandra's छन्दोऽनुशासन and the प्राकृतपैङ्गल, we have now five other large or small treatises—all published by Prof. H. D. VELANKAR-dealing with Pk. and Ap. metres. They are the fame of Virahāńka, the a2F78FCL of Svayambhū, the Target of Nandiyaddha, the anonymous #fajor and the da: Fray of Ratnasekhara'. Among these the work of Virahānka (as also of Nandiyaddha, if at all) treats a very small number of Ap. metres properly so called. Though dealing with the same subject, the above-named works widely differ from one another in their range and province and on the strength of certain provisional criteria—such as, the definition and nomenclature of the commonly occurring metres 1 W. SCHUBRING's edition of the last-mentioned work (see Beiträge zur
indischen Verakunde, Z. D. M. G. 75, p. 97 ff.) is not accessible to me.

Page #98

metres GRAMMAR
Aral () and its sub-types, of lett or set and its sub-types, of Bffct, etc., the preferential treatment of certain metres and the exclusion of others, the quantitative value of the final mora, the characteristic system of the termini technici and some special features of the method of treatment in general-on the strength of these criteria we can hazard to roughly distinguish at least two considerably divergent metrical traditions : the one, which for convenience's sake may be called the Classical Tradition, occupies itself mainly—but in no way exclusively with the prosody of the Apabhraṁsa epic poetry, while the chief- but again not the only-concern of the other, which may be called the Bardic Tradition, is the metres that are employed in the Ap. narrative and lyric poetry as of the compositions and other forms substantially cultivated by the popular bards (the Fitas ). Due to its popular character the latter tradition was obviously more open to continuous revision and reinforcement. The works of Svayambhū and Hemacandra on the one hand and the Pfare for on the other represent the Classical Tradition; the gzina (which is little more than a compilation from the ancient works of Arjuna or Alha and Gosala or Gulha) and the one (which also appears to have a highly composite character) represent the Bardic Tradition.
These facts bring forth one important result. In the proper identification of the metres employed in the epics like the riget of Puşpadanta or the n ame of Dhanapāla one should be guided ultimately by the metrical works of the Classical Tradition. The other sort of metrical works can at best render only a secondary help and as the common metres are at times divergently treated by the two sorts of metrical treatises, it will not be surprising if their undescerning use proves a source of confusion.' The same words apply to the value of the works on epic metres for the study of the metres of non-epical poetry.
§ 2. Adopting ALSDORF's classification (see .As. p. 46) we can deal with the metres of the Sr. under the following heads :
A. ATEITIS I. (a) Four-lined metres with the rhyme a b, c d.
1 JACOBI's (and following him ALSDORP's) adoption of the name om
instead of 977 for the commonly occurring epio metre with the scheme 6+ 4 + 4 + 2 is an illustration in point.
7 . 7.

Page #99

50
II.
B.
SAMDESARASAKA
(b) Metres of the Doha-type: two rhyming lines divided in two unequal पादs (as घत्ता : the अन्तरसमा चतुष्पदी type ). (c) Metres with the rhyme-type a b, c d, e f. (d) Strophic metres.
Metres of the Gatha-type.
adians.
A. मात्रावृत्तs.
I. (a) Four-lined metres: rhyme a b, c d.
§ 3.
1. erfeet.'
1
Occurrence: 104, 182; 157-170, 174-181.
Further, 16 morae
We have conflicting statements of different metricians on this metre. But most of the authorities agree, by definition and illustration, in considering end-Yamaka as one of the differentae of the af. And st. 104 and 182 of our text which are expressly called afer strictly bear out this point. with slight difference all grant that the metre has per line, the last two morae being invariably short. But the agreement does not reach beyond these points. For the remaining, there is a considerable measure of divergence among the various authorities. Firstly as to the number of the यमकs. According to some (CK. 41a, VJs. IV 33, 34, the form of the definition stanza 127 in the PP.; cf. the introductory remark to Sc. IV 32 and Ch. 37a last lines) there should be one for all the four lines. And if instead of one, there are two for a b another for e d, the metre receives the name afar. The author of the SR. follows this tradition. Others (KD. II 216, Ch. p. 37b/2 recording a different view) hold that it is the other way round. According to them the fee must have one यमक and the अडिer two. 2
, one
Secondly as to the
-scheme. Among the 'Bardic' group, all are silent on this point, except Pr. which only says that the final two morae are to be short and the is forbidden. One of the commentators of the PP. gives 6+4+4+ as the scheme. On the other hand the Classical' group defines erfeer as a sub-type of the metre, which latter is quite
1 The name appears variously as अडिल्ल, अडिल, अलिल्लाह eto.
2
CK. 42 recognises a third variety with a different Yamaka (1) for each of the four lines and calls it भिन्नमडिल्ला.

Page #100

51
unknown to the Bardic' group. is defined (Sc. IV 29, Ch. 37a/15, KD. II 21) as 6+4+4+2 and when it has as it is called erfeer or after. No specific prescription is found for the form of the final two-moraie , but the practice is mostly in favour of two shorts. Now apart from the two above-mentioned stanzas 104 and 182 which satisfy all the requirements of an arfer, there are 22 other stanzas (157 to 170; 174 to 181) in the SR. whose structure is doubtlessly that of an arfer, but which fail to satisfy the important condition that all the lines should have the यमक. It does not seem justified to call the metre of these stanzas because, as noted above, that name is quite unknown to the "Bardic" tradition, while the metres of the SR. have no particular concern with the "Classical" tradition.
GRAMMAR
On the strength of some evidence, the fact can be historically explained. There is an ancient tradition (See VJs. IV 32, CK. 41) to the effect that in a stanza made up of equal or unequal lines of any good metre, if the art (i. e. i) language and the are employed, the stanza is called af. VJs. IV 34 gives an illustration of “ अडिला नक्कडय भेएण" i e an अडिल्ला in the form of a नर्कुटक stanza in आभीरी with the यमक employed in it. But just below the above-cited definition of the fear, another one is given at Vлs. IV 33. Unfortunetely the text of this definition stanza is not quite clear, but the form of the stanza is 6+~-~+~~+~~, with one 4 for all the four lines. These facts make it probable that formerly fee was a technical device rather than the name of any specific metre and accordingly any common metre could be turned into afer by composing it in अपभ्रंश and using the यमक. But the metre with the form 6+4+ 4+ was employed with special preference for this purpose and the result was, afer ceased to be a general name and came to be specially attached to that particular metre. And later on, the distinction between the ('a recurring group of syllables identical in sounds but different in sense') and the ('rhyme') being lost (cf. the uses of the term in the sense of age in the CK. and even in the Sc.; see also the illustration stanza for arfer at PP. 128), a 16-moraic metre of the above type, even without the 4 came to be called fer. Finally it also took up the rhyme a b, c d.
1
It is to be noted that the term 3 appears to have an exactly parallel history. See Ck. 31, 38; comm. on Pr. 148; Ch. 438/15-19.

Page #101

52
SAMDESARĀSAKA
Among the stanzas of the Se, in question, the 244 strictly so called is found in st. 157 (ab having one, cd another), 161 (only o d), 163 (only a b), 165 (only od), 166 (ab having a pure one, c d an impure one) and 181 (ab and c d both having an impure one ).
An analysis of the 22+3 arffet stanzas occurring in the Sr. gives the the following statistics for the various forms of the constituent 7078 (the figures for the two ofta afts at st. 104 and 182 and one aftet at st. 111 are given separately in the brackets): The forms of the 1. 70 of 6 morae are
www- 20 (6) vw-vv 8 www - 3 -vwv 20 -- 4 -- 2
UV- 19 (4) --- 3 (1)
wwwwww 7 -- 2 (1) These results show that 1. 70 of our ass is built up altogether differently from that of the 31fset of the HP., as the latter has generally the form - with the trochaic rhyme (See HP. p. 191 mid.), while here it is the least preferred and quite exceptional form. In our case there is a strong tendency to two-moraic-grouping and hence a long for the 2. and 3, as also for the 4. and 5. mora is mostly avoided. The forms of the 2. stup of 4 morae are
wwww 39 (2: , www) vu- 23
v 14 (10)
-- 3 Thus the titur is permissible in the 2. Ut and in the case of the. यमित अडिल्ला and मडिल्ला, --- appears to be the only form of this to. Note that out of the 14 cases of the tu, not less than 6 occur in those stanzas which have got the *. The forms of the 3. To of 4 morae are
uv - 46 (1) -- 23 (11)
ww,v 12 - 4 This makes it clear that the root is avoided in the 3. 707. Mark the anapaest tendency of this 70.
1
1572 is a real exception, c possibly an apparent one, because in the latter case if रमणीय is to be preserved, रयणि (c) is to be preterred to रयणिअ.

Page #102

GRAMMAR
The 4. is invariably made up of two short morae. 1626 (~~~~~~~) is the only case of Gana-fusion. 2. मडिला .
§ 4.
Occurrence: 111.
Different views on the exact nature of this metre have been already noted in our discussion on the metre afeer. The wavering apparent in the Mss. of our text at 110 d (BC, A af) and in the commentaries (the text of both reads af, though the व्याख्या names the metre of Sr. 111 as मडिल्लच्छंदः and quotes CK. 41 cd to define it) also suggests diversity of traditions on this point.
53
As the difference between the two metres afer and fear amounts to a negligible point, the view adopted in the Ch. which considers both these as merely two varieties of one single metre appears quite reasonable.
§ 5.
3. रासा ( रासक ) or आहाणय ( आभाणक ).
Occurrence: 26-30, 41-57, 58 (a b), 64-68, 74 (ab), 91-92, 96-99, 101-103, 104 (a b), 105-106, 109-110, 113 (6 lines), 117 (6 lines), 118 (6 lines), 121-124, 125 (ab), 130-136, 139-147, 151, 154, 155 (ab), 184-189, 190 (ab), 192-197, 198 (ab); 86-87; 204. Total 328+12 lines.
This is the principal' metre employed in building up the frame of the SR. About one third of the SR. is composed in this metre.
As it was in the case of the fear, here too we have to make a way through the conflicting and scanty accounts of the prosodists. CK. 17 defines as a metre of 21 morae. The final mora should be always short and a 5-moraic is to be avoided. The commentary on CK. 17 (See Notes on CK. 17) says that the tradition requires final three morae to be all short and this is comfirmed by the SR. stanzas. Thus the CK. makes no provision for the constitution of the individual us, nor says anything regarding the caesura. Still the definition stanza has a definite caesura after the 12. mora. Further, this

1 According to Kramadisvara as quoted and interpreted by JACOBI at Bh. p. 71* is the chief metre of the Nagara Apabhramsa.
2 The
metre used in the body of the heat Bh. VII 12 has the caesura after the 12. mora.
See Bh. p. 48, 7.

Page #103

54
SAMDESARĀSAKA
Ck. 17 is quoted in the great on Sr. 26 with the varying fourth line recording 145 as an alternative name of the 101. The 416 in its explanation of the definition adds on its own account that 6+4+4+4+3 is the Fut-scheme. This is borne out by our stanzas but with certain important reservations, as the analysis given below shows. If we refer to the group of it, and the glareou for some guidance or clarification on this point there also we are faced with disappointment. So. VIII 50 defines one metre which is preferentially employed in the compositions. It should have 21 morae, with final three morae short and a caesura after the 14. mora. On the other hand Ch. 37 a/9 and Kp. II 25 define rarase as a metre of 21 morae divided as 6+4+6+5. As this infringes the explicit ban on the 1775 put by the CK., one would think this Terapeut to be essentially different from the 3173 of the Cr. But the facts that the definition and illustration stanzas all without fail end in three shorts and that the illustration stanza in the Ch. has a caesura after the 12. mora (cf. ALSDORF's observation, As. p. 47) do not allow any doubts regarding the basic identity of these two metres.
The fact appears that originally a 21-moraic stanza with the final three morae short must have been in common use for the terms and in accordance with the varying practices and traditions it came to have different Gaņa-divisions and positions of the caesura. Only thus can be explained the basic agreement but the divergence in details in the various accounts of this metre.
The ter-stanzas of the Sr. have the caesura optionally after the 11. or 12. mora'. We saw above that the practice of some (CK. 17, Ch. 37 a/10-11) supports the 12-moraic caesura. On the other hand the 11-moraic caesura finds a stronger support in CK. 29. There while defining the strophe Fiergar (mark the name), it is prescribed for the first part which though unnamed is completely identical in form with the same except of course in the position of the caesura--that its lines are made up of 11+10 morae.
The general form of the gif in the Sr. is (the superior
1 Same is the case with the Tres found in the f (beginning of the 19th
cent. A. C.) of Prera (soe Brasoft, GOS. XXXVII.

Page #104

quantities less common):
or alternatively
~~~+~+8/~+~++~~
contact/~+==++~~
GRAMMAR
The individuals are represented as under (the two stanzas 86, 87 and the one stanza 204 are included in the calculations):
1. (morae 1.-2.) has two forms:
33 206
2. (morae 3.-6.) has five forms: ~ 104
-VV 86
183
This shows that the 3. (morae 7.-10.) has four forms:
179
www 62
71
- 23

717 72
C
13 56
-- 18
is permitted in this .
Here the is forbidden.
4.
(mora 11., or morae 11.-12.) is made up of one or two short syllables according as the caesura falls after the 11. or the 12. mora. The proportion of the two is
190 (56%)
144 (43%).
134
~~
55
Exceptions:-56d, 57a, 58a (all the three occurring in the section listing tree-names), 1306 and 1546 have the caesura after the 14. mora. Cf. the T of the 14-moraic caesura treated at So. VIII 50 and Ch. V 2. For 47c, 187b, and 188d see
1
A word of explanation seems necessary for this spinning out of the five (6 +4 +4 +4 +3) s given by the into seven. The two implications of the principal of -division in general are that firstly the closing mora of a preceding and the opening mora of the following it cannot be replaced by a heavy syllable i. e. the separate individuality of each of the two morae is to be preserved (cf. AM § 19.) and secondly, the common patterns of the various constituent s when viewed in a lot are to be indicative of the general rhythm of the metre if any. In the case of the stanzas in the SR. the formal analysis shows that it conduces to precision and lucidity to split up the first and the third of the each into two and as this can be done without any detriment to the underlying principal, seven are set up. For precedences Ch. V 31 versus 32 (cf. HP. p. 189) and ALSDORF's treatment of the g (see § 11 below) can be pointed to.

Page #105

SAMDESARASAKA
Metrical Emendations. The heavy syllable standing in the place of morae 11.-12. in 296 (t) and 55c (a) is resoluble into two shorts in accordance with Grammar § 28 (cf. § 41 f). For 1516 as also for the question of Gana-fusion in 44a see Metrical Emandations.
56
5.
(morae 12.-14. or 13.-14. in accordance with the fall of the caesura) has three forms in the first instance, two in the second.
(i) www 66 (ii) 77
-66
ww 71
6. (morae 15.-18.) has four forms:
58
V- 131 www 89
7.
- 59 Like the 3. गण this also avoids the जगण. (morae 19.-21.) has only one form: Exceptions:-92ab afer, eg (i. e. - instead of) are only apparent exceptions, since they are contraction-forms developed from घत्रियय, मिल्हियय. See Grammar § 41 (c). For 151 a, b see Metrical Emendations.
VE 56
-
§ 6.
4. चउपइय (चतुष्पदिका).
SR. 85 calls the two stanzas next to itself . But their scansion shows their structure to be in no way different from that of a stanza. So they have been treated here as रासाs. It may be noted that after defining the metre Hemacandra remarks (Ch. 37). The various metres with the name 3 found in the metrical treatises are altogether different from the metre of SR. 86-87. 5. लंकोडय (लङ्कोटक ).
§ 7.
SR. 204 is expressly named tee by 203d. No metre with this name is known to the extent treatises on Pk. and Ap. metres. On the other hand the metre of 204 is found to differ
in no particulars from an ordinary रासा. But the designation implies some characteristic peculiarities, which however are not clear to us. Accordingly 204 also is treated here as a .
§ 8.

6. qefear.
Occurrence: 20-21, 59-62, 63 (ab), 200-203, 205-206, 207 (ab), 209-212, 214-219, 220 (ab). Total 94
8.

Page #106

GRAMMAR
57
Being the standard metre of the Ap. epic, it is one of the commonest of Ap. metres and as such it is treated by almost all metricians with varying details. - A पद्धडिया-line is made up of four चतुर्मात्र गणs;
v is obligatory in the last tot, facultative in the 2., forbidden in the 1. and the 3. Regarding this metre ALSDORF observes (Kp. 73): “The Paddhadikā is a metre of anapaestic (i. e. w-) basic character, which though variously violated, is still to be clearly recognised. The freedom of construction is greatest in the opening portion of the 9r; toward the end the regulation becomes stricter and the basic type of the respective to stands out more clearly. The 3. m is built up similarly to the 1. and the 4. similarly to the 2., and between 1./3. Tots on one hand and 2./4. 1078 on the other exists a certain contrast, so that a regular variation is set up in the stanza which is indeed often given up-especially in favour of a continued anapaest rhythm".
Gana 4. is most strictly regulated. In the Sr. stanzas it has the form vov without exception. In other texts the form www is also attested. The forms of the 2. O are represented as under: (a) w- 39 (41 %) (b) - 25 (27 %) wajuv 14 (15%)
yuwu 16 (17 %) 53 (56 %)
41 (44 %) The corresponding percentage for the qaisars occurring in the Kp. is 53 and 46. But Kp. has 1% of cases which are either dactyl ( - ) or spondee (--). They are totally absent in our specimen.
In the case of the 1. and the 3. stop here (as in the Kp.), ENTUT is the most frequent and t—which disturbs the anapaest rhythm most'—the most seldom verse-foot as the following figures show.
1. Hot 31 (33 %) 26 (28 %) 23 (24 %) 14 (15%)
3. stop 40 ( 43 %) 37 ( 39 %) 4 (4%) 13 (14 %) As vw vw has originated from the anapaest (cf. Gaņa 2.), we can sum up the first two figures in the case of each of the two stors and this gives us the result that “the anapaest basic tendency is still more strongly impressed on the 3. so than it is on the 1." (Kr.).
8 . I.

Page #107

58
SAMDESARĀSAKA § 9. 7.1989 (184) or age (*).
Occurrence : (independently) 107; (as the first four lines of the strophe 59€ ) 148, 183, 191 (only a b), 199, 137 (?).
There are 24 morae to each qr. The scheme given by the PP. (109) is 6+4+ +4+6. TOT is forbidden in the 2. and the 4. 777 and the last two morae are to be short. Ch. and others define this metre under the name ayant and their scheme differs in this that they say nothing regarding the caesura after the 11. mora.
After examining one hundred and odd 761976 stanzas from different sources, ALSDORF (KP. pp. 74–75) comes to the conclu. sion that the main caesura falls after the 3. t (i. e. after the 14. mora), while later on a second caesura has developed after the 11. mora., which, in the stanzas examined by him appears regularly, but not quite without exceptions. This second caesura is considered by the Pp. as the main caesura.
In the case of the Sr. all the agers have both of the caesura. The last or is wu-w (15) or --- (3) without excep. tion. The material is too scanty to permit statements with any positiveness regarding the form of the other 708. In the 3. TOT the cases are divided exactly half to half between amphibrachys (-) and proceleusmatism (www). In the point of preference of forms in the 2. and the 4. To our text supplements ALSDORF'S data to some extent:
7
2. TUT 10
4. TOT 6 - is strictly avoided in both these s. ALSDORF has comparatively higher figures for the last two forms. Nothing is remarkable regarding the forms of the 1. Tr.
Sr. 137 has an uncertain text and consequently it is not here taken into consideration. For its discussion see § 18.
§ 10. 8. FTPUMATTOT (FTAATEH). Occurrence : 82, 83, 85.
All other authorities except the CK. (10, 32, 39), the Gl. (78) and the TEI on the SR, treat this metre under the name #chaat. Generally it is defined as made up of four lines, each line having four qualas. No restriction is put as to the form of the mos. Only Ck. 10 says that all the four w s should

Page #108

GRAMMAR
be रगणs. ' But this appears to be an overstatement, since in the CK. itself two tagas-one forming a part of the strophe दायण (CR.32 ) and another in the allied strophe चंदार्याणि ( Cr. 39 ) do not abide by that rule. They have amphimacer (1) in the 4. only. And to this point our stanzas also subscribe. They regularly end in an amphimacer. The other three have various forms, but the forms ✓ and are studiedly avoided. This means that the middlemost mora of every is invariably short, which fact results in giving an amphimacer rhythm to the metre. The defining or illustrating stanza in a given by the Sc., GL. and KD. also bear out these results. Only the stanza in the Ch. neither regularly ends in, nor can it be said to have an amphimacer rhythm. It is obvious that in this case the Cк. presents one extreme, the Ch. the other. With this varying treament of कामिनीमोहन at one place as a मात्रवृत्त, at another as a वर्णवृत्त, cf. a similar treatment of for (see § 16).
59
There on SR. 82 names the metre as for which CK. 32 (with some variants) is quoted. Now, it is the metre defined and called at CK. 10 that is identical with the metre of SR. 82, etc., while CK. 32 deals not with
MET,
but with a strophe made up of a दोहा followed by a कामिनीमोहन. But SR. 82, 83, 85 are not strophes. So they aught to have been called, not, but at and accordingly instead of CK. 32, CK. 10 ought to have been quoted.
Against this it can be urged that though the constituted text of the CK. 32 cannot be made to support the view that calls SR. 82 a, still the text of CK. 32 as quoted by the has a variant for the first of the second line (for for अइकोमल जण° ) which obviously means that a कामिनीमोहन with or without being headed by a can be called . However, this cannot be the original reading, as it is not attested in any of the three 'good' Mss. used by VELANKAR for his edition of the CK. and besides, it strikes at the very root of the method of nomenclature in the CK., in accordance with which when it is prefixed
1 PP. II 127 defines a quia having fours to each line. But it is named there as लच्छीहर.

2 SR. 81 is a Ter, but it does not form a unit with the following aft from the view point of syntax or sense and hence it fails to make up a strophe,

Page #109

60
SAN DESARĀSAKA
with TIET Ort, the strophes so formed received the distinct names argor and are in turn and similarly the strophes der +9164 (CK. 31 ) and 727+ F172 (CK. 38) are named respectively as spesa and gisher. Thus it would seem that Sr. 82 ought not. to have been called fetgor.
This is quite reasonable. Yet there is also a definite point or two to show that at least in some quarters the name erau was in use instead of AIKA. For, in the later days of popular Apabhramsa poetry there appears to have developed a loose practice of applying the name that by rights belongs to the whole strophe, to some one of its parts also. Cf. § 19 for some such instances. In the case of the starto strophe also the same seems to have happened, since GL. 78 (probably an interpolation according to VELANKAR) defines the FIA DHEA under the name tierno (alternatively #paigart). $ 11.
9. gak (Fegat). Occurrence: 120.
All our metricians except artele have treated this metre. Its general scheme is: 6 + +4+4+4 tou +- (Ch. IV 14, in the asa section). By a statistical investigation of 100 91€s of the gags occurring as the opening stanza in the Ap. epic, ALSDORF obtains (see HP. p. 195) the following results: Trochaic rhythm is forbidden in the 1. TT, whose most frequent form is - - The 2. and the 6. TOT have the form v-v, less frequently
www. These forms are forbidden for the other 4-moraic Tots. There is a caesura after the 16. mora; in a few cases, however, it is lacking. The caesura is preceded, almost as a rule by two shorts and is followed by a long in majority of the cases.
Our gaf stanza differs from this description in certain details. The first to has the form vouw- in a b c, wv_vw in d. Only a and c have a caesura after the 16. mora. Similarly the gaš given at Gl. 81 is wanting twice in the caesura, that at So, VIII 37 and Ch. 32 a/15, once.
On the ground of the caesura after the 16. mora ALSDORF recasts the above-given scheme for the gas thus :
6+vw +6/6+v - One serious objection can be advanced against this regrouping of the morae. The principle behind the ATH is, as observed previously, this that the last mora of a preceding 70

Page #110

GRAMMAR
cannot be fused together with the opening mora of the succeeding to form a heavy syllable. - Expressed differently, a heavy syllable cannot appear for the two contiguous morae belonging to two different 70s. So in a gas, according to the traditional definition, a heavy syllable cannot be substituted for the 14.. and the 15. mora or for the 18. and the 19. mora taken together. This fact is : indicated by the representation 6+2 +4+4+4+ u-, while in the form given by ALSDORF it is obscured, since 6 stands for all the ten forms (including www-v) possible for the 2017 177.
A few words on the name gaß. ALSDORF finds it strange that in the face of the name gas (= faget), the Ch. (and now we can also add the Sc., the Gl., the Ck. and the Kd.) defines it as a metre of four yes. In his com. on Pp. 154, daftar discusses for a different reason, whether golf is a two-lined metre, or it is four-lined. VELANKAR has fully discussed this point at AM. II S 43. Vus. III enumerates and defines no less than 57 such four-lined Pegats and Hernacandra also knows all of them by their names (see Ch. p. 32a/18). But strangely enough, the sort of the faggat treated here does not figure in those 57. Our type has the two-lined form when it is used as the opening stanza of a Sandhi in the Ap. epic. But in lyrical compositions it appears to have the four-lined form as a rule. Cf. a similar distinction of employment in the case of पद्धडिका, वदनक etc. $ 12.
10. rafort (ThOfT+). Occurrence: 208.
is the sole authority to define this metre, Vus. IV 26 gives 5+5+4+4+v- as the -scheme of the ho 37. Our stanza confirms it.
A side-point is raised by Vus. III 27 and IV 89 which respectively define the two metres called सोम्मिआ (सौम्या) and riffsar nesen (sifolosanfear) both with the To-scheme 5+5+ 4+4+u-, which is identical with the scheme of the thor, and what is more strange, while defining the folosarilsat it is
1 Only the illustrative stanza (155) in the Pp. contains two €8. 2. Probably this is identical with the oferch (5+5+4+4+3, illustration
ending in v-) of Ch. IV 1 in the neck section,

Page #111

SAMDESARĀSAKA
2
expressly stated that this metre is similar to the afore and A ST! No where, however, it is made clear what is the exact difference between these three. Perhaps it may be that the metre with the scheme 5+5+4+4+w-when it functions technically as a four-lined faget, it receives the name II, while as an independent metre it is called for which be to the general class oft*. Cf. Ch. 31 b/8 and Kp. II 28 com.; इह हि गाथादण्डकादिवर्ज सर्वच्छन्दांसि यमकिताघ्रीणि सामान्येन गलितकानि..
From the single stanza at our disposal scarcely anything can be made out regarding the preferred and forbidden forms of the individual tops. The 4. et appears to have a tendency to prefer the form ww- and end in a long as a rule. The fu is permissible in the 1. 11. The great on SR. 208 says that possibly the afore metre is a variety of the 4 metre. The external sipiilarity of having 21 morae has proved here misleading
(b) Metres of the Dohă-type. § 13.
11. GIET ( Feqerr)." Occurrence : (independantly) 31, 69-71, 75-81, 88-89, 138, 150, 156; (as the latter part of 781) 18, 19, 24, 25, 222-223.
This is “the most current metre of the Ap. gnomic-didactic poetry and its position can be well described by calling it the Apabhramśa counterpart to the Prakrit 1991." It is made up of two equal hemistichs each of 24 morae, with the caesura after the 13. mora. The -scheme is 6+4+3/6+4+1.' Following are the details of the forms of the individual 4778. (Results obtained by JACOBI and ALSDORF through an analysis of the Dohäs occurring in other Ap. texts are also reproduced here from KP., p. 72 for comparison. Hem. stands for the Dohās in the Ap. portion of Hemacandra's Prakrit grammar).
Forms of the six-moraic :
1
The form 83 (V38, So.) confirms the derivation of the name from f444, against SHAHIDULLAH, p. 62. This is according to the tradition followed by the OK., PP. and Kp. On the other hand the V38., Sc., GL. and Ch. consider the final syllable of a K always to be long and hence they give 14+ 12 as the measure of the
T. Cf. Hp. pp. 188-189.

Page #112

(a) the middle always
wwwwww
1558
183339
--V
11177
11
(b) the middle always -/
W18
(c) only one of the middle two ~
11025
~~
1117
43
3333
wwww
1771
San.
KP.

12
11 Forms of the four-moraic
(a) in the even ч48:
5710
33371
173
--
SR.
20
16
13
(b) in the odd as:
GRAMMAR
w
173
SR. 27 (61%)
Hem.
The figures show that the percentage of the SR. for the (b) group is the highest, that for the (a) group, the lowest, while the abnormal forms of the (c) group are here totally absent. The preferred forms in the SR. are (the figures indicate percents)
31 (70%) 13 (30%)
Hem. San. KP.
wwww
62%
9 (22%) 27%
39%
22%
37%
1%
Hem.
13
16
30
8
10
67%
:
28%
5%
7(5%)
San.
13
21
11
The proportion is thus 73. The San. has 6: 2 and the KP., 7: 2.

8
12
62% 52%
31%
SR.
7% 0
48%
1 (2%)
5%
10%
18%
63
KP.
11
17
22
11
16

Page #113

64
SAMİDEŠARĀŠAKA
The three-moraic to is throughout w except twice: 70a qafore and 1560 7muft-both contraction-forms (see Grammar $$ 41 (c), 286)
The last mora is short without fail.
In a general way the practice of the stars in the Sr. is more akin to that of Hem., though we must hasten to state therewith that the Sr. has no case of 7-fusion as contrasted with Hem. which has ten such cases. Out of the two possible cases of 70fusion in the Sr., 81d (at are the i. e. 11 --dv-|) is only apparent as grammar requires the form iffs. The remaining 80c ( 707 f4 #f4 afsusk i. e. vuurus wwwfull) is doubtful as the text at that place is a bit uncertain. $ 14.
12. afect (agra).' Qocurrence : 112, 114.
Pp. 167 says that the elesetant is made by the addition of five morae to each half of a ater. The form of these five morae must be vvv. Accordingly the measure of the piczy would be 6+4+www/6+4 +ucuw. The Ck. und Kd. do not put any restriction on the form of this additional mar. but the illustration in the Ku. quite follows the prescription given by the Pp. and the com. on Cc. 26 makes it explicit that the additional q291 must be, according to the convention (1979), either a golot (--) or vvv. An examination of the form of the definitionillustration stanza CK. 26 makes it probable that the form --- has developed from v-vw through the contraction of the final two shorts into a long.
Our specimens have always vow, except once (1148 ATE 1707 i. e. wwwww).
In the assist at Hc. 419, 6 both the lines end in --ww and not in wu-vu. This is explicable, as ALSDORF notes (As. p. 52), on the ground that a long has got substituted for two shorts. Besides this हेमचन्द्र's चूलिआला has another noteworthy feature. As a rule ~~~ is forbidden in all the चतुर्मात्रs of the दोहा and चूलिआला
1 The com. on KD. II 17 gives the derivation of the name of whereby
the other names ara also explained. Because in this metre the attr is endowed with a crest (TT) or an appendage ( 3 ) in the form of the additional five morae, it is called the "orested" (aet). U or चूलिआ+ any of the possessive sufixes 'इलय or 'आल(य) gives चूडिल्लय or चूलिआला.

Page #114

METRE
65
being nothing but an extended दोहा — a 'crested' दोहा, it is naturally expected to abide by this restriction. But illustration has one चतुर्मात्र Vav, This appears to be a further development in the practice regarding the . Our stanzas do not take this freedom. Their Doha part is quite regular. 18. फुल्लय (फुल्लक) -
§ 15.
Occurrence: 108.
SR. 107 calls the next stanza 3. None of the metrical treatises to our hand know any metre of that name. Only Vлs. IV 63 treats a two-lined metre () with the scheme 4+4+4+4+4+--which, in spite of some difference in name appears to be identical with the metre of our stanza. VJs. 1V 27 defines a metre as 4+4+4+-+4+4+--. Though the -scheme is different from that of an ordinary, the structure of the stanza shows it to be a beyond any doubt. Following the tradition of treating the -ending syllable always long, we have here the measure of 14+12 instead of the usual 13+11, But the measures of theater and when rendered in accordance with the 'Bardic' tradition (which does not count the -ending syllable as necessarily long) would be 4+4+4+~+4+ 4+ -V and 4+4+4+4+4+. This can mean that an उत्फुल्लक line is just a दोहा line with one mora less in the prior पाद. Consequently an उत्फुल्लक is liable to be confused with a. दोहा. Precisely this appears to have been the result in the case of SR. 108.
The constituted text of SR. 108 presents it as a regular with 13+11 morae per line. If we want to make out an from it, we must reduce each hemistich by a mora. Possibly by reading हिउ' for हियउ and दहवि or दहिवि for दहेवि this can be achieved. Of course, it is to be assumed that the names (SR.) and 4 (VJs.) relate to the same metre. But obviously, for the exact definition of this metre we shall have to wait for explicitly informative sources.
(c) Metres with the Rhyme-type ab, de, cf. 14. डोमिलय.
$ 16.
Occurrence: 22-23, 95.
The 3 or 3 is known to the metricians of the 'Bardic' 13 is attested in the Dohākosas and sanctioned by Hc. I 269. 9 सं. रा.

Page #115

66
SAMDESARĀSAKA
group only. It is treated as a aiza (Cx. 16, PP. II 208 ) as also as a FETIT (PP. I 196-198). As a guy it is made ap of 8 ATS, with the first caesura after the 8. syllable and the second after the 16. This distribution of the caesurae has a rhythmic significance as it changes the anapaest rhythm of the middle portion to a dactylic one. This fact is indicated by the 10-scheme of the SAT of the A1277-type. It is 6+4/4+4/6+4+4. The difference between the face of the sun type and that of the HTZETT type is that the two shorts and one long in the non-final arts of the former are replaceable in the latter respectively by one long aud two shorts. In other words all other forms of a tha are permissible except the Fitur, But, as the two specimens from the Sr. show, in practice there is a strong tendency to preserve the rhythm of the aufger-type i. e. the opening and the close anapa estic, the middle dactylic.
In the case of one of our hors the fact that separate stanzanumbers (Sr. 22,23 ) are given for each half raises one issue. Ck. 43 defines a metre called as a four-lined A# metre with the scheme 18 (odd), 13(even). The rhyme in the lines of CK. 43 indicates that a caesura is to be recognised after the 10. mora, so that 10+8 (odd), 13(even) is the scheme. Further PP. 99 defines this very as a two-lined metre made up of 7 adulas and 3 shorts, with the caesurae after the 10. and the 18. mora. Now granting the liberty of considering the final syllable anceps, Sr. 22 or 23 (or any 1 i for that) is quite a good war. Perhaps it makes for a greater degree of precision to name the metre of SR. 22 and 23 77. But following the comm. here it is considered as a stasi, wrongly divided into two.
(d) Strophic Metres. $ 17. A strophic metre results from the combination of two stanzas in two (or more) different metres to form a unit. In the Sr. we have three strophic metres: , ary (three varieties), ESE54.
15. gr. Occurrence. 18, 19, 24, 25, 222, 223.
Of the two parts of the in the first receives the name 765 (should it be 1753 ?) in the Cr. (34). Svayambhū, Hemacandra and others call it A (191). atet forms the second part of

Page #116

67
this strophe. The whole strophe is called by all except the CK, which calls it, and the Ch. which gives both the names,
a) राढ़उ.
Aढ or has five lines, whose constitution varies according to the different varieties (seven according to the PP.) of this metre. But the Ck. knows its one variety only, viz., 15+11+15+11+15. This is of the PP. In the SR. we have this as well as the other variety with the constitution 15+12+15+11+15 (called aar). St.s 18, 19, 25 and 222 are fts while st.s 24 and 223 are gradas.
Regarding the -division of this metre, the PP. gives one scheme,, etc. give another and JACOBI and ALSDORF adopt a third-all different from one another! The -scheme given by the PP. does not work in the case of our stanzas. That given by and others incorporates a different tradition. So the scheme derived by JACOBI (San. pp. 21-24) and ALSDORF (KP. pp. 70-71) from a study of the s occurring in the San. and the KP. is here tried. The structure of our as conforms to that scheme except in one detail. Twice (25c, 223c) we have to assume -fusion in the case of the first two Ts of the third पाद. This can be avoided if 's T-scheme is adopted. The odd पादs :
The first
METRE
consists of 3 morae.
It is either or -. The last is made up of 5 morae which, in the case of the third and the fifth should have one of these two
forms: or .
is
and
The middle piece is divided into two us: 4+3 in the case of the first, 3+4 in the case of the third and the fifth. As to the form of these us, the form of the three-moraic almost exclusively preferred in the case of the third the fifths of ours. The first permits both as . The four-moraic is either first, but appears in all the four forms ( - preferred) in the third and the fifth पाद.
3 as well
174 or
in the
17
As remarked previously, there are two cases of -fusion: 25c opens as- and 223c as
The even पादs :--
The

11-moraic is divided as 4+4+3, the 12-moraic

Page #117

68
SAMDESARĀSAKA
(246, 2237) as 5+4+3. The last so is www without fail. In the 2. to the form vv- finds considerable favour.
b) alat. The clats forming the second part of the above-mentioned its have been already dealt with under & 13.
§ 18. 16. EM ( at ) or Eq3 (677). Occurrence: 137, 148, 183, 191, 199.
Normally, this strophe is made up of #l4l+FT. Out of these two the fact has been described under $9.
Due to the uncertainty of the text there is some difficulty in making out the metre of the first fiour lines of the st. 157. 137a and c containing 21 morae are clearly raries with the caesura after the 11. mora, 137d is also the same, with the caesura after the 12. mora. The remaining are 1370 containing 23 morae can be emended into a रासापाद by dropping दहइ (cf. व्याख्या on 1376: 7 Togra ceza a) and adding # (=z) after, say, STRATHEE, though the opening still appears dissatisfactory from a metrical view.point. Thus the first four lines seem to make up a regular tre stanza. The same is the case with 191. c and d, both cantaining 21 morae, with a pause after the 15. Now the KD., in the section dealing with the poets or six-lined metres, defines and illustrates (see KD. II 33; com. st.s 49 and 51 ) several strophes made up of वस्तुवदन (= our काव्य or वस्तुक) or रासावलय (a metre closely allied to our ) or their mixture on one hand and कर्पूर (= our उल्लाल) or कुङ्कुम (= उल्लाल less by a mora) on the other and षट्पद, सार्धच्छंद or काव्य are the general designations for all such strophes. In the light of this we can say that any is in our text a general designation of the six-lined strophes with any one of the following three types of combinations: Ft +Jan ( 148, 183, 199), Tal+Jalas (137), Floqlarauf + JETES (191). For the Ta see $ 5.
3815 The 28 morae of an gela-line have the scheme: 4+4+ 4+uwv/6+4 + www, The Ch. provides for the three shorts occurring at the end of the second part only, while the Pp. provides for neither of the two groups of three shorts. But both the parts of our stanzas end invariably in three shorts. According to the Ch., in the 1., 3. and 6. 7, the amphibrachys is forbidden and the 6-moraic out oonsists of two

Page #118

METRE
units: 2+4. In our stanzas the restriction holds good in the case of the 1. and the 6. , but it is once (199f) violated in the case of the 3. and and the 6. moraic in 199e in such as cannot be split up into 2+4. For the metrically defective lines see Metrical Emendations.
$ 19.
17. खडहडय.
Occurrence:
115-116.
There are onlyt wo sources-one known, the other unknownwhich can impart requisite information regarding this metre, and as usual the definitions given by them are at variance with each other. VJS. IV 731 says that when is
combined with the result is age. Thus the Vлs. treats E as a strophic metre. On the other hand the quotation from an unknown source given in the (on SR. 115) and the अवचूरिका (on Sr. 113 ) states that खडहडय known also as अतिवल्लभ contains twenty s which means that it is identical with
, having five as per line. So the name that the VJS. applies to the whole strophe is found given to only the first part of the strophe in the quotation just referred to. It may be observed passingly that this sort of looseness in naming a strophe and one of its parts is evidenced also in the case of a few other metres. The names वत्थु ( or वत्थुअ, see § 18 ), रड्डा (see § 17) and (or see § 10) are found applied to the whole strophes as also to their first parts.
In spite of the fact that the two parts of the strophe are separately numbered, our conforms to the definition given by the Vлs. and not with one quoted in the com. For, the sentence left incomplete in SR. 115 is completed in SR. 116. and thus SR. 115 and 116 together form one unit and if any shred of doubt still lingers, it is banished by the striking fact that the sey of SR. 115-116 is quite apparently patterned on the illustrative 3 stanza (perhaps a citation) at VJs. IV 74. See Appendix are treated respectively under § 24 and § 20,
I.
and
69
II Metres of the Gāthā type.
§ 20.
18. गाहा (गाथा ).
Occurrence: (independently) 1-17, 32-40, 72, 84, 90, 93,
1 भमरावलिआअन्तेगाहा जर दिज्जए पऊए ।
तं जाणह खडहडअं पुब्वकईहिं विणिद्दिट्ठम् ॥

Page #119

SAMDESARASAKA
126-129, 149, 152, 153, 172, 213, 221; (as the second part of खडहडय) 116.
70
The language of the mas is always
ring of Ap. forms. The normal scheme of the
first half
with a small spatteis
4+4+4/4+4+~~~~+4+
second half 4+4+4/4+4+~+4+
जगग being forbidden in the odd गणs. This variety with the caesura after the third is called qr, while the one without such a caesura is called fag. In our text in only the first half of st.s 6, 7, 16, 40, 84, 93, 126, 127, 153, 172 and 213 the caesura fails to recur after the 12. mora. Hence theses are of the garage variety. Similarly because in st. 152 the 12-moraic caesura is wanting in the second half only, it is of the faga variety. Lastly the caesura being absent from both the halves of st.s 72 and 116 they are of the age variety. The rest are पथ्याs.
11a and 152a are metrically defective. For them refer to Metrical Emendations.
$ 21.

19. खंधय (स्कंधक ) ?
Occurrence: 119.
The metre of SR. 119 is expressly named as () in the stanza just preceding it. But according to all metrical authorities at hand, a requires 32 morae for each half, while our stanza in the constituted text has (12+18=) 30 morae for each half, which fact entitles it to be called according to the Vлs. and PP., ff according to Hemacandra and others. There appears no way to remove this discrepancy. But there is some evidence from an unexpected source to make it probable that the name was current for such metres also which had (12+18) morae for each of their two halves, IV, 92 of हरिभद्रसूरि ́s धूर्ताख्यान ' is expressly called खंधओ in IV. 91. The metre of the stanza appears to be identical with that of our stanza, except that both the halves of IV. 92 But this fact is indicative that stanza, because
contain 29 morae instead of 30. of a defect, not a difference, in IV. 92a as well as b have not a as their sixth which fact would be a gross violation of the structure of the .
1 Ed. by Sri JINAVIJAYA MUNI, Singhi Jain Series, XIX, 1944.

Page #120

METRE
71
But one more short after the 13. mora would remove the defect and the number of morae would be brought up to 30 in both the helves.
B. quiers. $ 22. The language of all the following avans is Prakritised Apabhramśa.
20. Alfett. Occurrence : 100. This is the well-known metre with the scheme www wow --
w
$ 23.
21. Affor (afqaft). Occurrence : 171.
Only Vus. III 20 and the text and the comm. of the Sr. (st. 170d) support the name riferont (or igio). It is nothing but the commonly known alce with the scheme w-w
ww- i. e. 4 1705. Vus. IV 54 again defines this metre under the name fonte ( = ). The reason perhaps is that at III 20 it is treated as one of the facets, while at IV 54, independently. Compare the similar twofold treatment of Thuty (hum) and patiates (s) in the VJs. To define the metre of SR. 171, the 671641 on Sr. 171 and the 34a7k on Sr. 170 quote a stanza which is practically identical with Ck. 7, except one significant variant: the first qe of CK, 7 reads the name as atza, while the com.s read wifeoft in its stead. § 24.
22. HATTER (JATER). Occurrence: 173.
When atam is extended by a autor, we get tarafes. Thus it has 5 i per line. The Vjs. twice defines this metre, once as a fecat at III 21 with the special name fakta (it), and again independently at IV 61. Cf. Pp. II 154.
METRICAL EMENDATIONS BESET: · 157 a: one mora too many. Emend. : femaa (cf. B. fanaa, C. farsca) for fasadt.-c: one mora too many. Emend.: tato (C.) for रयणिअ.-d: one mora too many. Emend. : अरमणिय for अरमणीय.
158 b: one mora too few. Emend. : Juice (rhyming with FTNICE) for aviak.
159 c: one mora too few. Emend. : ht for g.

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SAMDESARĀSAKA
___167 0: सिंगारु stands for सिँगारु. cf. Hd. IV 388 करतु.
168 a: one mora too many. Emend.: As (A.) for fasse ?
169 e: one mora too many. Emend.: gafael (cf. Grammar, § 17 (b)) for goalete.
174 d: one mora too many. Emend. : quiat (cf. Hindi Thar) for quina ?
181 e: one mora too many. Emend. : ages for ag..-d: one mora too many. Emend. : fts for syfte.
43 a: one mora too few. Emend.: 9af2 (cf. B. gads) for पपसिइ.
44 d: one mora too many. Emend. : 3eTags for ofaz1313
47 c: One mora too few and the caesura falls after the 13. mora. Emend.: drop 7 (s0 C) and read P244-pateful (cf. B. Az E HISole and the stazka: A H -971-419) for निय-कोअणिहि.
54 d. : One mora too many. Emend. : Affe (A.; cf. B. Area) for meg.
65 a. One mora too many. Emend. : aisle (cf. arafete 139 ) for BERAT.
67 a.: One mora too few. Emend. : que fa (B.; A. has TIGE) for an
68 d.: One mora too many. Emend. : 37on is disturbing. If emended to sfar, it involves the fusion of the 5707 4. and 5. Acceptance of the reading in C. with the change of spareri to saree would rectify the metre.
978: One mora too few. Emend. : If, following the suggestion in the com.s (°रुद्धनिःश्वासया), we accept रुद्ध-निसास for रुद्ध-सास, the requisite number of 21 morae is made up.-d. One mora too many. Emend.: उतट्टि (cf. C. उत?) for उत्तट्ठि
103c: One mora too many. Emend. : 754 (C.) for 4.
1046: One mora too many. Emend.: 3pfes (C. cf. Metr. Emend, अडिल्ला 181d) for अडिल.. · 1050: One mora too few. The text is here considerably disturbed.
117a: Ingle, F has not the value of a conjunct. It is to be considered as a digraph for an aspirated . Hence t is not a heavy syllable. For this see Ck. 3; GL. 62, Ch. I, 5, KD. I, 6 etc.

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METRE
118 : ओ in विओइरिय is long. 123c: One mora too many. 1246. One mora too many. 1346: One mora too few. 135d: One mora too many. 140a: One mora too many. पेसिज्जइ.
144d. One mora too many. 145d: One mora too few. 147d: One mora too many.
Emend. (C.) for . Emend.: g (C.) for gg. Emend.: faster (A.) for fataka. Emend.: हुइ for हुई. Emend.: (cf. C. f) for
Emend. : किउ for कियउ Emend.: for ?
Emend.: f (cf. B. f) for
निद्द ?
Emend. -
151a: Two morae too many. (cf. B. faceferens) for fag-?-d. Three morae too few. Emend.: गहिवि ताम मइ (A.) for गहिवि मइ.
1546: One mora too many. 155a: One mora too many. But then the sense is affected.
185a: Two morae too many. Emend.: (C.) for and विरह - हवि (cf. A. हवि कड° ) for विरह - अग्गिण.
73
Emend. : मुइ for मुइय ?
Emend.: AB do not read a.
1876. Two morae too many. The caesura comes after the 13. mora. Emend. : लॅकरणि for लंकरणि and सँमीसियइ for संमी ?

As no
188d. The first and the second are fused together and the caesura does not fall after the 11. or the 12. mora. case of -fusion is known in the rs of our text, we are led to suspect the text here. Emend : ऊयारइ for उया and विछाइय for far against all the Mss. ?
192c. One mora too few.
डिउ झखडु and accordingly फरस (B) for 'फरसु. पडिया:
Emend. : उट्ठिय झखडा ( C ) for
200a: Two morae too few.-d: One mora too few. Emend.: विउयह (cf. C. विउइय) for विजयह.
201d: One mora too few. Emend. : णव-सर- रइ ( cf. व्याख्या : स[र] नव-रुचि - विशेषेण; अवचूरिका: रति-विशेषेण नव-सरांसि ) for नव-सरइ. more probable than, as haplographic dropping of the group is quite understandable.
रइ ig
from
202d : One mora too many. Emend. : सहियहि for सहीयहि . 203c: One mora too few. Emend.: faff for Two morae too many. Emend.: Drop (cf. B. silence of the com.s.) from
.
10 सं. रा.

fafa-d: and the

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74
SAMDESARĀSAKA
209c: One mora too few. Emend. : FIE (B.) for ghe. 211d: One mora too many. Emend. : FIETS (C.) for HTETTE. 214d: One mora too few. Emend. : quifq3 (B.) for us.
2196: One mora too many. Emend, : afare for ates. any or a :
1070: One mora too few. Emend.: rafaus (C.) for R. Proper rhyming requires the order of the last two words to be reversed. Accordingly we shall have ny stay rhyming with gefag in d.d. The 11. moraic caesura is wanting. We can have it if we accept दीहअच्छि ( A.; of. B. दीहच्छि) for दीहरच्छि.
1480: One mora too many. Emend. : mars (A.) for teatea.
183a: One mora too many. Emend. : f (B.; or fm?) for . कामिणीमोहण:___82ab : जंपिव्वउ and जाइव्वउ are to be read as जंपिन्वओ and जाइव्वओ. cafort :
2086: One mora too many. Can we drop fa? . But all the Mss. and both the com.s have it. as :
112a: One mora too many. Emend.: As the discrepancy seems to be in the opening (mark the exceptional form -v-), we should perhaps read attafor for 37.--6: One mora too few. Emend. : fot31153 for fors.'—d: One mora too many. Emend. : kiss for us to rhyme properly with forefice.
114d: Two morae too many. Eviend. : quy for $92887 and तुल्लु for तुल्लउ? . 375:
148e: Two morae too few. The shortage is felt just before the caesura, so that the part preceding the caesura has 13 instead of 15 morae.
183e: One mora too few. The part following the caesura has 12 istead of 13 morae. Bilo in aitafes is long.
1998: One mora too few. Emend. : galbefore for 59[54fo? TT:
11a: One mora too few. Emend.: The part following the caesura contains 17 instead of 18 morae. scales for all removes the discrepancy. cf. Hc, II 97.
1276: 37| in it is short.

Page #124

1-17
18-19
20-21
22 + 23
24-25
रड्डा
26-30
रासा
31
दोहा
32-40 गाहा
41-58
रासा
59-63
पद्धडिया
64-68 रासा
69-71
दोहा
72
TABLE SHOWING THE METRE OF ALL THE STANZAS OF
THE SR. IN SEQUENCE.
73-81
82-83
84
85
86-87
88-89
90
91-92
93
94
95

गाहा
रड्डा
पद्धडिया
डोमिलय
गाहा
दोहा
कामिणी मोहण
गाहा
कामिणीमोहण
उपया (?)
दोहा
गाहा
रासा
गाहा
वरथु
डोमिलय
96-99
रासा
100 101-103 104ab 1040- f अडिला (यमित ) 105-107
रासा
रासा
108 109-110
111
112
113
114
115-116
रासा मालिणी
फुलय
रासा
मडिला
METRE
चूडिल्लय
रासा
चूडिल्लय
खडड्डय
117-118
119
120
121-125
126-129
130-136
137
138
139-147
148
149
150
151
152-153
154-155
156
157-170
171
172
173
174-181
182
183 184-190 191 192-198 199
200-203
204 205-207 208 209-212 213
214-220
221
222-223

रासा
खंधय (?)
दुवइ
रासा
गाहा
रासा
चरथु
दोहा
रासा
वस्थु
गाहा
दोहा
रासा
गाहा
रासा
दोहा
अडिला (अयमित )
नंदिणी
गाहा
भमरावली
भडिल्ला (अमित)
अडिल्ला (यमित )
वत्थु
रासा
वत्थु
रासा
वत्थु
पडिया
लंकोड (?)
पडिया
रमणिज
पडिया
गाहा
पद्धडिया
75
गाहा
रड्डा

Page #125

SAMDESARASAKA
III FORM AND STRUCTURE
As stated at the beginning, there is not one but several aspects from which the SR. proves to be of considerable importance and interest. In the present section we shall consider the literary form of the SR. which is so novel as to bestow on it the distinction of being the first Ap. text of its kind published so far." As the title of the SR. indicates, it is a type of poetic composition. By this one would be instantly reminded of the compositions whose exuberance in the Old Western Rajasthani literature is so remarkable. But the form of the present is, as the treatment below indicates, altogether different from that of the OwR. Ais.
76
There are two prosodists who at all take any notice of the form. The addition they make to our knowledge, though meagre, is quite welcome in view of the general paucity of information relating to the structural side of the Ap. poetry." Of these two prosodists one is far. The portion IV 27 to IV 38 of his evidently, though not expressly, deals with a few Ap. metres, strictly so called. This small section, after treating दोहा, मागधिका, मात्रा, रड्डा, अडिल्ला and ढोसा ends up by defining the form at 37-38. We come to know from this that two different types of were familiar to far. VJs. IV 37 says that रासक is constituted with विस्तारितकs or द्विपदीs closed with विदारी. All these peculiar terms are defined by far at the beginning of the II of the Vлs. But our concern is with the second type of रासक, treated at IV 38,8 There we are told that that which is built up with many अsिors or दुवहअs, with many मात्राs, रड्डाs and ढोसाs is called by the name रासक. A definition essentially similar but supplementary in details is advanced by स्वयंभू. In his स्वयंभूच्छंदस् while closing the treatment of Ap. metres, he thinks his worthwhile to say something regarding the form and the last four stanzas (VIII 49-52) of the Sc. are devoted
1 The उपदेशरसायनरास of जिनदत्तसूरि published in the अपभ्रंशकाव्यत्रयी ( GOS. XXXVII) is on the lines of the OwR. TITS. cf. also Kr. pp. 34-35.
2
Of course, to some degree we have to make an exception of the Epic, which the Sc. and the Ch. treat at considerable length, though here also much is still left desired.
3 अडिलाहिं दुवइएहिं व मत्ता रडहिं तह अ ढोसाहिं । बहुएहिं जो रइज्जइ सो भण्णइ रासओ णाम ||

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FORM AND STRUCTURE
to that end. At VIII 49 it is said that in poetry the composition with its घत्ताs, छडणिअs, पद्धडियाs and other choice metres proves of great charm to the people. But immediately following this is defined' a 21-moraic metre called which probably suggests that this particular metre found special preference in the compositions. Sc. 51-52 give illustrations of this रासाछंद.
It requires little effort to show that all the above-detailed features of the form are evidenced in essence by the SR. A glance at the Table of Metres given on p. 75 would suffice to find out that our text has got अडिलाs, दोहाs, रडाs and गाहाs, as also डुमिला, पद्धडियाs and some fifteen other metres ( cf. सु-अण्ण-रूएहिं of the Sc.). Besides, the main body of the SR. is built up with a 21-moraic metre, which is closely allied to the of the Sc. Thus we see that all the characteristics of the form as laid down by the prosodists are amply borne out by the SR. The 223 stanzas of the SR. are distributed in three sections called प्रक्रम. But this division rests entirely on the development of the theme of the composition and unlike the f of the AP. epic it is not something essential to the form of the S. Like पूर्वमेघ and उत्तरमेघ of the मेघदूत these प्रक्रमs indicate a turn in the development of the poetic theme. Thus the first 4 of the SR. is prefatory or introductory. With the second begins the theme proper, while the third occupies itself with qui in the context of a fat and brings the theme to a close.
77
One small point worth noting is the use of two-lined stanzas (er) and six-lined stanzas (cf. foot-note 52). Stanzas 58, 63,
1 घत्ता छड्डुणिआहिं पद्धडिआ[ हिं ] सु-अण्णरूएहिं ।
रामाबंधी कब्वे जण-मण-अहिरामो (मओ ? ) होइ ॥
2 एकवीस मचाणिह णउ उद्दामगिरु । चउदसार विस्सामहो भगणविरह थिरु ॥
रासाबंधु समिद्धु एउ अहिरामअरु | लहुअतिअल अवसाण विरइअमहुर अरु |
The text appears corrupt and obscure at several places.
3 There is slight irregularity in the numbering of the stanzas. 22 and 23 are possibly two halves of a . Similarly 115 and 116 together make up the strophe ass. Further 38, 73 and 143 are clear interpolations. On the other hand 104ab, 113ef, 117ef, 118ef aught to bear separate stanza-numbers in the light of 58, 74, 125 etc., unless that in the case of 113ef, 117ef and 118ef we have to consider them, in spite of the want of sentence-connexion, as six-lined stanzas.

4 In Early Guj. (the y compositions) and Dingal (e. g. af farmit) literatures this is a favoured topic.
5 Of course in the simple metre. Here there is no talk of the strophes.

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SAMDESARĀSAKA
74, 104ab, 125, 155, 190, 198, 207 and 220 illustrate the former and stanzas 113, 117 and 118 illustrate the latter. We find here the g (e. g. at 133-134, 168-169) and the t (at 121-125) also, though in view of the lack of sentenceconnexion between 121-125, the last-named cannot be properly so called.
IV SUMMARY OF THE CONTENTS
FIRST STRIDE
He who has created all this: the ocean, earth, mountains trees and heavenly bodies-may He, O wise ones, bless you (1). Bow down, O gentlemen, to that Creator to whom men, semigods and gods, as also the sun and the moon pay obeisance (2). In the western tract the Mleccha country is known of old. There was one Mirasena, a weaver, whose illustrious son Addahamāņa (i. e. Abdala Rahamana), famous for his Prakrit poems and songs, has composed this Samdeśarāsaka (3-4). Homage to the great poet-scholars of yore, who were well-versed in grammar, prepared treatises of prosody and wrote good poetry adorned with grammar and metres in the Avahaṭṭaya, Sanskrit, Prakrit and Paisacika languages (5-6). As it is them that we succeed, who would appreciate the inferior verse of poets like us, ignorant of the sacred texts and grammar? (7). But perhaps there is no harm. For, though the moon shines at night, are the lamps not lit in the houses on that account? (8). Because the cuckoos sing on the tree-top with charm and appeal, should the crows on the house-roofs give up their cawings? (9). If we heard sweet lute played upon by delicate fingers, should that be any bar to our hearing the drums and tabors at female-sports? (10). If the Airavata elephant in rut emits highly fragrant ichor, should that stop other elephants from rutting? (11). If the Pārijāta spreading aroma with its variegated, richly fragrant flowers blooms in Indra's palace, should therefore other flowers cease blooming? (12). If the Ganges making her stately appearance in the three worlds proceeds towards the sea, would that be any reason why other rivers also should not do the same? (13). Because the lotus plant in a limpid lake blooms at sunrise, should therefore the gourd on the hedge forsake blooming? (14). If a youthful lady flushed with passion dances in the classical style, should that debar an effusive

•

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SUMMARY
79
yokel from dancing to the palm-beats? (15). If the rice-pudding with profuse milk effervesces bouncingly, does that mean that the rough branny gruel should stop its sputterings? (16). Whatever one's poetic.powers, one must declare them unabashed, If the four-faced god Brahman spoke, is that any reason for others to be reticent? (17).
There is not one such work of good poetry in this wide world as is not known to you, O wise ones. Hence which of you would tarry to lend an ear to the insipid, grace-lacking compositions of an ignoramus like myself? Still it may turn out like this: when men of taste, being hard-pressed, find betel-leaves beyond their reach, they have somehow to get consoled with the modest Satapatri (18). So, considering that this Saṁdeśarāsaka which is to broadcast his poetic talent and learning is composed and published by the weaver with a naive and curious heart, you please listen with indulgence for a short while to the crude utterings of this humble person (19). If anybody chances to come across my work, I request him not to recite it either before the learned ( who would not stand such stuff), or before the stupid (who would surely fail to understand it), but by all means before a person of medium calibre (20-21). So now listen to this charmer-this leading light of the loveminded, to this veritable cupid for the separated, to this revivifier of love's sentiment. Uttered so affectionately, it is full of love's aroma, it is a stream of nectar to the ear and only he who is proficient in ars cmoris càn grasp its full significance (22-23)
SECOND STRIDE
With down-cast looks and an unceasing stream of tears, a full-bosomed, slender-waisted belle of Vijayanagara stood beholding her husband with her mind's eye. Her fair body was darkened by the fire of separation-like the moon eclipsed by Rāhu( 24). Shaken by her grief she yawned, and wept, and writhed her body. While thus bewailing, she saw a traveller passing by (25). At this, longing for her husband as she was, she so hastened towards the traveller as to make her girdle creep down with tinkles (26). As she fastened it up her necklace got torn asunder, and as she was picking up some of the pearls, her feet got entangled in the anklets and she

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80
SANDESARĀSAKA fell down (27). Perplexed and abashed, she got up in confusion, her breast-cloth torn in places. With veiling hands over the breasts (as lotuses on golden pitchers ), she at last reached the traveller and uttered with pathetic eyes and a faltering voice these words (29): “O do tarry a while and kindly listen to what I say." These words drew the traveller's attention and he halted ( 30). On beholding her--a treasure-house of beauty, a si creation, a Cupid's weapon, he uttered eight Gāthās. (31): . .
“The ripple-like curly hair of this lady has the blackness of a bee-swarm( 32). The face is but a reflex of the fullmoon : bright, nectarious, spotless (33). The eyes are lotuspetals and the cheeks, two clusters of pomegranate flowers (34). The arms are delicate lotus-stalks and the hands, two halved lotuses at their ends ( 35). The breasts are firm, lofty, soothing (36). The circular navel is deep like an eddy in a highland river and the waist, extremely slender (37). The toes appear like rubies; their nails, like marble pieces; the line of hair on them, like lotus-fibres (39). The Creator has fashioned her limbs after the likeness of or perhaps even surpassing—the limbs of the goddess Pārvati. So who would blame the poets for repeating themselves, seeing that even the creator does the same? (40).”
As that lady of swan's gait heard these Gāthās she felt shy. She asked the traveller: “Whence do you come ? Whither do you go?” (41 ). The traveller said: “O fair dame, there is a city called Sāmora (i. e. Śāmbapura) adorned with white ramparts and triple fortifications and full of well-mannered citizens, all of them learned ( 42). If in the company of clever persons we take a stroll in the city, sweet melodies of Prakrit songs greet our ears. At places the Vedas are expounded by experts; somewhere the Rāsaka is staged by the actors (43). Somewhere the Sudayavatsa story is narrated, in another place the Nala episode; in yet another is recited the Bhārata epic with various diversions. In some quarters selfless Brāhmaṇas are uttering benedictions; in others the Rāmāyaṇa is eulogised ( 44). Some hear flute, lute, drums or tabors; some, the strains of melodies. Somewhere attractive dancing girls are performing rhythmic movements (45). Troupes of actors are giving wonderful dramatic performances and one who enters the courtezan locality would simply swoon in fascination. For there, some

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SUMMARY
81
courtesans with elephant's gait move ruffled through intoxication. Others' diamond earrings dangle about their ears ( 46). In the case of another one all the while one wonders how her waist does not break under the weight of her heavy, lofty, compact 'breasts. One of them smiles towards another with eyes slightly salved with collyrium, eloquent with passion and looking aslant ( 47). When another one releases a peal of laughter, it appears as if the sun and the moon are shining from her cheeks. Another one's breasts have a thick plaster of musk, while still another's forehead is adorned with a fine Tilaka (48). Another one's necklace of big pearls, failing to get a resting place, dangles on the peak of her breasts. Another one's deep round navel-hole appears encircled by waves in the form of the three folds on the belly ( 49). In the case of another one, because of the weight of the hips the creaking of shoes dies out only lingeringly. When yet another utters some delicious words, her teeth crimsoned with betel-juice appear like a row of diamonds (50). When another one laughs, her nether lip, arms and hands all become invested with charm. Some one's finger-nails are spotless and bright, while another's cheeks. are like petals of pomegranate flowers (51). Another one's soft eye-brows remind one of Cupid's stretched bow. Some one's anklets give out a sonorous jingling, while some one's jewelled girdle produces a recurrent tinkling (52). When another one's sportive movements make her sandals give out prolonged ci it produces an impression of shrill notes of cranes at the advent of autupin. So also when another one sweetly hums the Pañoama note, it seems as if Tumbaru tuned his instruments for performance before gods ( 53 ). In this way as the passers-by are engaged in observing the beauty of one after another, their steps falter on the road rendered scarlet with betel-juice. And if one chances to wander beyond the precincts of the oity, he sees such a variety of gardens as to forget the mansions altogether (54). There are Dhallas, Kundas, Satapatrikās and other countless trees (55-63). There are other strange trees also. The combined shadows of these trees making up a dense thicket stretch to the length of ten Yojanas (64). In the city of Sāmora the Tapanatirtha is famous in all quarters. It is also well-known as Mūlasthāna. Thence my master has sent me as a message-carrier and for that reason I am proceeding to Stambhatīrtha" (65).
11 . .

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At these words that handsome lady sighed deeply. She oracked her fingers. She quivered like plaintain in a high blast. She stammered something bewailingly. She wept. Drying the eyes, she said:" O traveller, my body is shattered at the mention of Stambhatirtha. For it is there that my husband is staying who is so cruel as not to return after such a long period (67). If you kindly stop a while, I shall say a few modest words by way of message to my loved one." The traveller said; "O fair dame with sorrowful eyes, you appear much dejected. What is the use of weeping? Say your message" (68). The lady said: "With what heart shall I send the message to one whose departure from hence has only stopped short of reducing me to an ash-heap? (69). Moreover, I am ashamed to send the message because neither I accompanied him when he left, nor did I die during his separation (70). But if I remain silent through shame, my heart would break. So, appease him by reciting this Gatha (71): 'My limbs shattered by the strokes of your separation do not fall asunder because, O my lord, they subsist on the hope of meeting you to-day or tomorrow (72).' After reciting this you tell him these five Dohas with due politeness (74): 'Even though afflicted by the fire of separation, it would be unbecoming to me, who always bear you in the heart, to die and thus part your company (75). Disregarding your presence in my heart, this Separation distresses the body. But for the high-minded an affront at the hand of others is more painful than death (76). How is it that I am suffering humiliation, though you with your inexhaustible manhood are there as my husband? The very limbs that gave you enjoyment are now burnt by Separation (77). Though I have been subject to unremitting attacks from Cupid, it is only my body that has been shattered; the heart is not injured because of your presence there (78). I lack strength sufficient to cope with Separation. Hence my wailings. Cowherdesses can but cry; it is for the owner to bring back the stolen herds (79). The message I intend to send is too lengthy for words. Tell my loved one, now my two hands together can pass through a bracelet and that the ring in the little finger can now be worn on my arm! (80-81)'."
82
The traveller wishing to resume his journey shortly. said: "I have to traverse a very difficult path; so speak

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out any thing else that is to be conveyed" (82). At these words, pierced by Cupid's arrows as she was, she sighed heavily and with tearful eyes recited this Gatha (83): "These shameless eyes never cease pouring down tears, but the result is, the fire of separation instead of being put out flames up more and more like the conflagration in the Khaṇḍava forest (84)." After reciting this Gatha that lovely lady of sorry plight felt much aggrieved. She said: "Convey these two Catuspadis to him who is ruthless enough to banish all our conjugal delights (85): I fell in a trance while thinking of you. Not for a moment my left hand is relieved of my head resting thereon. Scarcely do I leave the bed. Thus, O Kāpālika, I have been turned into a Kapalini due to your separation (86). Faded is my lustre, sunken my body; the locks dangle about in disarray; pallor has pervaded the face; the gait has become languid, ungainly; and a dinginess has enveloped my loveliness. Thus, O demon, I have been turned into a demoness owing to your separation (87)'. As you are in a hurry to go, I cannot give a written letter for him. So kindly convey to him this Doha and Gāthā (88). The separation-fire must have sprung from the Marine Fire; for the more it is sprinkled with heavy tears, the more fiercely does it blaze up (89). The fair lady continuing to get reduced through long, hot sighs would have certainly succumbed, if she had not been sprinkled with gushes of tears (90)"".
SUMMARY
"6
The traveller said: "O fair dame, now permit me to depart. Or tell me if there is any thing further to be conveyed". She said: Why, surely I have more to say. But of what avail can prove a message addressed to one whose indifference towards me and ambition for wealth have left me so lonely and suffering? The message is long and you are in a hurry. Tell my husband this Gāthā, Vastu and Domilaka (91-92): Formerly even the necklace was not allowed to obstruct our close embrace. But now ocean, rivers, mountains, trees and castles are lying between us (93). There are ladies who after a yearningful and distressing period of separation are about to reunite with their husbands. Being agitated at the union at hand they would enjoy in dream happy embrace, kisses and other pleasures with their husbands. But since your leaving, I.

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have not even slept; then where lies the possibility of the pleasure of union in dreams? (94). What shall I say regarding myself-I, who am weeping, pining day and night for the union with my loved one and reducing my body extremely? Fixing my mind lovingly on him, I address him for a moment under delusion: That thief of Separation has robbed me of my belongings in the form of toilette. To whom shall I go for refuge? (95)." Saying this Domilaka she became motionless for a while, not saying anything or seeing anybody. She appeared just like a wall-picture (96). She felt choked and confused. Recalling the pleasure of the former union with her loved one, she became pierced with Cupid's arrows. Like a deer frightened at the twang of the bow-string, she threw a side-glance towards the traveller (97).
84
The traveller said: "Compose yourself for a while and wipe your charming face." Bashful, she wiped her face and said (98): "O traveller, my strength proves of no avail against Cupid. Moreover, faultless though I am, my husband has grown indifferent to me. Devoid of love, inconstant, he has no idea of the anguish he causes to others. Recite a Mālinī to that rogue (99): At the close of our amorous sports had I but known that my happiness was to disappear, I would have preserved one jarful of fresh love that was then overflowing, and would have now immersed therein your unloving heart (100). If a cloth looses its raga, it can be dyed afresh. If the body is without sneha it can be annointed. If one loses money, it can be won back. But when the loved one's heart becomes devoid of raga, how, O traveller, can it be changed?" (101). The traveller said: "Steady your mind. Stop the flood of tears from your eyes. The travellers go abroad on many a business and they do not return until their purpose is attained (102). Moreover, wandering in alien countries, they are attacked by Cupid and remembering their wives, they become overwhelmed with separation. Thus they also like yourself, O young lady, finding the grief of separation from their beloved unbearable, get much emaciated" (103). Hearing these words that fair lady recited an Aḍilla: "Though he has, I deem, no love for me, still, O traveller, deliver this massage to my husband: The fire of separation having enveloped the body waist upwards, burns my heart till the close of night (104).

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Struck by Cupid's weapon, I cannot speak at length but do tell him everything concerning this plight of mine : boredom resulting from the aching limbs, keeping awake through nights, ruffled gait owing to langour, hair unbraided and without flowers and collyrium trickling down on the cheeks. The flesh that my body puts on at the hope of being united with the loved one, is again lost, tormented by the fire of separation (105-6). Sprinkled by the waters of hope on the one hand, and tormented by the heat of separation on the other, I am neither living, nor dying but am just remaining inflamed". At this juncture, she, wiping her eyes, said a Phullaka (107): "My heart like a goldsmith longs for the dear one. It burns my body in the fire of separation and then sprinkles it with the water of hope" (108).
SUMMARY
The traveller said: "As I am due to start, please check your tears so that no inauspiciousness may arise". The lady said: "Let your going be accomplished according to your wish. In fact, I did not weep. Only my eyes dripped due to the smoke of separation-fire" (109). The traveller said: "As the sun is about to set, finish your message quickly and allow me to depart". The lady said: "Let you, O traveller, set out in all auspiciousness. Further say to my loved one a Maḍilla and a Cuḍillaka (110). Due to hot, prolonged sighings the body has languished, but not so the flood of tears. Released, my heart landed on a foreign soil, just as a moth falls into a light (111). It is ordained of yore that only days grow longer in the Summer Solstice, while only nights do the same in the Winter Solstice. But this is indeed a third type, the 'Separation Solstice', wherein both days and nights grow longer' (112). O traveller, the day has come to a close. So postpone your leaving, and spending the night here, start at daybreak". The traveller said: "O fair-lipped dame, sunshine blazes during the day-time and my task is urgent. So I must set out immediately. The lady said: "If you are not to stay, then tell my loved one a Cuḍillaka and a Khaḍahaḍaka with Gāthā (118): We have profited by your going abroad. We have got a boon to live for ever. For, due to your separation, one day has assumed the proportions of an year (114). Since the heart is deranged through separation, since I am out and out afflicted with Cupid's arrows, since the eyes are engaged

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in pouring tears down the cheeks and since the passion is constantly blooming in the mind, how can I get relief and sleep even at night? It is surprising that though separated from their loved one, ladies can live even for some days?" (115–116).
The traveller said: “O fair lady, I shall convey whatever you did say and in addition to that, what I have myself seen. You now return to your residence and I shall take to the road. The sun has set. Darkness has parvaded the east. Because of a difficult and perillous path, the night-journey is troublesome" (117). Hearing the traveller's words she heaved a hot, prolonged sigh. The tear-particles on her cheeks appeared like pearls on coral heaps. Crying and bewailing she said: “Tell my husband a Skandhaka and a Dvipadi (118): "My heart is a jewel-treasuring ocean. It is always churned by the great Mandara mountain in the form of Separation and thus all the jewells in the form of happiness are taken out (119). The fire of separation, fanned by Cupid is incessantly blazing within my heart giving forth ashes in the form of restlessness. It scorches and terrifies. It makes me sigh longingly (120)'."
On hearing these words the traveller was touched. He said: “Patiently enlighten me on the questions I am just putting to you (121). Since when has your face, conquering in beauty even the serene-rayed and nectareous autumnal moon, has been enveloped in the smoke of the separation-fire? (122). Since when are you like this, with your lovely, penetrating eyes pining, with your plaintain-delicate body withering, with your swan-like sportive gait vanishing ? (123). Why do you thus give yourself up to grief and get the body cut through with the saw of separation? Since when has your husband gone abroad so that your mind is pierced with the shafts of Cupid ? (124)". At this she recited four Gāthās (125): "O traveller, what is the use of asking the day of separation whenceforth my happiness vanished and misery began? (126). What is the use of recalling that day which ignited the fire of separation? Away even with its mention! (127). I am restless since the day of his leaving. The time is felt as painful as death. Let that summer when my husband left me, be consumed by its own fire and let he who has sapped ue, be himself sapped by the Malaya wind. (128-129).

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NUMMARY
87
THIRD STRIDB
Summer. It was at the advent of summer, O traveller, thạt my husband left, and gone with him was all my happiness. As I returned after seeing him off, I was much agitated (130). Torn by restlessness, yearning and misery, lovelorn, I found the Malaya wind unbearable. The scorching sun-rays blazed piercingly. They burnt the wild grass on the earth (131). Flames darted in the sky like Death's tongues. The surface of the earth became parched. The hot blast that was blowing scorched the bodies of women in separation (132). Cātakas cried for fresh clouds. Rivers carried a slender stream. Parrots swung on the leaves of gorgeous mango-trees, bent down with fruits and fluttering like the ears of an elephant. Their ahirpings made me feel helpless (133-134). The sandal paşte besmeared on the bosom for coolness, contrarily heated the breasts, as previously it had contact with serpents. The neoklaces and garlands that were put on, were felt flaming-hot (135). The lotus-petals spread on the bed for comfort rather doubled my agony. Thus restless in the bed, I falteringly recited a Vastu and a Dohā (136): "The lotuses blooming under the sun-rays are naturally heat-emitting. The moon being a cognate of poison would not give pleasure. Sandal-paste bearing snake bites wears down the body. The necklace also throws salt as it were in the wounds made by Cupid's shafts. Lotuses, moon, sandal-paste and jewels are praised in the world as cooling anodynes. But none of them can extinguish the fire of separation. Instead, they prove more tormenting to the body (137). People apply camphor and sandal-paste on the body. But it is futile. Only the loved one can put down the fire caused by his separation (138).'
The Rains. ... Somehow I passed the hot summer. The rains came, but not my shameless husband. The four quarters were overcast with thick-lying darkness. Clouds thundered with rage in the sky (139). Roads were descerned only by terrific flashes of lightning. Cātakas satiated with the water cried gaily. The row of cranes passing below the fresh clouds appeared charming (140.). Heated by the summer rays the

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waters from the clouds flooded the rivers. Shoes in hand, the travellers waded through the waters. Each step futher on the way could be taken only when lightning flashed (141). Waves roared in the rivers which were rendered uncrossable owing to incessant undulations. Travellers halted midway, and if business still forced them to travel, then boats were used, not horses (142). Leaving pools, cranes mounted on tree-tops. Peacocks danced and cried on mountain peaks. Frogs croaked harshly in waters. Cuckoos chirped on mango-trees (144). Everywhere paths were blocked by huge snakes or by big masses of water. The Paṭala flowers were destroyed at the impact of water-waves. Swans cried piteously on mountain-tops (145). Herds of cows climbed up the ridges (?). Gay cowherdesses were merry-making with their husbands. Covered with verdure, the earth alround was redolent of the Kadamba flowers. Cupid injected more aches in everyone of my limbs (146). Miserably wallowing in bed, pierced by the hum of bees, and passing the nights winkless and full of anguish, I composed a Vastu, a Gāthā and a Dohā (147): Dark, thundering clouds have overspread the sky in all quarters. The flickers of lightning are accompanied by crackling sounds. The frightful croaking of frogs is intolerable. How am I to put up with the continuous, heavy down-pour, with the shrill notes of cuckoos? (148). At the coming of rains, the fire of summer was put down with showers; but, O wonder! the fire of separation burnt in my heart with increased vehemence (149). Though my breasts are scalded with tears, the pearls of my necklace do not feel ashamed at this calamity of their neighbours! (150).' Languid through separation, miserable and given up to confusion, I saw my husband in a dream and I grasped his hand and said (151): Does it become the nobly-born to go away leaving behind his beloved in this season of crackling flashes and clashing clouds? (152). The rainy-season is, O dear one, unbearable on account of the fresh clouds, the rainbow, Indragopas and the reddened quarters (153).' As I awoke with a choked throat, I realised where my loved one was and where I was. At that moment, I did not die because, to be sure, I was fashioned from insensitive rock. Likewise my heart did not break, because surely it was fashioned from adamant (154). Groaning like a frog, in a feeble voice, I recited this Doha at the close of a night (155): O Night,

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SUMMARY
89
the slander that sticks to you is so huge as it cannot be contained even by the three worlds. For, you become fourfold when there is misery, but shrink down when there is happiness' (156).
Autumn.
Bewailing thus and singing songs and reciting Prakrit poems, I somehow reached the end of the rainy season. The nights that become lovely owing to the loved one's wooing were like a saw to me (157). I spent them keeping awake and supporting life with the hope of my husband's arrival. Leaving the bed early and cherishing the memory of my loved one I looked towards the South and the star Canopus was spotted. At once I knew that the rains had passed. And still my husband had not returned! (158-159). Cranes disappeared from the sky. Beautiful constellations could now be seen at night. Snakes went underground. Clear moonlight streamed at night (160). The lake-water was adorned with lotuses. Rivers were full of ripples. Lakes now regained beauty which they had lost in summer (161). Swans drank honey from the lotuses and chirped sweetly. The Satapatris filled up the world with their luxuriant growth. The streamlets flowed again towards the main water-basin (162). Shores of lakes looked charming due to the conch-white Kāśa grass and rows of birds (163). One's reflection could be seen in the limpid water. I could not bear the cry of Krauñcas and at the arrival of the swans I felt myself unable to carry on existencedying (164). With the reducing waters, I also got reduced. With the glowing fire-flies my body also glowed with heat (?). 'O cranes, your shrill notes remind me of my long-standing misery. You cruel ones, stop your cries, which make the ladies in separation dejected'. Thus I addressed each of them patheti cally, but nobody steadied me even for a while (165-166).
Those ladies whose husbands are at home, put on ornaments and variegated garments and they dance Rasas with them in the streets (167). Making a fine Tilaka mark on the fore-head, besmearing the body with saffron and sandal-paste, moving with the sport-case in hand and singing charming, divine melodies, these ladies devoutly burn incense in their cowsheds and stables. Seeing this I was downcast, as my hope was frustrated (168-169). Then I beheld the directions putting on 12 सं. रा.

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more attractive hues. The flames of separation flared up in my mind and enveloped me. I recited a Nandini, a Gatha and a Bhramaravali (170): With their throats clear and astringent due to the fresh lotus-fibres, swans and Cakravākas scream in the water and move in a wonderful manner-as if, one heard the shrill tinkling of the anklets of the Autumnal Beauty (171). In the month of Aśvina, the cries of the cranes in the rivers that flowed with a stumbling velocity made me weep again with grief (172). In the moon-lit nights, the white, lofty ramparts looked lovely. I wallowed in my lonely bed, crying, as if I were struck with Death's blow (173).
90
The shores of lakes were pleasant because of the ladies sporting there with their husbands. Youngsters occupied themselves with games. Drums were beaten in every house (174). Boys danced in a circle and sauntered through streets playing music. Beds were graced with the presence of young ladies (175). On the Dipavali night mansions were decorated with lights resembling the crescent moon. Ladies applied collyrium to their eyes (176). Darkcoloured garments were put on. Various wavy lines and curves
were drawn as decorations on the bosom. The breasts were besmeared with musk (177). To every limb thick sandal-paste was applied. But it worked as poison from Cupid's arrows. Flowers worn artistically on the head gave the appearance of the half-moon mounted on a black cloud (?) (178). The betel-roll with a good deal of camphor was placed in the mouth, which then resembled the rising sun. Toilette was done in hurry and confusion. Tinkling of bells was heard in beds (179).
Thus some had given themselves up to sport, while I passed nights in anguish. Fascinating music was played in every house. Only to my lot did it fall to suffer the collective woes (180): Again I recalled my husband who was away since long. And, on a daybreak, shedding profuse tears, I recited an Aḍilla and a Vastu (181): Not an hour's sleep do I get at night. Reminiscences of my loved one now fail to give me diversion. I have not a moment's enjoyment. Thus circumstanced, who fervent with passion, would not be torn? (182). Does not the lucid moonlight stream in that country? Are there no swans feeding on lotus-fruits? Is there nobody who recites Prakrit poems in a graceful voice or who

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SUMMARY
movingly releases the Pañcama note? Does not the early dawn there become redolent of blooming flowers? But I have come to know that as even in the autumn, my husband does not return home, he is surely a man void of taste (183).
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Winter (Hemanta).
Thus was spent the lovely autumn rich in fragrance. Still that hardened rogue did not think of home. While I was thus being pierced with Cupid's shafts, I saw the mansions white with frost (184). My whole body was burning with the fire of separation. Twanging the bow, Cupid was arrogantly releasing his arrows. I was lying on the bed distressed. Still that stealer of my heart, that wandering Kāpālika, that rogue, that vandal did not arrive (185). In restless yearning I then glanced at the quarters and lo! Winter with his frost-load had deftly arrived! Now cool water was disliked. All the lotus-petals were removed from beds (186). Servant-maids no more ground camphor or sandal. The rouge was tempered with bees' wax. Saffron that was applied to the body was now devoid of sandal. People took to the Campaka oil mixed with musk (187). Camphor and nutmegs were no longer ground together, nor were areca-nuts perfumed with Ketaki. People gave up sleeping on terraces and ladies slept in cots inside the rooms (188). Aguru was burnt for fumigation. Saffron was applied to the body. Close embrace was now enjoyable. Comparatively the days became very short; but for me, O traveller, was fixed the Brahman's aeon! (189). Wailing through a long sleepless night and lonely in my dwelling, I recited a Vastu (190). O you boor, I spent the long night with lingering sighs. Cherishing your memory, I cannot sleep. Bereft of your touch, my limbs have withered owing to the wintry frost. If you do not come and consol me in this winter, would you then, O blockhead, rogue, sinner, come on receiving my death-news?' (191).
The Cool Season (Śiśira).

That enemy of a winter was thus spent by me with much trouble. The cool season arrived but that cheat of my husband was as ever far off. The hurricane began to blow fiercely in the sky. Being blasted by it, trees shed all their leaves. They stood without flowers, without fruits, without shade, unapproached by birds. The quarters were befogged. Travellers were obstacled,

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being afraid of hail. Park-trees were reduced to stumps. Flower gardens withered (192-193). Leaving their husbands in pleasure-houses, young ladies were forced by cold to resort to fire-places. Love-sports were confined to the interior of the houses. Nobody now slept under the garden trees (194). Slightly-boiled and scented suger-cane juice was drunk. On the festive day of Kundacaturthi many full-bosomed ladies wallowed in their beds (195). Some gave alms on the birth-day of Spring, the lord of seasons. Some enjoyed in the company of their husbands. At that time I, lonely in the bed, infatuated with love, sent my mind as a messenger to my husband, thinking that it would bring the loved one and satisfy me. I had no idea that it too would behave knavishly and leave me. My husband did not come. Holding up the messenger he still remained there. My heart was furthermore filled with the load of misery (196-197). In the hopeful attempt to make a profit viz., the union with the loved one, I had lost the principal. Hear, O traveller, the Vastu then recited by me in sorrow (198): After heavy suffering, I sent my mind as à messenger. It did not bring my lord, but itself became attached thereto. So absent-mindedly I passed the night. I indeed repented for this, for though I gave the heart, I did not get my husband. Shall I say what this was like? The she-ass went to get horns, but instead she lost her ears! (199).'
Spring, Charming spring followed the cool season. The Malaya wind blew fanning the love-fire of those in separation (200). Ketaki was in full bloom. There were fresh flowers and leaves of various sorts. Lakes were invested with a unique beauty (201). Women put on varied garments of white and red flowers and sang in the company of their friends. Their bodies spread rich aroma. It looked as if the sun's period of wintry mourning had expired. Seeing this I recited a Lankotaka in the midst of my dear friends (202–203). The unbearable summer passed. Autumn and winter were spent with great trouble. The harsh Sisira also was somehow spent crying. But with the mind on my beloved, it is very hard for me to pass this spring' (204). Trees with their hands of fresh sprouts carried the vernal beauty. Bees, greedy of the juice

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SUMMARY
and fragrance of the Ketaki bud hummed in the forest. They did not mind being pierced with pointed thorns, because persons of taste care only for their tastes. One who is infatuated with love has no consideration for the evil (205-206). Seeing the spring, I was wonder-struck and hear, O traveller, the Ramaṇīya which I then said (207): Let Cupid, armed with the sharp tongues of the fire of separation roar. Having tolerated the intolerable, I still live in danger, while my husband, quite untouched by my love, carries on his business without an anxious thought of me' (208). The Kimśuka flower appeared like a shower of blood (?). Palāsas were veritable goblins. The Malaya breeze made everything unbearable. Sobhanjana (?) proved a source of unhappiness (209). The fresh blossoms which made the earth scarlet with their pollen added to my anguish. A cool, pleasant breeze blew imparting coclness to the earth (210).

98
The Asoka flower is falsely so named by the people, for it did not remove my soka for even half a moment. My limbs were tormented, thanks to arrogant Cupid. It is my lord, not the Sahakara tree, that can still support me (211). Wresting this opportunity, the terrific separation reached its full stature. I heard the peacock dance and cry. Seeing him climbed on a mango-branch, I recited a Gatha (212): 'I am pained to see the peahens merrymaking as if they were in a stage-retinue (?). So also mistaking the skywards spreading trees for fresh cloulds, I am pained (213). After this I rose up crying and recalling my grief of long standing. Flames of separation burst up in me. Cupid shattered my body with arrows (214). For a while I felt the unbearable grip of death: Beautiful flowers adorned the ten quarters. Mango-trees spread towards heaven in compactness. Fresh blossoms appeared because of spring (215). The cuckoos (?) on the Suraktaka trees sang with gestures, as if to represent various sentiments. Bees were humming sweetly. Time was quite charming (216). Parrots moved in a circle (?) and cried merrily. O in this period it is very very difficult for the ladies enslaved by Cupid to go on living (217). Empty clouds scorched the body. How can one put up with the Cuckoo's notes? Beautiful women strolled in the streets. Clamour of trumpets filled the three worlds (218). The spring time was spent in dancing and singing Carcaris with Talas by ladies with

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SAMPISARTAAKA their numerous necklaces dangling and their girdle-bello jitigling €219). Young women were shouting hilariously. Hear the Gatha that was then recited by the youthful lady pining for her husband (220): At this time when people are engaged in mad revelry (?), Cupid is sending with a greater vehemence volleys of arrows towards my heart (221).'
O traveller, if, full of agony and tormented with separation and love's fire, I have said any words harsh or ill-becoming, then you omit them and convey to him everything with due decorum. Speak to him what is proper and in such a manner as may not displease hin". And having blessed him, the lady let the traveller proceed further (222).
Sending him off she was returning hurriedly when, as she looked towards the south she saw her husband on the way 'eoming back and she was filled with joy. As her great purpose was accomplished unexpectedly, so be it for those who recite or listen to this poem. Victory to Him who is without beginning, without end! ( 223).

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NOTES
26. जय : coms take it to be a voc. plur. form meaning है नागराः, but it is difficult to see this form and meaning in this word. 36. The sentence comes to an end after आर. मीरसेणस्स goes with ag in 4a.
86. जोइजइ is not द्योतते ( so com.) but द्योत्यते.
18de. पत्तहि can be either instr. or loc. But normal construetion here requires the acc. pl. form of पत्त So, if it is not an instance of case-attraction, there is only one way to explain it. Take fargaf to be loc. absolute and aga to be used in a passive sense. Further आसासिज्जइ = आश्वास्यते so that the whole 'sentence would be ततः छेकतरैः रसिकैः दुर्गतैः, पत्रेषु अलभ्यमानेषु कथैकथमपि शतपच्या आश्वास्यते Still one curious fact is, if from पत्तहि 180, गयहि 123d,
यह 187d and जलबिंदुब्भवहि 1500, हि is removed, we get just the form required by the construction and context.
19. तं जाणिवि: 'knowing these ( facts about the work, its composition and authorship )'. णिमिसिद्धु खणु goes with णिसुणेडु in the next line.
20. विबुह ( voc. sing.) goes with c. हे विबुध, ये पण्डितानाम् etc. 28d. रससंजीवयरो : of, रससंजीविनी, the title of अर्जुनवर्मदेव's com. on the अमरुशतक.
27d. पंखुडिय: cf. ओषुडइ = आस्खलति ( प्राचीन गूजराती गद्य संदर्भ pp. 192 1. 28, 215 last line ).
28a. Take पडिउट्ठिय as one word equivalent to प्रति + उत्थिता = प्रत्युस्थिता.
28d. पित्त ( = नेत्र ) is the general term for the fine stuffs in clothes. Cf. Vt. p. xxvi. If दर is taken to mean ईषत् we have to attribute such a sense to far as it never possesses. So better to interprete दर as दरि ( acc. to Grammar, § 51 B (2) ) ' in the hole '..
**
42. b. Similar to सरोरुहदलनयणि rhyming with ससिहरवयणि we have 64a b. ससिवयणि and सरोरुहदलनयणि, 66a b सिंधुब्भववयणि and सलिलब्भवनयणि, 910 b समिहरवयणि and मियनयणि, 960 6 णिसितम हरवयणि and सरोरुहदलनयणि, 1040 b वीहरलोयणिहिं and मयणुक्कोयणिहि, 1250 b दीहरलोयणिहि· and मयणाकोणि and non-final 121c d मियनयणि and ससिवयणि. This reminds us of

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SAMDESAKASAKA
the refrain वरलोयणे - मिथलोयणे which we come across in some old Gujarati -compositions like the (A. C. 1271) and a later type सुणि सुंदरि रेगिहिलि कुणि करी रे employed by the early Guj. poets भालण, नाकर and प्रेमानंद.
96
65d. . As our text knows no other case of loc. sing. in 'अई, we may accept खंभाइत्तिहि ( A ). N ( see below ) has खंभात. 68c. Ms. N (not availed for the text-constitution) has for, which otherwise is the only form of its type in the SR. 76a. a (loc.) (gen.) does not make any sense. So we may read (C) and take the whole as a case of gen. absolute (see Grammar, § 76 (a)).
77. It is probable that कि न is किन which appears also as किण at 154d and is merely an interrogative particle. Cf. Ho. II 216 : किणो प्रश्न.
86. समाहिमोहु means मोह: ( = मूर्छा ) एव समाधिः. The first line is तव स्मरन्त्याः मम विषमः समाधिमोहः उत्थितः.
89a. पाइय and पिय refer to the husband of the नायिका who also is a प्रवासिन्
980. is strange. We expect here थीर (f.) . Ms. N (not availed for the text-constitution) reads & f.
99α. is intriguing. It cannot be as it just precedes. Perhaps it is an orthographic variant for the emphatic aft and णिद्दोसेय = निर्दोषायाम् अपि N. has निद्दोसेण which, following the comm., is to be interpreted as = दोषं विना.
990. निन्नेहह चलह goes with the next line.
1036. विरह सबसे य कय = विरहेण स्व-वशे च कृताः.
103d. ff. The instrumental appears inexplicable. A confusion of the passive and active constrcutions? See also Grammar, § 51 B. (3) and the foot-note on p. 27.
104cd. The rhyme is responsible for the gen. of the . 105d. आलसिहि is आलस्येन.
107c. To construe properly we require af (loc. sing.) or even (see Grammar, § 51. B. (2)) instead of .
116ab. The sentence is completed after . Read ससिउ सासु.
119. पिम्मे is instr. sing. cf. सुद्धगले (plur.) 710, Pk. सूर-ससिबिंबे 22, लक्खणछंदाहरणे.
122a. See p. 44.

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NOTES
122b. सरय-रयणि-पच्चक्खु is a compound.
123cd.. सुप्रतियह and लीलंतियह are nom. plur. forms (see Grammar, s51. B. 3) going with कइ दीयहि वहि. गयहि is not clear: See 18de above. .
124a. अंगु is to be supplied from b as the object of अप्पियइ. 126ab. हरिऊण stands for हारिऊण. 1300. अणुअंचि (= अनुगत्य) is abs. from Vअणुअंच (= अनु+अच्), 130d. विहलमणु is used adverbially.
134a. तह पत्तिहि = तस्य (सहकारस्य) पत्रेषु. संसग्गिहि ( = संसर्गेण) is to be construed adverbially with परिवसति in b.
1370d. खयहि and °च्छयहि are not clear. For °च्छयहि see 18de above. ल is ज्वाला..
138b. & is confusing. Further we are required to take उल्हबई in a passive sense, though the form is active.
140b. For भयमेसिय and अइरावइ see Grammar', $ 76 beginning.. 141cd?
142a is not clear. . 146a.. The comm. take मोयं मणिहि = मवाम् गणैः (= व्रजैः). In that GAGE I would be a strange form. .. 1480. पर in धरधारोहभरु = ? ।
148d. For सिहरष्टियइ see Grammar, $ 73. 3.
1508. For जलबिंदुब्भवहि see 18de above. It appears preferathi to take बालत्थिय = गलस्थिताः,
___154cd. As remarked under 77a above, किण in d is an interrogative particle equivalent to किं. The construction is: यदि (= यतः) जीवः न खलु निर्गतः (ततः मन्ये सः) पादबन्धैः बद्धः । हृदयम् किम् किल न स्फुटितम् ? ननु तद् वजेण घटितम् ।
164ab. Read कदम-भार-पमुक्किय-सलिलिहिं विमलिहिं (सरिहिं ) पडिबिंबद्ध दरविजन : : 16rod to 169ab is one single sentence. For proper construar tion there is no go but to take it has pass. 3. plur. The sentence would be गुरुमति मुदिताभिः............"धूपानि गवासने दीयन्ते. ' 11710. In गम्भिस-सुद्धगले, गले is instr. See notes on मिम्मे 1196. ।। 1720d. The two sentences are गय दंति चमकार । णं पवर शीणसरें सरया-सरि-णेवर।
173d ?
174b. Only तिहि (C.) भमिरइ सरहै तीर (B.) सोहइ makes sense. CE. 1638. For तिहि अविरह see p. 43 end.
13 सं. रा.

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98
SAMDESARĀSAKA
1760. दिति य. - 177cb. (महिलाः) कृष्णाम्बरैः कृष्ट( = रचित)-कुटिल-तरः अनेकभनिभिः विभाषिताः (आसते)..
178d. Can it be चंदद्ध (= चंद्रार्धः)? White flowers on the black hair look like half-moon on the top of black clouds.'
184d. सेय goes with धवलहर. 188a. Separate कप्पूर and सरिसु. . 188d. Probably विच्छाइय is an absolutive. Construe od: भुवणुप्परु परिहरवि, उयारइ पल्लंघ विच्छाइय, कामिणिहि जामिणिहि पसुप्पइ. . 1920. The sentence is completed after खरफरसु. The next sentence extending up to 193a is तहि तिणि पवणि हय सूडिय (य) असेस तरुथः झडि करि गय; छाय-फुल्ल-फल-रहिय सउणियण-असेविय (य ते ठिय).
1935. If भरिणि is accepted some connected sense can be made out: दिसा य तिमिरंतरिय, तुहिण-धूइण भरिणि (य जाया).
193d. Put a semicolon after 534.
194a. णिय goes with कंत. . 194d. If कौरइ is not to be construed actively, सयण must mean 'bed' instead of lying down'. Then उद्यानानाम् इमेषु न कानिचित् शयनानि क्रियन्ते (= रच्यन्ते), though value of this suggestion appears doubtful.
_196b. कर is puzzling. It appears that कर-केलि = केलि कर meaning केलिम् कर्तुम् (?) = केल्यर्थे.
2013. Does this go with णव-कुसुम-पत्त in c? Then विअसंतु is plural (of. p. 43 end). :: 201d. The line should read अइरेहइ णव-सर रइ-विसैसि.
206. There is some obscurity in a. Apparently the whole stanza has a reference to the भमरु in 2050. So भमरु (plur.) is the subject and तरु (i. e. their flowers) the object of लिहंति. विज्ति in the light of b would be (भ्रमराः) तीक्ष्णैः कंटकाप्रैः विध्यन्ते. There remains परुप्पर (= परस्पर) which cannot be made to fit in the context. If somehow it can mean tg, then the logical sequence would be quite all right: भ्रमराः तीक्ष्णैः कण्टकाप्रैः विध्यन्ते, परंतु (= तथापि) ते तरुकुसुमानि लिहन्ति, तानि तीक्ष्णानि कण्टकाग्राणि च नैव गणयन्ति । यतः रसिकानाम् तनुः रसलोभेन दीयते । (= त्यज्यते) प्रेममोहेन च पापम् (= अनिष्टम् ) न गण्यते ।
209ab. इ is emphatic. 210a? 21lab कंदर्पदर्पण संतप्ता (अहं जाता)। मम अंगे नाथः (एव) संधारकः, न सहकारः.

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NOTES
99
2160.
(the dark-bodies ones) must be cuckoos as there is reference to singing. ab mean "there on the top of the Suraktaka (tree) the cuckoos are releasing as it were songswith-gestures accompanied by various sentiments".
2176. - is a compound,
218c. With ° cf. m=nes (Hc. II-22).
220ab. गर्जति तरुणि । णवजोन्वणीहिँ पियकंखिरिहिं ( जा ) गाह पद्रिय (सा) सुणि. 2236 इत्थंतरि य = अत्रान्तरे च. पहावरिउ = ?
2230

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APPENDIX I.
ORIGINALS, PARALLELS OR IMITATIONS. With the series of illustrations given in st.s. 8-17 .compare [1] the following two stanzas found in a stray Ms. leaf":
जं देइ सायरो लहरि गजंतनीरपडिपुनो। ता किं गामतलाओ जलभरियओ लहरि मा देउ ॥१॥ जइ गरुडपक्खिराया पक्खुक्खेवं करेह गयणयले।
ता किं इयर-चडेहिं नहयलगमणं न कायव्यं ॥२॥ [2] जसु जित्तिउ बुद्धिवियासु होइ सो तित्तिउ पयड मचलो।
पिक्खिवि अइरावउ गुलुगुलंतु किं इयरहस्थि मा मउ करंतु ॥ महकव्धकईहु ताहँ तणिय किर कवण कह । किं उइइ मयंकि जोयंगणउँ म करउ पह ॥
____Dhanapāla's भविसत्तकह I, 2, 7-10. With st. 49ab ef.
मग्गं चिअ अलहतो हारो पीणुण्णआण थणआण। उव्विग्गो भमइ उरे जमुणाणइफेणपुंजो व्व।
___Hala's सप्तशतकम् (ed. WRBKR), 671. With st. 70 cf.
जउ पवसंतें सहु न गय न मुअ विओएं तस्सु । लजिजइ संदेसडा दितेहिं सुहयजणस्सु ॥
Ho. IV 419 (5). With st. 93 cf.
हारो नारोपितः कण्ठे मया विश्लेषभीरुणा। इदानीमन्तरे जाताः सरित्सागरभूधराः॥ सुभाषितरत्नभाण्डागार, p. 283; हनुमनाटक (ed. S. L. KRLKAR,
_Bombay, 1901), V. 25, p. 80.
1 These stanzas were noted and taken down by Acharya Shri JINAVIJAYAJI.
By way of parallels to the first of those stanzas, Sr. 16 and 16 have been reproduced in the said Ms. leaf in the following form:
जह भरहभावभंगेहिं अंगचंगेहिं नचए तरुणी। ता किं तालाछदेहि गामगहिल्ली न नश्वेत॥१॥ जइ दुधवलकल्लोलबहुलतंदुला उल्ललइ खीरी।
ता कणकुकससहिया रब्बडिया मा तडब्बडइ॥२॥ % Acoording to Acharya Shri JINAVIJAYAJI tho Ms. loaf appears to be old.

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APPENDIX
1OR
With st. 115–116 cf.
जह पीणसमुण्णअसंगअआ थणआ
जर मंथरलोभणभूसिमों वअणं । जह वित्थरपीणविसंतुलओ जहणो
जई तम्बिरपल्लवकोमलओं अहरो॥
ता कीस हिअअ रतिदिअं च णो णिव्वुइं तुझं लहसि । ..... बुल्लहमम्गिर विणिअत्त अहव संतो णिअत्तिहिसिक
Vis. IV 74-75. With st. 119 of.
पेम अमिअ मंदरु बिरहु भरतु पयोधि गंभीर। मथि प्रगटेउ सुर-साधु-हित कृपासिंधु रघुवीर ॥ .
raakarrah (the Mula-gate edition),
II 298 end. मला पयोनिधि मंदर ग्यान संत सुर आहि । कथा सुथा मथि काढहीं भगति मधुरता जाहिँ ॥
रामचरितमानस, VII 120. With st. 124b ef. विरह-करवत्त-दूसह-फालिजंतम्मि
Hala's सप्तशतकम् (ed. Wamaste With st. 137 ef. सीयलु विसु विसु ष ण संति जणइ हरियंदणु सिहिकुलु अंगुहा पलिणु वि सूरहु सयणत्तु वहइ सयणीयलि चित्तउ देहु डहर 1ste.. - Puspadanta's महापुराण (ed. P. L. Vaari)
LXXIII. 3. 8-9. With st. 171 cf.
णव-विस-कसाय-संसुद्ध-कंठ-कल-मणोहरोणिसामेह ।
सरय-सिरि-चलण-उर-राओ इव हंस-संलाचो ॥२६॥ ___ occurring on p. 8 of the लीलावईकहा of Kouhaka (being stirted by Dr. A. N. UPADHYE for the Singhi Jain Series).

Page #151

Cr. 16.
CK. 17.
APPENDIX II SOURCES OF THE METRICAL DEFINITIONS QUOTED IN THE
... SK. COMMENTARIES.
Definition Occurrence in the SR.| Source 1 पढमो बारहमत्तो ete.
In the sale on a st. 2GL. 16 = PP. 2 जासु विरयणि हुंति पय पंच etc.
19 ? [I 54. 3 सोलसमत्तउ जहिं पर दीसह etc.
|GL. 76. 4 डुमिलाहि पयासिण etc. 5.प्रत्त होहि चउरासी चहु पय etc. , , 6 तेरहमत्ता विसम पय etc.
|CK. 21. 7 सो चंदायणु छंदु फुड etc.
|CK. 32. 8 दो वेया सिहियुगलं etc.
94 GL. 82. 9 ननमयययुतेयं मालिनी भोगिलोके
100 Kedārabhas
pta's वृत्तरत्नाकर
III 84. 10 चउपइ इक्कु जमकजि दीसइ etc.
104 |CK. 41a. 11 जमकु होइ जइ बिहु पय जुत्तउ etc. , , "
111 CK. 410. 12 दोहाछंदु जि दुदलु पढि etc.
112CK. 26. : 13 सगणा इय वीस य छंदु धुवं etc.
115 ? 14 पढमगणे कलछकं etc.
" " " " " 119/GL. 80. 15 सगणा इह नंदणिछंद धुवं etc. , , , , , 171|CK. 7.
+
This quotation is from that portion of the गाथालक्षण of नंदिया which VELANKAR thinks, on several grounds, to be spurious. Now the quo. tation no. 2 above expressly gives the name of कवि नंद. This possibly suggests that नंदियडू had to his credit, besides the गाथालक्षण, a treatise on 25 metres from which our quotation no. 2 as also most of the stanzas of the Gu, onwards from st. 75 have been taken.

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Grammar.
P. 9, foot-note 1: af occurs in the Karpuramañjarī also (GHOSH's edition, p. 48, 1, 19).
P. 17, § 37: For a different and more probable derivation of see § 78(4), p. 40.
and
P. 22, § 48 ii: occur in the Vasudevahindi also (Part I, p. 47, 1. 12 and p. 40, 1. 19; p. 41, 1. 17 respectively). Some of these words were formed perhaps analogically: a as contrasted with rat etc.
Metres.
P. 54 beginning: (Рr. pp. 297-300) with the scheme 6+4+4+4+3 bears only a superfluous resemblance with our . For the former should begin with a long, need not have a caesura after the 11. or 12. mora and should end with an iambic. These features clearly differentiate लवंगम from our रासा.
P. 59 end: The variant for at at: etc. in the st. 82 (दोधकेन सह अष्टाविंशत्यधिकं शतं मात्राणां दोधकेन विना अशीतिमात्राप्रमितमणहरनामा :) found in the Ms. N. (not availed for the text-constitution) removes the difficulty. It shows that without the Doha is called which appears to be the early form of of the Gujarati prosody.
the शब्दकोष
Page
९४
९५
""
">
९६
"
ADDITIONS AND CORRECTIONS
>>
"3
"

under अ ११३ : add १३१.
below अलय : enter 'अलसि १५१ अलसा'.
drop असहंति etc.
for 'अधि read अहि.
under ॰आकोयण : correct as 'मयणांकोयणि = मदनयुक्तचेष्टा = मदनचेष्टायुक्त'.
under [आ]ण : remove Vआण = आ + नी ( गु. आणवु )' to the next entry.
under आभंगियइ : correct as [ अभिंग = अभ्यङ्ग ]..
for आलसि etc. read 'आलस १०५ आलस्य'. Drop the rest. for Vara read Vara. Similarly in all cases where the root is given as ending in a consonant.

Page #153

SAMD ŠARASAKA.
4
१९९'.
.
under इहु : correot १५२ to १५१. for ईसरसरि read ईसरसर. under उसास : drop ११८, below एरिस : enter 'एव ९१.एवमू'. The four entries below 3-fē are to be considered as its sub-entries for कैटअ etc. read 'कंटग्ग २०६ कंटकाप'. for कंत etc. read 'कंत ७६, कंतय १६७ कांत'. under Vकर : drop 'कीय १९९'. under कसिण : add '२१६ कृष्ण'. . ander कोलिय : add (गु. कोळी)'. . below खज्जोय : enter 'खजंत १६५ = द्योतमान'. below गण-गण : enter "गण १४६'. . for गंधवहि etc. read 'गंधवह १३३'. Drop the rest. under Vगम : add ६७ after गम्मियउ. below °गल : enter “Vगल (गु. मळh), गलई १०६.' । ender restent : Read Trespasca for ferð. under गुहिर : correct as [गभीर गुहा. tander गोयंगण : correct as 'गोयं गणिहि १४६ गवा जे. under gfeler : read for for fap. चार : Alternatively this can be explained as loc. sing. of चचर = चत्वर. under Vचड : correct as 'चडी १६१'. under चलत्थ : Drop the query. After सालासु addock.
अक्षचलस्था in पूर्णभद्र's (1199) पञ्चतंत्र (HOS. 11, Glossary • Drop the entry ‘ज २० यत्'.
under जामिणि : read १५६ for १५५. under जुन्ह : read १६० for २६०. correct झंप to Vझंप.. . under झल : read ज्वाला for झला etc. under झलक : after झलक add ' = ज्वल'. Correct मलकति to झलकेत and drop (जालजलकिअउ) and the rest. under V झिज्झ : correct झिज्झइ to झिजइ. . under Vझूर : make 'झुरेत १२३' into a separate entry and add 'क्षरत्' to it.. umder Q २९ : add १३२ इव'. under णहवल्लिय : correct 'णहवल्ली' to (नभोवली). under नाडइ : correct as 'नाडय ४६ नाटक'. V foret : after fütziat add 9c6. for forget read forgri. Drop (a)'
१०३

Page #154

१०३
"
१०४
"
23
१०५
در
د.
१०६
"
"
د.
""
"
33
"
""
१०७
""
१०९
">
999
د.
११२
"
""
"
"
"
"
११३
"
""
"
"
ADDITIONS AND CORRECTIONS
पितु: : correct १०२ to २०२. णिद्दोस : correct as ' ( निर्दोष ) दोषाभाव'.

below नीसास : enter 'णु १४१ ?'.
under Vतग्ग : correct as 'V तग्ग — जीवितधारणे ( ? ), Drop '= तद् गमे'. '
under तहि : read ५४ for ६४.
below तुरक: add 'तुरंग १६९'. under दर : read ९७ for २८. below दर : enter 'दर २८ छिद्र'.
under V घर : add 'धरिय १०६.
under धीर : after धीरवइ read १६६ for २६६.
below धुत्त : enter 'धूअ १९३ धूम'.
under पउक्क : Drop ' (?) प्रयुक्त' and add ' प्रमुक्त ( ? )'.
under पउहर : change the entry as "पउहर २४ पद-धरा'. under पय ५४ : drop ' ( गु. पग मांडवो )'.
correct Vपचल to Vपचिल.
पड : drop 'पडि २८'.
below पडह : enter 'पडिउट्टिय २८ प्रत्युत्थिता.
under पडिल्लिय : after 'देशीत्त्वादधिकम्' add 'पडिल्लो १००'. under पडुत्त: after पडिउत्त correct as [ यथा पहुंज'. correct बहुरूपि to बहुरूवि.
under बालय : enter 'बाह १५१ बाष्प'. under मुह : correct हे to म्हाँ.
under Vरंग : correct रंजियइ to रंगियइ.
correct रूअ° to रुअ.
remove the entry 'रोव etc.' below 'Vरेह etc. '
under रोव : after रोवंतिय add २०४’.
below रेणु : enter 'रेसि २१ हेत्वर्थे निपातः '.
under व : after इव add 41, 43, 44 वा. under वयणिज्ज: correct १५५ to १५६.
under वंस' : correct 'बाँसळी' to 'वाँस'.
correct वट्टा etc. as 'बट्टाऊ २२२ = पथिक'.
under वरकिय : correct 'वरक, ख ?' to 'बुरखो ?'
14 सं. रा.
105
under वलियडय : correct as 'बलियडय' and remove this entry to p. १०९ below बल.
under 'वहिय : correct बाधित to वधित.
correct वाउलिय to बाउलिय and remove this entry on
p. 90s below बहुल,

Page #155

106
SAMDESARĀSAKA
११६
below सलिलब्भव : enter 'सलोल ५९ लोल'. correct सक्सेय etc. as 'सबसे १०३ खवशे'. under Vसस : drop ११८. under Vसह : correct °सहतिय to सहतिय and at the end add 'सहण २१८'. under साइय : drop 'खामिन् , (हिं. सांइ)' and add = संस्कार'. below रेहति enter 'लक्खण ६ (लक्षण)= व्याकरणशास्त्र'.
१२०
Some important variant readings from N. Ms. ' (referred to in the PREFACE, p. eleven).
Text : St. 16a बहल for बहुल, 20c मुणइ for मुणहि, 216 अबुहा for अबुहह, 230 सकुलिजि ण for °सकुलियह, 241) लंक for लक, 240 पवहंत for पवहंति, 25a पुसइ for फुसइ, 25b पमुक्कं for °उमुक्क, 25c जोइउ for जोयउ, 31b पंथियणि for पहियणियणिहि. The interpolated stanzas given between 31 and 32 are not found in N. So also 38 absent from N. 41d. तुहु for हिव, तुहु for तुह, आवियउ for आइयउ,440 सुदवच्छ for सुदयवच्छ, 450 °थणिहिं for °थणिय, 45d णणिहि for णट्टणिय, 520 जुयलु for °जुयल, 526 जुवलय for °जुयलय, 53aa लीलंती for °लीलंतिय, 53c झुणती for झुणंतिय, 54a जोवंतयह for जोयं,556 जूहिय for जूही, 590 तिंबूय for निंबू. The st. between 64 and 65 is not faund in N. The first of the interpolated stanzas between 69 and 70 is given in N as a quotation (यतः), while the second is absent. 770, तुहु for तूं. 86a समरंतु for समरंत, 910 कहणिज्जु for °ज, 91c कहउं, 92cs हउं, 93a संगमे, 98a थिर, धीरि, 98b फुसहि, 990 ण for य, 1000 तहवि for तइय, 104ab तह for °तहं, 105c सव for सिव, 106d पडल्लि for पडिलिउ.
Com mentary : First stanza in the व्याख्या 'लब्धिसुंदर for मुनिपुङ्गव.' The definition stanza of गाथा in the व्याख्या on 2 : अठारसासु मत्तासु for अठारसेहिं नायव्वो and विभूसिया for वि[हू ]सिया on 3 : प्रधानः added after प्रभूतः on 4: अपभ्रंशशास्त्रं कृतम् for अपभ्रंशग्रंथः कृतः. The Definition stanza. of रहा in the व्याख्या on 19 : राहासेण for रासासेण, सुणिंदु for मुणिंदु, नंदङ for नंदव, भणंतु for भणंति. The definition stanza. of पद्धडी in the व्याख्या on 20 : कन्नु for गत्तु, गवीसइ for सलीसइ. The definition stanza of डुमिला in the व्याख्या on 23 : a होहिं for दोहिं, b वत्तीस for वितीस, मेलवि for मेल,
गणु अन्नु for गण अन्न, d तंजि for भंजि. The definition stanza of आभाणक in the व्याख्या on 26 : b सुट्ट for सुद्धि, अभाणउ for आहाणउ, On 28 पट्टमयवस्त्रं for °पढें वस्त्रमयं. The explanation of the definition stanza of चन्दायण in the म्याख्या on 82 : दोधकेन सह अष्टाविंशत्यधिकं शतं मात्राणां दोधकेन विना अशीतिमात्राप्रमितमणहरनामा चंदायणच्छन्दः। etc.

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कवि - अब्दुल रहमान - कृत
सन्देश रासक
(पं. लक्ष्मीचन्द्रकृत व्याख्या तथा अवचूरिकालंकृत )

Page #157

Page #158

कवि-अब्दुल रहमान - कृत
सन्देश रासक।
-१ प्रथमः प्रक्रमः।
रयणायरधरगिरितरुवराइँ गयणंगणंमि रिक्खाई।
जेणऽज्ज सयल सिरियं सो बुहयण वो सिवं देउ ॥१॥ 1C रिक्खाओ 2 B C सिरिया। 8 B तं । 4 C बुहियण । 5 A C सुहं । 6 C दितु ।
[पं० श्रीलक्ष्मीचन्द्रकृता टिप्पनकरूपा व्याख्या।]
॥ ॐ नमो गुरुभ्यः ॥ नत्वा जिन-गुरून् भत्त्या स्मृत्वा वाङ्मयदेवताम् ।
वृत्तिं सन्देशरासस्य कुरुते मुनिपुङ्गवः॥१॥ तस्याद्यां गाथामाह-'ग्रन्थप्रारम्भे अभीष्टदेवताप्रणिधानप्रधाना प्रेक्षावता' प्रवृत्तिरित्यौचित्यात् सूत्रस्य प्रथमनमस्कारगाथा।
[१] यथा-'रयणा.'-भो बुधजनाः! स स्रष्टा - कर्ता वा-युष्माकं शिवंमागल्यं ददातु-प्रकरोतु । येन स्रष्ट्रा रत्नाकर-धरा-गिरि-तरुवरा, गगनाङ्गणे अक्षाणि' चेत्यादि सकलं-समस्तम्, सृष्टं-उत्पादि[तम्] इत्यर्थः ॥१॥
KKKKKA
-
[अवचूरिका] ------ [1] भो बुधजनाः ! स सृष्टिकर्ता वः-युष्माकं शिवं ददातु । येन स्रष्ट्रा रत्नाकर-धरा-गिरिसहवरा गगनाणे ऋक्षाणि 'चेत्यादि सकलं - समस्तं सृष्टमुत्पादितमित्यर्थः ॥
आदर्शोपलभ्यमाना भ्रष्टपाठा यथा1 प्रन्थः प्रा। 2 प्रेषवतां। 3 श्रष्टा। 4 तर। 5 रिक्षा। 6 श्रष्टा । 7 चैत्यादि । 8 श्रष्टा।

Page #159

सन्देश रासक
माणुस्सदिव्वविज्जाहरेहिं णहमग्गि सूर-ससिबिंबे । आएहिँ जो णमिज्जइ' तं णयरे णमह कत्तारं ॥ २ ॥ पच्चासि पहूओ पुव्वपसिद्धो य मिच्छदेसो त्थि । तह विसए संभूओ आरदो मीरसेणस्स ॥ ३ ॥
1 C नह° । 2B जई। 3A नमह; B वहु |
[ टिप्पनकरूपा व्याख्या ]
[२] तथा च- 'माणुस ० ' - मनुष्य देव विद्याधरैर्नभोमार्गे सूर्य-शशिविम्बाभ्यां आदितो यो नमस्त्रियते' । भो नागरिकलोकाः ! तं कर्त्तारं नमत ॥ २ ॥
द्वन्द्वालापन भेषजभोजनसमये समाग[ मे ] च रमणीनाम् । अनिवारितोऽपि तिष्ठति स खलु सखे ! व्यक्तनागरिकः ॥
4 A 'देस्रो वि; B देसु त्थि ।
-
यस्त्वेतेषु स्थानेषु अनिवारितः - अनिषेधितः तिष्ठति स नागरिकः प्रोच्यते । hy by स्थानकेषु यत्र कश्चिदालोचं करोति, अथवा यत्रौषधादिवार्त्ता क्रियते, तथा भोजनावसरे कस्यापि गेहे न गच्छति । अथवा एकान्तप्रदेशे, स्त्रीसमागमे च, वार्तासमये, यस्तु अनिषेधितोऽपि तिष्ठति । स चतुरनागरिको भवति ॥
एषा (एतद् ?) विपुलागाथाछन्दः । अथ गाथालक्षणम् -
पढमो बारहमत्तो, बीओ अट्ठारसेहिं नायव्वो ।
जह पढमो तह तीओ, दह पंचवि[ हू ]सिया गाहा ॥
[ प्रथम प्रक्रम
तत्र गाथाछन्दसि प्रथमपदं 'द्वादशमातृकम्, द्वितीयं पदं अष्टादशमातृकम्, तृतीयं द्वादशमातृकम्, चतुर्थे पञ्चदशमातृकम् । एवं सर्वत्र शेयम् ।
[३] अभीष्टदेवतानमस्कारमुक्त्वा कविः स्वदेशादिस्वरूपमाह - 'पञ्चाएसि ० ' - प्रतीच्यां - पश्चिमदिशि प्रभूतः पूर्वप्रसिद्धो म्लेच्छनामा देशोऽस्ति । तत्र विषये 'आरद्दो' देशीत्वा [ त्] तन्तुवायो मीरसेनाख्यः संभूतः - उत्पन्नः ॥ ३ ॥
个人本
[ अवचूरिका ]
[२] मानुष्यदेवविद्याधरैर्नभोमार्गे सूर्यशशिबिम्बाभ्यामादितो यो' नमस्त्रियते' भो नागरिकास्तं कर्तारं नमत ॥

द्वन्द्वालापनमेषजभोजनसमये समागमे च रमणीनाम् । अनिवारितोऽपि तिष्ठति, स खलु सखे ! व्यक्तनागरिकः ॥
[ - A आदर्शस्थिता नागरिकशब्दोपरि टिप्पणी | ] [३] कविः स्वदेशादिस्वरूपमाह - प्रतीच्यां - पश्चिमायाम्, प्रभूतः - प्रधानः, पूर्वप्रसिद्धों म्लेच्छनामा देशोऽस्ति । तत्र 'आरो' देशीस्वात् तन्तुवायो मीरसेनाख्यः सम्भूतः - उत्पन्नः ॥
冬冬冬冬冬
1 नमस्कृयते । 2 ° गरी । 3 दस° । 4 ये । 5 °स्कूयते । 6 नमतः । 7 °सेनाक्ष्यः ।
।

Page #160

२-६ ]
सन्देश रासक
तह तणओ 'कुलकमलो पाइयकव्वेसु गीयविसयेसु । अद्दहमाणपसिद्धो 'संनेहयरासयं रइयं ॥ ४ ॥ पुव्वच्छेयाण णमो सुकईण 'य सदसत्यकुसलाण । "तियलोए मुच्छंद' जेहिँ कयं जेहि" णिहिदूं ॥ ५ ॥ "अवहट्टय - सक्कय- पाइयंमि" पेसाइयंमि" भासाए । लक्खणछंदाहरणे "सुकइत्तं भूतियं" जेहिं ॥ ६॥
14
1 A कुलि° । 2 A पाईय° | 3 C विसएसु । 4 B संनेहरा ; C संन्नेहइ° | 5 A रईयं । 6 B नमो | 7 Cण इ । 8 A तिअ° | 9 C सच्छंद | 10 B जे निद्दिद्वं । 11 B अवहट्टइसकइ पाइयाई पेसाइयाण । 12 A पाइयं च। 13 C पेसाइयाइं । 14 C सकवित्तं । 15 C भूखिय° ।
[ टिप्पनकरूपा व्याख्या ]
[ ४ ] तस्य- मीरस्य तनयः, कुले कमल इव कुलकमलः, प्राकृतकाव्येषु गीतविषयेषु, प्रसिद्धः - लब्धरेख : ' अब्दुल रहमान नामा अभूत् । तेन सन्देशानां रासकः नामाऽपभ्रंशग्रन्थः कृतः ॥ ४ ॥
[५] कविः स्वस्वरूपमुक्त्वाऽनौद्धत्ये [ न ] पूर्व्वकवीन् नमस्कारपूर्वे व्यावर्णयनाह - 'पुन्वच्छेयाण ० ' - पूर्वच्छेकेभ्यः सुकविभ्यश्च नमोऽस्तु । कीदृशेभ्यश्छेकेभ्यः कविभ्यश्च शब्दशास्त्रकुशलेभ्यः । यैस्त्रिलोके = स्वर्ग-मृत्यु - पातालरूपे । स्व (सु)च्छन्दुम् - स्व (सु) छन्दो विद्यते यस्मिन् तत् स ( स ) च्छन्दं शास्त्रं कृतम् । यैश्च निर्दिष्टं सो (शो) धितमित्यर्थः । अतः कविभिः कृतं पण्डितैः सो( शो ) धितम् ॥ ५ ॥
[६] अपभ्रंश' - संस्कृत - प्राकृत- पैशाचिकादिचतुर्भिर्भाषाभिः, यैः' कवित्वं कृतम्, लक्षण-च्छन्द आभरणाभ्यां तच्च विभूषितम्, तेभ्यो नमः ॥ ६ ॥
[ अवचूरिका ]
茶
[ ४ ] तस्य -: - मीरसेनस्य तनयः कुलकमल: प्राकृतकाव्ये गीतविषयेषु भोगेषु च प्रसिद्धो लब्धरेखो अब्दुल रहमानोऽभूत् । तेन सन्देशरासकं ' [ नाम ] शास्त्रं कृतम् ॥
[५] पूर्व छेकेभ्यः सुकविभ्यश्च नमोऽस्तु । कीदृशेभ्यः शब्दशास्त्रकुशलेभ्यः । त्रिलोके यैः सुच्छन्दःशास्त्रं कृतम् । यैश्व निर्दिष्टं, 'शोधितं, प्रवर्त्तापितम् ॥
पण्डित-कव्य [रं] वरं कृतं मयूरेण यथा -
सूर्णमानीयतां चूर्ण, पूर्णचन्द्रनिभानने । कवये बाणभट्टाय, पण्डिताय च दण्डिने ॥ १ ॥
[६] अपभ्रंश-संस्कृत- प्राकृत-पैशाचिकभाषया सुकवित्वं शोभनं काव्यं यैः कृतम् । अन्यच लक्षण - छन्द- आभरणाभ्यां भूषितं मण्डितं च ॥
1 रेषः । 2 संदेसा । 3 रासकं । 4 भ्रंशः । 5 ये । 6 राजकं 1 7 योश्चितं ।

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सन्देश रासक [प्रथम प्रक्रम ताणऽणु कईण' अम्हारिसाण सुइसहसत्थरहियाण । लक्खणछंदपमुक्कं कुकवित्तं को पसंसेइ ॥ ७ ॥ अहवा ण इत्थं दोसो जइ उइयं ससहरेण णिसिसमए । ता किं ण हु जोइज्जइ भुअणे रयणीसु' जोइक्खं ॥ ८॥ जइ परहुएहिं रडियं सरसं "सुमणोहरं च तरुसिहरे । ता किं भुवणारूढा मा काया करकरायंतु ॥ ९ ॥ तंतीवायं "णिसुयं जइ किरि करपल्लवेहि अइमहुरं । ता "मदलकरडिरवं मा सुम्मउ" रामरमणेसु ॥ १० ॥ 1 AC कई । 2 C सुय 13 B कुकइत्तं । 4 B C अत्थि । 5 A C ससिहरमि । 6 B 'समये। 7 A रयणीइ; C रइणेइ। 8 C जोइके। 9 C परु'; 10 B परहुएण। 11 A सुमनो। 12 AC निसुयं । 13 A मद्दलि। 14 C सुम्मई। 15 A 'रवणेसु ।
[टिप्पनकरूपा व्याख्या] [७] तेषां सत्कवीनाम् , अनु-पश्चात्, अस्मादृशानां कवीनाम्, श्रुति-शब्दशास्त्ररहितानां कवित्वम् , लक्षण-च्छन्दोभ्यां प्रमुक्तम् , कः प्रशंसयति ?-अपितु न कोऽपि ॥ ७॥
[८] तर्हि मा कुर्यास्तदर्थमाह - 'अहवा ण.' -अथवा 'इत्युपायान्तरस्सरणे, नात्र दोषः । यदि "शशधरेण-चन्द्रेण निशि उदितम् , तर्हि रजनीषु भु(भ)वने-गृहे ज्योतिष्कं दीपः किं न द्योतते ?, अपि तु द्योतते ॥ ८॥
[९] परभृताभिः-कोकिलाभिः यदि सरसं सुमनोह [२] यथा भवति तथा तरुसिहरे(शिखरे)रटितम्, तर्हि भु(भ)वणा(ना)रूढाः गृहवालि(ल)भिस्थिताः काका मा करकरायन्तु-करकर इति शब्दं मा कुर्वन्तु ?, अपि तु कुर्वन्तु ॥९॥
[१०] यदि तन्त्री-वीणावादिनम्, किल इति संभावनायाम्, करपल्लवैःहस्तानलीभिः वादितं नितरां श्रुतम् , तर्हि मर्दलकरटिवादित्रे राम(मा)रमणी(णे)षु-स्त्रीक्रीडासु, मा श्रूयतां १, अपि तु श्रूयताम् ॥ १० ॥ *
[अवचूरिका] ------ [७] तेषां कवीनाम्, अनु- पश्चात् श्रुतिशब्दशास्त्ररहितानामसादृशां लक्षणच्छन्दप्रमुक्त कुत्सितं कवित्वं कः प्रशंसति ?, अपि तु न कोऽपि ॥
[0] तर्हि मा कुर्यास्तदर्थमाह- अथवेत्युपायान्तरसरणे, नात्र दोषः । यदि शशधरेण नियुदितं तर्हि रजनीषु ज्योतिष्कं दीपं भु(भ)वने गृहे किं न द्योतते ?, अपि तु उद्योतते ॥
[९] यदि परभृताभिः-कोकिलाभिः सरसं-सुमनोहरं यथाऽऽनशिखरे रटितम् - शब्दितम्, तर्हि किं भु(भ)वनारूढाः काका मा करकरायन्तु ?, [ अपि तु करकरायन्तु ] करतान् वारयति ॥
[१०] तत्री-वीणावादं श्रुतं यदि चेत् करपल्लवैरतिमधुरम् , तर्हि मर्दलकरट(टि)वादित्र. विशेषरवं रामारमणेषु-स्त्रीक्रीडासु मा श्रूयताम् ?, अपि तु श्रूयताम् ॥
1 इत्यो । 2 शकि। 8 द्योद्यते। 4 परि । 5 श्रुस्यतां ।

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पद्य ७-१४ ]
सन्देश रासक
जइ मयगलु' मउ झरए 'कमलदल बहलगंधदुप्पिच्छो । as "अइराव मत्तो ता सेसगया ममच्चंतु ॥ ११ ॥ जइ अस्थि पारिजाओ बहुविह' गंधकुसुम आमोओ । फुल्लइ सुरिंदभुवणे ता सेसतरू म फुल्छंतु ॥ १२ ॥ जइ अस्थि गई गंगा तियलोए णिच्चपयडियपहावा । वच्चs सायरसमुहा' ता सेससरी म वच्चंतु ॥ १३ ॥ जइ सरवरंमि विमले सूरे" उइयंमि विअसिआ " णलिणी" । ता किं वाडिविलग्गा मा" विअसउ" तुंबिणी कहवि " ॥ १४ ॥
11
1 B मइगलु; C मइगल । 2 A कवल ; B कमला । 3B एरावइ । 4 Bमुचंतु । 5 A बाहुविहि° । 6 C कुसम | 7 A C नई । 8 C ° समुहं । 9 C मच्चतु | 10 B सूरो उवयंम्मि; C सूरे उवयं । 11 B विहसिया; C विहिसिया । 12 B C नलिणी । 13 B णं । 14 C बिहस । 15 B कहव ।
[ टिप्पनकरूपा व्याख्या ]
[११] यदि मतङ्गजः - दिग्गजो मदं झरति, कीदृशः कमलदलप्रचुरगन्धदुःप्रेक्षः । अन्यच्च - यदि ऐरावणो मत्तो भवति, तर्हि शेषा' गजा मत्ता न भवन्ति ?, अपि तु भवन्त्येव ॥ ११ ॥
[१२] यदि पारिजातो बहुविह (ध) गन्धाढ्य कुसुमामोदोऽस्ति, अन्यच्च - सुरेन्द्रभवने प्रफुल्लति तर्हि शेषंतरवः किं न फुल्लन्तु १, अपि तु फुल्लन्तु ॥ १२ ॥
[१३] यदि गङ्गा नाम नदी अस्ति, त्रिलोके नित्यं प्रग (क) टितप्रभावा, सागरम् - समुद्रं सरति, तर्हि शेषाः सरितः सागरं किं मा सरन्तु ?, अपि तु सरन्तु ॥ १३ ॥
[१४] यदि विमले सरसि सरोवरे, सूर्योद्गमे कमलिनी विकलिता, तर्हि वृत्तिविलग्ना तुम्बिनी वल्ली किं मा विकसतु ? ॥ १४ ॥
[ अवचूरिका ]
冬冬冬冬
[११] यदि मतङ्गजः - दिग्गजः कमलदल बहलगन्धदुः प्रेक्षं [मदं ] झरति, अन्यच्च - ऐरापतिः - ऐरावणो मत्तो भवति तदा शेषगजाः किं मदं मा झरन्तु - मा माद्यन्तु ?, अपि तु माद्यन्तु ॥
本本本本本
[१२] यदि पारिजातोऽस्ति, कीदृग् ? बहुविधगन्धाढ्यकुसुमा मोदः, सुरेन्द्रभु (भ) वने प्रफुति, तर्हि शेषास्तरवो मा फुल्लन्तु ?, अपि तु फुल्लन्तु ॥
[१३] यदि गङ्गा नाम नद्यस्ति सा त्रिलोके प्रकटितप्रभावा सागरसंमुखा व्रजति; वर्हि शेषसरितो मा व्रजन्तु १, अपि तु व्रजन्तु ॥
[१४] यदि बिमले - विस्तीर्णे सरसि सूर्योद्गमे कमलिनी विकसति तर्हि वृत्तिविला तुम्बिनी वल्ली किं मा विकसतु ?, अपि तु विकसतु ॥
1. सेवा ।

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सन्देश रासक
[प्रथम प्रशम जइ भरहभावछंदे' णच्चइणवरंग चंगिमा तरुणी । ता किं गामगहिल्ली तालीसद्दे ण णच्चेई ॥ १५ ॥ जइ बहुलदुद्धसंमीलिया य उल्ललइ 'तंदुला खीरी । ता कणकुक्कससहिआ रब्बडिया मा दडव्वडउ ॥ १६ ॥ जा जस्स कव्वसत्ती सा तेण अलजिरेण भणियव्वा । जइ चउमुहेण भणियं ता सेसा मा भणिजंतु" ॥ १७ ॥
त्थि तिहुयणि जं च णहु दिछ', तुम्हेहिँ वि जं न सुउ विअडबंधु सुच्छंदु सरसउ । णिसुणेविणु को रहइ, ललियहीणु मुक्खाह" फरसउ । 1C भाविछंदे। 2 A नच्चइ। 3 BCणवरंगि। 4 Cणचिहह। 5 A संमिलिया। 6 BCउ। 7 Cसतंदुला। 8C दुडब। 9 A अलज्जरेण; C अलिजरेण। 10 BC सेसकई। 11 B भणिजंति। 12 B चि। 13 Cनहु। 14 A दिट्ठ। 15 A तुम्हे वि। 16 सुअा। 17 C मुक्खाण। 18 B विरसिउ; A फरसिउ।
[टिप्पनकरूपा व्याख्या] . [१५] यदि भरह(त)भावच्छन्दसा नवरङ्गचङ्ग(ङ्गि)मा-नूतनवर्णप्रधाना नायिका नृत्यति, तर्हि ग्रामीणवधू तालीशब्दे न नृत्यतु ?, अपि तु नृत्यतु ॥ १५॥
[१६] यदि प्रचुरदुग्धेन सम्मीलिता तन्दुलानां क्षीरी उल्ललति, तर्हि धान्यकणतुषयुक्ता रब्बड़िका मा दडब्बडउ-मा शब्दं करोतु ॥१६॥ - [१७] साध्यमाह-'जा जस्स कव्व०'-या यस्य काव्येन शक्तिः, सा तेन लजा मुक्त्वा भणितव्या । यदि चतुर्मुखेन-ब्रह्मणा भणितम्-चत्वारो वेदाः कृताः, तर्हि शेषाः कवयो मा कवित्वं कुर्वन्तु ॥१७॥ [१८] कवित्वकरणायात्मानं प्रोत्साह्य ग्रन्थस्य मनार रमणीयत्वं दर्शयन्त्र-
[अवचूरिका] - --- . [१५] यदि भरतभावच्छन्दसा नवरङ्गचङ्गिमा तरुणी नृत्यति, तर्हि प्राममथिला तालीशब्देन किन मृत्यतु ?, अपि तु नृत्यतु ॥ . [१६] यदि प्रचुरदुग्धसंमिश्रिता तन्दुलानां खोरी उल्ललति, तर्हि धान्यकणीतुषयुक्ता रब्बडीया कि मा दडब्बडउ-मा शब्दं करोतु ?, अपि तु करोतु ॥ ... [१७] स्वकाव्यकरणे आत्मानमुत्साहयति-या यस्य काव्ये शक्तिः सा तेन ला मुक्त्या भणितव्या । यदि चतुर्मुखेन-ब्रह्मणा भणितम् - चत्वारो वेदाः कृताः, तईपरे कवयः किं कवित्वं मा कुर्वन्तु ?, अपि तु कुर्वन्तु ॥ [10] कवित्वकरणे आत्मानं प्रोत्साह्य भात्मप्रन्थस्य मनाम् रमणीयत्वं दर्शयन्, अनौबत्ये

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पण १५-१९] सन्देश रासक
तो दुग्गच्चिय छेअरिहिं पत्तहि अलहंतेहिं । आसासिज्जइ कह कह वि सइवत्ती रसिएहिं ॥ १८ ॥
णिअकवित्तह विज माहप्प', पंडित्तपवित्थरणु मणुजणंमि कोलियपयासिउ । कोऊहलि भासिअउ सरलभाई संनेहरासउ । ' तं जाणिवि णिमिसिद्ध खणु बुहयण करवि सणेहु । पामरजणथूलक्खरहि जं रइयउ" णिसुणेहु ॥१९॥ [रड्डच्छन्दः ।
Annanoram
1 B ता। 2 B दोग्ग; A दोगोचिय। 3 A पुन्निहि । 4 B कहव । 5 C सरसिएहिं । 6 A °कवित्तविज°17 C माहप्पु । 8 B पविवित्थरणु; C पवित्तरणु। 9 C कालिय। "मण मुणेवि किंचिय पयासिउ'-एतादृशः B स्थितः पाठः। 10 B °भाई। 11 B संनहरा। 1 नोपलभ्यते C आदर्श पंक्तिरियम् । लिपिकरप्रमादेन पतिता प्रतिभाति । 12 'तुहिजइ णव सह खणु' एवंरूपः B पाठः; 'तं जाण व निमसिद्ध खणु'-एतादृशः C पाठः। 13 B Cबुहियण। 14 C सिणेहु। 15 C रयई उ।
[टिप्पनकरूपा व्याख्या ] नौद्धस्येन कवीनाह-'पत्थि तिहुयणि'-भो कवयः! त्रिभुवने तन्नास्ति, यद् युष्माभिर्न दृष्टम्-न हातम्, अन्यच न श्रुतम् - नाकर्णितम् । अतः सर्वविशेषज्ञानात् । युष्मकृतं विकटबन्धविशेषः(पं) सुच्छन्दसं सरसं श्रुत्वा, असाकं मूर्खाणां विरसितं प्राकृतं काव्यम् , ललितहीनम्-लालित्यवर्जितं [कः] श्रोष्यति ? अपितु न कोऽपि । तर्हि भने कथं प्रवृत्तिः । तद् दृष्टान्तेनाह-यथा दुर्गतैर्दारिद्रोपद्धतैश्छेकैः, पत्राणि-मागवल्लीदलानि, अल[भ]मानैः पर्वतादी बहुमौ(मूल्यत्वाव, स(शतपत्रिका आस्वाद्यते, तथा मम काव्यमपि पठिष्यन्ति ॥१८॥
[१९] ततः प्रावलिः, निजग्रन्थश्रवणार्थ पण्डितानाह-णियकवित्त-मो बुधजना! निशब्दं यथा क्षणं तूष्णीक्रियताम्। अन्यच्च-यत् पामरेण स्थूलाक्षरैःबाझवणेः रचितम्, तत् नेहं कृत्वा शृणुत । कीदृशं निजकवित्वविद्याया माहात्म्य प्रभावरूपम्, आत्मानुमानेन पाण्डित्यप्रविस्तारणम् । कथं प्रकाशितम् ?-ममसि *
[अवचूरिका] नाह-भोः कवयः! त्रिभुवने तमास्ति यधुष्माभिर्न दृष्टम्-न ज्ञातम्, यस न श्रुतम् । [युष्मकृतं] विकटबन्धविशेषं सुच्छन्दं सरसं श्रुत्वा, अस्माकं मूर्खाणां स्पृष्टं-कृतं काव्यं कलितहीनं श्रुत्वा कः स्थास्यति-पुनः कः श्रोष्यति ?, अपि तु न कोऽपि । तयग्रे कथं प्रवृत्तिस्तद् स्टान्तेनाह-यथा दुर्गतैर्दरिदैश्छेकैः, पत्राणि नागवल्लीदलान्यलभमानैः, पर्वतादौ शतपत्रिका ऽऽस्वायते तथा मम काव्यमपि पठिष्यन्ति । 1तुष्णीकया। 2 दिष्टं ।

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[प्रथम प्रक्रम संपडिउजु सिक्खइ कुइ समथु,
तसु कहउ विबुह संगहवि हत्थु । पंडिन्तह मुक्खह मुणहि भेउ,
तिह पुरउ पढिव्वउ ण हु वि एउ ॥ २० ॥ 1B संपडिय। 2 C बिहत्थु। 8 B C तह।
[टिप्पनकरूपा व्याख्या] किमपि ज्ञात्वा प्रकाशितम् । कौतूहलेन भाषितम् । पुनः कथं १-सरलभावेन । सन्देस(श)रासकं नाम । रड्डुच्छन्दः । तल्लक्षणम्
जासु वियरणि हुंति पय पंच, पढम चिय पंनरह, बीय चारि गारह निरुद्धउ । तह तीयइ पंचदह, रड्डभेउ जाणउ सु सुद्धउ । करहिणि मोहिणि मियनयणि, रासासेण मुणिंदु ।
अंतिहिं दोहउ जसु हवइ, कवि नंदड्ड भणंति ॥ यस्य प्रस्तारे आदौ पश्चदश-एकादश-पञ्चदश-एकादश-पञ्चदशमात्रिकाणि भवन्ति पञ्च पदानि । प्रान्ते दोधकः । इति रडुलक्षणम् । दोधकलक्षणमने कथयिष्यति॥
[२०] ततः प्राञ्जलिर्निजग्रन्थ श्रवणार्थ पण्डितानाह । ततो ग्रन्थपठनस्य शिष्या(क्षा)माह-'संपडिउ जु०'-कोऽपि समर्थः-प्रज्ञावान् , संप्रतितं-प्रसङ्गागतम्, इदं(म) सन्देशरासकं पठति, तस्य सन्देशकविदो हस्तं गृहीत्वा भणामि। ये जनाः पण्डितानां मूर्खाणां चान्तरं जानन्ति, तेषां पुर[त] एष सन्देशरासको नाम न पठितव्यः । यतस्ते महान्तः पण्डिताः। पद्धडीछन्दः। तल्लक्षणम् - * [अवचूरिका]
- - [रड्डच्छन्दो यथा-] जासु विरयणि हुंति पय पंच,
पढम चिय पनरह य, बीअ चारि गारह निरुद्धउ । तह तीअइ पंचदह, रडुमेउ जाणहु सु सुद्धउ ।
करहिअमोहिणि मिअनयणि राहासेणु मुणिंदु । अंतिहि दोहउ जिसु हवइ कवि नंदह भणंति ॥ यस्याः प्रस्तार भादौ पञ्चदशैकादशपञ्चदशमात्राणि पञ्च पदानि, प्रान्ते च दोधक इति रहालक्षणम् । दोधकलक्षणमने कथयिष्ये ॥
[१९] ततः प्राञ्जलिर्निजग्रन्थश्रवणार्थ पण्डितानाह - भो बुधजनाः ! स्नेहं कृत्वा निजकवित्वविद्याया माहात्म्यं प्रभावरूपमात्मानुमानेन पाण्डित्यप्रविस्तारणं मनुष्यलोके कौलिकेन तन्तुवायुना (येन) प्रकाशितं कौतूहलभाषितं सरलभावेन पामरजनेन मूर्खेण कृतं सन्देशरासकं नाम कवित्वलक्षणं निःशब्दं कोलाहलं विहाय शृणुत ॥
[२०] ततो ग्रन्थपठनशीलस्य शिक्षामाह- यः कोऽपि समर्थः- प्रज्ञावान् , सम्प्रतितं-प्राप्तमिदं शासं पठति तस्य बुधस्य पण्डितस्य हस्तं ग्रहीस्वा भणामि । ये जनाः पण्डितानां मूर्खाणामन्तरं कुर्वन्ति-जानन्ति तेषां पुरत एष न पठितव्यः । यतस्ते महान्तः पण्डिताः॥
1 कथयष्यते।

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सन्देश रासक
हु रहइ बुहा कुकवित्तरेसि, अबुहतणि' अबुहह हु पवेसि' । जिण मुक्ख ण पंडिय मज्झयार,
तिह' पुरउ पढिव्वउ सव्ववार ॥ २१ ॥ [ पद्धडीछन्दः। ]
पद्य २०-२२ ]
अणुराइयरयहरु 'कामियमणहरु, मयणमणह पहदीवयरो । विरहणिमइरद्धउ' सुणहु विसुद्धउ, रसियह रससंजीवयरो” ॥ २२ ॥
1 B अबुहत्तणित्त अब्बुहप्पवेसि । 2 C पवेसु । 3 BC न । 4 C तह | 5 A कामीय° 6 C मणुहरु | 7 C 'महप्पह | 8 C मयरद्धउ; B मइसद्धउ । 9A सुणह । 10 B संजीयरो; C संजीवियरो |
*
[ टिप्पनकरूपा व्याख्या ]
सोलसमत्तउ जहिँ पर दीसइ, अक्खरगतु न किं पि सलीसह ।
पाय पायउ यमकविसुद्ध, पद्धडियह इहु छंदु पसिद्धउ ॥
चत्वार्यपि पदानि षोडशमात्राणि । आद्याद्धे यमकम्, उत्तरार्द्ध यमकम् । एवं सर्वत्र ज्ञेयम् ॥ २० ॥
[२१] तद्धेतुमाह - 'हु रहइ ० ' - बुधा मत्कृते काव्ये कुत्थि (रिस) ते, न तिष्ठन्ति - न मनः कुर्वन्ति । अबुधत्वेन - अबुधास्तत्राप्रवेशिनः । ये न मूर्खाः, न पण्डिताः, किन्तु मध्यस्थाः, तेषां पुरतः सर्वदेव पठितव्यः ॥ २१ ॥
[२२] ग्रन्थस्य गुणा [ना]] द्द - 'अणुरइय ० ' - अनुरागिणां सर्वशास्त्रविदां रतिगृहं समाधिस्थानम्, कामुकानां मनोहरम्, मदनमनस्कानां पथोदीपकरम् । विरहिजीनां मकरध्वजम् रसिकानां रससंजीवनकरम्, विशुद्धं ज[नाः] शृणुत ॥ २२ ॥
香
9
[ अवचूरिका ]

पद्धडीछन्दो यथा -
सोलसमत्त जहि पउ दीसर, अक्खरु गंतु न किं पि सलीसह ।
पायउ पायउ जमक विसुद्धउ, पद्धडीअह इह छंद विसुद्धउ ||
चत्वारोऽपि पदाः षोडशमात्रिकाः । आद्यार्धे उत्तरार्धे च यमकम् ॥
1
[२१] तद्धेतुमाह- बुधा मत्कृते काव्ये न तिष्ठन्ति न मनः कुर्वन्ति, अबुधत्वेन, नाबुधास्तत्र प्रवेशिनः । ये न मूर्खाः, न पण्डिताः, किन्तु मध्यस्थाः तेषां पुरतः सर्वदैव पठितव्यः ॥
[२२] ग्रन्थस्य गुणः - डोमिलाबन्धेन । अनुरागिनां (णां) रतिगृहम्, कामुकानां मनोहरम्, मदनमनस्कानां पथदीपकरम्, गिरहिणीनां मकरध्वजम् रसिकानां रससञ्जीवनकरम्, विशुद्धकरम्, भो जनाः ! श्रृणुत ॥
सं० २

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१०
• सन्देश रासक
अइहिण' भासिउ, रइमइवासिउ, सवणसकुलियह' अमियसरो । इ' लिes' विक्खणु, अत्थह लक्खणु, सुरइसंगि' जु' विअड्डनरो' ॥ २३ ॥ [ डुमिलाछन्दः । ]
1 C अहह । 2 B सुकुलि जिय; C सुकुलि जहि । 5 C सग्गि । 6 CA 7AB विअढ° ।
3 C लह |
[ टिप्पनकरूपा व्याख्या ]
[२३] यतोऽतिस्नेहेन भाषितम्, रतिमतिवासितम्, कर्णशष्कुल्यां यथाऽमृतम् । अन्यच्च - विचक्षणो लए - भावे लिखति जानाति । अन्यच्च - अर्थलक्षणं स एव वेत्ति यः सुरतिसङ्गे विदग्धो भवति, नापरः । डुमिल्लाच्छन्दः । तल्लक्षणं
यथा
不不不不不
[ प्रथम प्रक्रम
डुमिलाहि पयासिण, मत्त विसेसिण, दोहिं तहिं चिय च्यारि भणू । भण मत्त बत्तीस वितीसघमेल (?) अट्ठय ठाम ठवेस गणू ॥
गण अन्न मिलिज्जइ, सोइ ठविज्जइ, तं पुण जाणि ण भंति करी । करि जमकु विसाइण, पाइण पाइण, सुड्डु वि छंदु विभंज परी
॥ इति श्रीदेवेन्द्रसूरिशिष्य वा० श्रीलक्ष्मीचन्द्रविरचितायां संदेशरासकवृत्तौ प्रथमः प्रक्रमः ॥

4 AC लहइ ।
[ अवचूरिका ]
[२३] यतोऽतिस्नेहेन भाषितम्, रतिमतिवासितम्, कर्णशष्कुल्योः यथाऽमृतम् । अभ्यश्च - एतस्यार्थलक्षणं स एव विचक्षणो लए-भावें लिखति - जानाति यः सुरतिसङ्गे विदग्धो भवति, नापरः ॥
[ डुमिला छन्दो यथा - ] डुमिला हि प० ॥

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पद्म २३-२४ ]
विजयनयरहु कावि वररमणि', उत्तंगथिरथोरथणि', 'बिरुडलक धयरट्टपउहर । दीणाणण पहु णिहइ', 'जलपवाह पवहंति 'दीहर । विरहग्गहि 'कणयंगितणु तह 'सामलिमपवन्नु' । णज्जइ" राहि" विडंबिअउ " ताराहिवइ सउनु ॥ २४ ॥
10
13
14
18
फुसइ लोयण रुवइ" दुक्खत्त", "धम्मिल्लउमुक्कमुह", विज्जंभइ "अरु अंगु" मोडइ । विरहानल संतविअ ", ससइ दीह करसाह " तोडइ ।
16
सन्देश रासक
२ द्वितीयः प्रक्रमः
1 A रवणि; B तरुणि । 2 C थोरु' ; B थोरघण ।
6 B पवहंत ।
निes; C निहृय । 5 C जल जल° । C सामलिय । 9C पवन । 13 C सवन्नु । 14 B रुयइ; मुहु । 18 B त C निय० ।
3 A बरुड B विरड' । 4B
7 C कणयग्गि° ।
11 B राह ।
10 A णिजइ । C रुअइ । 15 B दुक्खित्त । 16 19 A अंग । 20 A संतवीअ ।
杀

११.
[ टिप्पनकरूपा व्याख्या ]
[२४] अथ कथास्वरूपमाह - 'विजयनयरहु ० ' - विक्रमपुरात् काचिद् वरनाइ(य) का उच्च स्थिरदृढ - स्थूलकुचा भ्रमरीमध्यमध्या धार्त्तराष्ट्र-राजहंस - गतिर्विरहिणीत्वाद् दीनानना । नेत्रयोर्दीर्घभरं जलप्रवाहं प्रवहन्ती परदेशगतं पतिं पश्यति । तथा कनकाङ्क्षया विरहाग्निना तनु शरीरं श्यामलिमा प्रपन्नाम्, कविः कथयति-मन्ये ताराधिपतिश्चन्द्र [:] सम्पूर्णो राहुणा विडम्बितो ग्रस्त इति ॥ रडुच्छन्दः ॥ २४ ॥
विरहावस्थां व्यावर्णयन्नाह - लोचने- 'फुसइ' - उत्फुंसति दुःखार्त्ता रोद (दि) ति । धम्मिल्लोन्मुक्तमुखा विजृम्भति । अङ्गं मोटयति । विरहानल
[२५] तस्या
8A सामलउ; 12 C विडंबिओ । C धम्मिल्लो । 17 C 21 C सास |
[ अवचूरिका ]
茶茶 茶茶
[ २४ ] विक्रमपुरात् काचिद् वरनायिका उच्च स्थिरदृढस्थूलकुचा भ्रमरीमध्यमध्या धार्तराष्ट्रगतिः, विरहिणीष्वाद् दीनानना, नेत्रयोर्दीर्घतरजलप्रवाह प्रवहन्ती परदेशगतं प्रभुं पश्यति । पुनः कीडशी - - तथा कनकायास्तनु तथा श्यामं प्रपन्नम्, यथा ज्ञायते ताराधिपतिः सम्पूर्णो बिडम्बितो राहुणा - ग्रस्त इति ॥
[२५] तस्या विरहावस्थां व्याचष्टे - लोचने उत्फुंसति, दुःखार्त्ता रोदिति, धम्मिल्लमुक्ता, मुखे विजृम्भति, अङ्गं मोटयति, विरहानल संतप्ताऽऽश्वसति करशाखास्त्रोटयति । एवं मुग्धया विल

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१२
सन्देश रासक
[द्वितीय प्रक्रम इम' मुह विलवंतियह महि चलणेहि छिहंतु। अडुड्डीणउ तिणि पहिउ पहि जोयउ पवहंतु ॥२५॥ [रड.]
तं जि पहिय पिक्खेविणु 'पिअउक्कंखिरिय', ___ मंथरगय सरलाइवि उत्तावलि चलिय"। तह मणहर "चल्लंतिय चंचलरमणभरि',
छुडवि खिसिय" रसणावलि "किंकिणिरवपसरि" ॥ २६ ॥ ___ 1 A इव। 2 C मुंद्धह; B मुद्धहं। 3 C छिवंतु। 4 A तं; C त। 5 Cज। 6 A पहिउ। 7 B पिय। 8 A उखिखिरीय; C उकिंपिरिय। 9A°सरलाविअ । 10 A चलिअ । 11 B चलणिहि चल्लं । 12 A श्वणि। 13 A छुवि। 14 A खिसीअ। 15 A. कंकणि; B किंकणि। 16 A.C गय पसरि ।
rrrrrrwww
NAMA
[टिप्पनकरूपा व्याख्या ] संतताऽऽश्वसति, करसाषा(शाखाः)त्रोटयति । एवं मुग्धया विलपन्या महीं चलनाभ्यां क्रामन् अझै(ध्वो)द्विग्नः, नगरमध्यं विहाय पार्श्व एव संचरन् , पथि प्रवहन् पथिको दृष्टः ॥ रुडुच्छन्दः ॥२५॥
[२६] तं पथिक दृष्ट्वा पत्युत्कण्ठिता, मन्थरगति सरलयित्वा यावदुस्सुकगत्या चलिता, तावन्मनोहरं चलन्त्याचपलरमणभरात् कटिप्रदेशादरसनाऽऽवलि: किङ्किणीकणयुक्ता छुटिता। आभाणकनाम च्छन्दः । तल्लक्षणं यथा
मत्त होहि चउरासी चहु पय चारि कल
ते सठि जोणि निवद्धी जाणहु चहु अ दल । पंचकलु वज्जिज्जहु गणु सुद्धि वि गणहु
सो वि आहाणउ छंदु के वि रासउ मुणहु॥ पदे पदे एकविंशति मात्रा सर्वसं(ख्या) चउरासीति । आदौ षट् कलाः, तदनु त्रयः । अपरस्तु चतुः कलाः। एकस्लिमातृकः। पञ्चकल: वर्जनीयः॥ एष(तत्) रासकछन्दः॥२६॥
* * [अवचूरिका] पन्त्या महीं चलणा(ना)भ्यां कामन्, अध्वोद्विप्नो नगरमध्यं विहाय पावे संचरन् पथि प्रवहन् पथिको दृष्टः॥
[२६] पथिक दृष्ट्वा तया किं कृतमित्याभाणकछन्दसाऽऽह-तं पथिकं सा पत्युस्कण्ठिता मन्थरगमनं त्यक्त्वा यावदुस्सुका गत्या चलिता तावन्मनोहरं चलन्त्यास्तस्याश्चपलरमणभरा रसना किङ्किणीकणप्रसरा छुटिता ॥
छन्दो यथा-'मत्त होइ चउरासी चहु पय च्यारि कल.॥'
本本本本本

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सन्देश रासक
तं जं मेहल' ठवइ गंठि णिहु सुहय, तुडय' ताव' 'थूलावलि 'णवसरहारलय । सात व संवरवि 'चइवि किवि संचरिय', वर चरण" विलग्गवि तह पहि" पंखुडिय# ॥ २७ ॥
12
10
13
पद्य २५-२८ ]
पडि उट्ठिय सविलक्ख सलज्जिर संझसिय",
14
तउ" सिय" सच्छ "णियंसण मुद्धह विवलसिय" ।
तं संवरि अणुसरिय पहियपावयणमण,
20
फुडवि" णित्त" कुप्पास विलग्गिय दर सिहण " ॥ २८ ॥ छायंती" कह कह व सलज्जिर "णियकरहि ", कणयकलस झंपंती णं इंदीवर हि " ।
25
1 A मेहलि ।
5 C धूलाबलि ।
10 A चरणि । 11 B पय । 15 A सिर° । 16BC नियं फुडिवि । 20 B णत्त; C नित्त । 24 B करिहि ।
2 B C निडुर । 6 B C नव° ।
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25 A B वरिहि ।
零零零零零

8 A तुडवि; C तुडचि ।
7 C चयवि ।
C पक्खडिय ।
17 B सिअ
।
21 A दर सिह ।
१३
4 A ताम; C ताब ।
8 A केवि । 9A संचय | 13 A संझसीय । 14 A तं ।
18 A अणुसरीअ । 19 C 22 A यंती । 23 B C निय° ।
[ टिप्पनकरूपा व्याख्या ]
[२७] सा सुभगा यावत् तां मेखलां ग्रन्थौ स्थापयति, तावता मुक्तामयी स्थूला नवसरहारलताssवलित्रुटिता । [.] तावता नूपुरचरणाभ्यां विलग्य निर्बलत्वात् पतिता ॥ २७ ॥
[२८] यावत् पतितोत्थिता सविलक्षा सलज्जा संभ्रमिता । तावत् श्वेतं स्वच्छं निवसनं - शिरोवस्त्रं विवलसितं - दूरीभूतम् । तदपि संवरयित्वा पथिकप्रापन (ण) - [] का यावत् संसृता, तावता नेत्रपठ्ठे वस्त्रमयं कूर्पासकं कश्शुकं विदार्य कुचौ ईषहरे छिद्रे विलग्नौ - प्रकटौ जा (या) तावित्यर्थः ॥ २८ ॥
[२९] सा बाला सलज्जा पथिकं पति [वि] रहिणीत्वात् करुणम्, पद्मिनीत्वात् [ अवचूरिका ]
冬冬冬冬冬
[२७] सा शुभा यावता मेखलां ग्रन्थौ स्थापयति तावता मुक्तामयी स्थूलावलिर्नवसरहारलता त्रुटिता । ततस्तानि कानिचिन्मुक्ताफलानि संमीलयित्वा ( संमील्य ) कानिचिदौत्सुक्यात् त्यक्त्वा संचलिता, तावता नूपुरचरणाभ्यां विलग्य पतितेत्यर्थः ॥
[ २८ ] यावत् पतितोत्थिता सविलक्षा सलज्जा संझसिता तावत् श्वेतं स्वच्छं निवसनं - शिरोव विवलसितं - दूरीभूतम् ; तदपि संवरद्दत्वा ( संवृत्य ) पथिकप्रापमनस्का यावत् संसृता, तावता नेत्रपट्टे वस्त्रमयं कूर्पासं कछुकं विदार्य कुचौ दरे छिद्रे विलग्नौ - प्रकटौ यातावित्यर्थः ॥ [ २९ ] सा सज्जा पथिकं प्रति, विरहिणीत्वात् करुणं सविलासं शब्दं कृतवती । निजक

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सन्देश रासक
[द्वितीय प्रक्रम तो आसन्न पहुत्त 'सगग्गिरगिरवयणि',
कियउ सदु सविलासु करुण दीहरनयणि ॥ २९ ॥ ठाहि ठाहि णिमिसिद्ध सुथिरु अवहारि मणु, ___णिसुणि किं पि जं जंपउं हियई' पसिजि खणु । एय' वयण आयन्नि पहिउ कोऊहलिउ",
णेय" णिअत्तउ ता सु कमडु वि णहु चलिउ ॥३०॥
"कुसुमसराउह रूवणिहि विहि णिम्मविय गरिट्ट । तं पिक्खेविणु पहियणिहिं" गाहा भणिया" अट्ठ ॥ ३१ ॥
1 B गग्गिर। 2 C गिरि। 3 A तरुणि। 4 A किअउ। 5A सुविलासु; C सविलास। 6 B णिमिसद्ध; C तिमिसिद्ध। 7 A हिअइ; C हियय। 8 A पसिज्झि; B पसज्जि । 9 A एइ। 10 C आइन्नि। 11C कोऊहिलियओ। 12 C नेइ निय' । 13 B C नहु। 14 BC कुसम। 15 C णिहिं । 16 B णिम्ममिय । 17 A पंथियणिहिं; B पहियजणि । 18 B C पढिया।
[टिप्पनकरूपा व्याख्या ] सविलासम्, शब्दं कृतवती । किं कुर्वन्ती?-निजकराभ्यां कुचावाच्छादयन्ती । नु वितर्के। कनककलसाविन्दीवराभ्यामाच्छादयन्ती । यतस्तस्या हस्तौ पुनः पुनः सकज्जलनेत्रस्पर्शादक्षालनात् श्यामलतां गतौ । ततो दीर्घनेत्रा सगद्गद्गीर्वदना आसन्नं निकटं प्राप्ता ॥ २९ ॥
[३०] किमाह-'ठाहि ठाहि०'-निमेषार्द्ध सुस्थिरं यधा(था) तिष्ठ तिष्ठ । मनस्यवधारय । यत् किश्चिद् जल्पामि तच्छ्रवणाभ्यां शृणु। क्षणं हृदये प्रसीद । तस्या एतानि वाक्यानि आकर्ण्य, पथिकः कौतूहलितः सन् , न क्रमार्द्ध निवृत्तो न चाग्ने चलितः। क्षुब्धत्वात् तथैव संस्थित इत्यर्थः ॥ ३०॥
[३१] कुसुमशरायुधां विधिना गरिष्ठां रूपनिधिः(धि) निर्मितां तां प्रेक्ष्य पथिकेनाष्टौ गाथा भणिता[:] ॥ ३१॥ ___
[अवचूरिका] --- राभ्यां कुचं(चौ) चाच्छादयन्ती । 'नु' इति वितर्के, कनककलसावीन्दीवराभ्यां नीलोत्पलाम्या. माच्छादितौ, यतस्तस्या हस्तौ कजलनेत्ररसादक्षालनाच्च श्यामतां गतौ । ततो दीर्घनेत्रा सगद्दा निकटं प्राप्ता ॥
[३०] किमाह-निमेषार्ध सुस्थिरं यथा तिष्ठ तिष्ठ । मनस्यवधारय । यत् किशिजल्पामि तच्छ्वणाभ्यां शृणु । क्षणं हृदये प्रसीद । तस्या एतानि वाक्यानि आकर्ण्य, पथिकः कौतूहलितः सन् , न क्रमार्थ निवृत्तो न चाने चलितः । क्षुब्धत्वात् तथैव संस्थित इत्यर्थः ॥

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सन्देश रासक
*
{ पहिउ भणइ बिवि दोहा तसु सु वियङ्कपरि । इकु मणि विंभउ थियउ कि रूविणि' पिक्खि करि ॥ * किं नु पयावइ अंघउ अहवि वियलु आहि । जिणि एरिसि' तिय णिम्मविय ठविय न अप्पह पाहि ॥ * }
पद्य २९-३२ ]
'अइकुडिलमाइपहुणा विविहतरंगिणसु सलिलकल्लोला । किसणत्तणंमि अलया' अलिउलमाल व्व रेहति ॥ ३२ ॥
*
1 C किं । 2 B रुवणि । 3 C अंधुलउ | 4 B एरिस । 5 C अप्पहु । [ * एतद् दोधकयुगलं B C सञ्ज्ञके आदर्शद्वये लभ्यते, परं A आदर्शे नोपलभ्यते । अत एतस्याव - चूरिकाऽपि न विद्यते । क्षेपकप्रायमिदम् । ] 6 B अय° । 7 A तरंगंसु । 8 A अलिया ।
दोधकच्छन्दः । तल्लक्षणम् -
[ टिप्पनकरूपा व्याख्या ]
तेरह मत्ता विसमपय, सम एगारह मत ।
इहु जाणिज्जहु दोहडउ, अन्न म करिजहु वत्त |
प्रथम- तृतीयपदे [यो ] दशमात्रे भवतः । द्वितीय चतुर्थे पदे एकादशमात्रिके भवतः । इति दोधकः ॥
१५
*
अतः परं पथिकचेष्टामाह-पथिकस्तां दृष्ट्वा दोधकद्वयमाह - 'पहिउ' - पथिक [:] द्वौ दोधको भणति । तस्यां विदग्धपरिणा एकः मनसि विस्मयो जातः । तां रूपवतीं प्रेक्ष ( क्ष्य) अहं एवं मन्ये- किं नु प्रजापतिः अन्धः, अथवा षण्ढः ? | यदेतादृशीं if निर्माय येनाSSत्मपार्श्वे न स्थापितेति ।
*
零零零不夺
[३२] देवीवर्णनं चरणाद्, नारीवर्णनं शिरसः । अत आह-अतिकुटिलमात्रा प्रधानाः । यथा तरङ्गिणीषु सलिलकल्लोला वक्राः । कृष्णत्वे अलिकुलमाला इव । एवंविधास्तस्या अलकाः शोभन्ते ॥ ३२ ॥

[ अवचूरिका ]
茶茶茶茶茶
[३१] कुसुमस (श) रायुधं रूपनिधिर्विधिना गरिष्ठा निर्मिता । तां प्रेक्ष्य पथिकेनाष्टौ गाथा भणिताः । छन्दो यथा
' तेरह मसा विसमपय, समएगार [ह मत्त ।' इत्यादि ] ।
[ ३२ ] देवीवर्णनं चरणाद्, नारी० शिरसः । अत भाह - तस्या अलका [:] शोभन्ते । ? - अतिकुटिलमात्रया प्रधानाः, तरङ्गिणीसलिलकल्लोला इव वाः । कृष्णत्वेनालिकुकमाला इव ॥
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१६
सन्देश रासक
[ द्वितीय प्रक्रम
रयणीतमविवणो' अमियंझरणो 'सपुण्णसोमो य । अकलंक माइ वयणं वासरणाहस्स पडिबिंबं ॥ ३३ ॥ 'लोयणजयं' च णज्जइ' रविंददल दीहरं च राइछं । पिंडीरकुसुमपुंजं तरुणिकवोला कलिज्वंति ॥ ३४ ॥ कोमल मुणालणलयं" अमरसरुप्पन्न बाहुजुयलं" से " । ताणते करकमलं ज्जइ " दोहाइयं परमं ॥ ३५ ॥ सिहणा सुयण-खला" इव थड्डा निच्चुन्नया य मुहरहिया संगमि सुयणसरिच्छा आसासहि" बे वि अंगाई ॥ ३६ ॥
13
14
1 C° विद्दमणो । लोअ° । 6 C जुअं । नलयं B लियं ।
15 B आसासइ
2 B य पुण्ण; C सपुन्न। 7 B णजई। A 8 कवोलं । 11 A जुवलं । 12 B च।
[ टिप्पनकरूपा व्याख्या ]
[३३] तस्या वदनं वासरनाथस्य प्रतिबिम्बवद् रराज । कीदृशम् ? - रजनीतमविद्रावकः, अमृतस्रावी, संपूर्णः अकलङ्को यः सोमो मात्रं उपमा ॥ ३३ ॥
B'माय' । 4 C इणं । 5 C 9BC ●मिणाल° । 10 A 13B जई । 14 C कला |
[ ३४ ] अहमेवं मन्ये - तस्याः स्त्रियाया लोचनयुगं दीर्घतरं रागाढ्यं अरविन्ददलं जिग्य (जय ? ) ति । दाडिमीपुष्पगुच्छं तस्या [:] कपोलो (लौ) जिग्य (जय )तः ॥ ३४ ॥
[३५] अहमेवं मन्ये-तस्या बाहुयुगलम्, अमरसरउत्पन्नं कोमलं मृणालनलकम्, पद्मसरसः संभूतस्वर्णकमलं भूमिमध्यदण्डं जिग्य ( जय ? ) ति । तयोः बाह्रोः प्रान्ते यत् करकमलं तद् द्विधाभूतं पद्मं ज्ञायते ॥ ३५ ॥
[ ३६ ] तस्या नाइ (य) कायाः कुचौ खजनखलू (लौ) इव शोभतः । खलोपमानं कथम् ? - स्तब्धौ नित्योन्नतौ मुखरहितौ । अप्रसूतत्वात् । सङ्गमेनान्योऽन्यमिलितेन स्वजनसदृक्षौ । किं कुर्वतौ ? - द्वावपि अङ्गानि आश्वासयन्तौ ॥ ३६ ॥
[ अवचूरिका ]
冬冬冬冬冬
[ ३३ ] तस्था वदनं वासरनाथस्य प्रतिबिम्बमिव रराज । कीडशम् ? - रजनी तमो विद्वावको. मृतस्रावी । सम्पूर्णसोमस्य अकलङ्कमात्रा वासरनाथस्योपमा नान्या ॥
吞吞吞不
[ ३४ ] यस्था लोचनयुगलमरविन्ददलं दीर्घतरं रागाढ्यं शोभते । पिण्डीर कुसुमपुअवद् दाडिमीपुष्पगुच्छवत् तस्याः कपोलौ दृश्येते ॥

[ ३५ ] तस्या बाहुयुगलं अमरसरउत्पन्नं मानसशरः संजातं मृणालनलकं मिथः स्वर्णकमलस्य भूमिमध्यस्थदण्डमिव कोमलं शोभते, तयोर्बाहु (ह्रोः) यस्करकमलं तद् द्विधाभूतपद्ममिव ज्ञायते ॥
[ ३६ ] तस्या[:] कुचौ स्वजनखलाविव शोभतः । खलोपमा [न] माह - स्तब्धौ कठिनौ नित्योव्रतौ, अप्रसूतत्वात्, मुखरहितौ । तथा च सङ्गमे मेले स्वजनसदक्षौ । यतो द्वावप्यङ्गान्यास्वा • श्वासयतः । अथवाऽन्तरबाह्याने आश्वासयतः ॥

Page #174

पद्य ३३-४०]
सन्देश रासक गिरिणइ समआवत्तं जोइजइ णाहिमंडलं गुहिरें । मज्झं मच्चसुहं 'मिव तुच्छं तरलग्गईहरणं ॥ ३७ ॥ जालंधरिथंभजिया ऊरू रेहति तासु अइरम्मा । वट्टा यणाइदीहा सरसा सुमणोहरा जंघा ॥३८॥ [क्षेपक] रेहति पउमराइ व "चलणंगुलि "फलिहकुट्टि णहपंती। तुच्छं रोमतरंगं उम्विन्नं "कुसुमनलएसु ॥ ३९ ॥ सयलज सिरेविणु पयडियाइँ अंगाइँ तीय सविसेसं । को कवियणाण" दूसई, सिटुं विहिणा" वि पुणरुत्तं ॥४॥
Awar
Aparama
1 BC न। 20 नाभि 3A गहिरं। 4 C सुहम्मिव। 5 B तुछति । 6C जालंधर। 70 बिया; B जिऊ। 8 A रेहिति। 9 B वट्टा इ णाय । 10C रम्मा। 1A आदर्शे एतदुल्लेखो लभ्यते। 11 A चरणं। 12 फलिय। 13 C उव्विालं। 14 AC कुसम। 15 C तीइ। 16 A कईयणाण। 17 B दूसई । 18 A. विहणाइ।
[टिप्पनकरूपा व्याख्या ] [३७] तस्या नाभिमण्डलं गिरिनद्यावर्तसदृशं गभीरं] दृश्यते । अन्यच्चतस्या मध्यं मर्त्यसुखमिव-मानुख्य(प्य)कभोगसातमिव तुच्छं दृश्यते। कदाचन हरगोचरम् , कदाचनाहग्गोचरम् । अथवा तरलगतौ हारिणं पदमिव ॥ ३७॥
[३८] तस्या ऊरू जालन्धरि-कदली-गर्भसदृशौ राजतः। च पुनः-वृत्ते, नाति. दीर्घे, सुतरां मनोहरे सरसे जक्के राजतः ॥ ३८॥ .
[३९] तस्याधरणालयः पनरागखण्डानीव शोभन्ते । तथा च-तासामङ्गली. नामुपरि नखाः पनरागोपरिस्थस्फटिकखण्डानीव । तथा च-ताखङ्गलीषु उद्भग्नकमलनालतन्तुसशं रोमतरकं व्यरचत् ॥ ३९ ॥ [४०] विधिना सै(शै)लजां सृष्ट्वा तस्या अङ्गानि तद्वत्, ततो वा सविशेष म्], -
[अवचूरिका] R [३७] तस्या नाभिमण्डलं गिरिनयावर्तसदृशं गंभीरं दृश्यते द्योतते वा। अन्यच - मध्यं मर्यसुखमिव तुच्छम्, कदाचनेन्द्रियगोचरम्, कदाचन तरलगतेर्हरणम्, अथवा तरलगतौ हारिणं पदमिव ॥
[३०] जालन्धरी-कदलीस्तम्भ-जेतारौ तस्या उरावतिरम्यौ राजतः । वृत्ते नातिदीर्घे सरसे सुमनोहरे जङ्ग्रे राजतः ॥
[३९] तस्याभरणालयः पमरागखण्डानीव शोभन्ते । तथा च-तासामङ्गुलीनामुपरि मखाः परागोपरिस्थितस्फटिकखण्डानीय । तथा च -तास्वङ्कुलिननकमलनालसन्तुसदृशं रोमतर व्यरचत् ॥
[४०] विधिना []जा सृष्ट्वा तस्या भङ्गानि तद्वत् ततोऽपि सविशेष यथा प्रग(क)टितानि - कृतानि । अत आह-क: कबीन् दूषयति, यद् विधिनाऽपि पुनरुक्तं सृष्टम् ॥
सं०३

Page #175

१८
सन्देश रासक
गाहा तं निसु विणु 'रायमरालगई', #चलणंगुट्ठि धरति सलज्जिर उल्लिहइ ।
तर पंथिउ कणयंगि तत्थ बोलावियउ,
कहि' जाइसि हि पहिय कह व तुह' आइयउ ॥४१॥
णयरणामुळे सामोरु सरोरुहदलनयणि,
10
" णायरजणसंपन्नु " हरिस "ससि हरवयणि" । धवलतुंगपायारिहि तिउरिहि" मंडियउ",
18
हु दीस " कुइ मुक्खु सयलु" जणु " पंडियउ ॥ ४२ ॥ विविहविअक्खण" सत्थिहि जइ पवसिइ" णिरु, सुम्मइ छंदु मणोहरु पायउ महुरयरु" ।
1 C राइ° । 2A गय; B गई । विअउ C वोलाविउ । 6A कह | 7 B तुहु । 10 C नायर 11 A संपन्न । 12 C सशिहर | 15 C मंडिउ | 16 B दीस। 17 C सयल° । 20 B पविसी । 21 C महुरु सरु ।
[ द्वितीय प्रक्रम
3 A चरणं । 4 A तं। 8 C आइउ । 13 C बयणि । 18 A जण ।
[ टिप्पनकरूपा व्याख्या ]
यथा प्रकटितानि - कृतानि । अत आह- कः कवीन् दूषयति । यद् विधिनाऽपि पुनरुक्तं सृष्टम् ॥ ४० ॥
[४१] तदनु किं कृतं तथा तदाह - 'गाहा तं निसुणे' - ता गाथाः श्रुत्वा राजमरालगत्या चरणाङ्गुष्ठेन धरित्रीं सलजमुल्लिखन्त्या कनकाङ्गया पथिको वाचालितः । अतः परं क यास्यसि, कुतः समुपागतः ॥ ४१ ॥
5A बोला9 B नयरु नामि । 14 A तिउरि मं° । 19 B वियखणु ।
[४२] तत्पृष्टः पथिकः प्राह - 'नयरु० ' - हे हेमसरोरुहदलनेत्रे शशधरवदनि('ने) ! सामोरु = मूलस्थाननाम नगरं वर्त्तते । कीदृशम् ? - नागरिकैः संपूर्णम्, धवलतुङ्गप्राकारैस्त्रिपुरैश्च मण्डितम् । अन्यच्च - यत्र कोऽपि न मूर्खः, किन्तु सकलोsपि जनः पण्डितः ॥ ४२ ॥
夺夺个夺夺

[ अवचूरिका ]
冬冬冬冬冬
[४१] गाथाः श्रुत्वा ततो राजहंसगत्या चरणाङ्गुष्ठेन धरित्रीं सलज्ज मुल्लिखन्त्या तथा कनकामया पश्चिक इति वाचालितः - हे पथिक ! [ क्व यास्यसि ? कुतस्त्वमागतः ? ॥ ]
[ ४२ ] सामोरं मूलस्थानं नाम नगरम् । हे सरोरुहदलनयने ! नागरजनैः सम्पूर्णम्, शशधरवदनि (ने) धवलतुङ्गप्राकारैखिपुरैश्च मण्डितं घर्तते । तत्र कोऽपि मूर्खो म दृश्यते, सकलोऽपि जनः पण्डितोऽस्ति ॥

Page #176

पघ ४१-४५]
सन्देश रासक कह व ठाई' चउवेइहिं वेउ पयासियई', ___ कह बहुरूवि णिबद्धउ रासउ भासियई॥ ४३ ॥ कह व ठाई सुदयवच्छ' कत्थ व नलचरिउ', ____ कत्थ व विविहविणोइहि भारहु उच्चरिउ" । कह व ठाइ आसीसिय चाइहि” "दयवरिहिं, ___ रामायणु अहिणवियअई" कत्थ वि कयवरिहिं ॥४४॥ के "आइन्निहिं "वंसवीणकाहलमुरउ, __ कह "पयवण्णणिबद्धउ सुम्मई गीयरउ । आयणहि सुसमत्थ पीणउन्नयथणिय",
चल्लहि चल्लं "करंतिय कथं वि णट्टणिय ॥ ४५ ॥ 1 C ठाई । 2 A वेयहि: C बेइहिं । 3 A सिअई। 4 A वहरूवि णि C विहिं थ। 5A. भासीअइ; C भासियई। 6C ठाई। 7 AC सुदवच्छ। 8 AC वर नल। 9Cचरियउ। 10Cकत्थ विविहिं। 11 B उच्चरित्रं। 12 A°चाईय। 13 C पवइ । 14 A णवीअइ। 15 C आइन्निहि; B आयन्नहिं । 16 C बंसवीण, B वीणवंस। 17 A पयर्वन; C पयवा। 18 A सुंमइ। 19 B आइन्निहि। 20C पीणुमय। 21 A °थणिहि। 22 A चोअ करति। 23 B करती। 24 'य' नास्ति BI 25 A. कत्थएवि; C कत्थ व। 26 A णइणिहि।।
[टिप्पनकरूपा व्याख्या] [४३] यदि विचक्षणैः सह पुरान्त[:] परिभ्रम्यते, तदा मनोहरं छन्दसा मधुरं प्राकृतं श्रूयते । कुत्रापि चतुर्वेदिभिः वेद[:]प्रकाश्यते । कुत्रापि बहुरूप(पि)भिर्निबद्धो रासको भाष्यते ॥ ४३॥
[१४] कुत्रापि मु(स)दयवच्छकथा, कुत्रापि नलचरित्र[म्], कुत्रापि विविधविनोदैः भारतं उच्चरितं श्रूयते । अन्यञ्च-कुत्रापि कुत्रापि आशिषा त्यागिभिजिवरैः रामायणमभिनूयते ॥४४॥ [४५] केचिद् वंशवीणकाहलमुरजमृदङ्गशब्दान् आकर्णयन्ति । कापि ____ -
[भवचूरिका] [३] यदि विचक्षणः सह पुरान्तः परिभ्रम(म्योते, तदा मनोहरं छन्दसा मधुरं प्राकृतं श्रूयते, कुत्रापि धतुर्वेदिमिर्वेदः श्रूयते, प्रकाश्यते वा । कुत्रापि बहुरूपकैर्निबद्धो रासको भाक्ष(प्यते ॥
[५४ ] कुत्रापि सदयवच्छकथा, कुत्रापि नलचरित्रम् , कुत्रापि विविधविनोदै रतं श्रूयते; कुनाप्याशिषा स्यागिमिर्द्विजवरैर्भारत (रामायण ?) मुच्चार्यते ॥
[१५] केऽपि वंशवीणाकाहलमुरजशब्दानाकर्णयन्ति । कुत्रापि प्राकृतवर्णैर्निबद्धो गीतरवः श्रूयते । कुत्राप्याकर्षणे समर्थाः पीनोगतस्तन्यः नर्तक्यश्चलचकशब्दं कुर्वन्त्यः परिभ्रमणं कुर्वन्ति ।
~wwwwwwwwwwwwwwwww
wwwwwwwwwww

Page #177

सन्देश रासक
नर अउव्व विभविय' विविहनडनाडइहिं, मुच्छिहि पविसंत य वेसावाडइहिं ।
5
महिं का' व 'मयविंभल गुरुकरिवरगमणि, अन्न रयणताडंकिहि' 'परिघोलिरसवणि ॥ ४६ ॥ अवर कह व णिवडब्भरघणतुंगत्थणिहिं,
भरिण' मज्झु हु" तुट्टई " ता विभिउ " मणिहिं । का वि केण सम" दर हसइ नियको अणिहि ", छित्ततुच्छतामिच्छतिरच्छियलोयणिहि ॥ ४७ ॥
1 B विम्हहिं; C विहि° । पविसंता । 4 BC वाडयहि । 8 C परिघोलि । 9 C धरणि । 13 C सम हसइ । 14 A 15 C °तरिच्छिय ।
2 B मुच्छिजइ; C मुच्छजहिं । 3A पवसंतिय; B 5 C के वि । 6 B C मइमिंभल । 7 A ताडंकहि । 10 A गुहु | 11 C तुट्टे। 12 B विंबउ; C विंभउ । न्नियको अणिहि; B नियइमइको इणिहि; C नयमइकोऊणिहि ।
t
[ टिप्पनकरूपा व्याख्या ]
प्राकृतवर्णनिबद्धो गीतरवः श्रूयते । कुत्रापि आकर्णने (र्षणे) समर्था [:] पीनोन्नत स्तन्यः नर्त्तक्य [:] चलचलेतिशब्दं कुर्वन्त्यश्चलन्ति ॥ ४५ ॥
[ द्वितीय प्रक्रम
[ ४६ ] यत्र नरा विविधनटनाटकिभिर्विस्मयन्ते । यत्र वेश्याभिवैश्यापाटके प्रविशन्तो नीरागिणोऽपि मूच्छर्यन्ते । तद् वर्णनमाह- काश्चिद् वेश्या मदभिम्भला गजगमना भ्रमन्ति । अन्या रलताडङ्कः प्रति घोलन्तश्रवणाः परिभ्रमन्ति ॥ ४६ ॥
[ ४७ ] अपरा काचन भ्रमति । कीदृशी ? - यत् तस्या मध्यं निव (बि)डोत्तरघनतुङ्गस्तनयोर्भारेण न त्रुटति तदाऽऽश्चर्यम् । अपरा काचन केनापि सह निजकमदकौकुत्र्यां (कुचाभ्यां ) क्षिप्ततुच्छतामिच्छ[म् ] कज्जलं तिर्यग (क) स्थितलोचनाभ्यां दर मनाकू (ग) हसति ॥ ४७ ॥
全
[ अवचूरिका ]
[ ४६ ] यत्र नंरा विविधनटना टिकीभिर्वि स्मयन्ते । यत्र वेश्याभिर्वेश्यापाटके प्रविशन्तो नीरागिगोsपि मूच्र्यन्ते । तद्वर्णनमाह- काचिद् वेश्या मदभिम्भला गजगमना भ्रमति । अन्या रजताड : प्रतिघोलन्तश्रवणा भ्रमन्ति ॥

[ ४७ ] अपरा काचन भ्रमति कीडशी ? - तस्या मध्यं निव (बि) डोडरघनतुङ्गखनयोर्भारिण न त्रुटति, तदाश्चर्यम् । अपरा काचित् केनापि सह निजकमदकौकुचाभ्यां क्षिप्ततुच्छकजलतिस्थितलोचनाभ्यां दर मनाकू (ग) हसति ॥

冬冬冬冬冬

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सन्देश रासक
अवर का वि सुविअक्खण' विहसंती' 'विमलि',
णं ससिसूर णिवेसिय' रेहइ' गंडयलिं' । मयणवट्टु" "मिअणाहिण कस्स व पंकियउ",
पद्य ४६-४९ ]
10
अन्नह भालु" तुरक्कि तिलइ आलंकियउ ॥ ४८ ॥ हारु कस" वि थूलावलि णिहुर रयणभरि,
14
लुइ मग्गु अलहंत थणवह सिहरि । गुहिर" णाहिविवरंतरु" कस्स" वि कुंडलिउ", तिवल" तरंग " पसंगिहि रेहइ मंडलिउ " ॥ ४९ ॥ रमणभार" गुरुवियडउ का कट्ठिहि" अइमल्हिरउ" चमक्कउ तुरियउ
घरइ ", हु" सरइ " ।
26
27
5B णजइ णं ।
4 C विमल । गंडियलि | 10 C ° बट्ट | 11 B
1 C °वियखाणि । 2 B C विहसंति । 3Bय वि° 6A सूरु। 7A णिवेसिउ । 8 'रेहइ' नास्ति B 9 A मयणा: C महणा° । 12 A पंकअउ | 13 C भाल | 14 A कस थूला ; B कस व थूला । 15 A गहिर° । 16 B विडंतरु | 17 B C कस्स व 18 A कुंडलियउ । 19A B विमल । 20 B तरंगि पसंगिउ । 21 C मंडलियउ । 22 A भारु । 23. C कहिहिं । 24 A वरइ । 25 C °मिल्हिरउ । 26 B नहु । 27 B सरई ।

[ टिप्पनकरूपा व्याख्या ]
[४८] अपरा काऽपि सुविचक्षणा विहसन्ती विमला निर्मलहास्या भ्रमति । कशी ? - अहमेवं मन्ये शशि-सूर्यो गण्डयोर्निविष्टौ । कस्याश्चिन्मदनपङ्कं कुचस्थलं मृगनाभिपङ्काङ्कितं वर्त्तते । अन्यस्या भालं तीक्ष्णेन तिलकेनालङ्कृतं वर्त्तते ॥ ४८ ॥
[४९] कस्याश्चित् स्तनपट्टसिष ( शिख) रे हारः प्रवेशमलभन् रक्षभरेण लोलति । कस्याश्विन्नाभिविवरं गम्भीरं कुण्डलितं - कुण्डलाकारं वर्त्तते । पुनः कीदृशं नाभिविवरम्. १- त्रिवलीतरङ्गप्रसङ्गतो मण्डलितमिव शोभते ॥ ४९ ॥
[५० ] काचिद् रमणभारं गुरुविकटम्, अतिस्थूलत्वात्, कष्टेन बिभर्त्तिः । *** [ अवचूरिका ]
[४०] अपरा काचित् सुविचक्षणा विकसन्ती विमलाऽतिनिर्मलहास्या भ्रमति । कीडशी ? - मम्पे, शशि-सूर्यो गण्डयोर्निविष्टौ । कस्याश्चन मदनपङ्कं कुचस्थलं मृगनाभिपङ्काङ्कितं वर्तते । अन्यस्या भाकं तीक्ष्णेन तिलकेालङ्कृतं वर्तते ॥
२१

冬茶味
[ ४९] कल्यान खनपट्टशिखरे निष्ठुरे हारः प्रवेशमलभन् रत्नभरेण लोलति । कस्याचिन्नाभिवरं गम्भीरं कुण्डलितं - कुण्डलाकारं वर्तते । पुनः कीदृशं नाभिविवरम् ? - त्रिवली तरङ्गप्रसङ्गतो मण्डलितमिव शोभते ॥
[ ५० ] काचिद् रमणभारं गुरुषिकटम्, अतिस्थूलत्वात्, कष्टेन विभर्ति - धारयति । तस्या

Page #179

२२
सन्देश रासक
जंपती महुरक्खर कस्स व' कामिणिहिं, हीरपंतिसारिच्छ' डसण झसुरारुणिहिं ॥ ५० ॥ अवर कह व वरमुद्ध हसंतिय अहरयलु,
सोहाल करकमलु सरल बाहह' जुयलु । अन्नह' तरुणिकरंगुलिणह' उज्जल विमल,
अवर' कवोल कलिज्जहि' दाडिमकुसुमदल' ॥ ५१ ॥ भमुहजुयल सन्नद्धउ कस्स व भाइयइ ", urs as कोयंडु " अणंगि" चडाइयइ । इकह णेवरजुयलय" सुम्मइ रउ घणउ, अन्नह रयणनिबद्धउ मेहल" रुणझुणउ " ॥ ५२ ॥
13
5 B नख ।
6 A
1 Cवि । 2 C 'सरिच्छ' । 3B बाहु | 4 B अण्णहं । अहव । 7 A कलिज्जिहि । 8 C° कुसम । 9 Bवि। 10B 12 C आगि । 13 A जुयलउ; C जुयल । 14 Bरुणु। 15 C ° झणइ ।
1
यई । 11 C कोइंडु ।
[ टिप्पनकरूपा व्याख्या ]
तस्याश्चलन्त्या उपानहोश्चमचमच्छन्दोऽतिमन्धरस्तु (स्त्व) रितं न सरति । अपरस्या मधुराक्षरं जल्पन्त्याः कामिन्या हीरपक्तिसदृक्षा नागवल्लीदलाऽऽरका दशनाः शोभन्ते ॥ ५० ॥
[ ५१] अपरस्या वरमुग्धाया हसन्त्या अधरदलं करकमलं सरलं बाहुयुगलं श्रयं समं शो [भ]ढ्यं वर्त्तते । तत्र कमलभ्रमो यथा - बाहुयुगलं दण्डस्थानीयम्, अधरं दल स्थानीयम्, करं कमलस्थानीयं जातम् । एवं कमलभ्रमः । अन्यस्यास्तरुण्याः कराङ्गुलिनखा उज्वला विमला [:] सो(शो) भन्ते । अपरस्याः कपोलौ दाडिमकुश(सु) मदलौ शोभतः ॥ ५१ ॥
[ ५२] कस्याश्चिद् भ्रूयुगलं सन्नद्धं श्लक्ष्णं भाति । मन्ये कमपि कोदण्डं मदनेन चटाप्यते । एकस्या नूपुरयुगलस्य घनः शब्दः श्रूयते । अन्यस्या रत्तनिबद्धाया मेखलाया रुणझुणशब्दः श्रूयते ॥ ५२ ॥
[ अवचूरिका ]
茶茶茶茶茶
श्चलन्त्या उपानहोश्चमचमशब्दोऽतिमन्थरस्वरितं न श ( स ) रति । अपरस्या मधुराक्षरं जल्पन्त्याः कामिन्या हीरपङ्किसदृक्षा नागवल्लीदलारक्ता दशनाः शोभन्ते ॥
[ ५१ ] अपरस्या वरमुग्धाया हसन्त्या अधरदलं करकमलं बाहुयुगलं समं शोभाव्यं वर्तते । तत्र कमलभ्रमो यथा - अधरं दलस्थानीयम्, करं कमलस्थानीयम्, सरलं बाहुयुगलं दण्डस्थानीयम् । अन्यस्था अपि नाय ( यि ) कायाः कराङ्गुलीषु नखा उज्वला भान्ति । अपरस्याः कपोलौ दाडिमकुसुमदलौ कल्येते ॥
[ द्वितीय प्रक्रम
个零零零零

[ ५२ ] कस्याश्चिद् भ्रूयुगलं लक्ष्णं भाति । मन्ये कोदण्डं कमपि मदनेन चटाप्यते । एकस्था अपि नेवरयुगले घनो रवः श्रूयते, अन्यस्था रखनिबद्धमे खला रणझणत्कारः श्रूयते ॥

Page #180

२३
पद्य ५०-५४] सन्देश रासक चिक्कणरउ चंबाइहिं लीलंतिय पवरु,'
णवसर आगमि णजइ सारसि रसिउ सरु । पंचमु कह व झुणंतिय झीणउ महुरयाँ, ___णायं तुंबरि सज्जिउ सुरपिक्खणई सरु ॥ ५३ ॥ इम इक्किकह तत्थ रूवु जोयंतयह", ___ झसुरपिंग पय खलहि पहिय पवहंतयह । अह बाहिरि" परिभमणि" कोइ जइ नीसरइ,
पिक्खिवि विविह" उज्जाणु" भुवणु तहि वीसरइ ॥५४॥
____1 A पवर । 2 C°सरु । 3 A °अग्गि मुणिजइ; B अग्गमि लग्गय । 4 C सारसिउ सरु । 5 C पंचम । 6 A °यर। 7 Cणारयतुंबरु । 8 B पिक्खणय । 9 B C इककह । 10 B रूव। 11 A जोयंतयह; B जोयंतियंह। 12 Cखलहिं। 13 A 'तयह: B°तियहं। 14 A बाहरि; C बाहिर। 15 A भमण; B भमणु । 16 B पिखि; A नास्ति 'वि'। 17 C बहि। 18A उजाण; Bउजाण । 19 B तह ।
wwwimm
[टिप्पनकरूपा व्याख्या ] [५३] कालांचिनाइ(यि)कानां लीलन्तीनां उपानहां प्रवरः चिकणः शब्दः प्रवर्तते । मन्ये, नवशरदागमे सारसेन रसितम् । कस्याश्चित् क्वापि पञ्चम कुर्वन्त्याः क्षीणो मधुरतरः खरो भाति स्म । मन्ये सुरप्रेक्षणे तुम्बरेण स्वरः सजितः॥ ५३॥
[५४] एवमेकस्या एकस्यास्तत्र रूपं पश्यतां पथि प्रवहतां पथिकानां झसुरपिङ्गेन नागवल्लीदलाऽऽस्वादनान्मुक्तरसेन [पादाः] स्खलन्ति । अथ बहिः परिभ्रमणार्थ कोऽपि यदि निस्सरति, तदा विविधोद्यानं दृष्ट्वा भुवनानि विस्मरति ॥ ५४॥ -
[अवचूरिका] ---- [५३] उपानहश्चिकगः शब्दः प्रवरं लीलन्तीनां नायिकानां प्रवर्तते । मन्ये नवशरदागमे सारसेन रसितम् । कस्याश्चित् पञ्चमं कुर्वन्त्याः क्षीणो मधुरतरः स्वरो भाति स । मन्ये, सुरप्रेक्षणे तुम्बरेण स्वरः सज्जितः ॥
[५] एवमेकस्या एकस्यास्तव रूपं पश्यतां पथि प्रवहतां पथिकानां नागवल्लीदलास्वादनान्मुक्तरसेन पादाः स्खलन्ति । अथ बहिः परिभ्रमणार्थ कोऽपि यदि निस्सरति तदा विविधोयानं दृष्ट्वा भुवनानि विस्मरति ॥

Page #181

२४
अथ वनस्पतिनामानि -
सन्देश रासक
ढल्ल कुंद 'सयवत्तिय कत्थ व रत्तबल,
कह व' ठाइ वर मालइ मालिय तह विमल । जूही खट्टण वालू चंबा बउल घण,
केवर तह 'कंदुट्टय अणुरता सयण ॥ ५५ ॥ माउलिंग मालूर मोय मायंद मुर,
दक्ख भंभ' ईखोड' पीण' आरू सियर' । तरुणताल तंमाल" तरुण तुंबर "खयर,
13
संजिय" सइवत्तिय " सिरीस " सीसम " अयर " ॥ ५६ ॥ पिप्पल" पाडल पुय पलास घणसारवण,
मणहर "तुज हिरन्न भुज्ज" धय" वंसवण | नालिएर " निंबोय निविंजिय" निंब वड,
ढक्क" चूय अंबिलिय" कणयचंदण निवड ॥ ५७ ॥ आमरूय" गुल्लुर महूय आमलि" अभय, नायवेलि मंजिट्ठ पसरि" दह दिसह " गय ॥ ५८ ॥
{+मंदार जाइ तह सिंदुवार ।
महमहइ सु वालउ अतिहि फार || रासाछन्दः | }
5 C कुंदुट्टय; B कंदुडुइ ।
9A सिहर । 10 B | 14 A C सरीस |
1 A स° | 2 C वि । 3B जूहियखण। 4 C वउबा | 6 A भभा; B भंभा । 7 C आखोड । 8 B खीण; C पीड । तमाल । 11 B तुंबरु खयरु | 12 A संजीअ । 13 A बत्ती 15 A सीसव। 16 A अपर । 17 A पिप्पड । 18 A तुबू | 19 A भुज। 20 C धर । 21 B C नालएर । 22 C निवंजिय । 23A कक्क; B 25 C आममूर । 26 A आवलीअ । 27 B पसर । केवलं B आदर्शे प्राप्यते, नोपलभ्यते A C आदर्शयुग्मे ।
डक्क । 24A अंबिली । 28 A दिसिहि । + एतत्पादयुग्मं

[ टिप्पनकरूपा व्याख्या ]
[ ५५-५८] नामान्येव ॥ ५५-५८ ॥
[ द्वितीय प्रक्रम

Page #182

पद्य ५५-६२ ]
सन्देश रासक
किंकिलि कुंज कुंकुम' कवोल,

सुरयार सरल सल्लइ सलोल ।
वायं निंब निंबू चिनार,
सिमि साथ सरल सिय देवदार ॥ ५९ ॥ [ पडी ।]
सूड' एल लंबिय' लवंग',
10
कणयार कर कुरबय" खतंग |
12
अंबिलिय" कयंब बिभीय चोय *
रत्तंजण जंबुय गुरु असोय ॥ ६० ॥
जंबीर" सुहंजण" नायरंग,
बिज्जउरिय" अयरुय" पीयरंग ।
नंदण जिम" सोहइ" रत्तसाल", जिह पल्लव दीस " जणु पवाल" ॥ ६१ ॥
आरिट्टिय" दमणय" गिद्द चीड,
जिह" आलइ दीसइ सउणि " भीड । खज्जूरि" बेरि" भाहण" सयाई, बोहेय" डवण" तुलसीयलाई ॥ ६२ ॥
30
२५
A नायब 4 A
निंबू अ ।
1A कुंजम; C कुंकम । 2B सल 5 A ल्हेसूड; B लेसूडिय । 6 C लंबय | 7 B एल लवंग चंग । 8B कणयर । 9 B करीर; C कलिय । 10 A कुरबइ; B कुरुवइ । 11 A अंबिलीक; B अंबिलीययक° । 12 B चूय । 13 A जंभीर । 14 C सुहिंजण | 15 A बिजउरी अइरुई । 16 C बिज्जउरीय आरू । 17 A वण । 18 A सोहइहि; C सोहहि । 19 साल 20 A दिहि | 21 A पवालु । 22 A आरीठय; C आरद्विय । 23 B दमण: C दवण । 24 B जिहि । 25 A C सउण । 26 C खज्जूर। 27 B बोरि | 28 A भाहुणि; B भाह | 29 B वाहेय । 30 C डुवण; B डुवणु । सं० ४

Page #183

२६
सन्देश रासक
नासरि मोडम पूगमाल, 'महमहइ छम्म मरुअइ विसाल ॥ ६३ ॥ [ अर्द्धम् ] अन्नय सेस महीरुह अत्थि जि ससिवयणि, मुणइ णामु तह कवणु सरोरुहदलनयणि । अह सव्वइ संखेविणु निवड ' निरंतरिण, जोयण दस गंमिज्जइ तरुछायंतरण ॥ ६४ ॥
*
[+पुरउ सुवित्थरु वन्नउ अद्धउ जइवि, करि अज्जु गम मह भगा धू अत्थवइ रवि ॥ ] तवण' तित्थु चाउद्दिसि मियच्छि" वखाणियइ", मूलत्थाणु" सुपसिद्धउ महियलि जाणियइ । तिह हुंत हउं" इक्किण" लेहउ पेसियउ ", खंभाइत्तई" वच्चउं" पहुआएसियउ ॥ ६५ ॥
13
1 A मोडिव । 2 B अह । 3A°रुहु । 4 BC जु। 5 B निविड । C °तिरिण । एतत्पादयुगलं केवलं B आदर्शे समुपलभ्यते । 7 A B तवणि । 9 C मिच्छ । 10 A वखाणीयइ । 11 A मूलथाण 12 B C हउ | 14 A पेसिउ | 15 A खंभाइत्तिहिं । 16 A B वञ्चउ ।
[ द्वितीय प्रक्रम
[ टिप्पनकरूपा व्याख्या ]
[६२] अत्र शकुनि [नां]-पक्षिणां आलयानां गृहाणां भीडा दृश्यते । शेषं
不不不

-
गम्यम् ॥ ६२ ॥
[ ६४ ] इत्यादिवृक्षजातिषु सुगमं नामान्येव ॥ ६४ ॥
[ ६५ ] हे मृगाक्षि ! सामोरूपुरे तपनतीर्थ- सूर्यकुण्डं प्रसिद्धम् । चतुर्दिक्षु व्याख्यायते । तन्मूलस्थानं नाम प्रसिद्धम् । सर्वैरपि नरामरैर्ज्ञायते । ततोऽहं लेखवाहक एकेन प्रेक्षि (षि) तः । स्तम्भतीर्थे प्रभ्वादिष्टो व्रजामि - गच्छामि ॥ ६५ ॥ [ अवचूरिका ]
[ ६२ ] शकुनि=पक्षी, आलय=नीडं । शेषं नामान्येव ॥
[ ६४ ] अन्येऽपि शेषमहीरुहा वृक्षा हे शशिवदन (ने) ! ये सन्ति तेषां नामानि हे कमलनेत्रे ! को वेति । अथ सर्वेऽपि संक्षेपेण निबिडा घना निरन्तराः सन्ति तेषां छायया दशयोजनानि गम्यन्ते ॥
6 B ° तरुणि;
8 C तित्थि ।
13 B इक्कणि ।
[ ६५ ] हे मृगाक्षि ! यत्र सामोरपुरे तपनतीर्थं - सूर्यकुण्डं प्रसिद्धं व्याख्यायते । तन्मूलस्था [ नं ] नाम प्रसिद्धं सर्वैरपि नरामरैः श्रूयते । ततोऽहं लेखवाहक एकेन प्रेषितः स्तम्भतीर्थे प्रभा (वा) दिष्टशे व्रजामि ॥

Page #184

सन्देश रासक
एय वयण' आयन्नवि सिंधुब्भववयणि, ससिवि सासु दीहुन्हउ' सलिलब्भवनयणि । तोडि करंगुलि करुण सगग्गिर गिरफ्सर,
पद्म ६३-६७ ]
जालंधर व समीरिण मुंध थरहरिय' चिरु ॥ ६६ ॥ रुइवि खणडु फुसवि नयण पुण वज्जरिउ", खंभाइतह" णामि" पहिय तणु जज्जरिउ" ।
13
15
16
तह मह" अच्छइ णाहु" विरहउल्हावयरु",
अहिय कालु गम्मियउ ण आयउ हियरु ॥ ६७ ॥ पर मोडवि" निमिसिद्ध" पहिय जइ " दय करहि,
21
22
कहउं" किंपि संदेसर पिय तुच्छक्खरहि" ।
2 A आयन्निवि । 3A ससिउसासु । A मुद्ध । 7A °हरीअ । 8 B रुयवि ।
1 C वयणु । 5 C कसमी° । 6 10 C वज्जरियउ । 11 B इत्तिहिं । 14 C जज्जरियउ | 15 A महु । 16 B निमिसद्धु । 20 जे । 21 A B कहउ |
4 B दीउन्हउ; C दीव उन्हउ । 9A. खणद्धउ; B खणडु वि । 13 B पहितणु । B मोडिवि । 19 B

12 C नामु; B नामि । C नाहु | 17 बरु । 18 22 A B तुच्छखरिहि ।
[ टिप्पनकरूपा व्याख्या ]
[ ६६ ] सिन्धूद्भववदना - चन्द्रमुखी, सलिलोद्भवनयना - कमलाक्षी, एतानि वचनान्याकर्ण्य, दीर्घोच्छ्रासं निःश्वस्य, कराङ्गुलीत्रोटय (यित्वा सगद्गगीःप्रसरा, वाताहता जालन्धरीवत् - कदलीवत्, चिरं मुग्धा थरहरिता - कम्पिता ॥ ६६ ॥
[ ६७ ] क्षणार्द्ध रुदित्वा, नेत्रे मार्जय (य) त्वा, तथा पुनरुक्तम्-हे पथिक ! स्तम्भतीर्थनाम्ना मम शरीरं जर्जरितम् । तत्र विरहस्फेटको मम भर्त्ता वर्त्तते, तं feat मयाऽधिकः कालो निर्गमितः । परं स निर्दयो न समागतः ॥ ६७ ॥
मोटयसि, तदा किञ्चित्
[ ६८ ] हे पथिक ! यदि दयां कृत्वा क्षणार्द्ध पदं →→→→→ [ अवचूरिका ]
[ ६६ ] सिन्धूद्भववदना - चन्द्रमुखी, सलिलोद्भवनयना - कमलाक्षी, एतानि वचनान्याकर्ण्य दीर्घोष्णं श्वासं निःश्वस्य कराङ्गुलीर्मर्द्दयित्वा सगद्गद्गीःप्रसरा वाताहता जालन्धरी = कदलीवत् विरं मुग्धा थरहरिता - कम्पिता ॥
会
[ ६७ ] क्षणार्धं रुदित्वा, नेत्रे मार्जयित्वा तया पुनरुक्तम् - हे पथिक ! स्तम्भतीर्थनाम्ना मम शरीरं जर्जरितम् । तत्र विरहफेटको मम भर्त्ता वर्त्तते । तं विना मयाऽधिककालो निर्गमितः, परं स निर्दयो न समागतः ॥
[ ६८ ] हे पथिक ! यदि दयां कृत्वा क्षणार्थं पदं मोटयसि - उपविशसि, तदा किंचित् संदे.

茶茶

Page #185

२८
सन्देश रासक
पहिउ भणइ कणयंगि कहह किं रुन्नयण, झिजंती णिरु दीसहि उब्विन्नमियनयण ॥ ६८ ॥
जसु णिग्गमि रेणुक्करडि, कीअ ण विरहदवेण । किम' दिज्जइ संदेसडउ ं, तसु णिडुरइ मणेण ॥ ६९ ॥
*
[ * पाणी तणइ विउ, कामही फुट्ट हिआ । जइ इम माणसु होइ, नेहु त साचउ जाणीयइ ॥ किंतु कहिव्व भंति विणु, धू पंथिय जाणाई । अज्जइ जीविउ कंत विणु, तिणि संदेसइ काई ॥ ]
10
जसु पवसंत ण पवसिआ, मुइअ' विओइ ण जासु । लज्जिज्जर संदेसडर, दिंती पहिय पियासु ॥ ७० ॥
[ द्वितीय प्रक्रम
1 A मयणोविन्नवयणि । + 'किं झिजहि दिणरयणि उव्विन्निय मियनयण' C आदर्शस्थितमेतत्पाठान्तरम् । 2 B रेणुकरड; C रेडुक्करडि । 3 C कइय; B णि । 4A किव । 5 A °संनेहडउ | 6 B निहुर | 7 C पवसंतु; 'B पविसंत । 8 B पविसिया ।
B विजय न; C वियउइ न |
9 C मुईअ; B मुई। ने एतद् दोधकवृत्तं A आदर्श उपलभ्यते, परं तत्र नास्योपरि अवचूरिका लिखिता लभ्यते, अतः प्रक्षिप्तमेवेदं प्रतिभाति । f इदमन्यद् दोधकवृत्तं केवलं C आदर्शे समुपलभ्यते । परं तत्रापि नास्योपरि टीप्पनरूपा व्याख्या, अवचूरिका वा कृता लभ्यते, अत इदमपि प्रक्षिप्तमेव ज्ञायते ।
10
[ टिप्पनकरूपा व्याख्या ]
संदेशकं प्रियाय तुच्छाक्षरैः जल्पामि । पथिको [भ]णति - हे कनकाङ्गि ! कथय । रुदनेन किम् ? | उद्विग्नमृगनेत्रे ! नितरां षि (खि) द्यमाना दृश्यसे ॥ ६८ ॥
[ ६९ ] ततः सा जीवनेऽपि सल [ज] त्वं प्रकटयन्ती प्राह-यस्य निर्गमे विरहदवेनाहं रेणूत्करं - भस्मपुत्रं न कृता । अतस्तस्मै निष्ठुरेण मनसा संदेशकः कथं दीयते ॥ ६९ ॥

不不不不不
[ ७०] यतस्तमेवार्थ दृढयन्नाह - यस्य प्रवसतो न प्रवि (व) सिता । अन्यच यस्य वियोगे न मृता । अतस्तस्मै प्रियाय संदेशकं ददती लज्जे ॥ ७० ॥
[ अवचूरिका ]
冬冬茶茶茶
शकं प्रियाय तुच्छाक्षरैर्जल्पामि । पथिको भणति हे कनकाङ्गि ! कथय, रोदनेन किम् ? । उद्विग्नमृगनेत्रे ! नितरामत्यर्थं खिद्यमाना दृश्यसे ॥
[ ६९ ] ततः सा जीवनेऽपि, सजल ( सलज्ज ) त्वं प्रकटयन्ती प्राह- तस्य निर्गमे विरहदवेनाहं रेणूत्करं भस्मपुत्रं न कृता । अतस्तस्मै निष्ठुरेण मनसा संदेशकः कथं दीयते ॥
[ ७० ] यतस्तमेवार्थं दृढयन्नाह - यस्य प्रविश (वस ) तोऽपि न प्रवि (व) सिता । अन्यच्च यस्य वियोगे न मृता । अतस्तस्मै संदेशकं ददती लज्जे ॥

Page #186

२९
16
manawara
पद्य ६८-७४ ]
सन्देश रासक लज्जवि पंथिय जइ रहउँ, हियउ न धरणउ जाई। गाह पढिजसुइक्क पिय', कर लेविणु मन्नाई ॥ ७१ ॥ तुह विरहपहरसंचूरिआई विहडंति जं न अंगाई। तं अजकल्लसंघडण ओसहे णाह तग्गंति ॥ ७२ ॥ *ऊसासडउ न मिल्हवउ", "दझण अंग भएण । जिम हउ मुक्की वल्लहइ, तिम सो मुक्क" जमेण ॥ ७३ ॥ कहवि इय" गाह पंथिय, "मन्नाएवि पिउ ।
दोहा पंच कहिज्जसु, गुरुविणएण सउ ॥ ७४ ॥ 1B लजिवि । 2 A पथिय । 3 A B रहउ। 4 B जाई। 5 B पढिजसि । 6A पि। 7 A मंनाइ । 8 B तुव; C तुअ । 9 C अंगांई। 10 A. संघड उसहे; B संघडसहे। 11 B मिल्हियइ। 12 B डज्झण। 13 C दंग। 14 A हु। 15 B मुक्क। 16 A जवेण; Cजिमेण। * सर्वेषु आदर्शषु एतद् दोधकवृत्तमुपलभ्यते, व्याख्याऽपि कृता विद्यते, परं अग्रिमपद्यकथितवर्णनानुसारेण प्रक्षिप्तमिदं प्रतिभाति । 17 B इह; A इअ। 18 A. गाहा । 19 A मंनाएवि।
[टिप्पनकरूपाव्याख्या [१] हे पथिक! लजां कृत्वा यदि तिष्ठामि तदा हृदयं धारयितुं न शक्ता। अत एकां गाथां प्रियं प्रति पठेः । करं गृहीत्वा तमनुनये[:] । सकोपचित्तप्रसादनमनुनयः ॥ ७१ ॥
[७२] तामाह-हे नाथ! त्वद्विरहप्रहारसंचूर्णिणतानि अङ्गानि यन्न विघटन्ते तत्र किं कारण[म्] ?-अद्य कल्ये संघटन[म्]-मेल इत्यौषधप्रभावेन तिष्ठन्ति ॥७२॥
[७३] तद्वस्तु रक्षन्ती भत्ते() आशिषा(ष)माह-अङ्गदहनभयादुखा(च्छा)सा[-] न मुञ्चामि । तत आशीः- यथाऽहं वल्लमेन मुक्ता तथा स ज(य)मेन मुच्यात् ॥७३॥
[७४] भो पथिक ! ए(इ)मां गाथां कथय(यित्वा प्रियं मनापयेत् । ततः पञ्च दोधकाः कथनीयाः । गरिष्ठविनयेन सह ॥ ७४ ॥ 2 [अवचूरिका]
KAKK [७१] हे पथिक ! लजां कृत्वा यदि तिष्ठामि, तदा हृदयं धतुं न शक्नोमि । एकां गाथां प्रियं प्रति पठेः । करं गृहीत्वा प्रियं मानये:-प्रियमनुकूलयेः॥
[७२] तामाह -हे नाथ ! त्वद्विरहप्रहारसंचूर्णितान्यङ्गानि यन्न विघटन्ते, तत्र किं कारणम् ? - अद्य कल्ये संघ[८]नम् -- मेल इत्यौषधप्रभावेन तिष्ठन्ति ॥
[७३] तद्वस्तु रक्षन्ती भत्रे आशिषमाह - अङ्गदहनभयादुच्छ्वासा[-] न मुञ्चामि । तत आशीर्यथाऽहं वल्लभेन मुक्ता तथा स ज(य)मेन मुच्यात् ॥ [७४] हे पथिक! एतां गाथां पठित्वा प्रियं मानयेः, पञ्च दोधकान् गुरुविनयेन सह कथयेः ॥

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सन्देश रासक
[द्वितीय प्रक्रम पिअविरहानलसंतविअ, जइ वच्चउ सुरलोइ । तुअ छड्डिवि हियअट्ठियह, तं परिवाडि ण होइ ॥ ७५ ॥ कंत जु तई हिअयट्ठियह, विरह विडंबइ काउ। सप्पुरिसह मरणाअहिउ, परपरिहव संताउ ॥ ७६ ॥ गरुअउ परिहदूं कि न सहउँ, पइ पोरिस निलएण । जिहि अंगिहि तूं" विलसियउ, ते दहा विरहेण ॥७७॥ विरह परिग्गह छावडई, पहराविउ निरवक्खि ।
तुट्टी देह ण हउ हियउ, तुझे" संमाणिय” पिक्खि ॥ ७८ ॥ ____1C तुव। 2 B°ट्ठियहं । 3 B विरहु। 4 A C मरणाहिअउ। 5 A °परिहउ ।
6 A B परिहसु। 7 B किम। 8 Cमइ सहियउ। 9 A पोरस; B पउरिस । 10A जिह;
B जिहं। 11 A तुं; B तू। 12 A विलसिउ। 13 B दड्डा । 14 B छावडइं; Cछावडउ। 15 A पहिराविउ। 16 C न हियउ हयउ । 17 B तुय; C तुह । 18 B सामाणी।
[टिप्पनकरूपा व्याख्या ] [७५] मरणेऽपि दूषणमाह -त्वां हृदयस्थितं मुक्त्वा त्वद्विरहानलसंतप्ता यदि स्वर्गे व्रजामि, तदा प्रतिपन्नं न भवति । यतोऽहं त्वत्सहचरी ॥ ७५ ॥
[७६] भार्याया भर्तुविरहकष्टे भतुर्दूषणमित्याह-हे कान्त ! यत् त्वयि हृदयस्थितेऽपि सति विरहः कायं-देहं विडम्बयति, तत् तवैव लजा । यतः, सत्पुरुषाणां परकृतः पराभवः संतापो मरणाद्धिकः ॥ ७६॥ - [७७] भर्तारं निन्दन्त्याह-गुरुतरं पराभवं त्वयि पौर(रु)ष निलयेऽपि सति किं न सहामि, अपि तु सहाम्येव । यतो यैरङ्गैस्त्वं विलसितः, तान्यङ्गानि विरहेण दग्धानि ॥ ७७ ॥ [७८] पुनर्भतृपौरुषं प्रकटयन्त्याह-विरहशत्रुपरिग्रहेण शरीरे निरपेक्ष
** * [अवचूरिका] -- [७५] मरणेऽपि दूषणमाह - त्वां हृदयस्थितं मुक्त्वा त्वद्विरहानलसंतप्ता यदि स्वर्गे व्रजामि, तदा प्रतिपन्नं न भवति, यतोऽहं त्वत्सहावारिणी ॥
[७६] भार्याया भर्तृविरहकप्टे भतुर्दूपणमित्याह - हे कान्त ! यदि त्वयि हृदयस्थितेऽपि सति विरहः कायं-देहं विडम्बयति, तत् तवैव लज्जा । यतः सत्पुरुषाणां परकृतः पराभवः सन्तापो मरणादधिकः ॥
[७७] सारं निन्दन्त्याह - गुरुतरं पराभवं त्वयि पौरुषनिलयेऽपि सति किं न सहामि, अपि सु सहाम्येव । यतो यैरङ्गैस्त्वं विलसितस्तान्यङ्गानि विरहेण दग्धानि ॥
[७८] पुनर्भतृपौरुषं प्रकटयन्त्याह-विरहशत्रुपरिग्रहेण शरीरे निरपेक्षं प्रहरितं परं हृदयं न प्रहतं-न स्फोटितम् । किं कारणम् ? - त्वद्युक्तं विलोक्य, सामर्थ्यवानान्यत् ॥

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सन्देश रासक
३१
मह ण समत्थिम' विरह सउ', ता अच्छउं" विलवंति' । पाली रूपमा पर, धण 'सामिहि घुम्मंति ॥ ७९ ॥
पद्य ७५-८१ ]
10
संदेसडउ' सवित्थरउ, हउ कहणह" असमत्थ । भ" पिय" इकत्ति " बलियडइ", बे" वि समाणा" हत्था ॥ ८० ॥
14
संदेसडर सवित्थर", पर मइ कहणु न जाइ । जो कालंगुलि" मूंदडउ, सो बाहडी समाइ
9A संनेहडउ
1 A मणह समप्पिम । 2B सिउ । 3 B अच्छउ । 4 A विलवंत । 6 A पवाणु । 7 A साई; C सामिय। 8 A घुमंत । 11 B भणु। 12 A प्रिय । 13 A एकतु; B इक्कति 16 A समाणइ; B समाजिय । 17 B सविथरउ । 18 A कालुंगुलि । 20 B समाई + C आदर्श एतौ दोधकौ विपर्ययक्रमेण लिखितौ लभ्येते ।
।
14 C वलयडइ
}
|
॥ ८१ ॥
|
5 C पालियरूव ।
[ टिप्पनकरूपा व्याख्या ]
प्रहरितम्, परं हृदयं न प्रहृतम् न स्फोटितम् । किं कारणम् ? - त्वयुक्तं विलोक्य । सामर्थ्यात्, नान्यत् ॥ ७८ ॥
不不不不
[ ७९] आत्मनोऽसमर्थता [ म्], भर्त्तुः समर्थतामाह-मम विरहेण सह सर्म(म)र्थता नास्ति । अतो विलपन्ती तिष्ठामि । यतो गोपालानां पूत्कारमेव प्रमाणम् । परं धनं - गोकुलं स्वामिभिर्भ्राम्यते, नान्यैः ॥ ७९ ॥

10 B कहिवा ।
15 C दो बि ।
19 C मुंद; B
[८०-८१] आत्मनो दोधकद्वयेन दुर्बलतामाह - 'संदेसडउ ० ' - [ अत्र प्रथमदोधकस्य व्याख्या नोपलभ्यते ] संदेस (श) को विस्तीर्णः, मया कत्थि (थय) तुं न पार्यते । यत् कालाङ्गुलौ -कनिष्ठाङ्गुलौ मुद्रारत्नमासीत्, तद् बाहौ धृ ( धि ) यते ॥ ८०-८१ ॥

[ अवचूरिका ]
[ ७९ ] आत्मनोऽसमर्थतां भर्तुः समर्थतामाह - मम विरहेण समर्थता नास्ति, अतो विलपन्ती तिष्ठामि । यतो गोपालानां पूत्कारमेव प्रमाणम्, परं गोधनं - गोकुलं स्वामिभिर्भ्राम्यते, नान्यैः ॥
茶茶茶茶
[ ८० ] हे पथिक ! सन्देशकं विस्तरमहं कथि (थयि ) तुमसमर्था, परं हे पथिक ! प्रियं प्रति भण - एकस्मिन् वलये द्वौ हस्तौ मातः ॥
[१] हे पथिक ! सन्देशकं सविस्तरं मया कथि (थय) तुं न पार्यते न शक्यते, परमिति कथनीयम् - यः काल्यङ्गुल्यां मुद्रक आसीत् स बाहुं समायाति ॥

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३२
सन्देश रासक
तुरिय 'णियगमणु इच्छंतु तत्तक्खणे, दोहया सुणवि साहेइ सुवियक्खणे । कहसु अह अहिउ जं किंपि जंपिव्वड, मग्गु अइदुग्गु मइ धि' जाइव्वउ ॥ ८२ ॥ वयण' णिसुणेवि 'मणमत्थसरवट्टिया, 'मयउसरमुक्क णं हरिणि उत्तट्टिया । मुक्त दीउन्ह " नीसास उससंतिया ",
पढिय" इय" गाह" णियणयणि" वरसंतिया " ॥ ८३ ॥
1 C निय° । 2 A दोहिया । 3 B सुणिवि । 4 A मुंध; C मुद्धि । 5 C बयण । 6 A मयमत्थ । 7 B मयय° । 8 C हरिण । 9 A उत्तट्ठीआ । 10 A णीसास। 11 A उससंतीआ; C ऊसंतिया । 12 A पत्थिय | 13 B इह । 14 A गाहि । 15 C नयण | 16 A संतीआ ।
[ टिप्पनकरूपा व्याख्या ]
[२] तस्मिन् क्षणे त्वरितं निजगमनमीप्सन् दोधकौ श्रुत्वा, कः (सः) कथयति - हे सुविचक्षणे ! अथ यत् किमपि अधिकं कथनीयमस्ति, तत् कथय । मया दुर्गों मार्गों गन्तव्यः ॥ ८२ ॥
चन्द्रायणच्छन्दः । तल्लक्षणम् -
[ द्वितीय प्रक्रम
सो चंद्रायण छंदु फुड, जहिं धुरि दोहा होइ ।
अह तिणि रहियउ मणहरणु, बुहियणि संसिउ सोइ ।
बुणिहि संसियउ सो वि जाणिज्जए, कामिणीमोहणी पुरउ पाढिजए ।
मत्त अडवीस सउ जेण विरइज्जए, सो वि चंदायणो छंदु सलहिज्जए || स (तत्) चन्द्रायणच्छन्दः - यत्रादौ दोधकः, प्रान्ते आसी ( अशी ) तिमातृको कामिनीमोहनः । अथ दोधकवर्जितः कामिनीमोहन एव चन्द्रायतनम् ।
[ ८३] पुनर्विरहावस्थां वर्णयन्नाह - पथिकवचनं श्रुत्वा मन्मथशरव्याप्ता मृगव्युशरोन्मुक्ता, वितर्के - हरिणीवदुत्रस्ता जाता । तदा दीर्घोष्णोवा (च्छा) सा मुक्ताः । अन्यच्च - उच्छ्वसन्त्या निजनेत्राभ्यां अश्रु वर्षन्त्या एषा गाथा पठिता ॥ ८३ ॥
冬冬冬冬冬
[ अवचूरिका ]
[२] तस्मिन् क्षणे त्वरितं निजगमनमीप्सन् दोधकौ श्रुत्वा पथिकः कथयति - हे सुविचक्षणे ! अथ यत्किमप्यधिकं कथनीयमस्ति तत्कथय, मया दुर्गों मार्गों गन्तव्यः ॥ चंदायणछन्दः । लक्षणं यथा
'सो चंदायणछंद फुड जहि धुरि दोहा होइ' ।
乔个

[ ८३] पथिकवचनं श्रुत्वा मन्मथशरव्याप्ता मृगव्यु = आखेट किशरोन्मुक्ता, वितर्के हरिणी - दुत्थि ( दुःस्थि ) ता जाता, तदा दीर्घोष्णं श्वासं मुक्ता (?) । अन्यच्चोच्वसन्त्या निजनेत्राभ्यामश्रु वर्षन्त्या, एषा गाथा पठिता ॥

Page #190

पद्म ८२-४५ |
सन्देश रासक
अणियत्तखणं' 'जलवरिहणेण' लज्जंति नयण नहु धिट्ठा । खंडववणजलणं विय' विरहग्गी' तवइ अहिययरं ॥ ८४ ॥
पढवि इय' गाह मियनयण' उव्विन्निया", भणइ पहियस्स अइकरुणदुक्खिन्निया" । "कढिणनीसास" रइआससुहविग्विणे",
विन्नि चउपइय" पभणिज्ज तसु निग्विणे " ॥ ८५ ॥
*
तु समरं समाहि मोहु" विसम ट्ठिय", तह" खणि खुवइ कवालु न " वामकरट्ठियउ |
13
1 A C अणिअत्तक्खणं । 2 A जलि | 3 C वरहिणेण । 4 C धिट्टी | 5 A चिय । 6 C विरहग्गं । 7 C पढिय । 8 B इह । 9 A °नयणि । 10 A उब्विनीआ । 11 C भणिय । 12 A दुक्खन्नीआ । 13 A कठिणणी° । 14 A रइयास; B रइआसु । 15 A सुहविघणे; B सहविधिणे । 16 A चउपईय; B चउपई । 17 A B निग्घणे । 18 C समरंतु । 16 A मोह | 20 A विसमठिअउ; B विसमुट्ठियउ । 21 A तं । 22 C बामकरि ।
३३
[ टिप्पनकरूपा व्याख्या ]
[ ८४ ] नेत्रयोरविरतजलप्रवाहस्यानिवृत्तत्वमाह - मम नेत्रे धृष्टे अनिवृत्तलक्षणं जलवर्षणेन न लज्जतः । तदा किं विरहाग्निरुपशान्ता (न्तः ) ? । तदाहषां (खांडववनज्वलनमिव विरहाग्निम (र) धिकतरं तपति । अत्रोपनयः - यदा धनञ्जयः खाण्डववनं ज्वालयितुं प्रवृत्तः, तदैको विद्याभृदागत्योपशान्तथितुं प्रवृत्तः । तदैव धनञ्जयेन तत्र वैद्युतोऽग्निः क्षिप्तः, अधिकं अधिकं ददाह ॥ ८४ ॥
[८५] एतां गाथां पठित्वा अतिकरुणदुःखाकीर्णा उद्विग्ना मृगनेत्रा पथिकस्य पुरतो भणति । कठिन निःश्वासमेवंविधं यद् रतं तस्य यदाशासुखं, तस्य विघ्नकारकाय तस्मै निर्घृणाय प्रियाय द्वे चतुष्पदिके भणेः ॥ ८५ ॥
[ ८६ ] तदाह- हे कापालिक ! - कपालेन चरन्ति कापालिका (काः), अथवा [ अवचूरिका ]
++++++
[८४] नेत्रयोर विरलजलप्रवाह त्वमाह - मम नेत्रे धि (घ) ष्टेऽनिवृत्तलक्षणं जलवर्षणेन न जातः । तदा किं विरहाभिरुपशान्तः ? । तदाह - खाण्डव [वन ] ज्वलनमिव विरहाभिरधिकतरं तपति । यदा धनञ्जयः खाण्डववनं ज्वालयितुं प्रवृत्तस्तदैको विद्याभृदागत्योपशमद्द ( यि ) तुं प्रवृत्तस्तदैव धनञ्जयेन तत्र वैद्युतोऽग्निः क्षिप्तोऽधिकं ददाह ॥
[ ८५ ] एतां गायां पठित्वाऽतिकरुणदुःखाकीर्णा उद्विग्ना मृगनेत्रा पथिकस्य पुरतो भणति - कठिननिःश्वासमेवंविधं यद् रतं तस्य यदाशासुखं तस्य विनकारकाय तस्मै निर्घृणाय प्रिय चतुष्पदिके मणेः ॥
[ ८६ ] हे पथिक ! - कपालेन चरन्ति कापालिकाः, तस्य सम्बोधनम् [ हे कापालिक 1 ] भई
सं० ५

Page #191

३४
सन्देश रासक
सिज्जासणउ' न' मिल्हउ खण खट्टंग लय, कावालिय' कावालिणि तु ल्हसिउ अंसु उद्धसिउ' अंगु विलुलिय" अलय, हुय "उब्बिबिरवयण "खलिय विवरीय गय " कुंकुमकणयसरिच्छ कंति कसिणावरिय",
15
16
हुइ" मुंध " तु विरहि णिसायर णिसियरिय " ॥ ८७ ॥
**
1 A सिज्जासणु । 2 A नहु । 3 A खणु । 4 A काबालीय; B कारालिय । 5 A कवालणि ।
6 A तुअ | 7 C विरहेहिं । 8 A किअ । 9 A उद्धसुउ; B उल्हसिउ | 11 A उबिंविर°; C उव्विंबर ° 12 C क्खलिय । 13 A गइ। 14 A B हुई । 16 A मुद्ध; B मुंधि । 17 C निसयरिय; B निशियरीय ।
10 A विललिय । वरीअ | 15 A
[ द्वितीय प्रक्रम
8
विरहेण किय' ॥ ८६ ॥
[ टिप्पनकरूपा व्याख्या ]
कं ब्रह्म तस्य अपगता आलि [:] यस्मिन् सा कपालिका (?) कापालिरेव कापालिकः, तस्य सम्बोधनं कृ(क्रियते । अहं तव विरहेण कापालिनी - योगिनी कृता । कथम् ? - तव स्मरणसमाधौ मोहो विषमः समुत्थितः । मोहो- मूर्च्छा, मोह:स्नेहः । ततः कपालं क्षणमपि वामकरान्न दूरीभवति । कपालं - भिक्षुभाजनम्, कपालं - मस्तकम् । अन्यच्च शय्यासनं न मुञ्चामि । शय्याया अधस्तादशनम्, शय्यायामासनम् । तथा खट्वाङ्गं न मुञ्चामि । खट्वाङ्गं - पल्यंकपादम्, योगियोगोपकरणं च ॥ ८६ ॥
[ ८७ ] हे पथिक ! तं वन्दे ( वदे: ), निसा (शा) सु चरतीति निशाचरः । तस्य सम्बोधनम् - हे निशाचर! मुग्धा तव विरहेण निशाचरी - राक्षसी कृती ( ता ) । कथम् ? - तेजो हसितं - गतम् [अङ्कं ] उद्धषितम्, अलका विलुलिताः । उब्बिम्बिरवदना- फिक्कवदना जाता । स्खलिता विपरीता च गतिरभूत् । कुङ्कुमसहक्षा कान्तिः कालिमावृता । द्वितीयपक्षेऽप्येवम् ॥ ८७ ॥
零个个不

[ अवचूरिका ]
तव विरहेण कापालिनी - योगिनी जाता - कृता । कथम् ? - तव स्मरणसमाधौ मोहो विषमः समुत्थितः । मोहो - मूर्च्छा, मोहः - स्नेहः । ततः क्षणमपि कपालं वामकरान दूरीभवति । कपालं - भिक्षुभाजनम्, कपालं - मस्तकम् । अन्यच्च स ( रा ) य्यासनं न मुञ्चामि । खट्वाङ्गं - पत्यङ्कपादम्, योगियोगोपकरणं च ॥
[ ८७] हे पथिक ! तं प्रियं वदेः, निशासु चरतीति निशाचरः, तस्य सम्बोधनम् - हे निशाचर ! मुग्धा तव विरहेण निशाचरी - राक्षसी कृता । कथम् ? - तेजो शसितम् अङ्गमुद्धषितम्, अलका विलुलिता [:] | उब्बिबिरवदना - फिक्कवदना जाता । स्खलिता विपरीता च गतिरभूत् । कुङ्कुमकनकसहक्षा कान्ति: काल ( लि) मावृता । द्वितीयपक्षेऽप्येवम् ॥

冬冬冬茶茶

Page #192

३५
पद्य ८६-९०] सन्देश रासक
तुहु पुणुं कजि हिआवलउ, लिहिवि न सकउ लेहु । दोहा गाह कहिज' पिय, पंथिय करिवि सणेहु ॥ ८८ ॥ पाइय पिय वडवानलह, विरहग्गिहि उप्पत्ति । जं सित्तउ थोरंसुयहि", जलइ “पडिल्ली झत्ति ॥ ८९ ॥ सोसिज्जत विवजई सासे "दीउन्हएहि पसयच्छी । निवडंत बाहभर लोयणाइ धूमइण" सिचंति ॥ ९० ॥
पहिउ भणइ "पडिउंजि जाउ ससिहरवयणि,
- अहवा किवि" कहणिज्ज सु महु कहु मियनयणि । 1C तुह। 2 B पुणि; C पुण। 3 C कज। 4 B हिंयाव। 5 A लिहवि: B णिहिवि। 6A सकं । 7 B कहिजि; C पढिज। 8 A करवि। 9C पाय। 10C विरहग्गिय; B गिहिं । 11C 'सुयहिं । 12 C यडिल्ली। 13 B C सोसिजंतु। 14 C बिव। 15 B दीहुन्ह। 16 B दीहच्छी। 17 Aधू जइ ण; C धूमयण। 18 B C सिज्झति । 19 C पणुउंजि। 20C जामि। 21 B किंवि; C किहु। 22 C कहिणज्ज। 23 A कय ।
[टिप्पनकरूपा व्याख्या ] . [८८] भो पथिक ! त्वं अतितं(अत्यन्तं) कार्यव्याकुलः । अहं लेखो(ख) लिखित्वं(तुं) न शक्नोमि । अतो दोधक[:] गाथा [च] कथनीया मम वल्लभस्य पुरतः। ममोपरि स्नेहं कृत्वा ॥ ८८॥
[८९] विरहानेरतिशायित्वं दोधकेन गाथया चाह-अहमेवं मन्ये विरहानेवंडवानलादुत्पत्तिः। यत् स्थूलाश्रुवारिभिः सिक्तः, 'पडिल्ली' देशीत्वादधिकं झगिति ज्वलति ॥ ८९॥
[९०] दीर्घाक्षाः(क्ष्याः) दीर्घोष्णैः श्वासैः सो(शो)ध्यमानो(णो)ऽपि विवर्द्धते विरहाग्निः । यद् धूम्रेण निपतद् बाष्पभरे लोचने स्रवतः॥९०॥ [९१] पथिको भणति-हे शशधरवदने ! प्रेषय, व्रजामि, अथवा यत् किमपि *
[अवचूरिका] : [40] हे पथिक ! स्वं कार्याकुल:- उच्छु(त्सु)कः, [अहं ] लेखं लिखितुं न शक्नोमि । त्वं प्रियाय दोधक-गाथे भणेः । पथिक ! स्नेहं कृत्वा ॥
[८९] विरहानेरतिशायित्वं दोधक-गाथाभ्यामाह-हे पथिक ! प्रियमाह-अहमेवं मन्येविरहानेर्वडवानलादुत्पत्तिः। यत् स्थूलाश्रुभिरिसक्तः, 'पडिल्ली देशीवादधिकं झगिति-ज्वलति ॥
[९०] हे पथिक ! प्रियं भणे:-दीर्घोष्णैः श्वासैः सोष्यमाना(शोष्यमाणा) सती सा प्रसृताक्षी विपद्यते, परं-यदि चेल्लोचनयोर्बाह्य(प)भरैर्बुवं-निश्चयं यदि सा न सिच्यते ॥
[११] पथिको भणति-हे शशधरवदने ! मां प्रेषय, हे मृगनयने ! अथवा यत्किमपि कथ

Page #193

३६
सन्देश रासक
कहउ पहिय कि 'ण कहउ कहिसु किं कहिययण, जिण किय' एह अवत्थ 'नेहरइरहिययण' ॥ ९१ ॥ जिणि हउ विरहह कुहरि एव करि घल्डिया, अत्थलोहि' अकयत्थि इकल्लिय" मिल्हिया " ।
10
12
संदेसडर सवित्थरु तुहु" उत्तावलउ,
कहि पहिय पिय गाह वत्थु तह" डोमिलउ ॥ ९२ ॥
*
तइया" निवडंत" णिवेसियाई संगमइ जत्थ हु हारो । इन्हि " सायर - सरिया " - गिरि-तरु- दुग्गाई अंतरिया " ॥ ९३ ॥
1Aकन । 2 A जिणि । 3 A कय; C कहिय । 4 B हरय; C हदय । 5 A मण। 6 A जिग। 7 A विरहु; B विरह । 8 B एम। 9 C °लोह अक° | 10 A इकल्ली । 11 A मिल्हीआ; C नास्ति पदमिदम् । 12 A C तुह । 13 B तहि । 14 A C तईया | 15 C तवत | 16 A इन्हें । 17 A सरीआ । 18 B अंतरियं ।
1
[ द्वितीय प्रक्रम
[ टिप्पनकरूपा व्याख्या ]
कथनीयं तद् हे मृगनेत्रे ! कथय । भो पथिक ! कथयामि, [ किंवा न कथयामि १ ], परं कथयिष्ये । अथवा स्नेहरतिरहिताय तस्मै कथितेन किम् । येनैषाऽवस्था कृता ॥ ९१ ॥
[ ९२] येनार्थलोमेन कामिनी मुक्ता । विरहगर्त्तायां क्षिप्ता । संदेशकस्तु [निस्ती]र्णः, त्वं तुच्छ ( त्सु) कः । परं तस्मै एकां गाथां [ वस्तुकं ] डोमिलकं च वदेः ॥ ९२ ॥
[९३] पूर्वसुखानुभवं स्मारयन्ती दुःखं प्रकटमाह - तदा त्वयि निव (बि) डं यथानिवेसि (शि) ते अवषो (आवयो) रन्तरे हारो न सङ्क्रान्तः । इदानीं सागरसरित् दुर्गादि अन्तरितम् ॥ ९३ ॥
不夺农夺本
[ अवचूरिका ]
冬冬冬冬冬
मीयं तम्मम कथय । हे पथिक ! कथयामि किं न कथयामि वा ?, परं कथयिष्ये, तेन कथितेन किम् । स्नेह [रति]रहितेन येनैषाऽवस्था कृता ॥

[ ९२] विरहकुहरे - विरहगर्त्तायां येनाहं क्षिप्ता । एवं कृत्वा - क्षिश्वा, अर्थलोभात् अकृतार्थेनैकाकिनी मुक्ता । सन्देशकं (कः ) सविस्तरः, त्वमुच्छ (सु) कः । प्रियाय कथेः (थयेः) - गाथ वस्तुकं च डोमिलम् ॥
[ ९३] पूर्वसुखानुभवं स्मारयन्ती दुःखं प्रकटमाह - यदा त्वयि निवडत - यथानिवेक्षित भावयोरन्तः हारो न संक्रान्तः, इदानीं सागरसरिद्भिरितरुदुर्गाश्रान्तरिताः ।

Page #194

पद्य ९१-९४] सन्देश रासक णियदइयह उत्कंखिरिय किवि विरहाउलिय,
पियआसंगि पहुत्तिय तसु संगमि बाउलिय । ते पावहि सुविणंतरि धन्नउ "पियतणुफरसु,
आलिंगणु अवलोयणु चुंबणु" चवणु सुरयरसु। इम" कहिय पहिय तसु णिद्दयह जइय" कालि पवसियउ तुहु । तसु लई मइ तणि"णिंद णहु को पुणु सुविणई संगसुहु ॥९४॥
[षिट्पदम् ।]
mmmmmmmmmmmm
__ 1 B°दइय उ; C°दईयह। 2 C उक्किंखिरि । 3 A कावि। 4 B °उलीय। 5 'तसु' नास्ति C 6C संगम । 8 ACजे।9C पावहिं। 10 'पिय' नास्ति C 11Cनास्ति 'चुंबणु'; A B नास्ति 'चवणु'। 12 B सुरइ°। 13 'इम' नास्ति A1 14 B जहि कालिहि। 15 C तेसु। 16 C सइगलइ। 17 B तणु। 18 B पुण; C पणि। 19 A सुविणय; B सुइणइ। 20 A संगु। 1 C आदर्श एवेदं पदं लभ्यते।।
wwwwwwwwwwwwwwwwwwmar
[टिप्पनकरूपा व्याख्या ] [९४] आत्मनस्तु महदुःखत्वमाह-या[:] काच(श्च)न स्त्रियो निजदइ(यि)तोत्कण्ठिता विरहाकुलिता[:] प्रियसङ्गं प्रपन्नाः, तत्सङ्गमव्याकुलिता भवन्ति, ताः स्वप्नान्तरे धन्यं तनुस्पर्श आलिङ्गनं अवलोकनं चुम्बनं दशनखण्डनं सुरतं च प्रामुवन्ति । हे पथिक! तस्मै निर्दयाय कथये[:]-ममावस्थां तु शृणु, यस्मिन् काले त्वं प्रविशि(वसि)तः, तस्माल्लवात्-क्षणान्मम निद्रा नास्ति, किं पुनः खमसङ्गमसुखम् । “ग्रामो नास्ति कुतः सीमे"ति शा(न्या)यात् । वस्तुकच्छन्दः। तल्लक्षणं यथा
दो वेया सिहियुगलं जुयाइ दुन्निउ दुगं च वत्थुयओ। पनरस तेरस पनरस तेरस जुत्तो दिवढच्छंदो॥ चतुर्विशति मातृकाणि चत्वारि पदानि । पश्चात् पञ्चदश-त्रयोदश-पञ्चदशत्रयोदशमात्रिकाणि चत्वारि पदानि । एष (एतत्) वस्तुकच्छन्दः। अपरं नाम षट्पदम् ॥९४॥ *
[अवचूरिका] [९४ ] विरहिणीनां विरहे मनाक् सुखसंभवमाह - याः काश्चन स्त्रियो निजदयितोत्कण्ठिता विरहाकुलिताः प्रियासङ्गं प्रपन्नाः, तत्सङ्गमव्याकुलिता भवन्ति, ताः स्वमान्तरे धन्यं तनुस्पर्शमालिङ्गनमवलोकनं चुम्बनं दशनखण्डनं सुरतं चाप्नुवन्ति । हे पथिक ! तस्मै निर्दयायैवं कथये:ममावस्थां वं शृणु, यस्मिन् काले स्वं प्रविशि(वसि)तस्तस्माल्लवात्-क्षणान्मम निद्रा नास्ति, किं पुनः खमसामसुखम् । 'ग्रामो नास्ति कुतः सीमा' इति न्यायेन ॥

Page #195

सन्देश रासक
पियविरहविओए', संगमसोए, 'दिवसरयणि' झूरंत मणे,
*तसु सु
णिरु अंगु सुसंतह, वाह फुसंतह', अप्पह णिद्दय किं पि भणे । निवेसिय, भाइण पेसिय", मोहवसण वोलंत खणे, मह साइय वक्खरु, हरि गउ तक्खरु, जाउ सरणि कसु पहिय भणे ॥ ९५ ॥
३८
इहु डोमिलउ " भणेविणु निशि (सि) तमहर "वयणि,
13
14
हुइय णिमिस" णिष्फंद सरोरुहदलनयणि ।
18
18
हु किहु" कहइ" ण पिक्खइ जं" पुणु अवरु " जणु, चित्ति" भित्ति णं लिहिय मुंध" सच्चविय" खणु ॥ ९६ ॥
1 C °वियोए । 2 C रयणि दिवस° । 2 B रयण । 4A झूर॑ति । 5AB अंगि । 6A सुसंतहं। 7A फुरंत । एतदुत्तरार्द्धात्मकभागोऽस्य पद्यस्य पतितः C आदर्शे । 8B9A भाइणि । 10 B भेसिय । 11 A डोमिलिउ; B डोमिलउ । 12 A नित्तमहुमहुरवणि । 13 A हुईय; B हुई । 14 B निमिश । 15 C किहुं । 16 A कहि । 17 B इय । 18 C नास्ति 'जं पुणु' । 19 C अवर । 20 A चित्त । 21 A मुद्ध | 22 B साच्च विय ।
[ टिप्पनकरूपा व्याख्या ]
[ ९५] ते सर्वस्वे किं कर्त्तव्यतामूढत्वमाह - प्रियविरह विउ ( यो ) गाय सङ्गमसूचकाय रात्रिंदिनं क्लिश्यन्ती, नितराम शोषयन्ती, बाष्पानि मार्जयन्ती, आत्मना (नो) निर्दयाय किं भणामि । परं त्वं त्वेवं वदेः- यत् त्वां हि (ह) दये निवेश्य भावेनाप्रेष्य ( क्ष्य), मोहवशात् क्षणम्, तयोक्तम् - मम खामिनो वक्खरं = रूपं नाम वस्तु विरहनामा तस्करो हि (ह) त्वा गच्छति प्रत्यहम् । तद् भण, प्रिय कस्य शरणं व्रजामि ? ॥ ९५ ॥
[ द्वितीय प्रक्रम
[ ९६] एतत् डोमिलक [मु] क्त्वा, चन्द्रवदना कमलनेत्रा निर्मि (र्निं) मेषा निःष्पन्दा जाता । न च किमपि कथयति, अपरं जनं न प्रेक्षते । अत्र वितर्के - भित्तौ चित्रलिखितेव सत्यापिता-ज्ञातेत्यर्थः ॥ ९६ ॥
[ अवचूरिका
[१५] प्रियविरहवियोगाय सङ्गमसूचकाय रात्रिंदिनं क्लिश्यन्ती, नितराम शोषयन्ती, बापानि मार्जयन्ती, पथिक ! आत्मनो निर्दयाय प्रियाय किं भणामि । परं त्वं त्वेवं वदेः - यवां हृदये निवेश्य भावेनाप्रेक्ष्य, मोहवशात् क्षणम्, तयोक्तं मम स्वामिनो वक्खरं नाम वस्तु विरहनामा तस्करो हृत्वा गच्छति प्रत्यहम् । तद्भण प्रिय ! कस्य शरणं व्रजामि ? ॥
*

⇒⇒
[ ९६ ] एतत् डोमिलकमुक्त्वा, चन्द्रवदना कमलनेत्रा निर्मे ( निर्निमेषा निःष्पन्दा जाता । न च किमपि कथयति, अपरं जनं न प्रेक्षते । अत्र वितर्के - भित्तौ चित्रलिखितेव सत्यापितादृष्टेत्यर्थः ॥

冬冬冬

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पद्य ९५-९८ ]
सन्देश रासक
'ओसासंभमरुद्धसास उरुन्नमुह', वम्महसर पडिभिन्न सरवि पियसंगसुह । दर तिरच्छ तरलच्छि पहिउ जं जोइयउ, णं गुणसह उत्तट्ठि कुरंगि पलोइयउ ॥ ९७ ॥ पहिउ भइ थिरु होहि धीरु' आसासि खणु,
लइवि वरक्किय ससिसउन्नु फंसहि " वयणु । तस्स वयणु" आयन्नि” विरहभर " भज्जरिय",
लइ अंचलु" मुहु" पुंछिउ तह व सलज्जरिय" ॥ ९८ ॥ पहिय ण सिज्झइ किरि" बलु मह कंदप्पसउ,
रत्तउ जं च विरत्तर निद्दोसे य पिउ ।
1 C ऊसासं । 2 B उरन्नमुह । 3 B जोइयइ । 4 C उतट्ठ पलोइयइ । 7 A B धीरि । 8 C आसीसि । 9 A °सउन्ह | 10 B पुंसहि । 12 A. आयंन्नि; C आइन्नि । 13 C°भ° । 14 A भज्जरीया । 16 B मुहुं; C मुह | 17 A सलज्जरीआ; C सलज्जिरिय । 18 C सिज्जइ ।
[ टिप्पनकरूपा व्याख्या ]
[९७] उच्छ्वास भ्रमरुद्ध नि [ : ] स्वा (श्वा) सया रुदितमुख्या मन्मथशरैः प्रतिभिनया प्रियसङ्गमसुष (खं) स्मृत्वा तदनुगवो (तो) ऽस्ति वेतीपत् तिर्यग् तरलाक्षिभ्यां पथिको दृष्टः । मन्ये वितकें वा । गुणशब्दोऽत्रस्तया कुरङ्गया दृष्टः सः ॥ ९७ ॥
३९
[९] अथ पथिकसौजन्यमाह - पथिको भणति - स्थिरा धीरा भव । क्षणं आखा (श्वा) सय । वरक्की - पार्ट (टी) गृहीत्वा शशिसंपूर्ण मुखं प्रमार्जय । तस्य वचनमाकर्ण्य विरहभरभग्नया सलज्जया वस्त्राञ्चलमादाय मुखं प्रमार्जितम् ॥९८॥
5 C कुरंग । 6 B 11 B वयण ।
15 C अंचल |
19 A किर ।
[ ९९ ] आत्मनः सर्वथैवासमर्थतामाह- हे पथिक ! मम कन्दर्पेण समम्, किल इति संभावनायाम्, बलं न सिद्ध्यति । यच्च तद्रूप एव प्रियो [निर्दोषेण ] दोषं
吞吞零零零
[ अवचूरिका ]
冬冬茶茶茶
[९७] उच्छ्वासभ्रमरुद्धनिःश्वासया रुदितमुख्या, मन्मथशरैः प्रतिभिन्नया, प्रियसङ्गमसुखं स्मृत्वा तदनुगतोऽस्ति वेति, ईषत्तिर्यकू तरलाक्षिभ्यां पथिको दृष्टः । मन्ये - वितर्के वा । गुणशब्दोऽस्ता कुरा दृष्टः सः ॥

[ ९८] अथ पथिकः सौजन्यमाह - पथिको भणति - स्थिरा धीरा भव । क्षणमाश्वासय । वराकी - पटीं गृहीत्वा शशिसंपूर्ण मुखं मार्जय । तव (स्य) वचनमाकर्ण्य विरहभरभग्नया लज्जया वस्त्राञ्चलमादाय मुखं प्रमार्जितम् ॥
[ ९९ ] आत्मनः सर्वथैवासमर्थतामाह - हे पथिक !, किलेति संभावनायाम्, मम बलं

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४०
सन्देश रासक
य' सुणिय परवेयण निन्नेहह' चलह,
"मालिणिवित्तु कहिव्वउ' इक्कइ तह खलह ॥ ९९ ॥
विरइविरामे सोहो मुणंती, सुहइ राओ उग्गिलंतो सिणेहो ।
भरवि' नवयरंगे इकु" कुंभो घरंती,
हियउ तह पडिल्लो" बोलियंतो विरत्तो ॥ १०० ॥
[ द्वितीय प्रक्रम
*
as अंबरु उग्गलइ राय" पुणि” रंगियइ, अह निन्ने अंगु होइ आभंगियइ " ।
अह हारिजइ दविणु जिणिवि" पुणु भिट्टियs,
17
19
पिय विरतु" हुइ चित्तु पहिय किम" वट्टिय " ॥ १०१ ॥
1 C ने | 2 A णिन्नेहह । 3 C मालणि । बिरा । 6 B C तय । 7 B विराओ उग्गिलंती । 11 B वडिलो । 12 A C राइ। 13 A पुणु । गियइ | 16 C जिणि पुणि । 17 B C पियह विरत्तउ हियउ । 18 A किवि । 19 A वट्टीयइ ।
4A कहिजसु । 5 A विरह; C बिरह8 A भरय । 9 C नवइ° | 10 B इकुं । 14B रंगु; C होइ अंगु । 15 C अभि
[ टिप्पनकरूपा व्याख्या ]
विना रक्त एव विरक्तः । न च तेन परवेदना श्रुता । अतस्तस्मै चलिताय खलाय मालिनीवृत्तं एकं कथनीयम् ॥ ९९ ॥
[ १०० ] आत्मनोऽविमर्शित्वमाह - अद्यापि (?) रति विरामे अहं स्वहि (ह) दयं नष्टसौख्यं मन्यास्यम् । तदा हे सुभग ! यो रागो नवरङ्गस्नेहमुद्गिलन्नासीत्, तेनैकं कुम्भं भृत्वाऽधारयिष्यम् । यतो हृदयं विरक्तं तत्र कुम्मे क्षित्वा न ( प्र ) क्षितं कृत्वा अस्थापयिष्यम् - व्यापारविष्यम् ॥ १०० ॥
एष ( एतत्) मालिनीच्छन्दः । तल्लक्षणम् -
"ननमयययुतेयं मालिनी भोगिलोके ॥"
पञ्चदशाक्षरं मालिनीवृत्तम् । द्वौ नगणौ तद्नु मगणः तदनु द्वौ यगणी ॥
[ १०१] यदि वस्त्रं गतरागं तदा पुना रज्यते । अङ्गं निःस्नेहं रूक्षं भवति, तैलेन →→ [ अवचूरिका ]
कन्दर्पेण समं न सिद्ध्यति । यत् प्रियो निर्दोषेण दोषं विना रक्तोऽपि विरक्तः । तेन परवेदना न श्रुता - न ज्ञाता । अतस्तस्मै खलाय निस्पृहायैकं मालिनीवृत्तं कथयेः ॥ छन्दोलक्षणं यथा - 'ननमयययुतेयं मालिनी भोगिलोकैः ।'
[१०० ] यदि वि (अपि ? ) रतिवियोगेऽहं स्वहृदयं नष्टसौख्यमज्ञास्यन् (म्) तदा यो रागो नवरने स्नेहमुनिलन्नासीत् तेनैकं कुम्भं भृत्वाऽधारयिष्यम्, यतो हृदयं विरक्तं तत्कुम्भे क्षित्वा क्षणं कृत्वा स्वस्थमवधारयिष्यम् ॥
[ १०१ ] यदि वस्त्रं गतरङ्गं भवति, तदा पुना रङ्गय ( राज्य ) ते, अथ निःस्नेहो अङ्गः - शरीरं रौष्यं

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पद्य ९९-१०३ ]
सन्देश रासक
पहिउ भणइ पसयच्छ' धीरि मणु' पंथि धरु,
नीरु' भरु |
संवरि णिरु' लोयणह वहंत पावासु बहुकजि गमहि तहि " परिभमइ, अणकियs" णियs" पउयणि सुंदरि ! हु" वलइ ॥१०२॥
12
ते य विएसि" फिरंतय "वम्महसरपय,
16
17
णियघरणिय सुमरंत" विरह सवसेय कय" ।
दिवसरयणि यिदईय" सोय असहंत भरु,
20
जिम तुम्हहि " तिम" मुंधि" पहिय झिज्झंति" रुि ॥१०३॥
1 C पसइच्छि; B पसियच्छि । 2 A माणुय | 6 B लोयहं । 7 A वतु । 8 A णीरु । 9 11 A C अकियइ । 12 C नियय । 13 B नहु । 17 B किय । 18 C°दइय । 19
16 B सुयरंत । 21 C
22 B झिज्झत ।
४१
3 C करु। 4 C संवरु। 5 A गितु । B पावासुयह । 10 AC तह | 14 C वियसि । 15 A वम्हह° । 20 A तिव ।
B तुम्हह ।
[ टिप्पनकरूपा व्याख्या ]
पुनः प्रक्ष ( क्ष्य) ते । यदि द्रव्यं हारितं भवति तदा जित्वा पुनः प्राप्यते । परं पथिक ! प्रियस्य विरक्तं चित्तं कथं व्यावर्त्यति (र्त्तते ॥ १०१ ॥
[१०२] हे सुन्दरि ! स्थिरा भव । मनो मार्गे धर । लोचनाभ्यां वहन्नीरं संवर । प्रवासिनो बहुकर्मणि गच्छन्ति भ्रमन्ति च । मत्कृ ( अ ) ते प्रयोजने न व्याघुटन्ति ॥ १०२ ॥
[१०३] ते च विदेशे भ्रमन्तः, मन्मथरार महता निजगृहिणी [:] स्मरन्तः, विरहेण वसी (शी) कृताः, दिवसरात्रौ निजदय (य) ताशोक भरमसहन्तः, यथा यूयं तथा नितरां पथिका अपि क्षीयन्ते - दुर्बला भवन्ति ॥ १०३ ॥
吞吞吞吞不
[ अवचूरिका ]
敬敬敬敬敬
(रुक्षं) भवति तदा तैल्येनाभ्यङ्ग्यते-मर्द्यते, अथ द्रविणं हार्यते पुनरपि जित्वा भिव्यते - प्राप्यते । हे पथिक ! प्रियस्य विरक्तं हृदयं कथं व्यावर्त्तते ॥
[ १०२ ] पथिको भणति - हे प्रसृताक्षि ! मनो धीरय, मार्गे धर, लोचनाभ्यां वहन्नीरं नितरां संवर । पथिका बहुकायें गच्छन्ति, तत्र परिभ्रमन्ति । अकृते निजप्रयोजने हे सुन्दरि ! न वलन्ति - न व्याघुक्यन्ति ॥

[ १०३] ते च विदेशं भ्रमन्तो मन्मथशरप्रहता निजगृहिणीः स्मरन्तो विरहेण वशीकृताः, दिवसरात्रौ निजदयिताशोकभरमसहन्तः, यथा यूयं तथा नितरां पथिका अपि क्षीयन्ते - दुर्बा भवन्ति ॥
सं० ६

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४२
सन्देश रासक
er' aण आयन्निवि दीहरलोयणिहिं',
पढिय' अडिल' वियसेविणु मयणुक्कोयणिहिं । [ अर्द्धम् । ]
*
जइ मइ णत्थि णेह ताकं तहं,
पंथिय कज्जु साहि मह कंतहं ।
जं' विरहग्ग मज्झ 'णक्कंतह,
हियउ हवेइ मज्झ कंतह ॥ १०४ ॥ [ अडिल्लुच्छन्दः । ]
1 C पहिय । 2 A °लोयणिहि । 3 A पढि अडि° । 4 C अडिल | 6A पंथि कज्ज | 7 A जइ । 8 B तह । 9 B मज्झु हु;
[ द्वितीय प्रक्रम
5 A णेहु णत्थि ।
[ टिप्पनकरूपा व्याख्या ] [१०४ ] एतद् वचनमाकर्ण्य दीर्घतराक्षा ( क्ष्या) मदनोत्कौकुच्यया अडिल्ला पठिता ।
AC कंतह |
संदेह (श) रासकोऽयमिति ग्रन्थभावं सूचयन्नाह - यदि कान्तस्य मयि स्नेहो नास्ति, तथापि मम कान्ताय, कार्य-संदेशकं साधय - कथय । यद् विरहाग्निर्मम कान्तस्य, अन्यच्च मम हृदयं ज्वालयति, न कान्तस्य - एकोऽर्थः ।
यदि तस्य स्नेहं (हो) मयि नास्ति, इत्यहं 'ताकं' देशीत्वात् तर्कयामि । तथापि पथिक ! मम कान्ताय कार्य - संदेशकं साधय - कथय । प्राकृतत्वात् षष्ठीस्थाने चतुर्थी । यद् विरहाग्निर्मम मध्यम्, आनक्रान्तं - नासिकान्तं यावत्, नका (क्ता) न्तं - अहर्दिवसं रात्रिप्रान्तं हृदयं ज्वालयति - द्वितीयोऽर्थः ॥ १०४ ॥
अलिच्छन्दः । लक्षणं यथा
उप इक्कु जमक्कु जि दीसइ, अडिलछंदु सु बुहहि सलीसइ ॥ अडिल्लुच्छन्दोलक्षणम् - चतुःपदेषु एक सहक्षो ज (य) मको भवति । स विबुधैः अलिच्छन्दः कथ्यते ॥

[ अवचूरिका ]
[ १०४ ] एतद्वचनमाकर्ण्य दीर्घतराख्या (दया) मदनोस्कोकुच्यया, अडिल्ला पठिता । संदेशरासकोऽयमिति ग्रन्थभावं सूचयति - यदि कान्तस्य मयि स्नेहो नास्ति इत्यहं 'वाकं ' देशीस्वात् - तर्कयामि, तथापि पथिक ! मम कान्ताय, कार्य - संदेशकं साधय - कथय । प्राकृतत्वात् षष्ठीस्थाने चतुर्थी ॥

द्वितीयपक्षे-यद्विरहानिर्मम मध्यम्, आनक्रान्तं नासिकां यावत्, नक्तान्तं - महोदिवस रात्रिप्रान्तम् हृदयं ज्वालयति - द्वितीयोऽर्थः ॥

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सक
पच १०४-१०६]
कहि ण सवित्थरु' सक्कर 'मयणाउहवहिय, ___ इय अवत्थ अम्हारिय कंतह सिव कहिय । अंगभंगि णिरु अणरई उज्जगउ णिसिहि,
विहलंघल गय मग्ग चलंतिहि आलसिहि ॥ १०५ ॥ धम्मिलह संवरणु न घणु कुसमिहि रइउ,
कजलु" गलइ कवोलिहि जं नयणिहि धरिउ । जं पियआसासंगिहि अंगिहिं पलु चडई,
विरह हुयासि" झलकिउ तं पडिलिउ झडइ ॥ १०६ ॥ आसाजलसंसित्त विरहउन्हत्त जलंतिय", ___णहुँ जीवउ" णहु मरउ पहिय ! अच्छउ धुक्खंतिय" । 1C सवित्थतु। 2 C मणायउह। 3 B नास्ति 'इय'; C हुआ। 4 A अम्हारीय । 5B पहिय कंतह। 6 B सह; C सउ। 7 C अणरउ; B अरुणउ। 8 B उयग्गउ । 9 BC चलंतह। 10 C आलिसिहि। 11C कजल। 12 C नयणि। 13 Bधरियउ। 14 A अंगि प। 15 B चडई। 16 A विरहु। 17 A हुयास; B हुयासु । 18 C झलकि पडिल्लउ तं; B तं पडलिउ झलइ। 19 A जलंतीय; C जलंती। 20 A नहु । 21 B जीयउ । 22C धुकंती।
[टिप्पनकरूपा व्याख्या] ॥१०५] भोपथिक! संदेशको विस्तरः। मदनस(श)रव्याप्तया मया कथि(थयितुं न शक्यते । परं भो पथिक! मदीयाऽवस्था प्रियतमस्याग्रे सर्वा कथनीया । अहर्निशं मे-मम अङ्के अरतिर्वर्त्तते । तव विरहे मार्गे चलन्त्या विहलकला भवामि ॥ १०५॥
[१०६] धर्मिल(म्मिल्ल)स्य संवरणं कुसुमैर्न रचितम् । नेत्रयोधृतं कजलं कपोलमार्गे गलति । यत् प्रियागमास(श)या पलं-मांसं देहे चटति, तद्विरहाग्निना झलकितं-भस्मीकृतं द्विगुणं झटति ॥ १०६॥ [१०७] आसा(शा)जलेन संस(सि)क्ता विरहाग्निना ज्वलन्ती च न जीवामि,
[भवचूरिका] . [१०५] हे पथिक ! अहं मदनायुधबाधिता संदेशकं सविस्तरं कथि(थयितुं न शक्नोमि, परमिमामवस्थां सकलां कान्ताय कथय । तामाह - अङ्ग भङ्गः, नितरामरतिः, निशि जागरः, विहलकला गतिर्मानें चलन्त्या मालस्येन ॥
[१०६] धम्मिल्लस्य संवरणं कुसुमैन रचितम् , नेत्रयोर्धतं कजलं कपोलमार्गे गलति, यत्रियागमास(श)या पलं-मांसं देहे चटति, तद्विरहाग्निना झलकितं- भस्सीकृतं द्विगुणं झटति ॥

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४४ सन्देश रासक
[द्वितीय प्रक्रम इत्थंतरि पुण पुणवि' तेणि पहिय धरेवि मणु,
फुल्लङ भणियां दीहरच्छि णियणयण फुसेविणु ॥ १० ॥
सुन्नारह जिम मह हियउ, पिय'उकिंख करेई । विरहहुयासि दहेवि करि, आसाजलि सिंचेइ ॥ १०८ ॥
पहिउ" भणइ पहि जंत अमंगलु" मह म करि",
रुयवि रुयवि पुणरुत्त वाह संवरिवि धरि । पहिय ! होउ तुह" इच्छ" अज सिज्झउ गमणु,
मइ न रुन्नु विरहग्गिधूम लोयणसवणु ॥ १०९॥ 1AC पुणरवि पहिय। 2 A C नास्ति 'तेणि'। 3 A धारवि; C धरेविणु। 4 A फुलउ। 5AC भणिउ। 6A दीहअच्छि; B दीहच्छि। 7 C पय। 8 A उकिंषि करेइ; C उकिंखरेइ। 9 A. संचेइ । 10 C पहिय। 11 C अमंगल। 12 C महु । 13 B करहि। 14 C रुइवि। 15 C पुणरत्त। 16 A तुय । 17 B इच्छिउ।
---
[टिप्पनकरूपा व्याख्या ] न मृ(नि)यते; धुक्खंती अग्निरिव तिष्टामि । अत्रान्तरे, पथिकं मनो धृत्वा, पुनः पुनरपि नेत्रे स्पृष्ट्वा, फुल्लको भणितः ॥ १०७॥
[१०८] हे प्रिय ! मम हृदयं वर्णकारवद् वर्तते । यथा स्वर्णकारः प्रियोत्कण्ठया-अभीष्टलामेच्छया स्वर्णमग्निना दग्ध्वा, जल(ले)न सिञ्चति, तथा शरीरस्वर्ण प्रियविरहस्मरणेनाग्निना दग्धम् , पुनः सङ्गमाशाजलेन सिञ्चितम् ॥ १०८ ॥
[१०९] पथिको भणति-व्रजतः पथि ममामङ्गलं मा कुरु, रुदित्वा रुदित्वा । पुनरश्रूणि संवर । सा प्राह-पथिक! तवेप्सितं भवतु । अद्य गमनं सिद्ध्यतु । मया न रुदितम् । विरहाग्नेधूमाधिकत्वाल्लोचनश्र(स्र)वणं जातम् ॥ १०९ ॥
***** [अवचूरिका ] [१०७] आशाजलेन सिक्ता विरहाग्निना ज्वलन्ती न च जीवामि, नो मरामि, किन्त्वनिरिव धुखन्ती तिष्ठामि । अत्रान्तरे मनो धीरयित्वा, नेत्रे स्पृष्ट्वा, पु(फुलको भणितः ॥
[१०८] हे प्रिय ! मम हृदयं स्वर्णकारवद् वर्त्तते । यथा स्वर्णकारः प्रियोस्कण्ठया-अभीष्टलाभेच्छया स्वर्णमग्निना दग्ध्वा जलेन सिञ्चति, तथा शरीरस्वर्ण प्रियविरहाग्निना दग्ध्वा पुनः सामाशाजलेन सिञ्चति ॥
[१०९] पथिको भणति-पथि व्रजतो मम] माऽमङ्गलं कुरु । रुदित्वा पुनरश्रूणि संवर । सा प्राह - तवेप्सितं भवतु । अद्य गमनं प्रसिद्ध्यतु । मया नो रुदितम् । विरहाने—माधिकत्वालोचनाव स्त्रवणं जातम् ॥

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४५
पद्य १०७-१११] सन्देश रासक
पहिउ भणइ पसयच्छि' ! तुरियउ किं वज्जरहि, ___ रवि 'दिणसेसि पहुत्तु पहुंजहि दय करहि । जाहि पहिय ! तुहं मंगलु होउ पुणन्नवउ,
पियह कहिय हिव इक्क "मडिल अन्नु" चूडिलउ ॥११०॥
तणु" दीउन्हसासि सोसिजई, ___ अंसुजलोहु णेय सो सिजइ । हियउ पउक्कु पडिउ दीवंतरि,
णाइ पतंगु पडिउ" दीवंतरि ॥ १११ ॥
1A पसच्छि: B पसियच्छि। 2 B दिणि' । 3 Cसेस। 4 C पडुजय। 5C जहि । 6 A तुय; B तुव। 7 C मंगल। 8 C हो। 9 A नास्ति 'हिव'। 10 A इक अडिल्ल । 11 BC अनु; A. अनु तह। 12 C तिणु। 13 B सिजई। 14 C पडिक्कु । 15 A B 'पडिउ पियंगु णाइ दीवंतरि' एतादृशः पाठः ।
[टिप्पनकरूपा व्याख्या ] [११०] पथिको भणति-हे प्रसृतिप्रमाणलोचने ! तु(त्वरितं कथय, किं संदेशकं दास्यसि । रविः-सूर्यः, अस्तं आयातः। ममोपरि दयां कृत्वा प्रेषय । सा आसी (शिष)दत्त्वा कथयति-जा(या)हि त्वम् । तव पुनःपुनर्नवो मङ्गलो भवतु । मम प्रियस्थाने एकं अ(म)डिलं अन्यत् चूडिलकं कथनीयम् ॥ ११०॥
[१११] तनु दीर्घोष्णु(ष्ण)श्वासैः सोख्य(शुष्य)ते, अश्रुजलौघस्तु तस्मादुत्पनोऽपि न च सो(शु)ध्यते- इति महदाश्चर्यम्। मम हृदयं द्वीपान्तरे पतितं-शून्यं जातमित्यर्थः। मन्ये पतङ्गो द्वी(दी)पमध्ये पतितः, सोऽपि मृ(नि)यते ॥ १११ ॥ मडिल्लच्छन्दः। तल्लक्षणम् - "जमक्कु होइ जहि बिहु पय जुत्तउ । मडिल्लछंदु तं अजुणि वुत्तउ ॥" * ** [अवचूरिका]
- [१०] पथिको भणति-हे प्रसृताक्षि ! त्वरितं किञ्चिद् वद। रविर्दिनशेषं प्रातः । दयां कृत्वा मां विसर्जय । सा प्राह - हे पथिक! व्रज, तव पुनर्णवं माङ्गल्यं भवतु । प्रियायैका भ(म)डिल्लां अन्यत् चूडिलकं च वदेः ॥ . [१११] तनु दीर्घोष्णश्वासैः सोख्य(शुष्य)ते । असु(अश्रु)जलौघस्तु तस्मादुत्पन्नोऽपि न च शुष्यत इति नादाश्वं (? महदाश्चर्यम्) । मम हृदयं द्वीपान्तरे पतितं-शून्यं जातमित्यर्थः । मन्ये प्रतङ्गो दीपमध्ये पतितः । सोऽपि म्रियते ॥

Page #203

४६
सन्देश रासक
[द्वितीय प्रक्रम उत्तरायणि 'वडिहि दिवस,
णिसि दक्षिण इहु पुर्व णिउइउ । दुच्चिय वड्डहिं जत्थ पिय,
इहु तीयउ विरहायणु होइयउ ॥ ११२ ॥
15
गयउ दिवसु थिउ सेसु पहिय ! गमु मिल्हियइ,
णिसि अत्थमु बोलेवि दिवसि" पुणु" चल्लियइ । बिबाहरि दिण"बिंब जुन्ह गोसिहि" बलई",
तो "जाइअइ अ कजि मई अइआवलइ*, जइ न रहहि इणि ठाई पहिय ! इच्छहि गमणु,
चूडिल्लउ खडहडउ पियह गाहाई भणु ॥ ११३ ॥
1C बढहि। 2 C दक्षिण; B दक्षण। 3 Cइय। 4 C पुवि । 5C निउयउ । 6 A वत्थहि। 7 A लीयउ। 8 A विरहाइणु; C तुअ विरहायण। Cगम । 10 C अत्थिमु। 11 C दिविसि। 12 C पुणि। 13 B बिंबाहर। 14 BC दिणि । 15 C बिंबु। 16 C जुनु। 17 B गोसहिं। 18 C चलइ। 19 A जायइ अकजि । 20 B ममइ; A मइ अ।* C आदर्श एषः पादः 'रइणि तो जाइ हर कन्जिहिं आवलउ' एतादृशो लभ्यते। 21 B C ठाई। 22 B गवणु। 23 A गाइं भमणु।
[टिप्पनकरूपा व्याख्या] [११२] सर्वकालस(स्य) दुःखतामाह - उत्तरायणे दिवसा वर्द्धन्ते रात्रयो हीयन्ते, दक्षिणायने रात्रयो वर्द्धन्ते दिवसा हीयन्ते । यत्र द्वे वर्धते तन्मन्ये एषः त्रि(४)तीय[:] विरहायनो जातः । द्वयोरेनौ तुर्यः सुखायनः, चकारात् ॥ ११२ ॥ चोडियालकच्छन्दः। तल्लक्षणम् -
"दोहाछंदु जि दु दलु पढि मत्त ठविजहिं पंच सु केहा ।
चूडिल्लउ तं बुह मुणहु गुल्हु पयंपइ सच्चु सु एहा ॥" दोधकच्छन्दसं पठित्वा प्रान्ते प्रान्ते पञ्च पञ्च मात्रा न्यस्यन्ते । चोडियालको भवति ॥ [११३] दिवसो गतः, स्थितः शेखः(षः) । हे पथिक ! गमनं मुच्यताम् । निर्मा
* [अवचूरिका] ११२] उत्तरायणे दिवसा वर्धन्ते, रात्रयो हीयन्ते; दक्षिणायने रात्रयो वर्धन्ते न दिवसाः। यत्र द्वे वर्धते तन्मन्ये - एषस्तृतीयो विरहायनो जातः । द्वयोहानौ तुर्यः सुखायनश्चकारात् ॥
[११३] हे पथिक ! दिवसो गतः-स्थितशेषो जातः । गमनं मुच्यताम् । निश्यस्तमनं

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पद्य ११२-११५] सन्देश रासका।
फलु विरहग्गि पवासि तुरं,
पाइउ अम्हिहिं जाइ पियह भणु । चिरं जीवं तउ लहु वरु,
हुअउ संवच्छरतुल्लउ इक्कु दिणु ॥ ११४ ॥
जइ पिम्मविओय विसुंठलयं हिययं, ___ जइ अंगु 'अणंगसरेहि हयं णिहुयं । जइ बाहजलोह कवोलरयं णयणं,
जइ णिच्च मणंमि वियंभिययं मयणं ॥ ११५ ॥
1A फल। 2 Aतुय। 3A अम्हह। 4 A चिर। 5 Cसमरतुल्लउ। 6A विआई। 7C अणंगु स। 8 BCकओल°। 9 B णिच्च मणं वियंभिय मयणं ।
[टिप्पनकरूपा व्याख्या] निर्गमयित्वा वासरे पुनश्चल्यताम् । पथिकः प्राह-बिम्बाधरे ! दिनबिम्बज्योत्स्ना गोसे-प्रभाते ज्वलति । अतः कारणाद् रात्रावेव कार्ये उत्सुके मया गम्यते । पुनः सा प्राह-हे पथिक ! यद्यस्मिन् स्थाने न तिष्ठसि-गमन मिच्छसि, तदा एकं चूडिलकं खडहडं च गाथां भणेः ॥ ११३॥
[११४] हे प्रिय ! तव प्रवासे विरहाने सकाशात् फलं प्राप्त इति गत्वा प्रियं भण । किं तत्-चिरंजीवी वरः प्राप्तः । यदेकोऽपि वासरः संवत्सरप्रमाणो जातः॥ ११४॥ [११५]......[ अस्य पद्यस्य व्याख्या नोपलभ्यते मूलादर्श ।] *
[अवचूरिका] KAR बोलयित्वा-निर्गमयित्वा, दिवसे पुनश्चल्यताम् । हे बिम्बाधरे! दिनविम्बज्योत्स्ना-भावापो गोसे-प्रभाते ज्वलति । मयाऽत्यौत्सुक्ये कार्ये गम्यते । पुनः सा प्राह - यद्यस्मिन् स्थाने न तिष्ठसि, हे पथिक ! यदि गमनमिच्छसि, तदा चूडिल्लकं, खडहडकं, गाथां च प्रियाय भणेः॥ खडहाच्छन्दोलक्षणं यथा
सगणा इअ वीस य छंद धुआं भणियं, लहु चालीस वीस गुरू सुमणोहरयं ।
खडहडयणामेहि णिच्चु पसिद्धपयं, अइवल्लहणामि दुईय य तं कहियं ॥ १॥ [१४] हे प्रिय! तव प्रवासे विरहानेः फलं प्राप्तमिति गत्वा प्रियं भण । किं तत् ? चिरंजीवी वरः प्रासः । यदेकोऽपि वासरः संवत्सरतुल्यो जातः ।
[१५] यदि मे प्रियवियोगे हृदयं विसंस्थूलम् , यामननशरैर्निभृतं यथा हतम् , यदि बापजलौघकपोलरतं नेत्रम् , यदि मनसि नित्यमपि मदनं विजृम्भितम् , तथापि जीव्यते ॥

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४८
सन्देश रासक
ता पहिय ! केम णिसि समए पाविज्जर निवइ य जीविज्जइ जं पियविरहणीहि दिवसाइ तं चुजं ॥
पहिउ भणइ कणयंगि ! सयलु' जं तुम्हि कहिउ, अन्नइ जं मइ दिदु पयासिसु तं अहिउ । पउमदलच्छि पलट्टिहि इच्छहि पियभुवणु',
ॐ पुणि मग्ग पयट्टर भंजि म मह गमणु । पुव्वदिसहि तमु पसरिउ, रवि अत्थमणि" गउ । णिसि कट्ठहि गम्मियइ, मग्गु दुग्गमु" सभउ ॥ ११७ ॥
11
*
1 B C निव्वुईथ । 2 C दिवसे वि ।
3 C सयल । 4B
5 A पलट्ट हि
B
| 6 C°भुवण । 7 A हउ । 8 B गवणु । 9 B पुव्वदिसउ । 10 B अत्थवणि । 11 C अइदुग्गु भउ ।
सभयः ॥ ११७ ॥
एतत् खडहडच्छन्दः । लक्षणम् -
" सगणा इय वीस य छंदु धुवं भणियं, लहु चालीस [वीस ] गुरू सुमणोहरयं । खडडयनामेहि निच्च पसिद्धपयं, अइवलहु नामि दुई य य तं कहियं ॥" विंशतिः सगणाः, लघु चत्वारिंशत्, विंशतिः गुरवः । अतिवल्लहो नामद्वितीयं नाम ।
[११६] तावत् हे पथिक ! निशि निर्वृति [ : ] निद्रा च कथं प्राप्यते । यत् प्रियविरहिताभिः कैश्चित् ( केचिद् ) दिवसाः जीव्यन्ते तदेवाश्चर्यम् ॥ ११६ ॥
[ द्वितीय प्रक्रम
तह णि ।
११६ ॥
[ टिप्पनकरूपा व्याख्या ]
[११७] पथिको भणति हे कनकाङ्गि ! यत् त्वया सकलं कथितम्, अन्यत् यन्मया दृष्टं वृत्तान्तम्, तस्मादधिकं प्रकाशयिष्ये । हे पद्मदलाक्षि ! निजभवने प्रयाहि । अहं पुनर्मार्गे प्रवर्त्तामि । मम कृते मार्गे दुर्गमो वर्तते, अन्यच्च
吞吞吞吞吞

[ अवचूरिका ]
冬冬冬冬款
[११६ ] तावद् हे पथिक ! निशि निर्वृत्तिः, निद्रा च कथं प्रयाति ( प्राप्यते), यत् प्रियविरहिताभिः केचिदिवसा जीव्यते तदेवाश्चर्यम् ॥
[११७] पथिको भणति - हे कनकाङ्गि ! यद्भवत्या सकलं कथितम्, अन्यद् यन्मया दृष्टम्, तत् सविशेषं प्रकाशयिष्ये । हे पद्मदलाक्षि ! व्याघुट्ट, निजभवनं वाञ्छय । अहं मार्गे प्रवर्तामि । गमनं मा भञ्जय । पूर्वदिशस्तमः प्रसृतम् । रविरस्तमनं गतः । निशि कष्टेन गम्यते । मार्गो दुर्गमः सभयश्च ॥

Page #206

पद्य ११६-११९] सन्देश रासक
पहियवयण आयन्निव पिम्मविओइरिय',
ससि उसासु दीहुन्हउ पुण खामोयरिय', अंसुकणोहु कवोलि जु किम्मई कुइ रहइ,
णं विहुमपुंजोवरि मुत्तिउ सुइ सहइ । कहइ रुवई विलवंती पियपावासहई', __ भणई कहिय" तह पियह इकु खंधउ दुवई ॥११८॥
मह" हिययं "रयणनिहीं, महियं गुरुमंदरेण तं णिच्ची ।
उम्मूलियं असेसं, सुहरयणं कड्डियं" च तुह पिम्मे ॥ ११९ ॥ ____ 1 A वयणु। 2 C आयनवि। 3 A विउइरिय; B वियोउरिय। 4 A खामोइरिय । 5 C कउलि; B कवोलिहि। 6 C केमइ । 7 B महई। 8 B सयइ। 9 C पावासहय; B पवासह । 10 B भणई। 11 B कहिय सहिय तर । 12 A इक; B इत्थकु। 13 C दुवय । 14 B मम। 15 C रइणि°| A आदर्श 'महियं तुह विरहमंदरे णिचं ।' एतादृशः पाठः। 16 C रइणं; B रयणा । 17 A B कड्डियाई।
[टिप्पनकरूपा व्याख्या [११८] पथिकवचनं श्रुत्वा प्रेमिवियोगितया क्षामोदर्या दीर्घोस्न(ष्ण)श्वासो मुक्तः । तस्मिन्नवसरे अश्रुकण(णो) यः कोऽपि कपोले तिष्ठति, तन्मन्ये विद्रुमपुोपरि मौक्तिकं सो(शोभते । ततः प्रियप्रवासहता रोदिति विलपन्ती पथिकाय कथयति-एकं स्कन्धकं दुवइयं च प्रियं वदेः॥ ११८॥
[११९] मम हि(होदयमेव रतनिधिः। तत् तव गुरुविरहमन्दरेण नित्यं मथितम् । उन्मूल्य सुखरत्नं समग्रं निष्कासितम् ॥ ११९ ॥ द्विपदीछन्दः । तल्लक्षणम् -
पढमगणे कलछक्कं चउक्कला पंच हुति कमलंता ।
गुरुमज्झसव्वलहुया दुवईए बीयछटुंसा ॥ १ ॥ *** [अवचूरिका]
Re [११] पथिकवचनं श्रुत्वा प्रेमविउ(यो)गतया क्षामोदर्या दीर्घोष्णः श्वासो मुक्तः । तस्मिन्नवसरेऽश्रुकणो यः कोऽपि कपोले तिष्ठति, तन्मन्ये विद्रुमपुोपरि मौक्तिकं शोभते । ततः प्रियप्रवा. सहता रोद(दि)ति बिलवं(पं)ती पथिकाय कथयति-हे पथिक ! एकं स्कन्धकं दुवयं च प्रियंभतारं वदेः॥
[११९] मम हृदयमेव रत्ननिधिः । तत्तव गुरुबिरहमन्दरेण नित्यं मथितम् । उन्मूल्य सुखरवं निष्काशितम् ॥
सं. ७

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५०
सन्देश रासक
मयणसमीरविहुय' विरहाणल' दिट्ठिफुलिंगणिग्भरो, दुसह फुरंत तिव्व मह हियइ निरंतर झालं दुद्धरो । अणरइछाछित्तु पच्चिइ तज्जइ ताम दड्ढए',
इहु अच्चरिउ तुझ उक्कंठि सरोरुह अम्ह वढए ॥ १२० ॥
10
खंधउ दुवइ" सुणेवि" अंगु रोमंचियर,
णेय पिम्म" परिवडिउ" पहिउ मणि* रंजियउ" । तह "पय जंपइ मियनयणि सुणिहि " धीरि" खणु", किहु पुच्छउ ससिवयणि पयासहि" फुड " वयणु ॥ १२१ ॥
1 A °विहूय° । 2 B हालि । 3 B C दुसहु फुरंतु । 4 C हियय । 5 B झालं । 6 C दुद्धरे । 7 B दइयए । 8 A तुम्ह । 9 C सरोसहु | 10 A दुवेइ । 11 B सुणे विणु । 12 B पिभु। 18 C परिवडियउ । 14 A मण । 15 B रंचियउ । 16 A C तह जंपइ । 17 A सुण तह; C सुहि । 18 C धीरयसु । 19 A C खण | 20 B पयासइ । 21 B फुडु ।
*
[ टिप्पनकरूपा व्याख्या ]
[ १२० ] मदनसमीरणेन विधूतो विरहानलो वर्त्तते । कीदृशः - दु (ड) ष्टिफुलिंगैः निर्भरः - भृत इत्यर्थः । तीव्रं मम हि (ह) दये स्फुरन् ज्वलन् । पुनः कीदृशः - नि[रं ]तरज्वालादुर्धरः । पुनः- अरतिरक्षायुक्तः । मां परलोकाय प्रेरयति । तदकुर्वन्तीं तर्जयति वर्द्धते । परमेतदाश्चर्य तवोत्कण्ठया सरोरुहं वर्द्धते । अग्नौ कमलं कथं वर्द्धते ? - अत्र तु सरोरुहं श्वासः ( श्वासम् ) ॥ १२० ॥
[ द्वितीय प्रक्रम
[१२१] स पथिकः खन्धकं दुपदीं च श्रुत्वा, अङ्गे रोमाञ्चकशुको बभूव । तथा प्रेमो (म) न गतः (तम् ) । तया पथिकस्य मनो रञ्जितः (तम्) । तथापि हे मृगनेत्रे ! मनो धीरय (य) त्वा कानिचित् पदानि जल्प । पुनः, तथाऽहं किञ्चित् पृच्छामि । यदि शशिवदने ! स्फुटं प्रकटं प्रजल्पसि ॥ १२१ ॥
冬冬冬冬冬
ww
夺个个交

[ अवचूरिका ]
[ १२० ] मदनसमीरणेन विधूतो विरहानलो वर्त्तते । कीदृशः - दृष्टिस्फुलिङ्गैर्निर्भर: - भूत इत्यर्थः । तीव्रं मम हृदये स्फुरन् ज्वलन् । पुनः कीदृशः - निरन्तरज्वालादुर्धरः । पुनररतिरक्षायुक्तः । मां परलोकाय प्रेरयति । तदकुर्वन्तीं लज (तर्ज) यति वर्द्धते दहति च । परमेतदाश्वर्यं तवोत्कण्ठया सरोरुहं वर्द्धते । अत्र तु सरोरुहं श्वासम् ॥
[ १२१] स्कन्धं द्विपद च श्रुत्वा अङ्गं रोमाञ्चितम् प्रेम नैव परिपतितम् । पथिको मनसि रञ्जितः । तां प्रति जल्पति - शृणु, क्षणं धीरा भव, हे शशिवदने ! किमपि पृच्छामि, स्फुटं - प्रकटं यदि प्रकाशयसि || द्विपदीछन्दोलक्षणं यथा -
“पढमगणे कलछकं, चउक्कला पंच हुंति कमलंता । गुरुमज्झसब्बलहुया, दुवईए बीयछहंसा ॥"

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सन्देश रासक
णवघणरेहविणग्गय' निम्मल' फुरइ करु,
सरयरयाणि पञ्चक्खु झरंतर अमियभरु | तह चंदह जिणणत्थु पियह संजणिय सुहु, कइयलग्गि' विरहग्गिधूमि झंपियउ" मुहु ॥ १२२ ॥ बंककडक्खिहि" तिक्खिहि " मयणाकोयणिहिं",
14
भणु वह कई दियहि झुरंतिहिं " लोयणिहिं । जालंधरि" व सकोमलु" अंगु सोसंतियह ",
पद्य १२०-१२३ ]
19
20
हंससरिस सरलयवि यहि लीलंतियह " ॥ १२३ ॥ इम" दुक्खह तरलच्छि कांइ" तइ" अप्पियइ ", दुस्सह" विरहकरवत्तिहि" अंगु करप्पियई ।
1
1 C °विणग्गउ | 2 C निम्मलु । 3 A सरइ । 4 A रइणि । 5 A पंचक्ख । 6 B सुरतउ । 7 C जिणणत्थ | 8 A कईअ अग्गि । 9B नास्ति 'धूम' 10 C कंपियउ । 11 B C °डिक्खिहि । 12 A तिक्खि; B तिक्खहि । 13A मयणुक्कोयणिहि; BC कोइणिहि । 14 A कय । 15 A झुरंतउ | 16 C जालंधर | 17 A B सकोयलु । 18 C सुसंतियह। 19 C लीलंतियहि । 20 B इमइ दुक्ख । A B काइ | 22 A तणु। 28 A अप्पीअइ । 24 C दुसहु विरहु । 25 C करवित्तिहि । 26 A करीप्पीअइ ।
21
[ टिप्पनकरूपा व्याख्या ]
[१२२] नूतनमेघरेखाविनिर्गतचन्द्रवद् निर्मलं तव वदनं वर्त्तते । यथा रजन्यां प्रत (त्य) क्षो अमृतकरो अमृतं झू (झ) रन् सो (शो) भते । तद् वदनं चन्द्रसदृक्षं कं दिनमारभ्य विरहानौ झपितः (तम्) - श्यामीकृत (तम् ) इत्यर्थः ॥ १२२ ॥
५१
[१२३] वद कं दिनमारभ्य वक्रकटाक्षतीक्ष्णाभ्यां मदेन कूणिताभ्यां वर्षन्ती वर्त्तसे । कदलीवत् सकोमलदलं अङ्गं शोषयन्ती, हंससदृक्षां सलिलां गतिं सरलयन्ती कं दिनमारभ्य वर्त्तसे ॥ १२३ ॥
[ १२४ ] कं दिनमारभ्य एवं दुरका ( दुःखा ) य तरलाक्षि ! त्वया निजात्मा अते । [ अवचूरिका ]
冬冬冬
本
[ १२२ ] नवघनरेखाविनिर्गत निर्मल स्फुरत्करः शरद्वजन्यां प्रत्यक्षममृतभरं क्षरन् एवंविधो चन्द्रः, तस्य जयनार्थ प्रियस्य संजनितसुखमेवं विशिष्टं मुखं कं दिनमारभ्य विरहाभिभूत्रेण शम्पितम् ॥

[१२३] वक्रकटाक्षतीक्ष्णाभ्यां मदनाकोचनाभ्यामेवंविधाभ्यां लोचनाभ्यां भण कं दिनमारभ्य क्षरभ्यां वर्तसे । जालन्धरी = कदलीवत् सकोमलमङ्ग शोषयन्ती वर्तसे । हंससदक्षां गतिं सरलां कृत्वा लीलयन्ती वर्तसे । प्रायः स्त्रियः सकामा वक्रगतयः ॥
[ १२४ ] हे तरलाक्षि ! एवं पूर्वोक्तप्रकारेण त्वया भवत्या अनं दुःखाय किमित्यर्प्यते ।

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५२
सन्देश रासक
[द्वितीय प्रक्रम 'हरिसुयबाणखुरप्पिहिं कइ दिण मणु पहउ,
भणु कइ कालि पडुत्तउ सुंदरि तुझं सुहउ ॥ १२४ ॥
पहियवयण आइन्निवि दीहरलोयणिहि ।। पढियउ गाहचउक्कउँ मयणाकोयणिहि ॥ १२५ ॥
[अर्द्धम् , कुलकं पञ्चभिः।]
आएहि पहिय किं पुच्छिएण" मह पियपवासदियहेण । हरिऊण जत्थ सुक्खं लद्धं दुक्खाण पडिवटै ॥ १२६ ॥
1C हरसुइ। 2 A °खरप्पिहि; B °खुरषुप्पहि। 3 A कइ दिणु; C कइदिणि मुण। 4A काल। 5C पडत्तउ। 6 B तुय; C सुह। 7 A पढिउ। 8 B°चउकु । 9 A. मइणकोइणिहिं; C मयणुको । 10 B अइएह। 11 C पुच्छिएहिं । 12 C दियहेहिं । 18 A पडिवत्तं।
[टिप्पनकरूपा व्याख्या ] विरहक[र] पत्रैः, अङ्गं किमिति कल्प(कर्य)ते। हरिसुतः-कन्दर्पः, तस्य बाणक्षुरप्रैः कं दिनमारभ्य मनः प्रहतम् । कस्मिन् दिने तव भर्त्ता प्रचलितः॥ १२४॥
[१२५] एवं पथिकेन पृच्छा कृता, इति प्रथमे(मम्) । घनरेखाविनिर्गतशारदशशिजयनार्थे 'समुहं' स्वमुखं भवत्या कं दिनमारभ्य विरहाग्निना झम्पितम्, इति द्वितीय [प्रश्नम्] | लोचनाभ्यां अश्रु क्षरन्त्या कदलीसमानं देहं सोख(शोष)यन्त्या कानि (कति?)दिनानि जातानि, इति तृतीयप्रश्नम् । एवं दुःखायात्मा किमिति प्रदीयते, कन्दर्पतीक्ष्णक्षुरप्रैः कदा मनः प्रहतम्, त्वत्पतिः कदा प्रस्थितः, इति चतुर्थप्रश्नम् । पथिकवचनं श्रुत्वा दीर्घाक्षा(क्ष्या) गाथाचतुष्कं पठितम्, इति पञ्चमम् ॥ १२५ ॥
[१२६] हे पथिक ! मप्रियप्रवासदिनेन पृष्टेन किम् । यस्मिन् दिने सौख्यं त्याज्य(त्यक्त्वा ) दुःखानां प्रतिपढें प्राप्तम् ॥ १२६ ॥
[भवचूरिका] ---- दुःसहविरहकरपत्रेण अङ्गं किमिति कर्प्यते-खण्ड्यते । हरिसुतस्य - कन्दर्पस्य [वाण]क्षुरप्रैः के दिनमारभ्य, ते-तव मनः प्रहतम् । हे सुन्दरि ! भण, तव सुभगः- भत्तो कस्मिन् दिने प्रस्थितः ॥ [१२५] पथिकवचनं श्रुत्वा दीर्घाझ्या गाथाचतुष्कं पठितम् ॥
[१२६] हे पथिक ! आकर्णय, मत्प्रियप्रवासदिवसेन पृष्टेन किम् । यस्मिन् सौख्यं स्यज (त्यक्त्वा) दुःखानां प्रतिपढें प्राप्तम् ॥

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पद्य १२४-१२९]
सन्देश रासक
ता कहसु तेण किं सुमरिएण विच्छेयजालजलणेण* । जं' गओ खणद्धमत्तो णामं मा तस्स दियहस्स ॥ १२७ ॥ जत्थ गओ सो सुहओ तदिह दिवसा अम्ह अणियत्ती । णिच्छउ हियए पंथिय कालो कालु व्व परिणमइ ॥ १२८ ॥ मुक्काऽहं जत्थ पिए डज्झउ गिम्हानलेण सो गिम्हो । मलयगिरिसोसणेण य सोसिज्जड सोसिया' जेण ॥ १२९ ॥
* C आदर्शे 'जालियविओयजलणेणं' एतादृशः पाठः । 1 B जत्थ । C तद्दिय । 3 C पिए 1 4 C मलयग्गिसिणेण; B मलयग्गिरिसो° ।
[ टिप्पनकरूपा व्याख्या ]
[१२७] तावत् कथय-तेन दिवसेन ज्वालितवियोगाग्निना स्मृतेन किम् । यस्मिन् क्षणार्धमात्रे स गतः । अतस्तस्य दिवसस्य नाम मा गृह्णीयाः ॥ १२७ ॥ [१२८] यद्दिनमारभ्य स सुहृदो भर्त्ता प्रस्थितः, तद्दिनमारभ्यास्माकं अनिवृत्तिर्या (ज) ता । भो पथिक ! स कालः - दिवसः कालवन्निश्चितं हि (ह) दये परिणमति ॥ १२८ ॥
5 B सोसियं ।
!
[ १२९] यत्र ग्रीष्मे प्रियेणाहं मुक्ता, स ग्रीष्मः ग्रीष्मानलेन दह्यतु । मलयाचलसोषन (शोषण) पवनैः स शोष्यतु येनाहं शोषिता ॥ १२९ ॥
*
॥ इति संदेशरासकवृत्तौ श्रीदेवेन्द्रसूरिशिष्य वा० श्रीलक्ष्मीचन्द्रविर -
चितायां संदेश प्रदाननाम द्वितीयः प्रक्रमः ॥
本品

५३
2 B तद्दिदु;
*
[ अवचूरिका ]
[ १२७] तावत् कथय - तेन दिवसेन ज्वालितवियोगाग्निना स्मृतेन किम् । यस्मिन् क्षणार्धेन स गतः । अतस्तस्य दिवसस्य नाम मा गृह्णीयाः ॥
冬冬冬冬冬
[ १२८ ] यस्मिन् दिने स गतस्तस्माद्दिनादस्माकमनवृ (निर्वृ) तिर्जाता । निश्चितं हे पथिक ! भस्मद्धदये कालः - समयः काल इव परिणमति ॥

-
[ १२९] यन्त्र - यस्मिन्निदाघे अहं प्रियेण मुक्ता, स ग्रीष्मो ग्रीष्मानलेन - रौद्रवैश्वानरेण दद्यस ग्रीष्मः श्रीखण्डशोषणेन शुष्यतु, येन ग्रीष्मेण शोषिता ॥
तामू,

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५४
[तृतीय प्रक्रम
सन्देश रासक -३ तृतीयः प्रक्रमः
[अतो ग्रीष्मवर्णनम् ।] णवगिम्हागमि पहिय णाहुं जं पवसियउ,
करवि करंजुलि सुहसमूह मह णिवसियउ । तसु अणुअंचि पलुट्टि विरहहवितविय तणु,
वलिवि पत्त णियभुयणि विसंठुल "विहलमणु" ॥ १३० ॥ तह अणरइ रणरणउ" असुहु असहतियह",
दुस्सहु मलयसमीरणु मयणाकंतियहं । विसमझाल झलकंत जलंतिय तिव्वयर,
महियलि वणतिणदहण तवंति य तरणिकर" ॥१३॥
wwwww
aaaaaaaaaaaaain
1C पहिए। 2 C गह। 3 C पविसिउ। 4 B करिवि। 5 B °समुह । C आदर्श पतित एष पादः। 6 A तणु । 7 B °अंचु। 8 B पलुट्टवि। 9 A °तविउ। 10 C पत्ति । 11 C विह्वलमण। 12 A 'मणि। 13 C रणारणउ। 14 C असहंतयहं । 15 C मयणकंतयहं । 16 B महियल। 17 B तिव्वकर।
[टिप्पनकरूपा व्याख्या ] [१३०] अथ ग्रीष्मर्तुवर्णनं कविराह-'णवगिम्हा.'-हे पथिक ! नवप्रीष्मागमे नाथः प्रवसितः, तदैवाञ्जलिं कृत्वा-हास्यनमस्कारं कृत्वा सुखमपि प्रवसितम् । तदनु व्याधुट्य विरहाग्नितापिततनुषी विसंस्थुल-विहलङ्घलमानसा गृहमागता ॥ १३०॥
[१३१] तथा अरतिं रणरणकं असुक्खं(ख) च सहन्त्या मम मदनातया मलयसमीरणो दुःसहो बभूव । तथा तरणिकरा विषमज्वालया ज्वलन्तमहीतलवनतृणदाहकास्तपन्ते ॥ १३१॥ * [अवचूरिका]
- [३०] अतो ग्रीष्मस्वं व्याचख्यासुराह - ‘णवगिम्हा०' - हे पथिक ! नवग्रीष्मकालागमे नाथः प्रवशि(सि)तः । तदैवाञ्जलिं कृत्वा -हास्यनमस्कारं कृत्वा सुखमपि प्रवशि (सि)तम् । तदनु व्याधुव्य विरहाग्नितापिततनुषी विसंस्थुला विहलवलमानसा गृहमागता ॥
[१३] तथा-अरतिं रणरणकं असुखं च सहन्त्या मम मदनााया मलयसमीरणो दुःसहो बभूव । तथा तरणिकरा विषमज्वालया ज्वलन्तमहीतलवनतृणदाहकास्तपन्ते ॥

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पद्य १३०-१३४ ] सन्देश रासक
जमजीहह णं चंचलु णहयल लहलहइ,
तडतडयड धर तिडइ ण तेयह भरु सहइ । अइउन्हउ 'वोमयलि पहंजणु जं वहइ,
तं झंखरु विरहिणिहि अंगु फरिसिउदहइ ॥ १३२ ॥ पिउ चावइहि भणिजइ नवघण कंखिरिहिं,
सलिलनिवहु तुच्छच्छउ" सरइ तरंगिणिहिं । फलहारिण उन्नमियउ" अइसच्छयई सुहि,
कुंजरसवणसरिच्छ पहल्लिर" गंधवहि ॥ १३३ ॥ तह पत्तिहि संसग्गिहि चूयाकंखिरिय",
कीरपंति परिवसई णिवड" णिरंतरिय । लइ पल्लव झुल्लंति" समुट्ठिय करुणझुणि, हउ किय णिस्साहार पहिय "साहारवणि ॥ १३४ ॥
[युग्मम् ] 1 A णहीयलु । 2 C तडिइडि। 3 B नेहय; C तेअह । 4 B डोमयलि। 5 B वहई । 6 B विरहिणीहि; C विरहिणिअंगु। 7 B फरसिउ; C फरिसउ। 8 C वावहि। 9C किंखिरिहिं। 10 A निवउ। 11 C तुच्छछहु। 12 C उन्नविय। 13 C अइसुच्छह । 14 B पहिल्लिर; C पहुल्लिर । 15 C गंधविहि। 16 B सहसग्गिहि। 17 C बूयाकंखिरिहि । 18 C °वयइ। 19 B निविड। 20 A णिवडंतरिय; C निरंतरिहिं। 21 B झुलंत । 22C साहीर।
[टिप्पनकरूपा व्याख्या ] [१३२] वितर्के चञ्चलं नभस्तलं यमजिह्वावल्लहलहति । त्रडबडबडदिति धरा सु(शुष्यन्ती-शब्दं करोति । तेजोभरं न सहते। अत्युष्णः प्रभञ्जनो वहति । झंखरो डुडुयालकनामा पवनः विरहिणीनामङ्गं स्पृष्ट्वा दहति ॥ १३२॥
[१३३-१३४] नवधनोत्कण्ठितैश्चातकैः "प्रिय प्रिय” इति शब्दो भण्यते स्म । तरङ्गिणीषु सलिलप्रवाह[तुच्छाच्छ[:] सरति स्म । अथ षट्सु पदेषु सहकारवर्णनम् -फलभारेणोन्नमितं शुभं सहकारवनं अतिसच्छायति-अधिकं शोभते । +
[अवचूरिका] [१३२] वितर्के-चलं नभस्तलं यमजिह्वावत् लहलहति । डबडबडदिति धरा शुष्यन्तीशब्दं करोति । तेजोभरं न सहते। अत्यण्य(युष्णः)प्रभानो ब्योमतले वहति । झसरो डुण्डयालकनामा पवनो विरहिणीनामङ्गं स्पृष्ट्वा दहति ॥
[१३३-१३४] नवधनोत्कण्ठितैश्वातकैः "प्रिय प्रिय" इति शब्दो भण्यते स्म । तरङ्गिणीषु सलिलप्रवाह[:] तुच्छाच्छस्सरति स । अथ षट्सु पदेषु सहकारवर्णनम् - फलभारेणोन्नमितं शुभं

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५६
सन्देश रासक
हरियंदणु' सिसिरत्थु उवरि जं' लेवियउ, तं सिह परितव अहिउ 'अहिसेवियउ । ठविय विविह विलवंतिय अह तह 'हारलय, कुसुममा तिवि मुय झाल तर हुई सभय ॥ १३५ ॥ णिसि सयणिह" जं खित्तु सरीरह" सुहजणणु, विउणउ" करइ उवेउ" कमलदलसत्थरणु । इम सिज्जह उट्टंत पडंत सलज्जिरिहिं",
18
पढिउ वत्थु तह दोहउ" पहिय सगग्गिरिहिं ॥ १३६ ॥
*
1 A हरिचंदणु । 2 A ससिरत्थुउ; C सिसरत्थि । 3 C उवरिज | 4 B सिहण परि; C सिहणोवरि । 5 C अह° । 6 B तहि । 7 B हारि 8A मुइयइ: B मुझइ । 9 A हउ; B त। 10 A सयहं । 11 C सरीरहु । 12 B C विणउ । 13 B उव्वेउ । 14 A B सलज्जरिहिं । 15 C दूहड । 16 A सगिग्गिरहिं ।
[ तृतीय प्रक्रम
[ टिप्पनकरूपा व्याख्या ]
अन्यच्च - यत्र कुञ्जरश्रवणसदृक्षेषु गन्धवहेन प्रकम्पितेषु आम्रपत्रेषु, चूतोत्कण्ठिता संसर्गिणी परिवारिता प्रेङ्खोलती कीरपतिर्वर्त्तते । ततः करुणध्वनिः समुत्थिता । तां श्रुत्वाऽहं निस्साधारा जाता । तन्मन्ये हे पथिक ! सर्वरञ्जकेनाहं विरञ्जिता ॥ १३३-१३४ ॥
[१३५] हरिचन्दनं यत् शैत्यार्थे उरसि लेपितं तद्व्य हिसे वितत्वात् कुचौ तापयति । तथा विविधं विलपन्त्या हारलता कुसुममाला च शैत्यार्थे उरसि न्यस्ते, तेऽपि ज्वालां मुञ्चतः । ततो मरणशङ्किनी सभया जाता ॥ १३५ ॥
[ १३६ ] निसि (शि) शरीरसुखार्थे कमलदलप्रस्तरणं कृतं तदपि द्विगुणमुद्वेगं करोति । एवं स ( रा ) य्यातः उत्तिष्ठन्त्या, निर्बलत्वात् तत्रैव पतन्त्या, वस्तुको दोधकश्च सलज्जया सगद्गद् गिरा पठितः ॥ १३६ ॥
夺本夺本
茶茶
[ अवचूरिका ]
सहकारवनमतिसच्छायमधिकं शोभते । अन्यश्च - यत्र कुञ्जरश्रवणसदृशेषु गन्धवहेन प्रकम्पितेषु आम्रपत्रेषु चूतोत्कण्ठिता संसर्गिणी परिवारिता प्रेङ्खोलन्ती कीरपङ्क्तिर्वर्तते । ततः करुणध्वनिः समुत्थिता । तां श्रुत्वा अहं निराधारा जाता । तन्मे ( मन्ये) हे पथिक ! सर्वरअकेन अहं विरचिता ॥ युग्मम् ॥
[ १३५] हरिचन्दनं यत्सैला ( यच्छेत्या ) थे उरसि लेपितं तदप्यहि सेचितत्वात् कुचौ तापयति । तथा विविधं विलपन्त्या हारलता कुसुममाला च शैत्यार्थे उरसि न्यस्ते, ते अपि ज्वालां मुञ्चतः । ततो मरणशङ्किनी सभया जाता ॥

[ १३६] निशा (शि) रात्रौ शयनीये शरीरसुखजनकं यत्कमलदलस्स्रस्तरणं कृतं तद्विगुणमुद्वेगं करोति । एवं शा (य्या) या उत्तिष्ठन्त्या सलज्जया सगद्गदं यथा भवति तथा वस्तुको दोधकश्च मया पठितः ॥

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सन्देश रासक
वियसाविय रवियरहि' तविहिं अरविय' तवणि,
अमियम ण सुह जणइ दहइ विसजम्मगुणि । दसिउ दसणिहिं भुअंगि' अंगु चंदणु खयहि', खिवइ हारु खारुन्भवु कुसमसरच्छयहि । राईव चंदु चंदणु रयण सिसिर भणिवि जगि संसियहिं" । उल्हवइ ण केणइ विरहज्झल" पुण वि " अंग परीहिंसियहिं" ॥१३७॥ तणु घसारिण* चंदणिण अलिउ जि किवि चच्चंति" । पुण विपिए व उल्हवइ पियविरहग्गि" निति ॥ १३८ ॥
14
15
पद्य १३५- १३८ ]
1 B रविभवहि; C रवियरिहि । 2 C तव हि । अमिय अमउ विसु जण; C अमिय मओ विहु जणइ । दुहुभु 6 B चंदणि । 7 A खिवइ; C दहइ 9 C जग्ग । 10 B संसइहिं । 11 B विरहुतह; C विरहहव । 18 A हिंसी अहिं । 14 A सरिण । 15 B चव्वंति । 16 A विरहिग्गि ।
।
*
[ टिप्पनकरूपा व्याख्या ]
[१३७] अरविय - अरविन्दानि रविकरैः विकसापितानि, तपनगुणत्वात्, तपन्ति, इत्यपि । अमृतमयूषो (खो) विषेण सह जन्मत्वात् असुखं जनयति । च शब्दाद् दाहयति च । चन्दनं भुजङ्गदशनैः दष्टम्, अतोऽङ्गं क्षि (क्ष) पयति । हारः क्षारोद्भवः, अतोऽङ्गं क्ष( क्षि ) पति । केषां कुसुमस (श) रक्षतानाम् । राजीव- चन्द्रचन्दन - रत्नानि शिशिराणि उच्यन्ते, परं विरहाग्निज्वाला केनापि न विध्याति, अतः पुनरङ्गानि परिहिंस्यन्ते ॥ १३७ ॥
५७
3 C रविय; B अरविताविय । 4A 5 B उसणिहिं दशइ भुयंगु; C डंसउ 8 B सरत्थइहिं; C सरिच्छयइ । 12 A अंगि; B अंगु ।
[१३८ ] ये केचन जनाः तनुः घनसारेण = कर्पूरेण चन्दनेन चर्चयन्ति, तदली - कम् । यतः प्रियवियोगाग्निः प्रिए ( ये ) णैव विध्याति । ध्रुवं पथिक अत्र भ्रमो न ॥ १३८ ॥ ग्रीष्मवर्णना ॥
乔乔

[ अवचूरिका ]
[ १३७ ] अरविन्दानि रविकरैर्विकसापितानि, तपनगुणत्वात्, तपन्ति इत्यपि । अमृतमयूखो विषेण सह जन्मत्वाद् भसुखं जनयति दाहयति च । चन्दनं भुजङ्गदशनैर्दष्टमतः अङ्गं क्षपयति । हारः क्षारोद्भवः अतोऽङ्गं क्षिपति, केषां कुसुमशरक्षतानाम् । राजीव- चन्द्र-चन्दन- - रत्नानि शिशिराण्युच्यन्ते, परं विरहाग्निज्वाला केनापि न विध्याति । अतोऽङ्गानि परिहिंस्यन्ते ॥
[ १३८ ] एतदलीकं यद् विरहार्त्ता तनुः = शरीरं घनसारेण = कर्पूरेण चन्दनेन चर्चयन्ती - लिम्पयन्ती । पुनर्विरहानिः प्रियेणैव निर्भुतं विध्याति ॥ इति ग्रीष्मवर्णना समाप्ता ॥
सं० ८

Page #215

५८
सन्देश रासक
[ अथ वर्षावर्णनम् । ]
इम तवियर' बहु गिंभु कह 'वि मइ' वोलियउ, पहिय पत्तु पुर्ण पाउसु धिट्टु ण पत्तु पिउ । चउदिसि घोरंधारु पवन्नउ गरुयभरु,
गयणि गुहिरु घुरहुरइ' सरोस अंबुहरु ॥ १३९ ॥ उदंडउ पेसिज्जइ" झाल "झलकंतियइ,
10
भयभेसिय अइरावइ गयणि विवंतियइ ।
रसहि सरस वव्वीहिय" णिरु तिप्पंति" जलि,
14
are# रेह हि रेes णवघण जंति" तलि ॥ १४० ॥
17
12
16
गंभ" तविण" खर ताविय बहु" किरणुक्करिहिं",
20
पर परंतु पुक्खरहु ण मावइ पुक्खरिहिं" ।
[ तृतीय प्रक्रम
1 C तविउ | 2 A कहव; B कह करि । 3 B नास्ति; C मुइ । 4 B पुणु । 5 C पावसुं । 6 A चउदिसु; C चहुदिसि । 7 C घुरुहु । 8 A B अंबहरु । 9 डंडर | 10 C पेसिय 11 A कलकं° । 12 A वब्बीहिय; B वावीहिय; C वव्वीयं । 13 B तिव्वंति । 14 A B बह | 15 C णवघ जंत। 16 B गिम्ह° । 17 C तविणु; B तवणि । 18 BC 'बहु' नास्ति । 19 B किरणुकर किरिहि । 20 B पुष्करहु । 21 B पुष्करिहि; C पुखरहि ।
[ टिप्पनकरूपा व्याख्या ]
-
[१३९] अथ वर्षावर्णनामाह एवं ग्रीष्मो बहुतप्तः - अत्युष्णः कष्टं कृत्वा मया निर्गमितः । तद्नु वर्षाकालः प्राप्तः परं धृष्टो न प्रियः । चतुर्दिक्षु घोरान्धकारो गुरुभर (रं) प्रपन्नोऽम्बुधरो गगने सरोसं (पं) यथा गर्जति ॥ १३९ ॥
[१४० ] भयभीषणया ऐरावत्या गगने द्योतन्त्या ज्वालावद् देदीप्यमानया पगदण्डगश्चरणमार्गे दृश्यते । बप्पीहकाः सरसं रसन्ति, नितरां जलेन []प्यन्ति । अन्यच्च - नभसि नवघनतले गच्छन्ती बकानां श्रेणिः शोभते ॥ १४० ॥
个个个杂交
[१४१] ग्रीष्म तपनखरतप्तकिरणोत्कर्ष सम्बधि पयः पुष्करात् पतत् पुष्करणीषु [ अवचूरिका ]
什錦茶茶冬

[ १३९ ] अथ वर्षावर्णनमाह एवं ग्रीष्मो बहुतप्तः - अत्युष्णः कष्टं कृत्वा मया निर्गमितः । तदनु वर्षाकालः प्राप्तः, [ परं ] धृष्टो न प्रियः । चतुर्दिक्षु घोरान्धकारो गुरुभरं प्रपनोऽम्बुधरो गगने सरोषं यथा गर्जति ॥
[ १४० ] भयभीषणया ऐरावत्या विद्युता गगनं द्योतन्त्या ज्वालावद्देदीप्यमानया पगदण्डश्चरणमार्गो यते । बन्त्रीहकाः सरसं रसन्ति, नितरां जलेन तृप्यन्ति । अन्यच्च - नभसि नवघनतले गच्छन्ती बकानां श्रेणिः शोभते ॥
[१४] ग्रीष्म तपनखर तप्तकिरणोत्कर्ष सम्बन्धि पयः पुष्करावर्तवत् पतत् पुष्करीषु नदीषु न

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सन्देश रासक
पयहत्थिण किय पहिय पयहि' पवहंतयह',
पइ' पइ सइ करलउ गयणि खिवंतयह' ॥ १४१ ॥ णिवडलहरि घणअंतरि संगिहिं' दुत्तरिहिं',
पद्य १३९ - १४३ ]
करि करलु' कल्लोलिहि गजिउ वरसरिहिं " | दिसि पावासुय" थक्किय णियकज्जागमिहि,
गमियइ" णाविहिं" मग्गु पहिय ण तुरंगमिहिं ॥ १४२ ॥
14
कद्दमलुल " धवलंग विहाविह सज्झरिहि ",
तडिनए वि" पयभरिण अलक्ख सलज्जरिहि " ।
५९
18
उ" तारायणु अलखु वियंभिउ तमपसरु, छन्नउ" इंदोएहि निरंतरु" घर सिहरु " ॥ १४३॥ [ क्षेपक ?]
11 B पवासुइय ।
1 B पइहि; A पहिहि । 2 A पवहंतयहि; B पवहंतियह; C पवहंतियइ । 3 C पय पय । 4 C पेसउ । 5 C गयण । 6 A खिवंतियहि; B खिवंतियह । 7 C संगिण । 8BC दुत्तरहिं । 9 B कलयल; C करयरु । 10 C वरसरहि; A सुरवरिहिं । 12 C गमियई । 13 B नाविह। 14A कईयसलिल; C कद्दमलल | 15 A B °झरहि । 16 B तडिनएहि; A तडविएइ । 17 B सलज्जरहिं; C सलिज्जिरिहि । 18 B हुव; C हुय | 19 B छन्नउइउदोइहि; C छन्नउइदउएहि । 20 B नास्ति । 21 C धरसिहरि; A सिहरधरु ।
[ टिप्पनकरूपा व्याख्या ]
न माति । यतः - 'सहस्रगुणमुच्छष्टु (त्स्रष्टु) मादतं (ते ) हि रसं रविः' । तथा च पथि प्रवसन्तः पथिकाः पयोभिः पदत्राणहस्ताः कृताः । गगने विद्युता करलः पगदण्डको दृश्यते, नान्यथा ॥ १४१ ॥
[ १४२] कल्लोलैर्निबिडलहरी घनान्तरसंसर्गेण दुस्तरैर्वरसरितासु गर्जितम् । दिशः प्रवासतः [ स्थिताः ] । अथ चेत् कार्यागमे प्रवासः, तदा नौभिर्गम्यते न तुरङ्गमैः ॥ १४२ ॥
[ १४३ ] क्षेपकम् - धरा स्त्री मेघभर्त्ता (त्र) गमे, यथा स्त्रीभर्तृसङ्गमे श्रीखण्डविलेपनं करोति । पार्श्ववाच्छादयति सलज्जत्वात् । तारा- आयतने - नेत्रे अलक्षे →→→→→ [ अवचूरिका ]
茶茶茶茶茶
माति । यतः - 'सहस्रगुणमुत्स्रष्टुमादत्ते हि रसं रविः' । तथा च पथि प्रवसन्तः पथिकाः पयोभिः पदत्राणहस्ताः कृताः । गगने विद्युता करल: पगदण्डको दृश्यते, नान्यथा ॥
[ १४२ ] कल्लोलैर्निबिडलहरीधनान्तरसंसर्गेण दुस्तरैर्वरसरितासु गर्जितम् दिशः प्रवाश (स) तः स्थिताः । अथ चेत् कार्यागमे प्रवासस्तदा नौभिर्गम्यते न तुरङ्गमैः ॥
[ १४३ ] क्षेपकः - धरा श्री मेघभर्त्रागमे, यथा स्त्री भर्तृसङ्गमे श्रीखण्डविलेपनं करोति ।

Page #217

सन्देश रासक
[तृतीय प्रक्रम बगु मिल्हवि सलिलबहु तरुसिहरिहि चडिउ, ___ तंडवु करिवि सिहंडिहि वरसिहरिहि रडिउ । सलिलिहि वर सालूरिहि फरसिउ रसिउ सरि",
कलयलु कियउ कलयंठिहि चडि चूयह" सिहरि ॥१४॥ णाय णिवड पह रुद्ध फणिदिहिं दह" दिसिहि,
हुइय" असंचर मग्ग महंत महाविसिहि । पाडलदलपरिखंडणु नीरतरंगभरि,
उरुन्नउ गिरिसिहरिहि हंसिहि करुणसरि ॥ १४५ ॥
__1A बउ । 2 A मिल्हिवि। 3 A तंडउ; C तंडबु। 4 C सिहम्मिहि । 5 C वरु। 6 C रड्यउ। 7 A सललिहि; C सलिलहि। 8 C वरि। 9 A फरसउ; C फरिसिउ । 10 A B सरु । 11 B चूयहं; C बूयह । 12 C[फ] जिंदहिं । 13 C दस । 14 Bहुईय । 15 BC महव्विसहिं ।
[टिप्पनकरूपा व्याख्या] करोति-आच्छादयति । तमःप्रसरमीप्सति । कौसुम्भं वस्त्रं परिदधाति । धरा स्त्री, मेघभर्तृसङ्गम इति विचेष्टितमत्र भावः ॥ १४३ ॥
[१४४] सलिलद्रहं त्यक्त्वा तरुसिष(शिख)रे बकैरारूढम् । ताण्डवं नृत्यं कृत्वा वरसिष(शिख)रिषु-पर्वतेषु शिखण्डिभिः रटितम् । श(स)लिलेषु शालूरैः पुर(परु)षखरेण स(श)ब्दितम् । कलकण्ठीभिश्चुतशिखरमारुह्य कलकलशब्दः कृतः॥१४४॥
[१५] नागैः-सप्पैः फणीन्द्रैः-फणयुक्तैः महाविषैः निबिडं यथा दश[सुदिक्षु पन्था रुद्धः। मार्गः असञ्चरो जातः। नीरतरङ्गभरेण पडला (पाडल) दलखण्डन या(जा)तम् । अन्यच्च, हंसैः गिरिसिष(शिख)रे करुणवरं यथा रुदितम् ॥ १४५॥
*** [अवचूरिका] -- पार्थावाच्छादयति, सलजत्वात् , तारा-आयतनेऽलक्षे करोति- आच्छादयति, तमः प्रसरमीप्सति, कौसुम्भं वस्त्रं परिदधाति । धरा स्त्री, मेघभर्तृसङ्गम इति विचेष्टितमत्र भावः ॥
[१४४ ] सलिलद्रहं त्यक्त्वा तरुशिखरे बकैरारूढम् । ताण्डवं नृत्यं कृत्वा वरशिखरिषु-पर्वतेषु शिखण्डिभी रटितम् । सलिलेषु सालूरैः पु(प)रुषस्वरेण शब्दितम् । कलकण्ठीभि:- कोकिलाभिभूतशिखरमारुह्य कलकलशब्द(ब्दः) कृतः ॥
[१५] नागैः फणीन्द्रश्च दशसु दिक्षु निबिडं यथा पन्था रुद्धः । महाविषैः पानीयैर्मार्गोऽसं. चरो जातः । नीरतरङ्गभरेण पाडलदलपरिखण्डनं जातम् । हंसैगिरिशिखरे करुणवरेण 'उ' इत्यविकं रुदितम् ॥

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पच १४४-१४७ ] सन्देश रासक
मच्छरभय' संचडिउँ रन्नि गोयंगणिहि,
मणहर रमियइ नाहु रंगि गोयंगणिहि । हरियाउलु धरवलउ कयंबिण महमहिउ,
कियउ भंगु अंगंगि अणंगिण मह अहिउ ॥ १४६ ॥ विसमसिजविलुलंतिय" अइदुक्खिन्नियई",
अलिउलमाल विणग्गय सर पडिभिन्नियई। अणिमिसनयणुव्विन्निय णिसि जागंतियइ,
वत्थु" गाह किउ दोहउ णिह" अलहंतियइ ॥१४७॥ झंपवि तम वद्दलिण दसह दिसि छायउ अंबरु,
उन्नवियउ घुरहुरइ घोरु घणु किसणाडंबरु ।
wwwww
1B भइ। 2B संचरिउ। B रंगि। 4 B मणहरु। 5A रमीयइ। 6B रंगिचंगि। + पतित एषः पादः C आदर्शे। 7 C हरियालउ। 8C कयंविणि। 9 B अणंगिहि । 10 Aहियउ। 11C विललंतय । 12 C दुक्खिन्नयइ; B दाखिन्निवइ । 13 C भिन्नयइ । 14 A B °नयणोविनिय। 15 A वत्थ; B वत्थू। 16 C कीह। 17 B निंद । 18 A झंपिवि। 19 A दहहि । 20 A उन्नमियउ। 21 C घुरुहरइ ।
[टिप्पनकरूपा व्याख्या] [१४६] मच्छर[भ]याद् गवां बजै[:] स्थले आरूढम् । गोपाङ्गनाभिर्मधुरं गीतं गीयते । हरिताऽऽकुलं धरावलयं कदम्बेन सुगन्ध(ध्य)ति । अनङ्गेन ममाधिक[३] अङ्गभङ्गः कृतः ॥ १४६॥
[१४७] रात्रौ विषमसिज्झा(शय्या)यां मया लुलन्त्या एकाकिन्या निद्रा गमिता। सरोवरे कमलानां मध्ये अलिकुलमाला सङ्कुचिता जाता । मया अनिमिषं रात्री जागरणः कृतः। वस्तुक-गाथा-दोधकैनिद्रामलभन्त्या रात्रिर्निर्गमिता ॥ १४७॥
[१४८] भो पथिक ! श्यामबद्दलैः दशदिार्श व्याप्य आकाश आच्छादितः। गगने उन्नवि(मि)तो घुरहुरति घनो मेघः कृष्णाडम्बरः । आकाशमार्गे नभोवल्ली
** * [अवचूरिका] -- [१४६] मच्छरभयाद् गवां बजैः स्थले भारूढम् । गोपाङ्गनाभिर्मधुरं गीतं गीयते । हरिताकुलं धरावलयं कदम्बेन सुगन्धितम् । अनङ्गेन समधिकमङ्गभङ्गाः] कृतः ॥
[१४७] विषमसह्या (शय्यायां) विलुलन्त्या अतिदुःखाकीर्णया अलिकुलमालाविनिर्गतस्वरप्रतिमिया अनिमिषनयनोद्विमया निशि जागर्त (गृत)या निद्रामलभन्त्या वस्तुको गाथा दोधकश्च
[१४] वईलेन तमो अत्यर्थ झम्पित्वा-भाक्रम्य, दस(श)सु दिक्षु अम्वरमाकाशमाच्छा. दिवम् । धन उनमितो घोरं यथा कृष्णाडम्बरं घुसहरति-गर्जति । नभोवल्ली-विद्युत् नभोमार्गे

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सन्देश रासक
[हतीय प्रक्रम णहहमग्गि' णहवल्लिय तरल तडयडि वि तडकइ, .. दुदुररडणु रउद्दु सदु कुवि सहवि ण सक्कइ । निवड निरंतर नीरहर दुद्धर धरधारोहभरु ।
किम सहउ पहिय सिहरट्ठियइ दुसहउ"कोइल रसइ सरु ॥१४८॥ उल्हवियं गिम्हहवी धारानिवहेण पाउसे पत्ते । अच्चरियं मह" हियए" विरहग्गी तवइ अहिय[य]रो" ॥१४९॥
गुणणिहि जलबिंदुब्भवहि", ण गलत्थिय लजंति । पहिय जं थोरंसुइहि", थण थड्डा डझंति ॥ १५० ॥
__ 1 A णहमग्गिहि; C मग्गिण । 2 A °वल्लि तर°। 3 B तरयल। 4 C तयड वि॰ । 5A कुइ: B कि वि। 6 B निविड। 7Cनिरंतरु। 8C नीरु भरु। 9 B सहिउ । 10 C सिहयरट्ठियइ। 11C दुस्सहु। 12 C पावसो। 13 A C पउसोपत्तो। 14 C मिह । 15 A चित्ते हियए । 16 C अहिययरं। 17 A भविहि; B°ब्भवणु। 18 A पंइय जं थोर'; B पाइय जं। 19 C सुयहि । 20C थण घट्ठा । 21 B ज्झंति ।
[टिप्पनकरूपा व्याख्या ] विद्युत् तडतडेति शब्दं करोति। दर्दुराणां रटनं-पूत्कारं श्रुत्वा सह्यं (सोढुं) न शक्यते । भो पथिक ! निबिडं च शब्दा[द्] दुर्द्धरं नीरधरं मेघ सिष(शिखर)स्थितेन तेन कथं सहितम् ॥ १४८॥
[१४९] मया ग्रीष्मा (मो) ऋतुः निर्गमिता(तः)। मेघसमूहे वर्षाकाले प्राते श(स)ति मह-मम हि(ह)दये एतदाश्चर्य तथापि अधिकतरा(रो) घिरहाग्निस्तर पति ॥१४९॥
[१५०] गुणयुक्ता जलबिन्दूद्भवा मुक्ताहाराः किं न लजन्ति(न्ते)। यत् पथिक ! स्तनौ स्थूलाश्रुभिर्दह्येते, परं न लज्जतः। यत[:] स्तब्धौ । स्तब्धानां कष्टेऽपि सज. नानां दुःखं लज्जा च न भवति ॥ १५०॥
* ** [अवचूरिका] ---- तरलं यथा तडत्कारं कृत्वा-तडत्करोति । दर्दुराणां रटनं रौद्रं शब्द कोऽपि सोढुं न शक्नोति । निषिडं निरन्तरं नीरधरं मे दुर्धरधारौधभरं हे पथिक ! कथं सहामि ? । अन्यच, शिखरस्थिता आम्रोपरिस्था कोकिला दुःसहं स्वरं रसति ॥
[१४९] हे पथिक ! ग्रीष्महविः पाउसे-वर्षाकाले प्राप्ते सति धारानिवहेन मेघधारासमूहेन व्यापितम् । परं मम हृदय एतदाश्चयं विरहाभिरधिकतरस्तपति ॥
[१५०] गुणयुक्ता जलबिन्दूद्भवा मुक्ताहारा[:] किं न लजन्ते? । यत् पथिक ! स्तनौ स्थूलाश्रुभिर्दोते, परं न लन्नतः । यतः स्तब्धौ । स्तब्धानां कष्टेऽपि सजनानां दुःखं लज्जा ध न भवति ।

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पद्य १४८-१५३] सन्देश रासक
दोहउ एउ पढेविणु विरहखेआलसीई', __उ अग्गई अइखिन्नी मोहपरावसीई । सुविणंतरि चिरु पवसिउ जं जोइअउ पिउ, __संजाणिवि कर गहिवि मई" भणिउ" इहु ॥ १५१ ॥ किं जुत्तं सुकुलग्गयाण मुत्तूण जं च इह समए । तडतडणतिव्व-घणघडणसंकुले दइय" वचंति ॥ १५२ ॥ णवमेहमालमालिय णहम्मि सुरचाव रत्तदिसि पसरो। घणछन्नछम्म इंदोइएहि पिय पावसं दुसहं ॥ १५३ ॥
1 B विरहिखिआ। 2 C आगइ। 3 B खिन्निय। 4 BC °वसी। 5 C चिर। 6Cपविसियउ। 7 B नास्ति 'जं'; Cज। 8Cजोइउ। 9 A सिंजाणवि%B B सिजाणिवि । 10 A B °गहवि। 11 A ताम मइ। 12 C भणियउ। 13 B इउ। 14 BC युत्तं । 15Cसुकलग्ग: B कुलग्ग। 16 B चि। 17 BC दईय। 18A सुरचाय: B सुरचाई। 19 A दिस। 20 C °च्छम्मइदेवएहि । 21 A पिउ पाउसं।
wwwwwwwwww
[टिप्पनकरूपा व्याख्या ] [१५१] एतद्दोधकं पठित्वा, विरहाऽऽकुला जाता। एवम् - अमुना प्रकारेण, मोहपरवशा सती चिरं प्रस्थितो भत्ता मया स्वप्ने दृष्टः । इति वचनं कथि(थयित्वा करग्रहणपूर्वकं एवं पथिको भणितः-एवं ज्ञात्वा करे गृहीतः । सतीत्वमिति सूचितम् ॥ १५१॥
[१५२] हे दयित ! किं सुकुलोद्गतानां इदं युक्तम् , यत् तडतडणतीवायां विधुति घनघटनमेघशब्दसंकुले ई[६]शे [स]मये दयितां मुक्त्वा ब्रजन्ति ॥१५२॥
[१५३] हे प्रिय ! प्रावृटू-वर्षाकालो दुस्सहः। कैः? मेघमाला-सुरचापेन्द्रगोपकैः, आरक्तदशदिगप्रसारैः- इत्यादि मेघालङ्कारैः ॥ १५३॥
** * [अवचूरिका] ----- [१५] एतद्दोधकं पठित्वा विरहखेदालसयाऽतिखिन्नया मोहपरवशया स्वमान्तरे चिरप्रवि. स(वसि)तः प्रियो दृष्टः । उपलक्ष्य, करे गृहीत्वा, मया एवं भणितः ॥
[१५२ ] हे दयित ! किं कुलोद्भवानामिदं युक्तम् , यत्तडतडणतीबायां विद्युति, घनघटनमेघशब्दसंकुले ईदृशे समए(ये) दयितां मुक्त्वा व्रजन्ति । तन्न युक्तम् ॥
[१५३] हे प्रिय ! प्रावृह दुःसहः । कैनवमेघमाला-सुरचापेन्द्रगोपकैः । किंविशिष्टतैः ?दिशि प्रसृतैः । पुनः कैः १-घनच्छन्नच्छनेन्दुभिः॥

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सन्देश रासक
[तृतीय प्रक्रम 'रायरुद्ध कंठग्गि विउद्धी जं सिवणि',
कह हउं कह पिउ पत्थरंगि जं न मुइय' खणि । जई णहुणिग्गउ जीउ पावबंधिहि जडिउ, __ हियउ न किण" किरि फुटउ णं वजिहि घडिउ ॥१५४ ईसरसरि सालूरिव कुणंती करुणसरि । इहु दोहउ मइ पढियउ* निसह" पच्छिमपहरि ॥ १५५ ॥ जामिणि जं वयणिज्ज तुअ, तं तिहुयणि णहु माई"। दुक्खिहि होइ चउग्गणी, झिजई सुहसंगाई" ॥ १५६ ॥
___1B रज। 2 A °रुद्ध । 3 C विबुद्धी। 4 A सयणि C सिविणि। 5Cपिय। 6C पत्थरग्गि।7 C मुई। 8 C जं। 9 A गं। 10 C जीवु। 11 A किणि। 12 A किर; Cकरि। 13A B सालूर। 14 A पत्थिउ; B पढिउ। 15 Cणिसि। 16B वयणुजा C वयणज। 17 B माइं। 18 C झिजउ । 19 B C °संगाई।
[टिप्पनकरूपा व्याख्या] [१५४] रागरुद्धकण्ठाग्रा स्वप्ने प्रबुद्ध्य यदा पश्यामि, क अहम् , क प्रियः ? तज्ज्ञात्वा यन्न मृता तन्मन्ये प्रस्तराङ्गी । यजीवो न निर्गतस्तन्मन्ये पापजटितः । यच्च हि(ह)दयं [न] स्फुटितं तन्मन्ये वज्रघटितम् ॥ १५४॥
[१५५] ईषत् खरेण शालूरवत् करुणं खरं कुर्वती(त्या) एष दोधको मया पठितः, रात्रौ शेषविभागे ॥ १५५ ॥
[१५६] हे यामिनि ! यत् तव वचनीयं तत् त्रिभुवनेऽपि न माति । एषा रजनी दुरिक(:खिता)नां चतुर्गुणी भवति । सुखसङ्गमे तत् क्षणा[] व्रजति ॥ १५६॥ ॥ वर्षावर्णनं समाप्तम् ॥
** * [अवचूरिका] ---- [१५४] रागरुद्धकण्ठाया स्वमे प्रबुध्य' यदाऽहं पश्यामि, क अहम् , क प्रियः? (तद्) ज्ञात्वा या मृता, तन्मन्ये प्रस्तराङ्गी । यजीवो न निर्गतस्तन्मन्ये पापजटितः । यच हृदयं न स्फुटितं तन्मन्ये वज्रघटितम् ॥
[१५५] ईबत् स्वरेण शालूरवद् - मण्डूकवत् करुणस्वरं कुर्वन्त्या निशः पश्चिमाहरे एप दोधको मया पठितः ।।
[१५६] हे यामिनि ! यत् तव वचनीयं तत् त्रिभुवनेऽपि न माति । दुःखे चतुर्गुणा भवसि । सुखे [क्षणात्] त्वं क्षीयसे ॥ वर्षावर्णनं समातम् ॥

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सन्देश रासक
[ अथ शरवर्णनम् । ] इम' बिलवंती' कह दिण पाइउ, गेउ' गिरंत पढंतह पाइउ । पियअणुराई स्यणिअं रमणीयव',
गिज्जइ पहिय मुणिय' अरमणीयव ॥ १५७ ॥
मद्य १५४ - १५९ ]
जामिणि” गमियइ इम जग्गंतह ",
14
पहिय पियागमि" अस" तगंतह" । गोसुयरंत" मिल्हि सिज्जासणु,
मणि सुमरंत" विरहणिन्नास ॥ १५८ ॥ दक्खिण" मग्गु नियंतह भत्तिहिं,
17
20
दि " अइत्थिरिसिउ" मइ झत्तिहिं" ।
22
मुणियउ" सु ̈ पाउसु परिगमिअउ,
पिउ" परएसि रहिउ हु* रमिअउ ॥ १५९ ॥
3 Bदि । 4 B गेय । 5 A अणुराइय ।
1 A इव। 2 B विलवत; C विलंवंत । 6 C रयणि । 7 A रमणिइव । 8 C मुणिय° | 9 C गीयइ | 10 B जामिणी । 11 B जागंतहं । 12 C पियागम। 13 A अइस । 14 B तगतहं | 15 C गोसयरंत । 16 A सुरं । 17 B C दक्षिण° । 18 C अगत्थि । 19 B रिसी । 20 C वित्तिहि । 21 A मुणिणु; C मुणी । 22 B 'सु' नास्ति । 23 B नास्ति 'पिउ' | 24 C नह ।
६५
[ टिप्पनकरूपा व्याख्या ]
[ १५७ ] अथ शरद्वर्णनम् - एवं विलपन्त्या गीतं रागेण गायन्त्या, प्राकृतं पठन्त्या, वर्षामान्तदिनं समाप्तम् । यस्मिन् रजनी रमणीकैव गीयते सा रजनी मया (मम) अरमणिरिव - करपत्रकमिव जाता ॥ १५७ ॥
[ १५८ ] एवं प्रियागमा स ( रा ) या जीवन्त्या गोसे = प्रभाते शय्यासनं मुक्तवा विरहनाशनं प्रियं स्मरन्त्या जाग्रन्त्या (त्या) रात्रिर्गमिता ॥ १५८ ॥
[१५९] पत्याश्रितत्वा [ द्] दक्षिणमार्ग भक्त्या पश्यन्त्या अगस्ति महर्षिर्द्वष्टः ।
वर्षाकालं पर (रि) गमितं ज्ञात्वा भर्त्ता परदेशे स्थितः परं न रमितः ॥ १५९ ॥ →→→→ [ अवचूरिका ]
茶茶茶茶茶
[ १५७ ] अथ शरद् एवं विलव (प) न्त्या गीतं रागेण गायन्त्या, प्राकृतं पठन्त्या, वर्षामान्तदिनं प्राप्तम् । यस्मिन् रजनी रमणीकैव गीयते सा रजनी मया अरमणिरिव - करपत्रमिव जाता ॥
[ १५८ ] एवं प्रियागमाशया जीवन्त्या गोसे = प्रभाते शय्यासनं मुक्त्वा बिरहनाशनं प्रियं स्मरन्त्या जाग्रत्या रात्रिर्निर्गमिता ॥
[ १५९ ] पत्याश्रितत्वाद् दक्षिणमार्ग भक्त्या पश्यन्त्या अगस्तिमहर्षिर्झटिति = शीघ्रं दृष्टः । शतं वर्षा परिगमिता । परदेशे स्थितः प्रियः स न रमितः ॥
सं० ९

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सन्देश रासक
[रतीय प्रक्रम गय विदरवि' वलाहय गयणिहि,
मणहर रिक्ख पलोइय रयणिहि । हुयउ वासु छम्मयलि फणिंदह, ___ फुरिय जुन्ह निसि निम्मलचंदह ॥ १६० ॥ सोहइ सलिलु सरिहिं सयवत्तिहि,
विविहतरंग तरंगिणि जंतिहि । जं हय हीय गिमिणवसरयह, __ तं पुण सोह चडी णव सरयह ॥ १६१ ॥ हंसिहि कंदुट्टिहिं घुट्टिवि रसु,
कियउ कलयलु सुमणोहरु सुरसु । उच्छलि भुवण" भरिय सयवत्तिहिँ,
गय जलरिल्लि पडिल्लिय तिथिहिँ ॥ १६२ ॥
1A विवरवि; C विध्युरवि। 2 A पइलोइय। 3 C बास । 4 C छम्मयल। 5C फुरिऊ जुन्हु । 6 C सलिल। 7 B सरहिं । 8 B गंभिन; C गिम्हिण । 9 A कंदुट्टहि; C कुटिटिहि । 10 A किउ । 11 C भुवणि। 12 A रिल्ल ।
[टिप्पनकरूपा व्याख्या ] [१६०] बलाहका गम(ग)नाद् विदीर्य गता । रजन्यां मनोहराणि ऋक्षाणि प्रलोकितानि । फणीन्द्राणां पाताले वासो या(जा)तः । चन्द्रस्य ज्योत्स्ना निर्मला जाता ॥ १६०॥
[१६१] शतपत्रैः सरोवरेषु शसि(सलि)लानि शोभन्ते । तरङ्गिणीषु गच्छन्तस्तरङ्गा[:] शोभन्ते । या च नवसरसां ग्रीष्मेण सो(शो)भा हृता सा शरदि चटिता ॥ १६१॥
[१६२] हंसैः कमलकन्दोत्कण्ठितैः तेषां रसं पीत्वा मनोहरः कलकल: कृतः। स(श)तपत्रैः भुवनं भृतम् । जलप्रवाहस्तीर्थे स्वस्थाने पतितः ॥ १६२ ॥
***** [अवचूरिका] [१६०] बलाहका गगना[द् ] विदीर्य गताः । रजन्यां मनोहारीणि ऋक्षाणि प्रलोकितानि । फणीन्द्राणां पाताले वासो जातः । चन्द्रस्य ज्योत्स्ना निर्मला स्फुरिता ॥
[१६] शतपत्रैः सरोवरेषु सलिलानि शोभन्ते । तरङ्गिणीषु गच्छन्तस्तरकाः शोभन्ते । नवसरसां ग्रीष्मेण शोभा हृता सा शरदि चटिता ॥
[१२] हंसः कमलकन्दोत्कण्ठितैस्तेषां रसं पीत्वा मनोहरकलकलः कृतः । शतपत्रैर्भुवनं भृतम् । जलप्रवाहस्तीर्थे स्वस्थाने पतितः ॥

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पच १६०-१६५] सन्देश रासक
धवलिय धवलसंखसंकासिहं,
सोहहि सरह तीर संकासिहि । णिम्मलणीरसरिहिं पवहंतिहिँ, __ तड रेहंति विहंगमपंतिहिँ ॥ १६३ ॥ पडिबिंब दरसिज्जई विमलिहि,
कद्दमभारु पमुक्किउ सलिलिहिं । सहमि ण कुंजसद्दुसरयागमि,
मरमि मरालागमि" णहु तग्गमि ॥ १६४ ॥ झिज्झउ पहिय जलिहि झिझंतिहि,
खिज्जउ खज्जोयहिं खजंतिहि । सारस “सरसु रसहिँ किं सारसि,
मह" चिर जिण्णदुक्खु किं सारसि ॥ १६५ ॥ 1A पडिल्लेय । 2 A °संकासइ । 3 C तीरि; B वीरु। 4 B संकासइं। 5C रेहं विहगं पंतिहि। 6 C पडबिंब। 7 B दरिसिजइ। 8 B कद्दमु। 9C पमुक्कउ। 10 A °सद्द । 11 B मुरालागमि । 12 B तग्गागमि । 13 A खज्जोइहिं । 14 C सारसरसु; B सारसु फरसु । 15 A मइ; B मम। 16 C 'दुक्ख; B दुक्खं जिन्न ।
mammmmmmmmmmmmmmmmmmmmmmmmmmmmm
[टिप्पनकरूपा व्याख्या] [१६३] धवलितसंष(शंख)सङ्काशैः सरसां तटाः शोभन्ते । निर्मलनीरसरसा तटा विहङ्गमपङ्क्तिभिरुपविशद्भिः शोभन्ते ॥ १६३ ॥
[१६४] प्रतिबिम्बोदयो निर्मलो दृश्यते । सलिलैः पानीयैः कर्दमभारत प्रमुकितः (मुक्तः)। शरदागमे कुआनां पक्षिणां शब्दो न श्रूयते । तस्यागमे कमलमृणाला अपि गताः ॥ १६४॥
[१६५] सारसाः सरसं रसन्ति । तदा मयोक्तम्-हे सारसि! मम चिरजीर्णदुःखं किं सारयसि ? केषु सत्सु, जलेषु क्षयत्सु खद्योतेषु द्योतत्सु ॥ १६५ ॥ *
[अवचूरिका] KKRK [१६३] धवलितधवलशङ्कसंकाशैः सदृक्षैः सरकाशैः सरसां तटाः शोभन्ते । निर्मलनीरसरसा तटा विहामपतिभिः प्रविशतिः शोभन्ते ॥
[१४] सलिलैर्विमलैः प्रतिबिम्बं दृश्यते । कर्दममारश्च मुकः। क्रौञ्चशब्द न सहामि । मरालीगमेऽगमे च मरामि ॥
[१५] सारसाः सरसं रसन्ति । तदा मयोक्तं-हे सारसि ! मम जीर्णदुर कि भार. यसि । केषु सस्सु!-जलेषु क्षयरसु ससु, सनोतेषु मोतस्सु ॥

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सन्देश रासक
[तृतीय प्रक्रम गिट्ठर करुणु सद्दु मणमहि लव, _____ दड्ढा महिल होइ गयमहिलव । इम इक्किकह करुण भणंतह,
पहिय ण कुइ धीरवइ खणंतह ॥ १६६ ॥ अच्छिहि जिह सन्निह घर कंतय", __ रच्छिहि" रमिहि ति रासु रमंतय" ।। करिवि सिंगारु विविह आहरणिहिं',
चित्तविचित्तइ तणुपंगुरणिहि ॥ १६७ ॥ तिलउ" भालयलि तुरक्कि तिलक्किवि,
कुंकुमि चंदणि तणु चच्चंकिवि । सोरंडहिं करि लियहि फिरंतिहि",
दिव्वमणोहरु गेउ गिरंतिहि ॥ १६८ ॥
- 1 A कसणु। 2 C मह न महिं लवु। 3 A दढा; C दट्ठ। 4 B इक्कक्कह, C इक्कंकह । 5A णु। 6 B कुणंतहं। 7 B अच्छिइ; C अच्छय। 8 A सन्निहि; C सन्नय । 9C परि। 10 A कंतइ। 11 A रच्छइ। 12 A रमहि। 13 A भमंतय । 14 A करवि। 15 A आहरणहि। 16 A पंगुरणहि; B पंगुरणइ। 17 A तिलु । 18 C तुरिकि । 19 A सोरडिहि; C सोरंडह। 20 B किरि। 21 B फिरंतहि। 22 B गिरतहि ।
[टिप्पनकरूपा व्याख्या] [१६६] हे सारसि ! निष्ठुरं करुणशब्दं मनोमध्ये लव । विरहार्ता स्त्री तव शब्देन गतमहोल(त्स)वा भवन्ति(ति)। एवं एकं एकं प्रति करुणशब्दं भणन्त्या, तथापि कोऽपि न धीरयति ॥ १६६ ॥
[१६७] यासां स्त्रीणां संनिधौ गृहे कान्ताः सन्ति, रथ्यासु रासं रमन्त्यस्ताः रमन्ति । विविधनानाप्रकारैः सि(श)ङ्गारं कृत्वा रमन्ति । कैः चित्रविचित्रशरीरप्रावरणैः ॥१६७॥
*** [अवचूरिका] ---- . [१६६] हे सारसि ! निष्ठुरं करुणशब्दं मनोमध्ये लव । विरहार्ता स्त्री तव शब्देन गतमहो. सवा भवति । एवमेकमेकं प्रति करुणशब्द भणन्त्या, तथापि को न धीरयति ॥
[१६७] यासां स्त्रीणां सन्निधौ गृहे कान्ताः सन्ति, ता रथ्यासु रासं रमन्त्यो भ्रमम्ति । विवि. भाभरणैः झारं कृत्वा, चित्रविचित्रैस्तनुपङ्गुरणैर्वस्त्रैश्च ॥

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पद्य १६६-१७०] सन्देश रासक
धूव दिति 'गुरुभत्ति सइत्तिहि, ___ गोआसणिहिं तुरंगचलस्थिहि । तं जोइवि हउँ णियय उव्विन्निय', __णेय सहिय मह' इच्छा पुन्नियं ॥ १६९ ॥ [युग्मम् ] तउ पिक्खिय दिसि अहिय विचित्तिय", ___णाय हुआसणि" जणु पक्खित्तिय" । मणि पज्जलिय विरह झालावलि,
नंदणि गाह भणिय" भमरावलि ॥ १७० ॥ सकसाय णवन्भिस" सुद्धगले,
धयरह-रहंग रसंति जले।
___1C गुर। 2 C वलच्छिहिं। 3 A B हउ । 4 B नियर; C निय। 5 C उव्विनी । 6 Cणिय। 7 A हउ। 8 A उन्निय। 9 C पियर। 10C विचित्तय। 11 B हुतासणि। 12 B पखित्तय । 13 B मण। 14 AC नंदण। 15 A गाहा। 16 C भणी । 17 Cणसव्विस; B णसुव्विस ।
[टिप्पनकरूपा व्याख्या ] [१६८-१६९] गवासने तुरङ्गमसा(शा)लासु नार्यों भालस्थले तिलकं तीक्ष्णं कृत्वा, कुमचन्दनाभ्यां तनुमर्चयित्वा, सोरण्डकंक्रीडाभाजनं करे कृत्वा, दिव्यं गीतं गायन्त्यो गुर(रु)भक्तिसहिता धूपं ददन्ति । तं सोरण्डकं दृष्ट्वा उद्विग्ना जाता। यतो नेच्छा पूर्णा ॥ १६८-१६९ ॥
[१७०] भ्रमरावल्या एषा नन्दणि गाथा भणिता । तदा अधिकविचित्रां दिशं प्रेष्य(क्ष्य) जाने अहं हुताशने प्रक्षिप्ता । काभिः प्रज्वालितमनोविरहज्वालाभिः॥१७॥ * [अवचूरिका]
- . [१६४-१६९ ] गवासने तुरङ्गमशालासु नार्यों भालस्थले तिलकं तीक्ष्णं कृत्वा, कुहमचन्दनाभ्यां तनुमर्चयित्वा, सोरण्डकं =क्रीडाभाजनं [करे ] कृत्वा, दिव्यं गीतं गायन्त्यो गुरुभक्तिसहिता भूपं ददन्ति । तं सोरण्डकं दृष्ट्वाऽहमुद्विग्ना जाता । यतो नेच्छा पूर्णा जाता ॥
[१७० ] ततो दिशोऽधिकविचित्रा दृष्टा, अहमेवं जाने हुताशने प्रक्षिता । मनसि बिरहा बालावलिः प्रज्वलिता । ता नन्दिनी गाथा भ्रमरावलिश्च भणिता ॥
"भगणा इह दिणि छंद धुयं, चउसहि वि मत्तय संठवियं । गुरु सोलस तीस दुई लहुयं, अठतालिस अक्खर बंधनियं॥

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सन्देश रासक
[तृतीय प्रक्रम गयदंति' चमक्करिणं पवरं,
सरयासरि णेवर झीणसरं ॥ १७१ ॥ आसोए सरय महासरीए पयखलिर वेयवियडाए । सारसि रसिऊण सरं पुणरुत्त रुयाविया दुक्खं ॥ १७२ ॥ ससिजुन्ह निसासु सुसोहिययं धवलं,
वरतुंगपयार मणोहरयं अमलं । पियवजिय सिन्ज लुलंत पमुक्करएं,
जमकुट्ट सरिच्छ वहारगए सरए" ॥ १७३ ॥
maana
__1C गयदिति। 2 A C सरइ। 3 A °सरीइ; C सिरीऐ। 4 C °खालिर। 50 °वियाडाए। 6 B रुयाविय; C रुयविया। 7 A सोहिययं; C सुसोहियं । 8 C पमुक्खरए। 9 B यम । 10 B विहाणिए। 11 सुरए।
[टिप्पनकरूपा व्याख्या ] १७१] सकषाया सद्विशा(१)स्वादशुद्धगला धृतराष्टा रथाङ्गाश्च जले रसन्ति । गति चमत्कारकारिणीं कुर्वन्ति । स(श)रशियो मन्ये नूपुरं क्षीणखरं यथा वर्तते ॥ १७१॥ नंदणिछन्दः। लक्षणं यथा
सगणा इह नंदणि छंद धुवं, चउसह वि मत्त घ संठवियं ।
गुरु सोलस तीस दुई लहुयं, अठतालिस अक्खर बंधवियं ॥ [१७२] अस्व(श्वि)नि मासे पदस्खलितवेगविकटासु महानदीषु सारसेन खरं कृत्वा दुखःखं) यथा पुनरुक्तं रोदिता ॥ १७२॥
[१७३] शरत्काले शशिज्योत्स्नया निसा(शा)सु धवलगृहाणि वरतुङ्गमाकाराणि च मनोहराणि जातानि । तथैव प्रियवर्जितायां मयि शय्यायां लुलन्त्यां यमकुट्टसहक्षं- अन्तकप्रहारसदृशं यथा विहितम् ॥ १७३॥ __ -
[अवचूरिका] ------ [११] सकषाया नवभिस्य(?)स्वादशुद्धगला धृतराष्ट्राश्च रथाङ्गाश्च जले रसन्ति । गति चमत्कारकारिणी कुर्वन्ति । शरच्छ्यिो मन्ये नूपुरं क्षीणखरं यथा वर्तते ॥ . [१७२] अस्विनि (आश्विने) मासे पदस्खलितवेन(ग)विकटासु महानदीषु सारसेन स्वर कृत्वा दुःखं यथा पुनरुक्तं रोदिता ॥
[१७३] शरत्काले शशिज्योत्स्नया निशासु धवलगृहाणि बरतुअप्राकाराणि च ममोहसनि कृतानि । तथैव प्रियवर्जितायां मवि शख्यायां लुलितं यमकुट्टसाक्षं-मन्तकप्रहारसहशं यथा

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सन्देश रासक
अच्छिहि' जिह' नारिहिं नर रमिरइ',
सोहइ सरह तीर' हि भमिरs |
पण १७१-१७६ ]
बालय' वर जुवाण खिल्लंतय,
दीसइ घरि घरि पडह वजंतय ॥ १७४ ॥
दारय कुंडवाल तंडव कर ", भमहि' रच्छ वायंतय" सुंदर " ।
10
सोहहि सिज्ज तरुणि" जणसत्थिहि",
घर घर रमय रेह पलित्थिहि ॥ १७५ ॥ दितिय" णिसि दीवालिय" दीवय, णवससिरेहसरिस करि लीअय" । मंडिय भुवण तरुण जोइक्खिहिं,
17
महिलिय" दिति सलाइय अक्खिहिं ॥ १७६ ॥
1 B अत्थिहि; C अच्छइ ।
7 A दीसहि ।
6 C बालइ । 11 A सुंदरि । 12 C तरुण° 16 A दिवालीय; C दिवालय |
16
[ टिप्पनकरूपा व्याख्या ]
[ १७४ ] अथ कार्तिकवर्णनम् - यासां स्त्रीणां नरा रमतो (तो) वर्तन्ते, ताभिः भ्रमन्तीभिः सरसां तटाः शोभन्ते । किं कुर्वन्त्यः - नवयौवनाभिः वरबालाभिः क्रीडन्त्यः । प्रतिगृहं प्रतिगृहं पटहा वाद्यमाना दृश्यन्ते ॥ १७४ ॥
७१
2 A B जह। 3 C रमियइ । 4 B तीर । 5 C तिहि । 8 A करि । 9 C भमिहि; B भ्रमह । 10 A वायंता । 18B सत्थहि । 14 B पलत्थहि । 15 A दिंती । 17 A ° लीलय; B करलीयय । 18 A मलियलि; B महिय ।
।
[ १७५] दारकाः कुण्डलं कृत्वा वादयन्त [:] रथ्यासु भ्रमन्ति । तरुणीजनाः सिज्झा ( शय्या) यां द्वन्द्वेन सो (शो) भां लह (भ) न्ते । गृहे गृहे नरनार्यो रमन्ति ॥ १७५ ॥
零零零零零
[ १७६ ] नार्य्यः दीपान् नवश शिरेषा (खा) सहक्षान् करे गृहीत्वा निशि ददन्ति । तयोतिष्कैः दीपैः भुवनानि मण्डितानि । अन्यच्च नार्य्यः तेषां दीपानां कज्जलं शलाकया कृत्वा नेत्रेषु ददन्ति ॥ १७६ ॥
[ अवचूरिका ]
茶茶茶茶
[ १७४ ] अथ कार्त्तिक[वर्णनम् ] - यासां स्त्रीणां नरा रमन्तो वर्तन्ते, ताभिर्भ्रमन्तीभिः सरसां
तटाः शोभन्ते । बालका जवन (युवक ) वराः क्रीडन्तो दृश्यन्ते । गृहे गृहे पटहा वाद्यमाना दृश्यन्ते ॥ [ १७५] दारकाः कुण्डलं कृत्वा वय (वादय) न्तो रथ्यासु भ्रमन्ति । तरुणीजन सार्थे (बैं:) शय्या शोभते । गृहे गृहे प्रलिप्ते रेखा रम्यते ॥

[ १७६] निशि रात्रौ दीपमालिकायां दीपाः प्रदीयन्ते । नवशशिरेखासहादीपाः करे गृशन्ते । तरुणज्योतिषैर्दीपैर्गृहं मण्डितम् । इष्टाञ्जनशलाका अक्षिषु ददन्ति ॥

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७२
सन्देश रासक
[तृतीय प्रक्रम कसिणंबरिहिं विहाविह भंगिहिं,
कड्डिय कुडिल अणेगतरंगिहिं । मयणाहिण मयवट्ट मणोहर', __ चच्चिय चक्कावट्ट पयोहर ॥ १७७ ॥ अंगि अंगि घणु घुसिणु विलत्तउ, ___णं कंदप्पि सरिहि विसु खित्तउ । सजिउ "कुसुमभारु सीसोवरि,
णं चंदव" कसिण घणगोवरि ॥ १७८ ॥ झसुरु कपूर बहुलु मुहि छुडउ,
णं पञ्चूसिहि दिणपहु बुद्धउ । रहसच्छलि" कीरइ पासाहण",
वररय किंकिणीहिं सिज्जासण" ॥ १७९ ॥ 1B विहाविय। 2 B अणंगे। 3 C मयपटु। 4 C मणोहरु। 5 B चकविट्ट । 6C पयोहरु। 7 A घण। 8 C कंदप्पह। 9 A सिज्जउ । 10 BC कुसम। 11 A चंदुडु; C चंदत्थु । 12 A किसण । 13 C झसुर। 14 A. कपूरु। 15 B बहलु; Cबहुल। 16 C दिणपह। 17 B रहसि; C रहसु। 18 C °हणु। 19 C °सणु।
[टिप्पनकरूपा व्याख्या ] [१७७] नानाविधैः कृष्णाम्बरैः, तथा रचितघनवरनेकविध पत्रवल्लरीभिः त्रियः सो(शो)भन्ते । तथा मृगनाभिना चक्रावर्ती पयोधरौ चर्चितौ ॥ १७७ ॥
[१७८] सर्वाङ्गे धनघुसृणं विलिप्तम् , मन्ये कन्दर्पण स(श)रेषु विषं विक्ष(क्षि)तम् । कुस(सु)मभारः शीर्षोपरि सजितः, मन्ये कृष्णघनगोपुरे चन्द्रस्यास्थानं जातम् ॥ १७८॥
[१७९] नागवल्लीदलानि कर्पूरबहुलानि मुखे क्षिप्तानि, मन्ये प्रत्यूषे रविः प्रबुद्धः । प्रसाधना रंहसोच्छलेन क्रियते । शय्यासने किङ्किणीनां वररवः भ्रूयते ॥ १७९॥ * [अवचूरिका]
- : [१७७ ] नानाविधैः कृष्णाम्बरैस्तथारचितधनवऊरनेकविधपत्रवल्लरीभिः स्त्रियः शोभन्ते । मृगनाभिना मदनपट्ट हृदयं चर्चितम् , तथा चक्रावत्तौं पयोधरौ च ॥
[१७८] सर्वाङ्गेषु घनघुसणं लिप्तम् , मन्ये कन्दर्पण शरेषु विषं क्षितम् । कुसुमभारः शीर्षोपरि सजितः, मन्ये कृष्णघनगोपुरे चन्द्रस्यास्थानं जातम् ॥ .. [१७९ ] नागवल्लीदलानि कर्पूरबहुलानि मुखे क्षिप्तानि, अहमेवं मन्ये प्रत्यूषे रविः प्रबुद्धः । प्रसाधना रहसोच्छलेन छल्यते, शय्यासने किङ्किणीनां वररवः श्रूयते ॥

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मा १७४-१८२] सन्देश रासक
इम' किवि केलि करहि संपुन्नियं', ___ मइ पुणु रयणि गमिय उव्विन्निय । अच्छइ घरि घरि गीउ रवन्नउ, ___ एगु इकट्ठ कट्ठ मह दिन्नउ ॥ १८ ॥ पुण पिउ समरिउ पहिय ! चिरग्गउ, ___णियमणि जाणि तह वि सूरग्गउ । घण' जलवाहु बहुल्ल मिल्हेविणु,
पढिय अडिल्ल मइ वत्थु तहेवि णु ॥ १८१ ॥ णिसि पहरडु णेय णंदीयई',
पियकह जंपिरी "उणंदीयइ । रय” णिमिसिद्ध अडु "णं दीयइ,
विडी कामतत्ति "णं दीयइ ॥ १८२ ॥ 1Cइमि। 2 C संपुन्निहिं य। 3 C पुणि। 4 B निम्विन्निय। 5 Cइकु विकट्ठ । 6 C वितहं । 7 B घणु जलु। 8 A बहल; C बहुल। 9 C णिदीवइ । 10 B कहि C कह। 11C यनंदी। 12 C रई। 13-14 C नंदीयइ।
wwwww
www.
[टिप्पनकरूपा व्याख्या ] [१८०] एवं काश्चन भाग्यवत्यः केलिं कुर्वन्ति । मया चोद्विग्नया रात्रिर्गमिता। गृहे गृहे शी(गी)तं प्रधानं वर्तते । एकं च समग्रं कष्टं मम प्रदत्तम् ॥१८॥
[१८१] भो पथिक ! बहलं नयनाभ्यां जलप्रवाहं मुक्त्वा मया अडिल्लबन्न वस्तुकच्छन्दो भणितः । पुनः पुनरपि तं पथिकं स्मृत्वा निजमने(नसि) सूरोद्गम ज्ञात्वा ॥ १८१॥ [१८२] निसि(शि) प्रहरार्द्धमपि न निद्रीयते । प्रियकथायां जल्पमामायां
अवचूरिका] [१८०] एवं काश्चन भाग्यवत्यः केलिं कुर्वन्ति । मया चोद्विग्नया रात्रिर्गमिता| गृहे गृहे गीतं प्रधानं वर्तते । एकं च समनं कष्टं मम प्रदत्तम् ॥
[१८१] हे पथिक ! पुनरपि चिरप्रवसितः प्रियः स्मृतो निजमनसि, तथैव सूर्योद्रमं ज्ञास्वा धनजलबाप्पान् बहून मुक्त्वा मया तदैव 'नु' इति वित। अडिल्ला वस्तुकश्च पठितः ।।
[१२] निशि प्रहरार्धमपि न निद्रीयते, प्रियकथायां जप्यमानायां नाऽऽनन्यते, भात्मा नेमेषार्धमपि रतये न दीयते, कामतमा विद्धा न दीर्यते ? अपि तु वीर्यते ॥
सं० १०

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७४
सन्देश रासक
किं तहि देसि णहु फुरई जुन्ह णिसि णिम्मलचंदह, अह कलरउ न कुणंति हंस फलसेवि रविंदह । अह पायउ हु पढइ कोइ सुललिय पुण राइण, अह पंचउ' हु कुणइ कोइ कावालिय' भाइण । महमहइ अहव पच्चूसि हु ऑससिउ घणु" कुसमभरु ।
अह मुणिउ पहिय" ! अणरसिउ पिउ
सरइ समइ जु न सरइ घरु ॥ १८३ ॥
**
3 C कुलउ | 4A पाइउ | 5 C सुलली ।
1BC कि । 2 C कुरहिं । 6 B रायण । 7 C पंचमु । 10 A घण |
8
A कावालीय; C कावालिउ । 9A भायण; C भाणिउ । 12 C पहिउ |
11 A मुणउ ।
[ टिप्पनकरूपा व्याख्या ]
assनन्द्यते । आत्मा निमेषार्द्धमपि रतये न दीयते । कामतस्या (ता) विद्धा न दीर्यते । अपि तु दीर्यते ॥ १८२ ॥
[ तृतीय प्रक्रम
[१८३ ] किं तस्मिन् देशे ज्योत्स्नया निर्मलचन्द्रो न स्फुरति ?, अथ किं हंसाः अरविन्दान् सेव्य कलकलारवं न कुर्वन्ति ?, अथ प्राकृतकाव्यं सुललितं सुमनोहरं कश्चिन्न पठति ?, अथ कोकिलाः पञ्चमखरं न कुर्व्वन्ति ?, अथवा प्रत्यूषे रविप्रफुल्लित कुसुमभरो न महमहति ? | अथ मया ज्ञातं पथिकेन सरि(शर) त्-समये 'यद् गृहं न स्मरि (स्मृतं [त ] दरसिको - रसवेत्ता नेत्यर्थः ॥ १८३ ॥ ॥ सरि (शर) द्वर्णनं समाप्तम् ॥ →→→ [ अवचूरिका ]

茶味
[ १८३ ] हे पथिक ! किं तस्मिन् देशे चन्द्रज्योत्स्ना निशि रात्रौ निर्मला किं न स्फुरति ?, अथ तस्मिन् देशेऽरविन्दानां फलसेविनो राजहंसाः कलरवं न कुर्वन्ति ?, अथवा सुललितभाषया प्राकृतं कोऽपि न भणति ?, अथ कापालिक ! प्रियभावेन पञ्चमरागं कोऽपि न करोति ?, अथ प्रत्यूषे उच्छ्रसित-विकस्वरघनकुसुमभरो न परिमलायते ?, अथैवम् ज्ञातं हे पथिक ! प्रियो नीरसो यः शरत्काले गृहस्य (हं) न स्मरति ॥ इति शरद्वर्णनम् ॥

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पद्य १८३-१८५] सन्देश रासक
[अथ हेमन्तवर्णनम् ।] सुरहिगंधु' रमणीउ सरउ इम' वोलियउ,
पावासुय अइधिढि ण खलि घरु संभरिउ । इम अच्छउँ जं करुण मयणपडिभिन्नसरि, ___ अवलोइय धवलहर सेयतुस्सारभरि' ॥ १८४ ॥ जलिउ पहिय सव्वंगु विरहअग्गिण” तडयडवि,
सर पमुक्त कंदप्प दप्पि" धणु कडयडवि । तं सिजहि दुक्खिजि" ण आयउ चित्तहरु, ___परमंडलु हिंडंतु कवालिउ खलु सबरु ॥ १८५ ॥ तह" कंखिरि अणियत्ति णियंती दिसि पसरु,
__ लइ ढुक्कउ कोसिल्लिं" हिमंतु तुसार भरु । ___1B °गंधि । 2 A रवणीउ । 3 C मइ। 4 B °धिट्ट। 5 C वलि। 6 B अच्छइ । 7 C°कुस्साभरि । 8 B पहिउ । 9 C सव्वंगि। 10 A हविकड। 11 B कंदप्पि दप्पि; C कंदप्पिहिं । 12 C जं। 13 B सिजहि; C सिजह । 14 C दुदुक्खिज। 15 C °मंडल। 16 B खरु। 17 Aणह । 18 B कंखिर । 19 C दिस। 20 C ढकुउ । 21 B कासिल्लि;
VAAAAAAAAAAAAAAAnanne..
Cकोसिल्ल। 22C तुसारु ।
[टिप्पनकरूपा व्याख्या ] [१८४] अथ हेमन्तवर्णनम् -सुरभिगन्धरमणीका स(शरदेवं व्यतिक्रान्ता । पथिक! परं अतिधृष्टेन पत्या गृहं न स्मृतम् । एवं करुणया मदनस(श)रप्रतिभिन्नया मया धवलगृहाणि तुषारभरखे(श्वे)तानि दृष्टानि ॥ १८४॥
[१८५] हे पथिक ! विरहाग्निना तडतडेति श(स)शब्दं यथा सर्वाङ्गं प्रज्वालितम् । कन्दर्पण धनुषा कडकडमिति श(स)शब्दं यथा शराः प्रमुक्ताः । ततः शय्यायां दुःखार्ता याता । यतो मनोहरः शबरो निर्द्धर्मः परमण्डले भ्रमन् कापालिको नागतः॥१८५॥ [१८६] तथा च उत्कण्ठिता अनिवृत्तं दिशिप(प्र)सरं पश्यन्ती वर्तते । तदैव *
[भवचूरिका] KAKK [१८४] अथ हेमन्तवर्णनम् - सुरभिगन्धरवणीका(रमणीया) शरदेवं व्यतिक्रान्ता । पथिक ! म(अ)तिधिष्ठे(घष्टे)न पतिना गृहं न स्मृतम् , एवं करुणया मदनशरप्रतिभिन्नया धवलगृहाणि तुषारभरश्वेतानि दृष्टानि ॥
[१८५] हे पथिक ! विरहाग्निना तडतडेति शब्दं यथा सर्वाङ्ग ज्वालितम् । कन्दर्पण धनुषा कडग्रड इति शब्दं यथा शराः प्रमुक्ताः । ततः शय्यायां दुःखार्तीय नाय ते (१) मनोहरः स(श)बरो निर्धर्मः परमण्डले भ्रमन कापालिको नागतः॥ [१८६] तथा च नाथोत्कण्ठिता अनिवृत्तं-निरन्तरं दिशिप्रसरं पश्यन्ती वर्तते । तदैव हेमन्तः

Page #233

७६
सन्देश रासक
हुइय' अणायर सीयल भुवणिहि पहिय जल', ऊसारिय' सत्थरहु सयल कंदुट्टदल || १८६ ॥ सेरंधिहिं घणसारु ण चंदणु पीसियइ, अहरकओलालंकरणि' मयणु संमीसियइ । सीइंडिहिं' वज्जियउ घुसिणु तणि लेवियइ, " चंपएल मियणाहिण" सरिसउ सेवियई " ॥ १८७ ॥
10
13
हु दलियs कप्पूरसरिसु " जाईहलह ",
दिज्जइ केवइवासु ण पयडउ फोफलह ।
भुवणुप्परु" परिहरवि" पसुप्पर जामिणिहि,
18
उयारइ" पल्लंघ" विच्छाइय" कामिणिहि ॥ १८८ ॥
15
4 C °सार । 5 A चंदण । 10 C लाइयई ।
B
1 B हुई 6 AC°लं किहिं | 11 B मय° । 12 C सेवियउ । 13 B कप्पूरु सरसु । 14 C हलहि । 15 A णुप्पर; B
| 16 A हरिवि । 17 A उयारहि । 18 B पलंधि; C पल्लंग। 19 B विच्छाइयइ ।
2 A जलु । 3 B ओसारहु सत्थरइ । 7 A सीहंडह । 8 C वजिउ ।
[ तृतीय प्रक्रम
[ टिप्पनकरूपा व्याख्या ]
हेमन्तः तुषारभरं गृहीत्वा कुशलेन प्राप्तः । भुवने अनादरसी (शी) तलानि [जलानि ] जातानि । सकलकमलदलानि श्र (स्र) स्तरादाप्सा (देपसा) रितानि ॥ १८६॥
[ १८७ ] सैरन्ध्रीभिः घनसारं चन्दनं च न पीष्यते । अधरकपोलालङ्करणे मदनं संमिश्रयते । श्रीखण्डवर्जितं घुसृणं- कुङ्कुमं तनौ लेप्यते । चम्पकतैलं मृगनाभिना समं सेव्यते ॥ १८७ ॥
[१८८] यस्मिन् रि (ऋ) तौ कर्पूरदलों द्विधा न कृ (क्रि ) यते । सुजात्य कदल्यो( ल्युत्पन्नत्वात् । प्रकटः फोफलेषु केतकी कुश (सु) मदलवासो न दीयते । भु (भ) वनो परिस्थितमावासं त्यज्यते । तथा यामिनीषु - रात्रिषु कामिनीभिः आच्छादितस्थानेषु प्रसुप्यते ॥ १८८ ॥
[ अवचूरिका ]
冬冬冬
gurrat sada meवा डुढौके = ढौकयामास - प्राप्तः । भुवने शीतलानि जलान्मनादराणि जातानि । सकलानि कमलदलानि स्रस्तराद् दूरीकृतानि ॥

个个本
[ १८७ ] सैरन्ध्रीभिर्धनसारं चन्दनं च म पीष्यते । अधरकपोलाकङ्करणे मदनं संमिश्रयते । श्रीखण्डवर्जितं सृणं कुङ्कुमं तनौ लेप्यते । चम्पकतैलं मृगनाभिना समं सेव्यते ॥
1
[ १८८] जातीफलेन समं कर्पूरो न लिप्यते । पूगीफलानां केतकीवासः प्रकटं न दीयते । भवोपरि विभागं परिहृत्य यामिनीषु उपवरके सुप्यते कामिनीभिः, पल्यका बिस्तार्यन्ते ॥

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७७.
पथ १८६-१९०] सन्देश रासक धूइज्जई तह अगरु घुसिणु तणि लाइयइ,
गाढउ निवडालिंगणु अंगि सुहाइयइ । अन्नह दिवसह सन्निहि अंगुलमत्त हुय, ___ महु इक्कह परि पहिय णिवेहिय बम्हजुय ॥ १८९ ॥
विलवंती अलहंत निंद निसि दीहरिहि । पढिय" वत्थु तह पंथिय "इक्कल्लिय परिहि ॥ १९ ॥ दीहउसासिहि दीहरयणि मह" गइय" णिरक्खर, ___ आई" ण णिय णिंद तुझ सुयरंतिय तक्खर ।
अंगिहिं तुह अलहंत घिट्ट करयलफरिसु, ___ संसोसिउ तणु हिमिण हाम हेमह सरिसु । ___ 1 A चुजइ। 2 B नास्ति; C बहु। 3 C तणु। 4 B गाढा। 5 C अंगु। 6 B अन्नदिवस। 7 B संनिहिय सुअं। 8 C अंगुलिमित्त। 9 C अलहति। 10 B दीहरहि; C दीहरह। 11 B पढिउ। 12 C तहिं। 13 A इकल्ली; C इक्कलिय। 14 C नहु । 15 B गईय; C गई। 16 A C°क्खरु। 17 B आई। 18 A सुयरतय; C समरंतह । 19 C तकरु। 20 B तुय; C तुअ । 21 A °फरसु । 22 C संसोउ। 23 C हिमण ।
[टिप्पनकरूपा व्याख्या ] [१८९] अगरुं धूप्यते, घुसणं तनौ लेप्यते, गाढालिङ्गनमतेषु सुखायते । अन्न(न्य)दिवसप्रमाणे[न] ते दिवसा अङ्गुलिमात्रा:-स्तोकमात्राः। भमैकस्याः परं वर्षाणां ब्रह्मयुग्म(ग)मिति निविष्टं मन्ये ॥ १८९ ॥
१९०] मया विरहे विलपन्त्या दीर्घरात्री निद्रां अलभन्त्या दीर्घोच्छासैः एषा वस्तुः पठिता। भो पथिक ! गृहे एकाकिनी निवसति ॥ १९०॥
[१९१] हे निरक्षर ! दीर्घोस्नखा(ष्णश्वा)सैः दीर्घा रजन्यो गताः। हे तस्कर ! निर्दय ! त्वां स्मरन्त्या निद्रा नागता । हे धृष्ट ! अङ्गेषु तव करस्पर्श अलभन्त्या *
[अवचूरिका] ----- [ १८९] अगरं धूभ्यते, घुसूर्ण तनौ लिप्यते, गाढालिङ्गनमङ्गेषु सुखायते । अत्र (न्य) दिवसप्रमाणैरेते दिवसा अङ्गुलिमात्रा:- स्तोकमात्राः । ममैकस्याः परं वर्षाणां ब्रह्मयुगमिति निविष्टं मन्ये ॥ [१९०] हे पथिक ! गृह एकाकिन्या विलपन्त्या मिदामलभन्त्या निशि दीर्घतरं वस्तुकः पठितः॥
[१९१] हे निरक्षर ! दीर्घोष्णश्वासैर्दीधी रजन्यो गताः । हे तस्कर ! निर्दय ! त्वां स्मरन्त्या निद्रा मागता । हे सृष्ट! भनेषु तक करस्पर्शमलभन्त्या ममा हैमन्तेन धान्ना हेमसदृक्षं

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सन्देश रासक
[तृतीय प्रक्रम हेमंति कंत' विलवंतियह', जइ पलुट्टि नासासिहसि । तं तइय मुक्ख खल पाई मइ, मुइय विज किं आविहसि ॥१९१॥
[अथ शिशिरवर्णनम् ।। इम कट्ठिहिं मइ गमिउ' पहिय हेमंतरिउ, __ सिसिरु पहुत्तउ धुत्तु णाहु दूरंतरिउ । उट्ठिउ झखडु" गयणि खरफरसु पवणि हय,
तिणि सूडिय झडि करि असेस तहि तरुय"गय॥१९२॥ छाय फुल्ल फल रहिय असेविय" सउणियण',
तिमिरंतरिय दिसा य तुहिण धूइण" भरिण । ___ 1 AC कंति। 2 C वलवंति। 3 C पडिलु। 4 B तईयउ। 5 C पइ । 6 B मुईय अवि। 7 B गमिय । 8 C पहुत्तु । 9C धत्तु । 10 B C उद्विय । 11 C झखडा । 12 A पवणखरफरसु; B °फरस। 13 B नास्ति 'झडि'। 14 A तह । 15 B रूय गय; C तरु गय। 16 C फुल्लह। 17 B असेसिय। 18 B C यणि। 19 AC तिमरे । 20 B वित्थरिय। 21 B धूयण, C धूइणि । 22 C भरिणि ।
[टिप्पनकरूपा व्याख्या ] भमाझं हेमन्तेन धान्ना हेमश(स)दृक्षं शोषितम् । हे कान्त! हेमन्ते विलपन्तीं मां व्याघुट्य यदि नाश्वासयसि, तर्हि-तस्मात् कारणात्, हे मूर्ख ! भो पापिन् ! मयि मृतायां अव(आवे)द्याऽऽगत्य किं करिष्यति(सि)?॥ १९१॥
हेमन्तवर्णनं समाप्तम् ॥ [१९२] अथ शिशिरम् - झखडं-झुंडयालं गगने खरं-रौद्रं परुष-विप्री(परी)तं उत्थितं दृष्ट्वा पवनाहतलतावजाता। तेन झ[ख]डेन अशेष-समस्तं रूपं गतम् । भो पथिक! एवं मया हेमन्तरि(क)तुर्निर्गमिता। अधुना शिशिरः-सी(शी)तकालः प्राप्तः। स धूर्तो नाथः दूरान्तरितः॥ १९२॥ [१९३] असे शे)षाः-समस्ताः शकुनाः-पक्षिणो वृक्षच्छायाफलानि समा*
[अवचूरिका] -RAKAR शोषितम् । हे कान्त ! एवं हेमन्ते विलपन्तीं मां व्याधुव्य यदि नाऽऽश्वासयसि तर्हि - तस्मात् कारणाद् हे मूर्ख ! खल! पापिन् ! मयि मृतायामावि(वे)द्य आगत्य किं करिष्यसि ? ॥
॥ हेमन्तवर्णनं समाप्तम् ॥ [१९२] अथ शिशिरवर्णनम् - हे पथिक ! एवं मया हेमन्तर्तुः कष्टेन निर्गमिता । तावत् शिशिरः प्राप्तः । धूर्तनाथो दूरान्तरितः । खरपरुषपवनाहतो गगने सखडो महावात उत्थितः । तेन सूडिताः सन्तः अशेषास्तरवः पत्राणि मुक्त्वा गताः-स्थिताः ॥ [१९३ ] छायापुष्पफलरहिताः केवलं शकुनिगणरहिता वृक्षा जाताः । दिशस्तुहिनेन धूम्रभरेण

Page #236

७९
पद्य १९१-१९५] सन्देश रासक
मग्ग भग्ग पंथियह ण पवसिहि हिमडरिण, ___ उज्जाणहं ढंखर इअ सोसिय कुसुमवण ॥ १९३ ॥ तरुणिहि कंत पमुक्किय णिय केलीहरिहि,
सिसिर भइण किउ जलणु सरणु" अग्गीहरिहि । आवाणिय केलीरसु अभितरभुयण",
उज्जाणह दुम्मिहि वि" ण कीरइ किवि" सयण ॥१९॥ मत्तमुक्क संठविउ विवहगंधक्करिसु,
पिज्जइ अद्धावट्टउ रसियहि इक्खरसु । कुंदचउत्थि वरच्छणि पीणुन्नयथणिय,
णियसत्थरि पलुटंति केवि सीमंतिणिय" ॥ १९५ ॥ 1 B पंथिह ण। 2 A पवसेहि; C पविसियह। 3 A हिमझरिण; C °करिण। 4 B C कुसम। 5 B तरुणिय । 6 A पमुक्कीय । 7 C ससिर । 8 A भाइणउ । 9 C कियउ । 10 A जणु; B नास्ति। 11 Cसरण जलणु। 12 Cउवभुंजहि। 13 B केलीहरसु। 14 C भुवण । 15 B C नास्ति 'वि' । 16 A कीरहि । 17 C कवि । 18 BC मजमुक्छ ।
19 B संवरिउ: Cसंठवियउ। 20A गंधकरसु; करेसु। 21 A. रसियह: C रसियहिय । 22 A इक्खु। 23 Bचउत्थ । 24B वरस्थिणि। 25A सत्थर: B पत्थरि 26 C लोलंति। 27 C संमंतणिय ।
[टिप्पनकरूपा व्याख्या] श्रित्य स्थिताः । तिमिरोऽन्धकारः, तुहिनव्याप्तः- व्याप्य स्थितः । सी(शी)तभयेन पथिका मार्गे न प्रवि(व)सन्ति । यस्मिन् समये कुसुमवनानि शोषितानि । प्रथमपदं वृक्षविशेषणम् । उद्यानवृक्षाणि ढङ्खरवजातानि ॥ १९३ ॥
[१९४] कदलीगृहेषु कान्तान् मुक्त्वा कान्ता हिमभयेनाग्निशरणं श्रयन्ते । भु(भवनमध्ये उपवरके केलिरसमुपभुञ्जन्ते । केऽपि चोद्यानभवनेषु न खपन्ति ॥ १९४॥ [१९५] मात्रामुक्तः-अधिको गन्धोत्कर्षः संस्थापितो रसिकैरिक्षुरसः अर्धा**
[अवचूरिका] KAKK च तिमिरेण चान्तरिता जाताः । पथिकानां मार्गा भग्नाः, हिमभयान्न प्रचलन्ति । उद्यानेषु गतकुसुमा वृक्षा ढलरवजाताः ॥
[१९४] केलीगृहेषु कान्तान् मुक्त्वा कान्ता हिमभयेनाग्निं शरणं श्रयन्ते । भवनमध्येऽपवरके केलिरसमुपभुञ्जन्ते । केऽपि चोद्यानद्रुमेषु न स्वपन्ति । [१९५] मात्रामुक्तः-मधिको गन्धोत्कर्षो विविधसंस्थापितो रसिकैरिक्षुरसोऽर्धावतः पीयते।

Page #237

८०
सन्देश रासक
केवि दिति' रिउणाहह उत्पत्तिहि दिणिहि', णियवल्लह कर केलि जंति सिज्जासणिहि । इत्थंतरि पुर्ण पहिय सिज्ज इक्कल्लियइ,
10
पिउ' पेसिउ मण' दूअउ पिम्मगहिल्लिय " ॥ १९६ ॥
13
मइ जाणिउ पिउ आणि " मज्झ संतोसिहइ", हु मुणि खलु धि सो वि महु मिल्हिह ” । पिउ णाविउ " इहु" दूउ गहिवि तत्थ वि रहिउ ", सच्चु" हियउ महु" दुक्ख भारि पूरिउ अहिउ ॥ १९७॥ 4B करि । 5 A °सिणिहि ।
19
10 A गहिल्लयइ ।
15 A इह ।
1 B दंति । 2 B C दिणिहिं । 3 A बल्लिहि । 6 B पुणि । 7 A पिअ पेसिअ । 8 B मणु । 9 B दूहड; C दूयइ । 11 B नास्ति ' आणि ' । 12 C ° सियइ | 13 C मिल्दहइ । 14 B नाइउ | 16 C राउ | 17 C सव्वु । 18 A मह; C मउ | 19 C दुखु ।
1
[ टिप्पनकरूपा व्याख्या ]
वर्त्त [:] पीयते । कुन्तचतुर्थ्यां प्रवरोच्छ (त्स) वे काश्चन सीमन्तिन्यः पीनोन्नतस्तन्यो निज (ख) स्तरे लोलन्ति ॥ १९५ ॥
[ तृतीय प्रक्रम
[१९६] काश्चन रि (ऋतुनाथ वसन्तोत्पत्तिदिने = माघसुदिपञ्चम्यां ददन्ति दानम् । निजवल्लभेन समं केल्यर्थे शय्यायां जा (या) न्ति । अस्मिन् समये एकाकिन्या प्रेमथिला मया मनोदूतः पतिं प्रति प्रहितः ॥ १९६ ॥
[१९७ ] मया ज्ञातं प्रियतमो (मं) सन्तोषयिस्य (व्य ) ति । तेन धृष्टेन खलु - निश्चयेन न ज्ञातः यन्मां उज्झस्यति ( ? ) । प्रियतमो नागतः । एष मनोदूतः गृहीत्वा तत्रैव स्थितः । एतत् सत्यं मम हि (ह) दयो (यं) दुक्ख (ख) पूरितो (तं) जातः (तम् ॥ १९७ ॥
[ अवचूरिका ]
कुन्दचतुर्थ्यां वरक्षणे काश्चन; व्याख्यानान्तरम् - कुन्दचतुर्थ्यां प्रवरोच्छ (रस) वे काश्चन सीमन्तिन्यः पीनस्तन्यो निजस्रस्तरे लोलन्ति ॥
吞个个公

[१९६] काश्चन रित (ऋतु ) नाथ- वसन्तोत्पत्तिदिने = माघसुदिपञ्चम्यां ददति दानम् । निजवल्लभेन समं केल्यर्थे शय्यायां यान्ति । अस्मिन्नेकाकिन्या प्रेमप्रथिलया [ मया ] मनोदूत: पतिं प्रति प्रहितः ॥
冬冬冬冬冬
[ १९७ ] हे पथिक ! मया ज्ञातम् - एष मनोदूतः प्रियमानीय मां सन्तोषयिष्यति । मया न ज्ञातमेष खलो ष्टो मनोदूतो मामपि मोक्ष्यति । प्रियो नागतः, एनं हृ ( दू) तं गृहीत्वा तत्रैब स्थितः । परमेतत् सत्यं मम हृदयं दुःखभारेणाधिकं पूरितम् ॥

Page #238

पद्य १९६-१९९ ]
सन्देश रासक
डु मूलु पिअसंगि लाहु इच्छंतियइ,
ट्टु
णिणि पहिय जं पढिउ' वत्थु विलवंतियइ ॥ १९८ ॥
[ अर्द्धम् ]
मइ घणुं दुक्खु सहप्पि मुणत्रिं मणु पेसिउ दूअउ', णाहु ण आणिउ' तेण सु पुणु तत्थव " रय" हूअउ । एम" भमंतह" सुन्नहियय" जं स्यणि विहाणिय",
12
*
18
अणिरइ" कीयइ कम्मि अवसु मणि पच्छुत्ताणिय" ।
18
20
21
मइ दिन्नु" हि हु पत्तु" पिउ, हुई उवम इहु" कहु कवण " । सिंगत्थि गइय" उवाडयणि, पिक्ख" हराविय णिअ सवण ॥ १९९ ॥
८१
2 A घण । 3A दुक्ख; B दुख्ख । 4B मुणिवि ।
1 A पढिय । 5 B पेसिय; C पेसियउ । 6 C दूअ । 7 A B आयिउ । 8 B तेणि । 9AC पणु। 10 C वि । 11 AC रई । 12 A एव । 13 C भवंतह | 14 B सुन्नयरि। 15 A बिहाणीय । 16 B अणरुइ; C अणुरइ । 17 B पच्छित्ताणीय; C पछोताणिय । 18 A दिन्न । 19 A पत्तु B पितु। 20A हुइ अयि यवत्थ मइ कहु; B हुई य उइव मइ कहु । 21 B कवणु । 22 B गईय; C गई। 23 B पिक्खण आहराविय ।
1
[ टिप्पनकरूपा व्याख्या ]
[१९८] प्रियसङ्गममीप्सन्त्या मूलो नष्टः । तेन एतद्वचः श्रुत्वा पथिकेन विलपन्तीं दृष्ट्वा वस्तुकः पठितः ॥ १९८ ॥
[१९९] निजघनदुःखं ज्ञात्वा मनो नाथं प्रति प्रहितः । नाथस्तेन नानीतं (तः) । सोऽपि तत्रैव रतिर्जातः । एवं सू (शू) न्यहृदयं यथा भ्रमन्त्या रजनी विभाता । अनिरूपितं कार्यम् । अतोऽवश्यं मनसि पश्चात्तापो जातः । मया हि (ह) दयं दत्तं परं प्रियो न प्राप्तः । एषोपमा कथय केन समम् ? तदाह - शृङ्गार्थ गर्दभी गता, पश्य श्रवण हारितौ ॥ १९९ ॥ शिशिरवर्णनं समाप्तम् ॥
本
→→→
[ अवचूरिका ]
冬冬冬冬冬
[ १९८ ] प्रियसङ्गमलाभमिच्छन्त्या मम मूलं नष्टम् । हे पथिक ! शृणु यद् वस्तुको विलपन्त्या पठितः ॥

[29 ] निजघनं दुःखं ज्ञावा [मनो ] नाथं प्रति प्रहितः । नाथस्तेन नानीतः, सोऽपि तत्रैव रतो यातः । एवं शून्यहृदयं यथा भ्रमन्त्या रजनी विभाता । अनिरूपितं कार्यं [ कृतम् ] | rasasi मनसि पश्चात्तापो जातः । मया हृदयं दत्तं परं प्रियो न प्राप्तः । एषोपमा कथय केन समम् ? तदाह- शूजार्थे गर्दभी गता, पश्य श्रवणौ हारितौ ॥ इति शिशिरवर्णनम् ॥
सं० ११

Page #239

८२
सन्देश रासक
[ अथ वसन्तवर्णनम् । ] गयउ सिसिरु' वणतिर्ण दहंतु, महु मासु मणोहरु इत्थ पत्तु । गिरिमलयसमीरणु णिरु सरंतु,
मयणग्गि' विउयह विष्फुरंतु ॥ २०० ॥
6
सं केवई" जणइ सुहं विआसु,
विअसंतु वन्न दह दिसासु ।

[ तृतीय प्रक्रम
नवकुसुमपत्त हुय विविहवेसि,
10
अइ' रेहइ णवसरs" विसेसि ॥ २०९ ॥ बहु विविहराइ " घण मणहरेहि ", सियसावरत्तपुष्पंवरेहि । पंगुरणिहिं चच्चि तणु विचित्तु,
13
मिलि सहीयहि गेउ गिरंति णित्तु ॥ २०२ ॥
1 A ससिरु । 2 C 'ति । 3B मइणिग्ग । 4 C विउइय । 5 A फुरंतु । 6 B संकोवइ । 7 C वि हंसंतु । 8 B C दस । 9A ऐ | 10 A सरऐ । 11 A विहराइ; C विविहराय । 12 B हरेसि। 13 C चविउ । 14 A गिरंतु ।
[ टिप्पनकरूपा व्याख्या ]
[२०० ] अथ वसन्तवर्णनम् - शिशिरो गतः, मधुमासः प्राप्तः । वियोगिनी मदनाग्निं विस्फोरयन् नितरां मलयाचलसमीरणो ववैौ ॥ २०० ॥
[२०१] संकुपितजनसु (?) विकाशः (सः) विकस्वरो दशदिग्गभागसु (गेषु) वसन्तो ऽवतीर्णः । यस्मिन् समागमने नौतन कुस (सु) मपत्राः विविधनानाप्रकाररूपाः । सनवरुचिविशेषे [ण] अत्यन्तं भाति ॥ २०९ ॥
[२०२] सखीभिर्मिलित्वा नित्यं गीतं गायन्तीभिस्तन (नुं ) बहुभिः, यथा [ अवचूरिका ]
冬冬冬冬冬
[ २०० ] अथ वसन्तवर्णनम् - शिशिरो गतः, मधुमासः प्राप्तः । विस्फुरन् नितरां मलयाचलसमीरणो वाति ॥
个个吞态
[ २०१] सं= सम्यक् केतकी शुभं विकासं जणति = उत्पादयति । पाठान्तरम् - हे पथिक ! यो वसन्तो जनस्य तनुं संकोचयति, प्रकटं सुखं जनयति । दशसु दिक्षु रम्यः - विहसन् रम्यो जातः । नवकुसुमानि पत्राणि च विविधवेषाणि जातानि । रतिविशेषेण नवसरांस्पतितरां शोभन्ते ॥ [ २०२ ] सखीभिर्मिलित्वा नित्यं गीतं गायन्तीभिः तनुर्बहु यथा चर्चितः (ता) । केन ? विविधरागेण । पुनः कैः ? - श्वेत सर्व रक्तपुष्पाम्बरैर्धनमनोहरैः पङ्कुरणैश्च ॥
-

वियोगिनां मदनाभिं

Page #240

पद्म २०० - २०४ ]
सन्देश रासक
मह' हि अंगि बहु गंधमोउ,
णं तरणि पमुक्कउ सिसिर सोउ ।
तं पख मइ मज्झहि' सहीण',
8
लंकोडउ पढियउ' नववल्ली ॥ २०३ ॥ गयउ गिम्हु " अइदुसहु वरिसु उव्विन्नियइ,
10
सरउ गयउ अइकट्टि हिमंतु पवन्नियइ । सिसिर फर वुल्लीणु" कहव रोवंतियइ ",
12
दुक्करु गमियइ एहु णाहु सुमरंतियइ ॥ २०४ ॥ tarहिज्जs नवकिसलयकरेहिं",
महुमास" लच्छि णं तरुवरेहिं" ।
3
15

2 A तरुणि । 3 B पमुक्ति ।
4 AB ससिर । 5A मज्झह;
1 B मम । C मझिहि । 6 A सहीय । 7 A C पढिउ । 8 A णववहुय; B बल्लहीय । 9A गिंभु । 10 A नास्ति 'अ' । 11 C सिसिरु | 12 B विल्लीणु; C वल्लीणु । 13 + A आदर्श नोपलभ्यते पद्यमिदम् | 14 B करहि । 15 B मासु ।
A रोवंतियह । 16 B तक्खरेहिं ।
[ टिप्पनकरूपा व्याख्या ]
चर्चितम् । केन ? - विविधरागेन (ण) । पुनः कैश्चित् ? - सर्वरक्तपुष्पाम्बरैः घनमनोहरैः पङ्कुरणैश्च ॥ २०२ ॥
[२०३] बहु यथा गन्धामोदो महमहितः । मन्ये तरु (र) णिना - सूर्येण शिशिरशोकस्त्यक्तः । पाठत्रय [ : ] पुर (रु) षहिताभिः तरुणीभिः - स्त्रीभिः । तं प्रेक्ष(क्ष्य) वल्लभानां सखीनां मध्ये लंकोटकः पठितः ॥ २०३ ॥
[२०४] अतिदुस्स हो ग्रीष्मो निर्गमितः । वर्षा च उद्विग्नया निर्गमिता । मम कथमपि महता कष्टेन शिशिरस्पर्शः शीतुरितुः ('तर्तुः ) रोव (रुद ) त्या गतः । दुरक(:ख) करो नाथं स्मरन् एषो निर्गमितः । पतिवियोगत्वात् ॥ २०४ ॥
交夺
[ अवचूरिका ]
[ २०३ ] बहु यथा गन्धामोदो महमहितः । मन्ये तरणिना- सूर्येण शिशिरशोकस्त्यक्तः । पाठश्रयः । पुरुषहिताभिस्तरुणीभिः - स्त्रीभिः । तं प्रेक्ष्य, वल्लभीनां सखीनां मध्ये मया लङ्कोडक : पठितः ॥
८३
茶会

歌
[ २०४ ] अतिदुःसहो ग्रीष्मो निर्गमितः । वर्षा चोद्विमया निर्गमिता । शरदतिकष्टेन गता । हेमन्तः प्रपशः - प्राप्तः । शिशिरः फरस (स्पर्श) कठिनो बोलीनः । कथमपि रुदन्त्यैष दुःखकरो नाथं सारख्या गमितः ॥

Page #241

८४
ते |
सन्देश रासक
रुणझुण करेहि वणि भमरु छुद्ध, केवयकलीहि 'रसगंधलुद्ध ॥ २०५ ॥ विज्यंति परुप्पर तरु लिहंति, कंटग्ग' तिक्ख ते 'हु गणंति । तणु दिज्जइ रसियह रसह लोहि',
हु पाउ गणिज्जइ' पिम्ममोहि ॥ २०६ ॥ महु पिक्खिवि विंभिउ' मणिहि" हूउ,
1 B ऋणु ऋणु । 7 C लोइ ।
पज्जलंत विरहग्ग तिव्व झालाउलं,
मयरद्धउ वि गज्जंतु "लहरि घण भाउलं । सहवि दुसदुत्तर" विचरिज्जइ" सब्भयं ",
12 C रमणिज ।
दुत्तरु ।
13
सुण पहिय कहिउ वणिज" रूउ" ॥ २०७ ॥ [ अर्द्धम् ]
*
2 B भमर । 3B रसि । 4 A परुपर । 5 C कंटरिंग । 6 A
हु
8 C गिणजइ । 9B विंभउ । 10 B मह | 11 A. gfor
13C14A मयरद्धणि । 15 B लहरि गज्जंति घण। 16 B 17 A विरइज्जइ; C विवरिजइ । 18 A सब्भय ।

[ तृतीय प्रक्रम
16
ह ह कवि दुग्गु वणिज्जइ णिब्भयं ॥ २०८ ॥
टिप्पनकरूपा व्याख्या ]
[२०५ ] ननु वितर्के - तरुवरैर्नवकिसलयकरैः मधुमासलक्ष्मीरुह्यते स्म । वने वने भ्रमराः रुणुरुणायते, केतकी कलिकारसगन्धलुब्धाः ॥ २०५ ॥
[२०६ ] परस्परं मिलितैः कण्टकैर्विध्यन्ते, परं तथापि मधुलिहो मधु लिहन्ति । कण्टकाग्राणि तीक्ष्णानि न गणयन्ति । रसलोभेन रसिकानां शरीरं दीयते । नतु पायं ( पापं न गन्य (ण्य) ते स्नेहमोहिभिः पुरुषैः ॥ २०६ ॥
[२०७] एतच्चरितं दृष्ट्वा मनसि विस्मयो बभूव । एतत् श्रुत्वा पथिकेन रमणीकरूपः कथितः ॥ २०७ ॥
个个个姿
[२०८] मकरध्वजोऽपि घनं यथा भा-आकुलम्, यथा प्रज्वलद्विरहाग्नितीव्र ज्वालाकीर्ण यथा गर्जन् वर्त्तते । दुस्तरं दुस्सहं यथा विषह्य सभयं यथा [ अवचूरिका ]
冬冬冬冬
[२०६] केतकीनां परस्परं मिलितैः कण्टकैर्विध्यन्ते, परं- तथापि मधुलिहो मधु लिहन्ति, कण्टकाप्राणि तीक्ष्णानि [न] गणयन्ति । तनू रसिकेभ्यो रसलोभेन दीयते, प्रेममोहेन पापो न गण्यते ॥ [ २०७ ] मधु प्रेक्ष्य मनसि विस्मयो जातः । हे पथिक ! शृणु रवनीक ( रमणीक ) रूपं कथितम् ॥ [२०८] प्रज्वलन्तविरहाभिस्तीनज्वालाकुले मकरध्वजोऽपि गर्जन्, लहरीघननिषिड

Page #242

पथ २०५ - २१० ]
सन्देश रासक
किंसुयई' कसिण' घणरत्तवास,
पञ्चक्ख पलास' धुय पलास ।
सवि दुसह हूय पहंजणेण',
संजणिउ असुहु वि' सुहंजणेण ॥ २०९ ॥
निवडंत रेणु " धरपिंजरीहि, अहिययर तविय "णवमंजरीहि ।
13
14
मरु सियलु" वाइ" महि सीयलंतु,
15
हु जण " सीउ णं खिवइ तंतु ॥ २१० ॥
जसु नामु अलिक्कउ कहइ लोउ, हु हरइ खणडु असोउ सोउ ।
1 B किंसवइ; C किंसुवइ । 6 A हुय । 7 A पभंजणेण । 11 B C रेण । 12 Bणय ।

2 A कसण | 3 C पलासय । 4 A 8 C दुसहु । 9 'वि' नास्ति B C 18 B सीयल । 14 C वाय। 15
[ टिप्पनकरूपा व्याख्या ]
स्थीयते मया । परं चिन्तयामि मम स्नेहेन अपीडितः, दुर्गे- स्तम्भतीर्थे निर्भयं यथा स मत्प्रियः वाणिज्यं करोति । अथवा रमणीकरूपच्छन्दः रासकस्यैव जातिः ॥ २०८ ॥
[२०९] किंसु (शु) कं पुष्पं कृश्न (ष्ण ) घनरक्तवर्षासदृशं जातम् । अतो मन्ये पलासः (शः) प्रत्त (त्यक्ष एव पलासः (शः ) - राक्षसः । सर्व प्रभञ्जनेन दुस्सह जातम् । सुइंजनेनासुखं जनितम् ॥ २०९ ॥
零零零
. [२१०] नवमञ्जरीभिर्निपतद्रेणुना धरा पिञ्जरिताभिरधिकतरं तापिता । मरुच्छीतलो महीं सी (शी) तलयन् वाति । परं सी (शी) तं न जनयति । मन्ये किं तु तापं क्षिपति ॥ २१० ॥
८५
धुइ । 5 B दुस्सह ।
10 C सोहंजणेण । B जणय णं खिव° ।
[ अवचूरिका ]
प्रभाकान्याकुले दुःसहे सहित्वा सभयं यथा दुस्तरं विचर्यते भ्रम्यते । मम स्नेहस्य किमपि (?) दुर्गं निर्भयं यथा वणिज्यते वा (व्या) प्रियते ॥
冬冬冬冬冬
[२०९ ] किंशुकं पुष्पं कृष्णघनवर्षासदृशं जातम् । अतो मन्ये पलासः (शः ) प्रत्यक्षं पथपलाशः = राक्षसः । सर्व प्रभञ्जनेन - पवनेन दुःसहं जातम्, सुहअनेनासुखं जनितम् ॥

[२१० ] नवमञ्जरीभिर्निपतद्वेणुना धरा पिञ्जरिताभिरधिकतरं तापिता । मरुच्छीतलो महीं शीतल [य] वाति परं शीतं न जनयति । मन्ये किं तापं क्षपति ॥

Page #243

८६
सन्देश रासक
कंदप्प' दपि संतविय' अंगि,
साहारइ पाहुण सहा अंग ॥ २११ ॥
लहि छिद्दु वियंभिउ विरह घोरु,
1 BC कंदपि ।
5 C संगि । 10 A पंथिउ । 15 A मुणीय ।
सिहि चडिउ पक्खि मायंदसाह,
सुणिपंथिय" जं मइ पढिय गाह ॥ २१२ ॥
11
दूइजउ दूइय" वरहिणीहिं" कयहरिस णट्टवरहम्मि ँ ।
14
गयणे पसरियणवदुम" घणभंती मुणिय" पुण दुम्मं ॥ २१३ ॥
करि तंड' सुणिउ' रडंत मोरु ।
[ तृतीय प्रक्रम
4 B साहार ।
2 C संतविउ | 3A साहार; C साहारु । 8B रडंतु ।
7 C सुणियउ |
9C सिंह |
12 B वरिहिणी हिं । 13 C वरिहम्मि । 14 A दुमं ।
6 B तंडवु । 11 B C दुइय
|
[ टिप्पनकरूपा व्याख्या ]
[२११] ज ( य )स्य नाम लो [कः ] असो ( शो) क इति कथयति तदलीकम् । तोऽशोकः क्षणार्द्धमपि मम शोकं न हरति । कन्दर्पदसंतप्ताङ्गीं मां नाथ पव साधारयतिः न सहकारः ॥ २१९ ॥

[ २१२] घोरो रौद्रो विरहः छिद्रं लभित्वा (ब्ध्वा ) विजृम्भितः । ताण्डवं कृत्वा मयूरो न (र) टति । आम्रसाषा (शाखा) यां कोकिलसमूहं आरूढं दृष्ट्वा भो पथिक ! या गाथा पठिता सा त्वं शृणु ॥ २१२ ॥
[२१३ ] हे दूत ! नाट्य बर्हे कृतहर्षाभिर्वर्हिणीभिः दूये । अथवा द्वितीयाभिः ह (व) र्षाभिः नष्टविरहिणीनां कृतहर्षाभिर्द्वये । गगने प्रसरितनवद्रुमे (मैः) घनभ्रान्ति (ति) ज्ञात्वा पुनर्द्वये ॥ २९३ ॥
** [ अवचूरिका ]
[ २११] यस्य नाम लोकोऽशोक इति कथयति तदलीकम् । यतोऽशोकः क्षणार्धमपि मम शोकं न हरति । कन्दर्पदर्प संतप्ताङ्गीं मां नाथ एव साधारयति, न सहकारः ॥
[२१२] हे पथिक ! छिद्रं लब्ध्वा घोरो विरहो विजृम्भितः । मयूरस्ताण्डवं कृत्वा रदन् श्रुतः । शिखी - मयूरो माकन्दशाखायां दृष्टः । हे पथिक ! शृणु या गाथा मया पठिता ॥
冬季
[ २१३ ] हे पथिक ! नाव्यबर्हे कृतहर्षाभिर्बहिणीभिर्मयूरीभिर्द्वये । अथवा द्वितीयकाभिर्षर्षाभिर्नष्टविरहिणीनां कृतहर्षाभिर्द्वये । गगने प्रसरितनवद्रुमैः घनभ्रान्तिं ज्ञात्वा पुनर्द्वये ॥

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पच २११-२१६] सन्देश रासक
इय' गाह पढिवि उट्ठिय रुवंत, __चिर जुन्न दुक्ख मणि संभरंत । विरहग्गिझाल पज्जलिअ अंगि,
जजरिउ" बाणिहिं तणु अणंगि ॥ २१४ ॥ खणु मुणिउ दुसहु जमकालपासु, __ वर"कुसमिहि सोहिउ दस दिसासु । गय णिवड" णिरंतर गयणि चूय, ___णवमंजरि" तत्थ वसंत हूय ॥ २१५ ॥ तिहि" सिहरि सुरत्तय कसिण काय,
उच्चरहि "भरहु जणु विविह भाय । अइ मणहरु पत्तु मणोहरीउ,
उच्चरहिं सरसु महुयर झुणीउ ॥ २१६ ॥ 1Bइह। 2A पुढवि। 3Bउद्विवि। 4C रुवंति। 5A चिरु: C जिर । 6 A जुन्हु । 7 B दुक्खु । 8 B मण । 9 C संभरंति। 10 C°काल। 11 B जजरियउ। 12 Cणव। 13 A सोहइ; सोहियउ। 14 B निविड । 15 A मंजरी। 16 B वसंति । + A आदर्श नोपलभ्यते पद्यमिदम् । 17 C तह। 18 C किसण। 19 C उच्चरिहिं तरहु। 20 Cझणीउ ।
[टिप्पनकरूपा व्याख्या] [२१४ ] इमां गाथां पठित्वा रुदन्ती उत्थिता । किं कुर्वन्ती जीर्णदुरकं(दुःखं) मनसि संभरन्ती । पथिक ! विरहाग्निज्वाला अङ्गे प्रज्वलिता । तथा अनङ्गबाणैस्तनुः जजेरीभूतः(ता) ॥२१४॥
[२१५] यस्मिन् वसन्ते क्षण-क्षणमात्रं यमकालपास(श)सदृक्षं ज्ञातम् । वर कुसुमैः दिएविभागाः सो(शो)भिताः । गगने-आकाशे आम्रमार्यो निबिडं गताः । तत्र वसन्ते नूतनाम्रमार्यो बभूव(वुः)॥२१५॥
[२१६] यस्मिन् समये नानाप्रकारैर्भरतभावं उच्चरन्ति तस्मिन् सुरक्तकवृक्षसिष(शिख)रे अत्यन्तमनोहरः समयः प्राप्तः । मधुकराः-भ्रमराः सरसं-सुमनोहरं शब्द उच्चरन्ति ॥ २१६ ॥
[अवचूरिका] ------ [२१४ ] हे पथिक ! एतां गाथां पठित्वा रुदन्तु (रुदन्ती) उत्थिता। चिरं जीर्णदुःखं मनसि संभारयन्ती । विरहाग्निज्वाला अङ्गे प्रज्वलिता । अनङ्गेन बाणैस्तनुर्जर्जरितम्(ता)।
[२१५] क्षणं ज्ञातं ज(य)मकालपाशो दुःसहः । वरैः-प्रधानैः कुसुमैर्दशाऽपि दिशः शोभन्ते । चूताः-आम्रा निबिडाः-निरन्तरा गगनं गताः, नवा मार्यस्तत्र वसन्ते जाताः॥
AAPurwwNAAVAN

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८८
सन्देश रासक
कारंड' करहि तह' कीर भाइ, कारुन्न पउक्कउौं तह कुणाइ ।
अ एरिस मयणपरव्वसीउ,
कह कहव' धरती' कट्ठि जीउ ॥ २१७ ॥ जलरहिय मेह संतविअ काइ,
किम कोइल कलरउ सहण जाइ । रमणीयण रत्थिहि परिभमंति,
तूरारवि" तिहुयण" बहिरयंति " ॥ २१८ ॥ चञ्चरिहि" गेउ झुणि करिवि" तालु, नच्चीय अउव्व" वसंतकालु" ।
15
घण निविड" हार" परिखिल्लरीहिं,
रुणझुण उ मेहलकिंकिणीहिं" ॥ २१९ ॥
[ तृतीय प्रक्रम
19
1 B कारंडु | 2 B तहिं । 3 C पमुक्कउ | 4 A ऐ । 5 C कहवि । 6 A धरंतिय । 7 C काय । 8 C कोइ कलरव; B कलिरवु । 9 A सहणु । 10 A तूराव । 11 B तिहुयणु । 12 B बहरियति; C बहिरियति । 13 B चचहि; C चचरहि । 14 C करवि | 15 C अउव्वु । 16 B °यालु; C °काल । 17 C निवर । 18 B हारि। 19 A रुणुझुणु । 20 A B कंकणीहि ।
[ टिप्पनकरूपा व्याख्या ]
[२१७] तत्र वसन्ते कीराः - सु (शु)काः [का] रण्डकं मण्डलं कुर्वन्ति । तच कारुण्यप्रयुक्तं यथा कणति । अह इति कोमला [ला] पे, ईदृशे समये मदमपरवसा (शा) जीवं कष्टेन धरन्तीव ॥ २९७ ॥
[२१८] जलरहिता मेघाः स ( रा ) रीरं सन्तापयन्ति । कोकिलाकलरवः कथं सह्यते । रमणीगणाः रथ्यामार्गे परिभ्रमन्ति । तूर्यरवेण त्रिभुवनं बधिरयन्ति
जनाः ॥ २१८ ॥

I
-
[२१९] एष अपूर्वी वसन्तकालो नृत्यते । कैः ? - चाचरिकजनैः, किं कृत्वा ? - ताल ध्वनिं च कृत्वा । पुनः निबिडहारपरिवेष्टिताभिः युवतीभिः । पुनः शब्दायमानकिङ्किणीनिनादमेखलाभिः ॥ २१९ ॥
个个本公
[ अवचूरिका ]
冬冬冬冬
[ २१७ ] तत्र वसन्ते कीराः - शुकाः कारण्डकं - नीरं (डं ?) कुर्वन्ति । तत्र कारुण्यप्रयुक्तं यथा कुर्वन्ति । भइ इति कोमलामन्त्रणे, ईदृशे समये मदनपरवशाज्जीवं कष्टेन धरन्तीव ॥
[२१८ ] जलरहितमेघैः काया सन्तापिता । कोकिलानां कलरवः कथं सोढुं शक्यते । रमणीगणा रथ्यामार्गेषु भ्रमन्ति । तूर्यरवेण त्रिभुवनं बधिरी क्रियते ॥
[२१९] चञ्चरे - हट्टमार्गे गीतं नृत्वा, तालध्वनिं कृत्वा, अपूर्वो वसन्तकालो नृत्यते । घननिविडहाराभिः परिखेलन्तीभिर्मेखला किङ्किणीभी रुणझुणरवः क्रियते ॥

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पद्य २१७-२२२] सन्देश रासक
गजंति तरुणि णवजुव्वणीहिं', सुणि पढिय गाह पिअखिरीहिं ॥ २२० ॥
[अर्द्धम् । एआरिसंमि समए घणदिणरहसोयरंमि लोयंमि ।
अच्चहियं मह हियए कंदप्पो खिवइ सरजालं ॥ २२१ ॥ जइ अणक्खरु कहिउ मइ पहिय !
घणदुक्खाउन्नियह मयणअग्गि 'विरहिणि पलित्तिहि, तं फरसउ मिल्हि तुहु विणयमग्गि पभणिज्ज झत्तिहि । तिम' जंपिय जिम कुवइ णहु तं पभणिय जं जुत्तु, आसीसिवि वरकामिणिहि वट्टाऊ पडिउत्तु ॥ २२२ ॥
~~~AAAAAAAM
1 BC जुव्वणीय। 2 A पढियइ। 3 C अहिययरं। 4 A विरहणि; B विरहिण । 5A B पलत्तिहि। 6 B मिल्हेवि तुह। 7 A तिव। 8 A जिव । 9 A °पि भणिय ।
[टिप्पनकरूपा व्याख्या] [२२०] अस्मिन् समये नवयौवनास्तरुण्यः गर्जन्ति । पठितां गाथां श्रुत्वा प्रियोपरि उत्कण्ठिता जाता ॥ २२० ॥
[२२१] एतादृशे वसन्तसमये दिवसे धनं यथा रसोत्करे लोके च याते सति, कन्दो मम हि(ह)दयेऽधिकतरं शरजालं क्षिपति ॥ २२१ ॥
अथ ग्रन्थमुपसंहरनाह[२२२] यत् पथिक ! मया घनदुक्खा(खा)पूर्णया मदनाग्निना विरहेन(ण) च प्रलिप्तया, अनक्षरं कथितम् , तत् कठोरं परिहत्य विनयमार्ग झगिति प्रभणे [:] । तथा कथयेः यथा [स] न कुप्यति । तद्भणेः यद् युक्तं भवति । एवं कथयित्वा वरकामिन्या आशिखं(पं) दत्त्वा पथिको गमनार्थ प्रयुञ्जितः॥२२२॥ *
[अवचूरिका] -- [२२० ] नवयौवनाः स्त्रियो गर्जन्ति । पतिकाङ्खया मयैषा गाथा पठिता ॥ [२२१] एतादृशे वसन्तसमये दिवसे घनं यथा रहसोरकरे लोके च याते सति, कन्दर्पो मम हृदयेऽधिकतरं शरजालं क्षिपति ॥
[२२२ ] यत् पथिक ! मया धनदुःखापूर्णया-मदनाग्निना विरहेण च प्रलिप्सया, भनक्षरं कथितम् , तत् कठोरकं परिहृत्य, विनयमार्ग यथा झगिति भणेः । तथा कथयेः, यथा न कुप्यति । तगणेः यद्युक्तं भवति । एवं कथयिस्वा वरकामिन्या भाशिष दरवा पथिको गमनाथं प्रयुञ्जितः ॥
सं० १२

Page #247

९०
सन्देश रासक
'तं पहुंजिवि चलिय दीहच्छि
अइ तुरिय,' इत्थंतरिय दिसि दक्खिण तिणि जाम दरसिय, आसन्न पहावरिङ दि णाहु तिणि झत्ति हरसिय । जेम अचिंतिउ कज्जु तसु सिद्धु खणद्धि महंतु, तेम पढंत सुणंतयह जयउ अणाइ अणंतु ॥ २२३ ॥
3BC दक्षण |
1 C पडिवि तं वलिय दीअच्छि व तुरिय । 4 A अचंतउ; B अचिंतउ । 5 A सिंधुयणधु ।
2AB तुरियइ ।
6 C अणायतु अंतु ।
[ तृतीय प्रक्रम
[ टिप्पनकरूपा व्याख्या ]
[२२३] सा दीर्घाक्षी यावत् तं प्रेषय ( यि त्वा अति त्वरितं चलिता । अस्मिन्नवसरे दक्षिणा दिग् दृष्टा । तदैवासन्नं यथा पन्थानं आवरयन् तया पतिर्दृष्टः । हर्षिता झगिति जाता । अथाशीर्वादम् - अथ कर्त्ता भणति - यथा चिन्तितं कार्य्यं तस्याः क्षणार्द्ध मध्ये महत् सिद्धम्, तथा पठतां शृण्वतां सिद्ध्यतु । अनाद्यनन्तः परमपुरुषो जयतु ॥ २२३ ॥
॥ इति संदेशराश (स) कटिप्पनकं समाप्तम् ॥

श्रीमत्प्राग्वाटवंशाम्बुधिश शिसदृशो हालि (दि 2 ) गस्याङ्गजन्मा
पुत्रो मात (तु) स्लिवाः प्रविदितचरणो रुद्रपल्लीयगच्छे । श्रीमद्देवेन्द्र शिष्यः शरैरर्स - युग - भूवत्सरे ( १४६५ ) वृत्तिमेतां
लक्ष्मीचन्द्रश्चकारा खिलगुणनिधयः सूरयः सो ( शोधयन्तु ॥ १ ॥ वृत्तिर्नाश्य (स्य) हशा विलोकि सुरो (सुगुरोः १) पार्श्वे न चाभाणि च
नो कर्तु मुखतस्त्विदं भुवि मया चाश्रावि शास्त्रं कचित् । किन्तु क्षत्रियगाहडस्य मुखतो या या प्र ( च ?) वृत्ति [:] श्रुता
मा (सा) सात्र मया विमूढमतिना वार्त्ता नि[ब]द्धा ननु ॥ २ ॥ यदन्यथा मया प्रोक्तो ( क्तः) कश्चिदर्थस्तथा पदम् । तदहं नैव जानामि तज्जानात्येव गाइडः ॥ ३ ॥
*
॥ लिखितं श्री हिसार दुर्गे अषाढसुदि अष्टम्यां बुं (बु) धवासरे ॥ [ अवचूरिका ]
→→→→
I
[ २२३] सा दीर्घाक्षी यावत्तं प्रेषयित्वाऽति त्वरितं चलिता । अस्मिन्नवसरे दक्षिणदिशि दृष्ट्वा, दैवाssसन्नं यथा पन्थानमावर [य]न् तथा पतिर्दृष्टः । हर्षिता झगिति शीघ्रं जाता । अथाऽऽशीर्वाद ग्रन्थकर्ता भणति - यथाऽचिन्तितं कार्यं तस्याः क्षणार्धमध्ये महत् सिद्धम्, तथा पठतां शृण्वत सिच्यतु । अनाथनन्तपरमपुरुषो जयतु ॥
॥ इत्यवचूरिः । श्रीसन्देशरासकं समाप्तं । पं० नयसमुद्रेण किखितम् ॥

个个个交本

Page #248

सन्देशरासकगतपद्यानुक्रमणिका-अकाराद्यनुक्रमेण ।
पद्याक
१५२
अहणेहिण भासिउ रइमइ अइकुडिलमाइ पिहुणा अच्छिहि जिह नारिहिं नर अच्छिहि जिह सन्निह अणियसखणं जलवरि' अणुराइय रयहरु अन्नय सेस महीरुह अवर कह व णिवडम्भर अवर कह व वरमुद्ध अवर कावि सुविअक्खण अवहट्टय-सक्कय-पाइयंमि अहवा ण इत्थ दोसो अंगि अंगि घणु घुसिणु आएहि पहिय किं पुच्छिएण आमरूय गुल्लर महूय आरिट्रिय दमणय गिद आसाजलसंसित्त विरह आसोए सरय महासरीए इम इक्किकह तत्थ रूखु इम कट्टिहिं मइ गमिउ इम किवि केलि करहि इम तवियउ बहु गिंभु इम दुक्खह तरलच्छि इम विलवंती कहव इय गाह पढिवि उट्ठिय इहु डोमिलउ भणेविणु ईसरसरि सालूरिव उत्तरायणि वहिहि दिवस उल्हवियं गिम्हवी ऊसासडउ न मिल्हवउ एय वयण आयन्नवि एयारिसंमि समए ओसासंभमरुद्धसास कदमलुल धवलंग विहा' कसिणंयरि विहाविह
पद्या २३ कह व ठाइ सुद्यवच्छ ३२ कहवि इय गाह पंथिय
७४ १७४ कहि ण सवित्थरु सक्कर १०५ १६७ कारंड करहि तह कीर २१७ ८४ किंकिल्लि कुंज कुंकुम २२ किं जुत्तं सुकुलग्गयाण ६४ किं तहि देसि णहु फुरइ
*किंनु पयावइ अंधलु १५) ५१ किंसुयइ कसिण घणरत्त २०९ ४८ कुसुम सराउह रूव
३१ ६ केवि दिति रिउणाहह
१९६ ८ को आइन्निहिं वंसवीण
४५ १७८ कोमल मुणालणलयं
३५ १२७ कंत जु तइ हिअय° ५८ *कंतु कहिव्वउ भंति
(पृ. २८) ६२ खणु मुणिउ दुसहु जम १०७ खंधउ दुवइ सुणेवि
२२१ १७२ | गजति तरुणि णवजुव्वणिहि २२० ५४ गयउ गिम्हु अइ दुसहु
२०४ १९२ गयउ दिवसु थिउ सेसु १८० | गयउ सिसिरु वणतिण १३९ गयविदरवि वलाहय १२४ गरुअउ परिहवु
७७ १५७ गाहा तं निसुणेविणु २१४ गिरिणइसमआवत्तं
गिंभताविण खर तविय १५५ गुणणिहि जलबिंदुब्भवहि ११२ | चच्चरिहि गेउझुणि करिवि २१९ १४९ चिकणरउ चंबाइहिं
छाय फुल्ल फल रहिय ६६ छायंती कह कहव
२९ २२१ जइ अस्थि णई गंगा
जइ अत्थि पारिजाओ १४३ जइ अणक्खरु कहिउ मइ १७७ जइ अंबरु उग्गिलइ
२००
४१
१४१
२२२

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सन्देशरासकपद्यानुक्रमणिका
पद्या
१४२
१८२
१३६
९३
१३८ १११
१९४
६५
पद्याङ्क
९ णिवडलहरिघणअंतरि ११५ णिसि पहरद्ध णेय णदीयइ १६ णिसि सयणिह जं खित्तु १५ तइया णिवडंत णिवेसि १०४ तउ पिक्खिय दिसि
११ तणु घणसारिण चंदक्षिण १०० तणु दीउन्हसासि सोसिज्जा १४ तरुणिहि कंतपमुक्किय १२८ तवणतित्थु चाउद्दिसि १३२ तह अणरइ रणरणउ २१८ तह कंखिरि अणियत्ति १८५ तह तणओ कुलकमलो ६९ तह पत्तिहि संसग्गिहि
| तहि सिहरि सुरत्तय | ता कहसु तेण किं सुमरिएण
| ता केम पहिय णिसिसमए १५८ ताणऽणु कईण अम्हा' १५६ तिलउ भालयलि तुरकि ३८ तुय समरंत समाहि ९२ तुरिय णियगमणु इच्छंतु ६१ तुह विरहपहर संचूरिआई
तुहु पुणु कजि हि आवलउ ते य विएसि फिरंतय
१८६
२११
जइ परहुएहिं रडियं जइ पिम्मविओयविसं जइ बहुलदुद्धसंमीलिया। जह भरहभावछंदे जइ मइ णथि णेहु जइ मयगलु मउ झरए जइ वि रइविरामे ण? जइ सरवरंमि विमले जत्थ गओ सो सुहओ जम जीहह णं चंचल जल रहिय मेह संतविअ जलिउ पहिय सव्वंगु जसु णिग्गमि रेणुकरडि जसु नामु अलिक्कउ कहा जसु पवसंत ण पवसिआ जा जस्स कव्वसत्ती जामिणि गमियइ इम जामिणि जं वयणिज जालंधरिथंभजिया जिणि हउ विरहह कुहरि जंबीर सुहंजण नायरंग झसुरु कपूर बहुलु झिज्झउ पहिय जलिहि झंपवि तम वद्दलिण ठाहि ठाहि णिमिसिद्ध ढल्ल कुंद सयवत्तिय णटु मूलु पिअसंगि लाहु पत्थि तिहुअणि जंच णयरणामु सामोरु णवगिम्हागमि पहिय णाहु णवघणरेह विणग्गय णवमेहमालमालिय णहु दलियइ कप्पूरसरिसु णहु रहइ बुहा कुकवित्त णायणिवड पहरुद्ध णिअकवित्तह विज णिट्टर करुणु सद्दु मणमहि णियदइयह उकंखिरिय
१३४ २१६ १२८ ११६
१४८ तंतीवायं णिसयं
२७ २२३
तं जि पहिय पिक्खेविणु तं जं मेहल ठवड तं पहुंजिवि चलिय दीहच्छि दक्षिणमग्गु णियंतह दारयकुंडवाल तंडव
दितिय णिसि दीवालिय १३०
दीहउसासिहि दीहरयणी १२२
दूइजउ दूइय वरहिणिहिं
दोहउ एहु पढेविणु ૨૮૮
धम्मिलह संवरणु न घणु २१ धवलिय धवल संख
धूइजइ तह अगरु घुसिणु १९ धूव दिति गुरुभत्ति १६६ नर अउव्व विभविय ९४ नाएसरि मोडिम पूगमाल
१५३
१५१
१६३
MOCAL
.
Wm

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सन्देशरास कपद्यानुक्रमणिका
निवडंत रेणु धरपिंजरी हिं पउदंडउ पेसिज्ज झाल पर मोडवि निमिसिद्द्भु पच्चास पहूओ पज्जलंत विरहग्गि तिव्व पडिउट्ठिय सविलक्ख पडिबिंब दरसिज्जइ पढवि इय गाह मिय पहिय ण सिज्झइ किरि पहियवयण आयन्निवि दीहर पहियवयण आयन्निवि पिम्म' पहिउ भणइ कणयंगि पहिउ भणइ थिरु होहि * पहिउ भणइ विवि दोहा पहिउ भणइ पडिउंजि पहिउ भणइ पसयच्छ तुरियउ पहिउ भणइ पसयच्छि धीरि पहिउ भणइ पहिजेत पाइय पिय वडवानलहु *पाणी तणइ विउइ पिविरहानल संतविअ पिउ चावद्दहि भणिजइ पिप्पल पाडल पुय पलास पियविरहविओप पुण पिउ समरिय पहिय पुव्वदिसिहि तमु पसरिउ पुवच्छेयाण णमो फलु विरहग्ग पवासि फुस लोयण vas बगु मिल्दवि सलिलद्दहु बहुविविहराइ घण मणहरे हि भमुहजुयल सन्नद्धउ मइ जाणिउ पिउ आणि मइ घणु दुक्खु सहप्पि मच्छरभय संचरिउ रनि मत्तमुक्क संठविउ विवह मयणसमीर विहुय विरहा मह ण समत्थिम विरह सउ मह महिउ अंगि बहु महहिययं रणय निही मह पिक्खिव विभिउ

पद्याङ्क
२१० माउलिंग मालूर मोय १४० माणुस दिव्य विजाहरेहिं ६८ मुक्काहं जत्थ पिए
३ | रमणभार गुरु वियडउ २०८ | रयणायरधरगिरि तरुवराई २८ रयणीतमविद्दवणो १६४
रायरुद्ध कंठग्गि विउद्धी ८५ रुवि खणलु फुसवि ९९ रेहंति पउमराइव १२५ | लज्जवि पंथिय जइ १९८ लहि छिदु विभिउ विरह ११७ ल्हसि अंसु उद्धसिउ ९८ लेसूड एल लंबिय (पृ. १५) लोयणजुयं च णज्जइ ९१
वयण णिसुणेवि मणमत्थ वाहिज्जइ नव किसलय | विजयनयर कावि
विज्झति परूप्पर तरु लिहंति वियसाविय रवियर हि विरह परिग्गह छाड विलवंती अलहंत निंद
| विविहविअक्खण सत्थिहि
५
विसमसिज विलुलंतिय वंक कडक्खिहि तिक्खिहि सकसाय णवब्भिस सुद्ध सलज्ज सिरेविणु पयडि ११४ सिजुन्हनिसासु सुसोहिय सिहणा सुयण खला १४४ | सुन्नारह जिम मह हियउ २०२ | सुरहिगंधु रमणीउ सरउ ५२ सेरंधिहिं घणसारु ण चंदणु १९७ सासित विवज्जइ १९९ सोहइ सलिल सरिहिं १४६
२५
संकेवइ जणइ सुहं वियासु १९५ संदेसडर सवित्थरउ पर
हउ
११०
१०२
१०९
८९ (पृ. २८ )
७५
१३३
५७
९५
१८१
११७
१२०
35
93
७९ | संपडिउजु सिक्खइ २०३ हरियंदणु सिसिरत्थु ११९ हारु कस विधूलावलि २०७ | इंसिहि कंदुट्टिहि घुट्टिवि

९३
पयाक
५६
૨
१२९
५०
१
३३
१५४
६७
३९
७१
२१२
८७
६०
३४
८३
२०५
२४
२०६
१३७
७८
१९०
४३
१४७
१२३
१७१
४०.
१७३
३६
१०८
१८४
१८७
९०
१६१
२०१
८१
८०
२०
१३५
४९
१६२

Page #251

सन्देश रा स क शब्द कोष ।
[अकाराविक्रमानुसार]
| अच्छ - अस् (गु. छु, छे, इ.) अच्छउँ
७९, °उ २०७, अच्छइ ६७, अच्छिहि अ ११३ च (१)
(°च्छ॰) १६७ अइ २१७ कोमलालापेऽव्ययम्
[अ]च्छय १३३ अच्छ अइआवलय ११३ (= अति+आकुल ?) अत्युत्सुक
[अ]च्छि २०७,२२३ (यथा-दीहरच्छि, अइउन्हय १३२ अत्युष्ण
दीहच्छि) अक्षि अइखिन्नि १५१ अतिखिन्ना
अज १०९ भद्य (हिं. गु. आज) अइह २३ अतिस्नेह
अट्ट ३१ अष्ट (हिं. गु. आठ) अइत्थि (अयस्थि) १५९ अगस्ति [ नक्षत्र ] |
अण° (यथा- अणाइ, अणायर, अणंत, अणंग)
नमर्थ अव्यय (गु. भण°) अइदुग्ग १५९ अतिदुर्ग अइधिट्टि १८४ अतिवृष्टा
अणकिय १०२ अकृत
अणरइ १०५ अरति अइमणहर २१६ अतिमनोहर अइमल्हिरय ५० अति+मल्हिरः [ V मल्ह
अणरसिय १८५ अरसिक लीलाकरणे] अतिशयलीलायुक्त, अतिमन्थर.
अणरुइ (द्र० अणिरइ) १९९ अरुचि (गु. महालवु)
अणक्खर २२२ अनक्षर (अनुचितवच
नार्थक) अइरावइ १४० [ऐरावती ] विद्युत्
अणंग ५२ अनंग अइ-सच्छयइ १३३= अतिसच्छायति(?)
अणंतु २२३ अनंत अधिकं शोभते
अणल १२० अनल अउव्व २१९ अपूर्व
अणाइ २२३ अनादि अंसु ८७ अंशु= कान्ति
अणायर १८६ अनादर [ सुय १५० अश्रु (हिं. गु. आँसु)
अणि मिस १४७ अनिमिष अकयत्थ ९२ अकृतार्थ
अणिरइ १९९ (द्र० अणरुइ) भरुचि अर्थक [अ]करिस (उ) १९५ उत्कर्ष
अणुअंचि १३० अणु+अंच्; [द्र० भविसयत्त[अ]क्खर १९ अक्षर = वर्ण
___कहा- अणुअंचि] अनुगत्य अक्खि १७६ अक्षि (हिं. गु. आँख)
अणुराय १५७ अनुराग अगर १८९ अगर
अणुराइय° २२ [*अनुरागिक] अनुरागिन् [अ]ग्ग १५४ अग्र
अणुसरिय २८ अनुसृत अग्गइ१५१ अग्रे= अतः परम् (हिं.गु. आगे) अणेग° १७७ अनेक [अ]ग्गि २४ अग्नि (हिं. गु. आग) [अ]त्त २५ आर्त (यथा-दुक्खत्त = दुःखात) अग्गीहर १९४ [°हर = घर] अग्निगृह अत्थ° ९२ अर्थ अचिंतिय २२३ भचिंतित
अत्थम ११३ अस्तमन अच्चरिय १२० आश्चर्य (हिं. गु. अचरज) अत्थमण ११७ = अस्तमयन अञ्चहिय २२१ अत्यधिक
अद्ध २५ अध्वन्

Page #252

सन्देशरासक - शब्दकोष
अद्धावय १९५ अर्धावर्त (अर्धोत्कलित ) | अवत्थ १०५ अवस्था
अंग २५
अंगभंग १०५ अंगव्यथा
[अं] गुटु ४१ अंगुष्ठ ( गु. अंगुठो ) अंगुल १८९
[अं] गुलि ६६ ( गु. भाँगळी ) अंचल ९८ ( गु. चळी) [अं] जुलि १३० अंजलि
अंत २२३
अवसु १९९ अवशम् = अवश्यम् अवहार = अव + धारयू, अवहारि ३० अस १५८ (?) असु; भाशा असंचर १४५
असमत्थ ८० असमर्थ
अंतर १४२ अंतराल, ६४ दैर्घ्य, ९४ अभ्यंतर असहंतिय १३१ असती [अं] तरिय १९३ अंतरित असुह १३९ असुख [अं]धार १३९ अंधकार ( गु. अंधार, असेस १९२ अशेष अंधाएँ )
अन्न १८९, ४६ अन्य अनय ६४ अन्य
अन्नइ ११७ [ अन्यत् + चित् ? ]
( गु. अने )
V अप्प = अर्पू ( गु. आप ) अप्पियइ १२४
अप्प ९५ आत्मन् अबुह २१ अबुध
अवहत्तण २१ [ 'तणस्वन] अबुधत्व अभितर १९४ अभ्यन्तर
अमंगल १०९
अमल १७३
अमिय २३ अमृत अमियमयूह १३७ अमृतमयूख = चन्द्र अंबर १४८ = गगन, १०१ = वस्त्र
अंबुहर १३९ अंबुधर
अम्हारिय १०५ = अस्मदीय
अरमणीय १५७, = करपत्रम् अरविय १३७ अरविंद
अरु २५ च = अथ च ( हिं० अरु )
अन्यच्च
अलिय १३८ अलिक अलिक २११ मलिक
अवर ९६ अपर अवलोइय १८४ भवलोकित अवलोयण ९४ अवलोकन

असेविय' १९३ असे नित असोय २११ अशोक अह ५४, १३५ अथ अहर° ५१ अधर अहव १८३ अथवा अहवा ९१ अहिणवियअइ ४४ ( ° वियइ ) अभिनूयते अहि° १३५ अधि
39
अहिय ६७ अधिक
आ
'आइ २२३ आदि
33
आइ १९१ द्र० - आयय आइयय ४१ आयय आइन्निहि ४५ द्र० आयण्णहि [आ] उन्निय २२२ आपूर्णित (यथा
'अरुण ५० = अरुणख, 'अलंकरण १८७
आइयय ४१ = आययय आइ १९१ = आय; आयय
अलय ८७ भलक
अलहंत १८ अलभत् - भलहंतय ४९, अल- आयण्ण ('न्न) = आ + कर्ण हंतिय १४७
° [आ] उल १४६ भाकुल = व्याप्त
[आ] उलिय ९४ भकुलित = व्याकुलित 'आह' १०५ आयुध 'आएसियय ६५ आदेशित = आदिष्ट आयय ६७ आगत (हिं. आया )
दुखाउन)
आपणहि ८५, भायन्निहि ११८,
आयन्नि ३०,९८ 'आयर १८६ आदर

९५

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९६
'आखिरि ९३४ [ आ + /कांक्ष- इर ] आकांक्षन्ती
सन्देशरासक - शब्दकोष
इक्क १०० एक
इक्क - इ९९ = एकदापि, एक + चित् ? (गु. एक्के) इकलिय १९२ ० इक इक्किक्क १६६ एकैक ( गु. एकेक ) इक्ख' १२५ इक्षु ( गु. ईख )
आकंतिय १३१ आक्रान्त आकोयण १२३, १२५° ( उ ) कोयण, [ यथा - मणाकोणि ], मदनयुक्तचेष्टा = (= मदनचेष्टायुक्त
'आगम ५३ = आगमन [आ] डंबर १४८
[आ]ण २४ आनयन / आणू = आ + नी
( गु. आणवु )
आणि १९७ आनीय; आणिय १९९ आनीत आभंगियइ १०१ अभ्यङ्ग, अभ्यज्यते आलय ६२= नीड आलंकियय ४८ [ अलंकिय ] अलंकृत आलसि १०५,१५१ अलस (गुं. आळसु ) आलिंगण ९४ आलिंगन
आवय १९५ (? उत्कलित ) 'आवरिय ८७, २२३ ( ? आवृत )
'आवलय ११३,८८ (= आउल ) व्याकुल [आ]वलि २६
आवाणिय १९४ ? V आवू [ आपू ? आविहसि १९१, (आ) विय १९७
]
'आस' ८५, 'आसा' १०६, आशा
● आसणय ८६ आसन ● आसंग ९४
आसन्न २९
आ + गम् (गु. आचलूँ)
V आसा [ आ + / श्वास ] = आश्वासय् ० आसासि ९८, आसासिज्जइ १८, √ आसीस् = आ + / शास्
आसी सिवि २२२, आसीसय ४४ (सिइ ? ) आशिपा आहरण १६७ आभरण
इ

इअ १९३ इव
इय ७४ इमाम्
इकट्ठ १८० एकस्थ ( गु. एकहुँ ) इकत्ति ८० एकत्र = = एकस्मिन् इकल्लिय ९२, इक्क° १९२ एकाकिनी
( गु. एकली )
इच्छ= √ इच्छ् (गु. इच्छयूँ ) इच्छन्त ८२, इच्छन्तिय १९८
इच्छ १०९ इच्छा
इच्छा १६९
इणि ११३ अस्मिन् इत्थंतरि १०७ अत्रान्तरे इंदीवर २९ इंदो १४३ इन्द्रगोप
इम ९४ एवम् (गु. ऍम, इम ) इहु १५२ एषः = एतद्
ईसरसरि १५५ ईषत् स्वर = लघुशब्द
उ
उ १५१ उत = प्रत्युत (?) 'उयर° ११८ उदर उक्कंखिरि ९४ [ उद् +कांक्ष्+इर ] उत्कंठिता; द्र० उकिंख
उक्कंठ १२० उत्कण्ठा
उक्कर १४१ उत्कर = समूह [] ६९ ( गु. उकरडी ) उक्किंख १०८ उत्कांक्षा
"3
'कोण १०४ उत्कौकुच [द्र० आकोयण ] [3]ग्गड १८१ उद्गम उग्गिलन्त १०० [ उद् + गिल ] ऊद्गीरन् V उच्चर् = कथ्
उच्चरहि' (हिं) २१६ उच्च्चरिय ४४
उच्छल = उत् + क्षिप्
उच्छलि १६२ ( गु. उछळवु ) [3] छत्त १२० उत्सिक्त
उज्जगय १०५ [ / उज्जग्गू < उजगिर ],
उज्जागर
उज्जल ५१ उज्वल
उज्जाण ५४ उद्यान
उट्टंत १३६ उत्तिष्ठन्ती

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उट्टिय १९२ उस्थित उड्डीय २५ १
उदीय १८२ (?) न आनम्यते
उन्नस्ता
उत्तरि ९७ उत्तट्ठिया ८३ उत्तंग २४ उत्तुंग
उत्तरायण ११२
उतावलय ९२ उत्सुक, (गु. उतावळु ) उत्तावलि २६
उद्धसिय ८७ (१) [ उद्ध्वस्त ? ] उद्धषित (?)
उन्नय° ४५ उन्नत
-सन्देश रासक - शब्दकोष
उन्नमित
उन्नमिथय १३३ उन्नवियय १४८ उन्हय १३२ उष्ण ( गु. ऊउँ ) उन्हत १०७ उष्णश्व; अग्नि उत्पत्ति ८९ उत्पत्ति ff ८७ फिक्क (गु. फीकुँ ) खिन्न [3]ब्भव १३७ उद्भव
'मुक्क २५ उन्मुक्त
उयारय १८८ कक्षा; उपवरक (गु. ओरडो)
[ उयरिया, ओयरिया ( राजस्थानी - भोवर) ओअर - अपवरक ]
उन्नय १४५ } [ उद्+रु+न]
अधिकं रुदितं ।
'उल° १४७ कुल
उल्लिहर ४१ [ उद् + लिख ] उल्लिखति V उल्हवू = वि + ध्मापय् (गु. होलवयूँ ) = विध्याति
उल्हवइ १३७, उदहविय १४९
उरुदाव-यरु ६७ [ √ उल्हव् +कर ] विध्मापक
उवर १३५ उदर = उरस [] १९८ उपरि
उवम १९९ उपमा
उवेज १३६ उद्वेग
उससंतिया ८३ उच्चसन्ती
उवाढयणि १९९ (?) गर्दभी
'उव्व २१९° पूर्व
उग्विन ६८ उद्विग्न, उठिवन्निय १६९, या ८५.
उसास ११८,१९२ सच्छ्रास
सं० १३
ओलवयूँ,

ऊ
ऊसारिय १८६ उत्सारित
ए
एय २० एतद्
एग १८० एक
एम १९९ एवम् (गु. ऍम )
परिस २१७ ईश
एह ९१
एहु २०४
एषः, एषा
ओ
ओसास ९७ (१) उच्लास
ओस १८३ मोससिउ = [ अवश्याम-सितः ] उच्छ्रसित (गु. ओस )
[ओह ] १११ ओघ
य ( श्रुत्यात्मक )
य १०३, १७६,२२३ च
यण १९३ गण
'यण २१८ जन
यर १३७ [ कर ] किरण
यल ५५ तल
'यल ५१ दल
市
क १८ क ( प्रश्नार्थ सर्वनाम ) के ४५ केचित्
९७
को पुण ९४ कः पुनः ( गु. कवण )
कु-वि १४८ को पि
किं-पि ६८
किवि ९१ ( किं वि) कुइ ४२ कु.वि
का वि कापि (स्त्रि. ) को-इ ५२ कमपि - अवर्ण्यमित्यर्थः ।
कत्थि ९२ कृतार्था
कइय° १२२ कदा, कइय-लग्गि १२२ कदाप्रभृति ( द्र० कग्गि )
'कओल १८७ कपोल
कय (इ) वर ४४ कविवर कज २२३ कार्य कट्ट १८० कष्ट

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सन्देशरासक-शब्दकोष
कडयइ-आकृष्यमाणकोदण्डस्य कडकड | कलयल १४४ कलकल
" इति शब्दे, कडयडवि १८५ | कलस २९ कलश कडक्ख १२३ कटाक्ष
| कल (गु. कळवू) कलिजहि ५२ कड्डिय० १७७ कट्टकृष्ट (गु. काढवु, चित्र- कली २०५ कलिय, कलि (गु. कळी)
काढवू इत्याधर्थक) कल्लोल १४२ कढिण ८५ कठिन
कवण ६४ प्रश्नार्थ सर्वनाम कण° ११८
(गु. कोण, हिं. कौन) कणय २४ कणयंगिकनकाङ्गी
कवाल ८६ कपाल-शिरोऽस्थि, भाल (गु. कंटअ २०६ कंटअग्ग-कंटकान
कपाळ) कंठ १५४
कवालिय १८५ कापालिक कत्थवि ४४ कुत्र+अपि
कवित्त १० कवित्व कदम १४३ कर्दम
| कवोल ५२ कपोल कंखिरि १३३, कंखिरी २२० -कसिण ८७ कृष्ण = कालिमा
कांक्षन्ती कंत ७६ कांत, कम्तय १६७
V कह्न्थ् (गु. कहेb) कहउँ ६८, कहउ ९१, कति ८७ कांति
कहसु [कथ+स्व] ८२, कहह ६८, कहु
९१, कहिय ९२, ११०कहिजवदेः, कंदप्प १७८ कंदर्प कंदुह १६२ उत्पल [कंदो नीलोत्पलम्]
कथेः, कहिज ८८, कहिजसु ७४, कहिसु
९१, कहवि ७४, कहिव्वउ ९९, कहा कपूर १७९ कर्पूर
णिज ९१ कहिय ११७, कहियय ९१ कम ३० क्रम = पद
कहि १०५ (कहि ण सकउ = कथितुम् न कम्म १९९ कर्म
शक्रोमि (गु. कही न शकुँ) कर-कृ (गु. करई) करेइ १०४, करेहि |
कहणह ८० (कथनस्य) कथनाय २०५, कीरइ १७९, १९४ (कीरहि) करहि ६८, करि १०९,
कहणु ८१ कहणु न जाइ - कथितुम् न
याति करिवि ८८, करवि १९, करि ९२, किय १९४, कीय १९९, कियय! कह-क कुत्र १५४ १०२, कीयय १९९
कहव १५७ कथमिव कर १३० हस
कह कह वि १८ कथं कथमपि कर १३१ किरण
°कह १८२ कथा करयल १४२ (कलयल) कलकल कहि ४१ कुत्र (गु. कर्हि) Vकरप्प-कृन्त (गु. करपर्दू)
काँइ १२४ (काह) किम् (गु. काँ, काँह) करप्पियइ १२४ कर्ण्यते काय २१६ काया (गु. काय) कार २१८ करलय १४१ (१) करल: पगदण्डकः
काम १८२ (गु. पगदंडो-डी) चरणवीथि कामिय २२ कामिक (गु. कामी) करवत्त १२४ करपत्रम् (गु. करवत) कामिणि ५० °नी (गु. कामनी) करि ४६ करिन्
| कारंड २१७ (१) मण्डलम्, नीडम् करुण' १३४
कारुन २१७ कारुण्य कल. १८३
काल ९४ समय कलयंठि १४४ कलकंठी = कोकिला . कालंगुलि ८१ कनिष्ठागुलि

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सन्देशरासक-शब्दकोष कावालिय ८६ कापालिक
| केलीहर १९४ कदलीगृह कावालिणि ८६ कापालिनी
1 °कोअण ४७ कौकुच द्र० कोयणि काहल°४५ काहला
कोयंड ५२ कोदंड कि ७७ (किं) किम्
कोइल १४८ कोकिल किंकिणि २६ °णी
कोऊहल १९ कौतूहल किम ६९ (किव) कथम् (गु. केम) कोऊहलिय ३० कौतूहलित किम्मइ १२८ किम+इ (<वि < कोलिय° १९ कौलिक = तंतुवाय
अपि) (गु. केमे) कोसिल्ल १८६ कौशल्य किरण° १४१
ख किरि ९९ किल
खयहि १३७ खयह (?), अपयति किसण १४८ कृष्ण
खजोय १६५ खद्योत 'किसलय° २०५
खट्टंग ८६ (?)खट्वाङ्ग = पल्यपाद; योग्यु. किहु ९६ (=किहु = किं खलु) किमपि
पकरण कीर २१७
खण १९ क्षण कुकवित्त २१ कुकवित्व
खंभाइत्त ६५ स्तम्भतीर्थ (गु. खंभात) कुट्ट १७३ प्रहार
खर १४२ कुडिल° १७७ कुटिल
Vखल-स्खल, खलहि ५४, खलिय ८७ कुंडवाल° १७५ वर्तुल (गु. कुंडाहुँ) खल १८४ (गु. खळ)
कुंड-कुंडलिय-कुंडवालः [यथा चक- खाम ११८ क्षाम चालिय-चकवाल; पेंड-पेंडलिय-पेंडवाल, खामोयरिय ११८ क्षामोदरी सुख-सुद्धवाल]
खार° १३७ क्षार (गु. खार) कुण्डलिय ४९ कुण्डलित = कुण्डलाकार Vखिज्ज=खिध, खिजउ १६५ कुंकुम ८७ (गु. कंकु)
खिन्नि १५१ खिन्न कुंज° १६४ क्रौञ्च [ गु. कुंजड़ें] खिलंतय १७४ V खिल्ल =कीइ (गु. कुंजर' १३३
खेलढुं) कुंद-चउत्थि १९५ कुन्दचतुर्थी (चउ- Vखिव ()खिवह १३७,२१० (क्षिपति) स्थि-गु. चौथ)
खिवंतिय १४०,१४१ द्योतन्ती कुंभ १००
| खित्त १३६, खित्तय १७८ क्षित Vकुण् = कृ, कुणइ १८३, कुणंति १४३ खिसिय २६ / खिस = सृप (गु. खसर्दू) Vकुणाकण (?) कुणाइ २१७ कुण खुव (खुवइ ८६ दूरीभवति (गु. खोदूं)
कणति (१) कुर्वन्ति, कुणंती १५५ खेम १५१ खेद कुप्पास २८% कूर्पास, कझुक कुरंगि ९७ कुरंगी
गय ५८, गइय १९१ गत कुवर २२२ कुप्यति
गय २६,८७, १०५, १७१ गति कुसुम १०६
गयण १३९ गगन कुसुमसर १३७°शर
गग्गिर २९ [ । गग्ग्+इर (1)] गद्गद कुहर ९२
Vगज = गर्जू (गु. गाजवू) गजति २२०, केलि १८०
गजत २०८, गजिउ १४२

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घ
-
-
सन्देशरासक-शब्दकोष गण-गण (गु. गणधु) गणंति २०६, गणिजद्द २०६
घडिय १५४ घटित (गु. घडवू) गठि २७ ग्रंथि
घण १०६ घन, घणउ ५२ (गु. घणु) गंड ४८
°घण°१३३ मेघ गंध १८४
घणसार १३८ घनसार गंधकरिस १९५ (गंधुकरिस) गंधोत्कर्ष
घर १६७ गृह (गु. घर) गंधमोअ २०३ गंधामोद
घरणिय १०३, घरि-गृहिणी (गु. घरणी, गंधवहि १३३ [वहिन] गंधवह
घरुणी) गम् = गच्छ् , गमहि १०२, गमियइ १४२, घल्लिय ९२ क्षिप्त (गु. घालवू)
१५८, गम्मियइ ११७, गमिजइ ६४ घुट्टिवि १६२ Vघुट पिष् गमिय, १८०, गम्मियउ
घुरहुरइ १३९ सरोषं गर्जति गम ११३ गमन
घुसिण १७८ घुसूण गमण १०९,
घोर° १३९ गरिट्ठ ३१ गरिष्ठा गरुभय ७७ गुरु (गु. गरb) गरुय १३९ गुरु
चय = त्यजे, चइवि २७ गल १७१ (गु. गहुँ)
चउ०४३ चतुर् गलत्थिय १५० क्षिप्त
चउकय १२५ चतुष्क गह-ग्रह गहिवि १५१, १९७
चउमाणी १५६ चतुर्गुणा (गु. चोगणी) 'गहिल्लिय १९६ [ग्रह+इल ] ग्रथिला (गु.चउदिसि १३९ चतुर्दिशः घेली)
चउवेइ ४३ चतुर्वेदिन् । गांढय १८९ गाढ (गु. गाढुं)
चकावट्ट १७७ चक्रावर्त गाह ८३ गाथा
| Vच = चर्च्, चञ्छति १३८, चश्चिय १७७ . गिजइ १५७/गी
चचंकिय १६८ [चर्चालित ] अर्चित गिंभ १३९ ग्रीष्म
|चच्चरि २१९ चर्चरी गिम्ह° १३०, २०४ ग्रीष्म (गु. धीम) चड्= आरुह्(गु. चड्दु, चढवू) चडइ गिर° २९ गिरा
१०६ (चटति); चडाइयइ ५२ V गिर-गृ, गिरंति २०२, गिरंत १५७
(चटाप्यते); चडि १४४; चडिय गीय १८० गीत
____१४४, चडी १५१ 'गुण १३७
चंचल° २६ (गु. चंचळ) गुण ९७ ज्या
चंद १२२ चंद्र (गु. चाँद, चाँदो) गुरु १६९ महत्
चंदण १३७ चंदन गुहिर १३९ [ <गभीर - गुहा] गभीर चंपएल १८७ चंपकतैल (गु. पैल) गेय १५७
चंबाय ५३ १ = उपानह [ <चर्मपाद ?] गोयंगण १४६ (१) गवां व्रजः
| चमकय ५०% उपानहश्चमचमशब्दः । गोयंगण १४६ गोपांगना
चमकरि १७१ [चमकरी] चमकारकागोआसण १६९ गवासन
रिणी 'गोवर १७८.(2) गोपुर
चरण २७ गोस ११३ [प्रभात ] दिवस
चलंति १०५ चलंती

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सन्देशरासक-शब्दकोष चलिय २६ चलित चलण २५ चरण
ज २० यद् 'चलत्थ १६९ (१) तुरंगवलस्थिहि -तुरंगम
जु ७६ यद् शालासु
जं २७, २२२ यावद् ल:चत्य,(गु. चालवू)चल्लाह ४५, जय जयउ २२३ चल्लियद ११३
जइ ४३, १९१ यदि चल्ल ४५ चलचल शब्द
| जइवि १०० यद्यपि चवण ९४ [चर्षण] दशनखण्डन चाइ ४४ त्यागिन्
जइय ९४ (जइमा) यदा; जइय कालिचाउदिस ६५ चातुर्दिश
___ यस्मिन् काले चावइ १३३ चातकी
जग १३७ जगत् (गु. जम) .. चिकण ५३ स्निग्ध (गु. चीक])
जग्गंत १५८ जग्ग= जागृ (गु. जाग९) चित्त ९६ चित्र
जजरिय ६७ जर्जरित (गु. जाजरूं), चित्त १६७ चित्रविचित्र
जडिअ १५४ जटित, खचित-(गु. जडवू) चित्त १८५ मनस् (गु, चीत)
Vजण = जनय, जणइ १३७ (गु. जणq). चित्तविचित्त १६७ चित्रविचित्र जण २१६ मनुष्य (गु. जण) चित्तहर १८५
१९, १७५ बहुवचना, समूहाथै चिंतिय २२३ चिंतित
°जणण १३६ जनक चिर ११४
जणु ६१, १७० (१), २१६ (१) इव चिरग्गउ १८१ [चिरगत ] चिरप्रवसित । जत्थ ११२ यत्र धुबण ९४ चुंबन
Vजंप=जल्प, जंपउँ ३०, जंपह १२१,
जंपती ५०, जंपिरी १८२, अपिम्बर Vछड-मुच्, छडिवि ७५
८२, जंपिय २२२, (जंपिज) °छण १९५ [क्षण] उत्सव
| जम° १३२ यम छन्नउ १४३ छन्न (गु. छान) छम्मयल १६० [छनतल (2)] =पाताल
| जम्म १३७ जन्मन् छय १३७ (१)क्षत
| Vजलज्वल (गु. जळवू) जलइ ८९, °छल १७९ (गु. छळ)
जलंतिय १३३, जलिय १८५
जल १६२ नीर, २४ अधु छाय ६४ छाया छायंती २९ छादती
जाया (गु. जादु, जई) जाउ ९१,
जाइ ८१, जंत १०९, जति १४०, छायउ ६४ छादित (गु. छायु)
जाइमइ ११३, जाहि १०, 'छार १२० [क्षार] रक्षा (गु. राख; छार)
जाइसि ११, जाइ ११४, जाइब्वऊ "छावड ७८ (१) शरीर छित्त°४७ क्षिप्त
जाईहल १४४ जातिफल छिद्द २१२ छिन्द्र
{जागतिय १४७ /जागरजग्ग-जागृ छिहंत २५ स्पृशन् , क्रामन्
(गु. जागती) Vछुड छुद [छुद्द], छुडवि २६
जाण-ज्ञा, (गु. जाणवू) जाणियह ६५ छुद्ध १७९ छूट % क्षित, ..
जाणिवि १९, जाणि १८१,जानिय छेअर १८ [छेकतर?] छेक = निपुण
कथयेः

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सन्देशरासक - शब्दकोष
जाम २२३ यावत्
Vझलक झलक (गु.झळकवू) झंल. जामिणि १५५ यामिनी
कंति १३१, झलकंतिय १४० झलजालंधरि ६६, १२३ कदली
किय १०६, (जालझलकिअउ) जि २६ एव (गु.ज)
झलकंत १३२ (ज्वलत्) जिण= जि, जिणिवि १०१
झसुर १७९ नागवल्लीदल = ताम्बूल जिणण १२२ जयन
झाल° १२० ज्वाला (गु. झाळ) जिण्ण १६५ जीर्ण
'झालावलि १७० ज्वालावलि जिम ६१,१०३ यथा (गु. जेम) | V झिज्झक्षीय, झिज्झउ १६५, झिाइ जिह १६७ यासाम्
___ १५६, झिझंति १०३, झिझंत १६५ ।। जीय १५४ जीव
झीण° १७१, सीणय ५३ क्षीण, सूक्ष्म (गु. जीवजीव् , (गु. जीवb) जीवउ १०७,
झी]) जीवंतय ११४,
Vझुण = ध्वन् , झुणंतिय ५३ जीह १३२ जीता
'युणि १३४ ध्वनि जुय १८९ युग
Vझूर = V क्लिश (गु. सूरतुं) सूरत ९५, जुयल ५१ युगल
___ झुरंत १२३ जुयलय ५२ युगलक
Vझुल्ल = प्रेखोल (गु. झुलवू) झुलंति १३४ जुत्त २२२ युक्त जुन्न २१४ = जूर्ण, जीर्ण (गु. जूY) जुन्ह २६० ज्योत्स्ना
Vठा=स्था; ठाहि ३०, ठिय (हिय) ७५ जुवाण १७४ युवन् (गु. जुवान, जवान)
ठव स्थापय , वह २७, ठविय १३५ जेम २२३ यथा (गु. जेम)
ठाइ ४३ (गु. ठाम) [<#स्थामन् ] स्थाने Vजोय = पश्य (गु. जोb) जोयंतय ५४,
जोइवि १६९, जोयय (इ.)२५, | Vडज्झ= दय् (गु. दाझh) डझंति १५० जोइयय ९७
°डर १९३ [दर] भय (गु. डर) जोयण ६४ योजन
डसन ५० [दशन] दंत जोइक्ख १७६=ज्योतिष्क, दीप
झखड १९२ हुंडयालकनाम पवन, १३२
| ढंखर १९३ फल-पत्ररहित शुष्कप्राय वृक्ष ___ महावात (हिं. झंखड)
दुक्कय १८६ टुक (गु. दूकधू) लुकउ =
डुढौके = ढोकयामास प्राप्तः । Vझडशद् , झडइ १०६%झटति झाडि १९२ (झडी) निरन्तरवृष्टिः
ण-न शत्ति ८९ [झदम, इति>त्ति] झत्तिहिं | ण ७८, न ७७, न १५९ झटिति
| णं १८२ (१) न झंखर १३२ शुष्कतरु () (गु. झाँखर) °णं २९, १८२, नु वित झंपभाक्रमय, झंपवि १४८ (१)व्याप्य; णहु २०६, २२२ न खलु (२) भाक्रम्य
'नयण ६४ नयन झंपाच्छाद् , झंपंती २९, झंपियय १२२ णयर ४१ नगर Vझरक्षर, सरंत १२२ (गु. झरb) णकंत १०४ [१] नक्रान्त = नासिकान्त झल १३.७ मला मृगतृष्णा
[२] नतान्त रात्रिप्रान्त

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सन्देशरासक - शब्दकोष
/ णश्च नृत्यू ( गु. नाचवु ) नच्चीयह । णिस २८ (१) नेत्रपटम्
(नचि ) २१९
णज्जइ २४ शायते
णिद्दय ९५ निर्दय णिइयर ६७ निर्दयतर णिद्दोस ९९ निर्दोष
ट्टणिय ४५ [ नट्ट = नट् ] नर्तिका
'नड' ४६ नट
जिंद ९४, मिं १९०, १९१ निद्रा (गु. नींद ) णिन्नासण १५८ [ निर्+ /नाश ] निर्णाशक निने ९९, निने १०१ निःस्नेह 'णिवद्धय ४५, नि° ५२ निबद्ध णिब्भय २०८ निर्भय
g १०० नष्ट
णत्थि १८ नास्ति ( गु. नथी ) नंदीय (णि) १८२ निद्रीयते मर ४६
नलचरिय ४४ नलचरित
नव ५३, नवय १०० नवीन ( गु. नवुं ) णव २७ नवन् (गु. नव ) णवजुव्वणी २२० नवयौवना
( गु. नवजवान )
णह ५१ नख
णह १४० नभ
reवल्लिय १४८ ( णहवल्ली ) विद्युत् णार १११, ५२ णाय १७०, णायं ५३ इवार्थे
णाय १४३ नाग = सर्प
णायर° ४२ नागर 'णाडर ४६ नाटकिन्
णाम ६४, ना° २११ नाम णारि १७४ नारी
गाव १४२ (१) नौ ( गु. नाव ) णाविय १९७ ण + भविय (गु. नाव्यूँ )
णाह ६७ नाथ
णाहि ४९ नाभि
णि १९, निय २९ निज णिअत्तय ३० निवृत्त णिउइ ११२ नियोजित णियय १६९ (?) नियत Vणिअ = इशू, नियंत णियंती णियंसण २८ निवसन = शिरोवस्त्र णिग्गय १५४ निर्गत
१५९,
णिग्गम ६९ निर्गम
निग्धिण ८५ निर्घृण णिश्च ११५ नित्य
णिडुर १६६, जिरह ६९ ( °य ) निठुर णि १०२ निय

'णिब्भर १२० निर्भर
निर्भति १३८ निर्भ्रान्त णिमिस ९६ निमेषम्
मिसिद्धु १९, ३०, १८२ निमेषाम् णिम्मल १८३, नि० १६० निर्मल 'णिम्मविय ३१ निर्मापित रिक्खर १९१ निरक्षर निरंतरिय १३४ निरन्तर १४३ निरवक्खि ७८ निरपेक्षम्
णिरु ४३, १०२ निश्चितम् ; ६८, ९५ नितराम् निलय ७७
णिवड १३४ नि° ५७ निबिड णिवडन्भर ४७ ('ड') निबिडोद्धुर निवडंत २१० निपतत्
'निवह १३३
णिवेहिय १८९ निवेशित; निविष्ट विसियय १३० प्रवसित
निविड २१९ निबिड
'णिवेसिय ९५ निवेशित
१०३
निस १५५, णिसि १०५ निशा (गु. निश)
णिसायर ८७ निशाचर
णिसियरिय ८७ निशाचरी
णिसुण = निशृणु, णिसुणि ३०, णिसुणेहु १९, णिसुणेबिणु १८, ४१; शिसुणेवि ८३
णिस्साहार १३४ निराधार ; = निस्साधार
णिहू = दृश् (?) हिद्द २४ पश्यति हि ३१ निधि fuge ११५ निभृत नीर १०२

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१०४
'नीरहर° १४८ वर
V नीसर = निर्+सृ ( गु. नीसरहुँ) नीसरह ५४ 'नीसास ८३ निःश्वास ( गु. नीसासो ) य ३०, ९९, १६९, १८२ नैव णेह ९१ स्नेह
णेवर ५२ नूपुर (गु. नेवर ) त
त ९४ तद् ( दर्शक सर्वनाम ) तं १३५ तद्
सन्देशरासक - शब्दकोष
तक्खर ९५ तस्कर
V तग्ग = (?) तग्गमि १६४ = तद् गमे तरगत १५८
V तज्ज = तर्ज्, तज्जइ १२०.
तड १६३ तट
√ तडयड = दह्यमानवस्तुनः तडतडेति शब्दे, ( गु. तडतडवु ) १४८, १८५
तडडवि
तडतडयड १३२ टनटनटद्
( गु. तडतडतड )
V तडक्क - सहसा प्रकाशे, तडक्क तडत्कारं कृत्वा, तडत्करोति । तडिनय १४३ अत्यल्प (?) (सं. तलिन
=
तइय १००, १९१ तदा
तउ २८, १३५ ततः तो १८ [] २९ ताडंक ४६ कर्णाभूषण तावत् (गु. तो )
'तरंग' १४५ तरंगिण १३३ 'णी
सूक्ष्म )
)
तण १८७, १८९, तणु ६७ तनु (गु. तन तणि ९४ ( गु. त, तणी )
'तप्त १८२ तत
तत्तक्खण ८२ तरक्षण (गु. ततखण ) तंडव १४४, २१२ तांडव
तं तु २१० (?) तं+तु
तम ११७ तमस् 'तमहर ९६ तमोहर
तरणि १३१
तरल १४८
तरु° १४४ तरुय १९२ तरु

तरुणि १७५ णी तवणतित्थ ६५ तपनतीर्थ, सूर्यकुण्डम् V तव = त, तवंति १३१, तविर्हि १३७, विय १३०, तवियय १३९ तवण' १३७ तपन = सूर्य
तह ६७ तत्र
तह १८१ ( तहवि ) तह १०४ तथा
| तहि (वह ) ६४ तदा
| तहेवि १८१ (१ तहेव ) तथैव
ता ३० तदा, ७९ तस्मात् ताकं १०४ (१) ताकं देशी = तर्कयामि
'तामिच्छ ४७ कज्जल ताराहिवर २४ ( ताराधिपति) चंद्र
तारायण १४३ तारागण
ताल २१९
ताव २७ तावत्
ति° १८ त्रि तिउर ४२ त्रिपुर
तिक्ख १२३ तीक्ष्ण ( गु. तीसुँ) / तिड (?) - तिडइ १३२ शुध्यति (?) तिण° १३१ तृण
१४८ तित्थ ९६२ तीर्थ
/ तिप्प = तिष्य, तिप्पंति ९४०
तिम १०३, २२२ तथा ( गु. तेम ) तिमिर° १९३
तिरच्छ ९७ तिर्यच् ( गु. तिरहुँ) 'तिरच्छिय ४७ [ तिरष्छ+ ° इय <° इस ]
तिर्यकृत
| तिलय १६८ तिलक
V तिलक्क = तिलकाङ्कितं कृ, तिलकिवि १६८ तिवल ४९ त्रिवली
तिव्व १२० तीव्र; तिब्वयर १३१ तीव्रतर
तिहुयण १८ त्रिभुवन
तीय ११२ तृतीय तीर १७४
तुच्छ' १३३
√ तुट्ट = त्रुय्यू, ( गु. तूट ) तुट्टह ४७, तुही ७८ ( गु. तूटी)

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तुडिय २७ त्रुटित तुंग ४२ तुंबर ५३ तुंबरु
तुरक्क (?) ४८, १६८ तीक्ष्ण तुरंगम ९४२
तुरिय ८२, तुरियय ५० त्वरित तुरिय-इ २२३ त्वरितम् +अपि
'तुलय ११४ तुल्य
तुसार १८६, तुसार १८४ तुषार तुहिण १९३ तुहिन
तुहु ८८, २२२ त्वम् तूं ७७ स्वम् तूर° २१८
तेय १३२ तेजस
सन्देशरासक - शब्दकोष
थ
थक्किय १४२ [ Vथक्क <स्था+क्क ] स्थित थड्डु १५० स्तब्ध
थण १५० स्तन
थणवट्ट ४९ स्तनपट्ट
थरहरिय ६६ कम्पित ( गु. थरथर ) थिय ११३ स्थित ( गु. थयो ) 'थर' २४ स्थिर
थूल° १९ स्थूल 'थोर' २४ स्थूल
तेम २२३ द्र० तिम ( गु. तेम ) तो २९ द्र० त
√ तोंड = त्रोटयू, आच्छोटयू ( गु. तोडवु ) दिण १२४ दिन तोडइ २५, तोडि ६६
द
दइय ९४ दयित दय ६८ दया
दयवर ४४ (दि° ) द्विजवर, दयापर (?) दक्खिण १५८ दक्षिण
V दड्ढ = दह, दड्ढए २२०, दढ १६६, दुद्ध ७७ दुग्ध

दर १४८ दर्दुर दप्प १८५ दर्प दर २८ ईषत्
दरसिज १६४ ( दरि ) इयते सं० १४
दरसिय २२३ ( दरि ) *दर्शित दृष्ट 'दल ५१
V दल = दल्यू ( गु. दळवु ) दलियइ १८८ 'दव ६९
दविण १०१ द्रविण
दस ६४ दह ५८, १४५ दशन् दसण १३७ दशन
दसिय १३७ दष्ट
V दह ( गु. दहवें ) दहइ १३२, दहन्त २००, दहेवि १०८, 'दहण १३१ दाहक
'दह १४४ ( < ग्रह ) हद
Vदा = दा, दंति १७१, दिति १७६, दिजइ ६९, दीयइ १८२, दिन्नय १८०
दारय १७५ दारक दियह १२३ दिवस
दिप १७९ [ दिनप्रभु ] रवि दिबिंब ११३ [ दिनबिंब ] रवि दिणसेस ११० [ दिनशेष ] अस्त दिट्ठ १८ दृष्ट
दिट्ठी १२० दृष्टि
दिवस ९५
दिव्व' १६८ दिव्य दिस ५८ दिसा २०१ दिसि २२३
}
१०५
दिशा
| 'दी उन्ह' ८३ [ दीन्ह ] दीर्घोष्ण दीयइ १८२ (१) दीर्यंते दीण २४ दीन
दीव १११ दीवय, १७६ दीप ( गु. दीवो ) दीव १११ द्वीप 'दीवर २२ दीपंकर
दीवालिय (?) १७६ दीपालिका, दीपमालिका ( गु. दीवाळी )
V दीस = इश्यू ( गु. दीसकुँ ) दीसहि ६८, दीसइ ४२, १७४
दीह २५, दीहर २४ दीर्घ
दुक्कर २०४ दुष्कर दुक्ख ९२४ दुःख

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सन्देशरासक - शब्दकोष दुक्खिजि १८५ (१) =दुःखार्ता धुक्खंतिय १०७ धुक्ष् ज्वलन्ती दुक्खिनिया ८५= दुःखाकीर्णा
(गु. धखy) (गु. दुक्खिणी) धुत्त १९२ धूर्त दुग्ग ८२ दुर्ग, २०८ दुर्गम अप्राप्य Vधूअ धूपय, धूइजइ १८९ दुग्गच्चिय १८ [दौर्गत्य+इक ] दुर्गत धूम १०९ दुग्गम ११७ दुर्गम
'धूव १६९ धूप दुच्चिय ११२ [ द्वौ चैव द्वावपि दुत्तर १४२ दुस्तर
पउयण १०२ प्रयोजन "दुद्धर° १४८ दुर्धर
पउक्क १११, पउक्कय २१७ (2) प्रयुक्त दुम्म १२४ द्रुम
पउदंडउ १४० (पयदंडउ) पगदंडश्चरणदुसह १२०
मार्गः (गु. पगदंडो, पगडंडो) दुसहउ १४८ दुःसह दुस्सह १३१
पउम ११७ पद्म
पउहर २४ पयो दूअ १९७, °दूअय १९६ दूत
पय १२१ [ पद ] शब्द दूर° १९२ देह (स्त्रीलिंग) ७८ (गु. देह)
पय ५४ पाद, पउ मोडय ६८ = उपविश
(गु. पग मांडवो)
पय १४१ पयस् धयरट्ट २४,१७१ [धृतराष्ट्र] हंस Vपयट्ट-प्रवृत्, पयउ ११७ घण° ७९ धनं गोकुलम् (गु. धण) पयड १८८ प्रकट धणु १८५ धनुष्
पयहत्थिण १४१ (१) पादत्राणहस्ताः धन्नय ९४ धन्य
V पयास प्रकाशय् पयासियइ ४३, पयाधम्मिल्ल २५ धम्मिल १०६
सहि १२१, पयासिसु ११७, Vधर (गु. धरv) धरइ ५०, धरन्ती
°पयासिय १९ २१७, धरति १०० = अधरिष्यत् (गु. | पयोहर १७७ धर धरत), धरु १०२, धरि १०९, धरेवि पक्खित्तिय १७० प्रक्षिप्ता १०७, धरणउ ७१
पञ्चक्ख १२२, २०९ [प्रत्यक्ष ] साक्षात् धर १३२ धरा
पच्चल्ल (?) पच्चिल्लइ १२० प्रेरयति 'धर° १४८
पञ्चूस १७९ प्रत्यूष धरत्ति ४१ (रि) धरित्री (गु. धरती) | पच्छिम १५५ [ पश्चिम ] शेष धवल° १४३ श्वेत (गु. धोळु)
पच्छुत्ताणिय १९९ [पच्छ (< पश्च°)+ धवलिय १६३ धवलित (गु. धोब्यु)
उत्ताणिय ] पश्चात्तापो जातः (गु. धवलहर १८४ [धवलगृह ] प्रासाद
पसताणी, धार° १४८ धारा (गु. धार)
पजलंत २०८ प्रज्वलत् धिट्ठ १३९ पृष्ट (गु. धीट)
V पड= पत् (गु. पडवू) पडत १३६, Vधीर = धीरीभू, धीरि १०२, Vधीरव = पडि २८, पडिय १११
धीरय (गु. धीरवधू) धीरवइ २६६ | पडह १७४ °ट (गु. पडो, पडो बजडाववो) धूइण १९३ (१) धूमेन
पडिउत्त २२२ [प्रतिवृत्त ] प्रस्थित, प्रयुजित धुय २०९ ध्रुवं (उत्प्रेक्षायाम् ) मन्ये
(प्रयुक्त)?

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सन्देशरासक-शब्दकोष
१०७
V पडिउंज प्रति+युज , पडिउंजि ९१ प्रेषय | परिगमिअय १५९ [परिगमित] परिसमाप्त पडिबिंबय १६४ प्रतिबिंब
°परिग्गह ७८ ग्रह पडिभिन्न १८४ [प्रति ] विद्ध परिघोलिर' ४६ [परि+V घोल+इर] पडिल्लिय १६२, पडिल्ली ८९ देशीत्वादधिकम्
परिघूर्णायमान पडिलिउ १०६ द्विगुणम् परितव-परि+तप्, परितवइ १३५ पडुत्तय १२४ पडुत्त = पडिउत्त [ Vउंज = V परिभम परि+भ्रम्, परिभमंति २१८, पडिउंज] प्रचलित, प्रस्थित
परिभमइ १०२ V पटुंज [प्रति+युज् ] प्रेषय् , पहुंजहि ११०, परिभमण ५४ भ्रमण
पडुजिवि २२३ परिवडिय १२१ पतित V पढ= पठ् (गु. पढवू) पढइ १८३, V परिवस = परि+वस , परिवसइ १३४
पढंत २२३, पढिजसु ७१, पढवि ८५, परिवाडि ७५ [परिपाटि] उचितमार्ग,
पढेविणु १५१, पढिव्वउ २०, पढिय ८३ । परिवाडि ण होइप्रतिपन्नं न भवति पंडिय २१, पंडियय ४२, पंडित
परिहर = परि+ह, परिहरवि १८८ (गु. पंड्यो, पंडो) परिहव ७६ °भव पंडित्त २० पंडित
V परिहिंस- परि+हिंस, परिहिंसिपंडित्त १९ पांडित्य
यहि १३७ पतंग १११
परुप्पर २०६ परस्पर
पल १०६ मांस पत्त १३४ पत्र, १८ नागवल्लीदल
पलट्टिहि ११७ द्र० पलुट पत्त १३० प्राप्त पत्थर १५४ प्रस्तर (गु. पत्थर, पथरो)
पलास २०९ [पलाश ] (१) पलाशवृक्ष
शन, राक्षस पंकिय ४८ [पंकित ] = पङ्काङ्कित
पलित्त २२२ प्रदीप्त, प्रलिप्त (?) पंखुडिय २७ प्रस्खलित। °पंगुरण १६७ प्रावरण (गु. पाँगरण)
पलिस्थिहि (पलस्थहि) ९७५
प्रलिप्त (1) पंच ७४ (गु. पाँच) पंचम ५३, पंचउ १८३ पंचमस्वर
/ पलुट =प्र+लुर, पलुटन्ति १९५ पंति १३४ पति (गु. पाँत, पाँति)
V पलुट्टप्रति+आ+वृत्, पलटिहि ११७, पंथिय ७१ पथिक (गु. पंथी)
पलुट्टि १३०, १९१ Vपभणप्र+भण्, पभणिज ८५,
पलोइय १६०, पलोइयय ९७ प्रलोकित पभणिय २२२
पल्लंघ १८८ (पलंघ, पल्लंग) पर्यङ्क, पल्यङ्क पमाण ७९ प्रमाण
(गु. पलंग) पमुक्किय १६४ प्रमुक्त
पल्लव १३४ पर ७६
पवण १९२ °न
पवन २४, पवनय १३९ [प्रपन्न ] प्राप्त पर ७९,८१, परि १८९ परं तु परएस १५९ °देश
पवर ५३ प्र परवसी २१७ परवशा
पवस=प्र+वस् , पवसिहि १९३, पवसंत °परावसी १५१ परवशा
७०, पवसिइ ४३, पवसिभ ७०, परिखंडण १४५ खण्डन
पवसियय ९४ °परिखिल्लरी २१९ [परि+खिल्ल+इर] /पवह प्र+वह् , पवहंत २५ (संचरन् ), परिखेलन्ती
पवहंतय १४१, पवहंति २४

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सन्देशरासक - शब्दकोष पवाल ६१ प्र
°पास २१५ 'श पवास ११४ प्र.
पासाहण १७९ प्रसाधना पवाह २४ प्र.
पिय ८८ [प्रिय ] प्रियतम (गु. पियु) पवित्थरण १९ [< प्र+वि+V स्तु]
पिक्ख = प्र+इश् (गु. पेखवू) पिक्ख १९९, प्रविस्तारक पविस-प्र+विश (गु. पेसई)
पिक्खइ ९६, पिक्खेविणु २६,३१, पिखिवि पविसंत ४६
२०३, पिक्खिवि ५४, पिक्खि ७८, पसंग ४१ प्र
पिक्खिय १७० V पसरप्र+स (गु. पसरवू) पसरि ५८,
पिक्खणय ५३ प्रेक्षण (गु. पेखण) पसरिय ११७
'पिजइ १९५ [V पीय = पिब् (गु. पीवू)] पसर ६६ प्र.
पीयते पसिज = [प्रसीद्य] प्र+सद् (सीद् )
द (सीद) पिम्म ११५ प्रेमन् पसिजि ३०
पिंग ५३ पसिद्धय ६५ प्रसिद्ध
पिंजरी २१० पसुप्पइ १८८ प्रसुप्यते
पीण ४५ °न पह २३ °थ
पीसियइ १८७ /पीस-पिष्य °पहय १०३ महत
(गु. पीसवु) पिण्यते पहंजण १३२ प्रभंजन
पुक्खर १४१ [ पुष्कर ] मेघ °पहर १५५ प्र०
पुक्खरि १४१ पुष्करी नदी पहराविय ७८ प्रहरित
| Vपुच्छ-पृच्छ (गु. पूछर्दू) पुच्छउ १२१ पहल्लिर १३३ [प्र+हल्ल = चलू+इर ] पुण ६७,
. (गु. हलवू, हालवू) पुणु ४४, पुणि १०१। पुनः (गु. पण) पहिय २६ पथिक
पुण पुण वि १०७ पुनः पुनरपि पहु २४ [प्रभु] पति
पुणन्नवय ११० पुनर्णव पहुत्त ११०, पहुत्तय १९२, पहुत्तिय २९ =
पुनरुत्त १०९ [पुनरुक्त] पुनः पुनः प्राप्त (गु. पहोंती)
पुंछिय ९८ [V पुंछ = मृज् ] पाइ १९१ पापिन्
___ प्रमार्जित (हिं. पोंछना, म. पूसणे) पाइय १५७ प्राकृत पाइय १५७ [प्र+आप्] प्राप्त (हिं. पाया)
| पुंज ११८ (गु. पूज, पूँजो) पाइय ८९ [पादिक ] पदचारिन्
पुन्निय १६९ पूर्ण पाउस १३९ प्रावृष् [हिं. पावस, मराठी
°पुप्फ २०२ रुप
पुरउ २० पुरतः पाउस]
पुव्व ११२ पूर्व पायय ४३,१८३ प्राकृत
पूरिय १९७ पूरित (गु. पूरी) पायार ४२ प्राका
पेसिय १९६ पेसियय ६५ प्रेषित पामर १९ पाली ७९ [पालिका] गोपालिका
Vपेस% [V पेह अथवा / पास (?)] दृश
__ पेसइ १४१, पेसिजइ १४०, पेसिय ९५ पाव १५४, पाउ २०६ पापम्
पोरिस' ७७ पौरुष (गु. पोरस) पाव%प्र+आप्, पावहि ९४ पावयण° २८(= पावणय = प्रापनक) प्रापन पावास ११८ प्र
फणिंद १४५ फणीन्द्र पावासुय १०२,१४२ प्रवासिन्
Vफंसस्पृश, फंसहि ९८ प्रमार्जय

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सन्देशरासक - शब्दकोष
फरस १९२, फरसय १८, २२२, फरसिय | विवाहरि ११३ ° धरी १४४ परुष (गु. फरसुँ )
फरस ९४, फरिस १९१ स्पर्श फरि सिउ १३२ स्पृष्ट्वा 'फल' १९३ ( गु. फळ ) फलसेवि १८३ 'विन्
फलहार १३३ भार
√ फिर = परि + वृत्, प्रति + आ + वृत्, गम्, फिरंत १६८, फिरंतय १०३ भ्रमन्तः (हिं. फिरना, गु. फर )
फुट्ट १५४ स्फुटित ( गु. फूट्यूँ ) V फुड = स्फोटयू, फुडवि २८
फुड १२१ स्फुट V
/ फुर =
= स्फुर फुरइ १२२, फुरन्त १२०, फुरिय १६०
'फुलिंग' १२० स्फुलिंग 'फुल' १९३ पुष्प (गु. फूल ) फुस [ स्पृश् ] = मृज्, फुसइ २५, ( उत्फुंसति ) फुसंत ९५,
फुसे विणु १०७, फुसवि ६७ फोफल १८८ पूगफल, पूगीफल
( गु. फोफळ )
ब
बग १४० बक ( गु. बगलु ) बंध १५४ बंध, १८ काव्यप्रबंध
बम्हजु १८९ ब्रह्मयुग
V बल = ज्वल (गु. बळवु ) बलइ ११३ बल ९९ ( गु. बळ ) बहिरयति २१८ बधी" बहु १३९ ( गु. बहु )
बहुरूपि ४३ ° पिन ( गु. बहुरूपियो ) चित्रविचित्र वेशधारिन्
बहुल १७९, बहुल १८१ बहुल बालय १७४ क
बाह ५१ बाहा = बाहु ( गु. बा, बांय) बाडि ८१ बाहा, बाहु
बाहिरि ५४ बहिः ( गु. बहार ) 'बिंदु १५०

विरुड २४ ( वरड ) वरटा ( बिरुडलक: भ्रमरी मध्यमध्या)
बुद्धय १७९ प्रबुद्ध बुह २१
बुहयण १९ बुधजन 'बुहत २१ बुधत्व बे ८० द्वौ, (गु. बे )
बोल = व्यतिक्रम्, बोलेवि ११३ बोलयित्वा = निर्गमयित्वा
V वोल = निर्मजयू, बोलियेतो १०० अम्रक्ष्यत् बोलाविय ४९ वाचालितः ( गु. बोलाव्यो, बोलावियो )
भ
भय° १४०
भग्ग १९३ भग्न (हिं. भागा ) भरि ९८ [ V भज ( भञ्ज ) + इर ]
भज्यमान = भन्न
भक्ति १५९ °क्ति भंग १४६ व्यथा भंग १७७
१०९
भण (गु. भवु भणइ ८५, भणे ९५, भण ८०, भणेविणु ९६, भणिवि १३७, भणिय ३१
/ भंज = भञ्ज् ( गु. भाँजवु ) भंजि ११७ 'भम = भ्रम् (गु. भमवु ) भ्रमहिं ४६, " हि १७५; भमंत १९९, भमिर १७४
= भमंत
भ्रम° ९७ भ्रम
भमर २०५ भ्रमर ( गु. भमरो ) भमुह° ५२ भ्रू (हिं. भौं, गु. भवु ) Vभर = ट, भरु
१०२,

भरवि १००,
भरिय १६२
भर ४७
भरह २१६ [ भरत ] साभिनयगान भाइयइ ५२ [ <भावियइ = भाव्यते ]
संभाव्यते
भाय १९, २१६ व

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११०
भाउल २०८ [ भा+आकुल ] कान्त्याकुल भारह ४४ [ भारत ] महाभारत भाल ४८
भालयल १६८ 'तल
V भास = भाष, भासियइ ४३, भासिय २३, भासिय १९
सन्देशरासक - शब्दकोष
भट्ट (गु. भेट), भिट्टियइ १०१ प्राप्यते मंडिय १७६, मंडियय ४२ मंडित भित्ति ९६ ( गु. भाँत ) भिस १७१ बिस
मत्त १८९ मात्र
भीड ६२ संमर्द (गु. भीड )
भुअंग १३७ भुजंग
'भुण १३०, १९४, भुवण ११७
भवन (गु. भुवन )
भुवण १६२ भुवन
भुवणुप्पर १८८ [ भवनोपरि ] भुवनोपरितनभाग
'भेय २० भेद
'भेसिय १४० भेषिका
म
म १०९ मा ( गु.मा, म )
मइ २३ मति
मइरद्धय २२ मकरध्वज
मय° ४६ मद
मयउ ८३ मृगव्यु
म १८७ [ मदन ] सिक्थम्, ( गु. मीण) मयणअग्गि २२२ मदनानि
मयणमन २२ मदनमनस्
मयणवट्ट ४८ [ मदनपट्ट ] कुचस्थल
मयरद्धय २०८ मकरध्वज
मण ४७ मनस् ( गु. मन ) मणमत्थ ८३ मन्मथ

मयवट्ट १७७ [ मदपट्ट ] हृदय
मयूह १३७ मयूख मग ४९ मार्ग ( गु. माग ) मच्छर° ९४६ = मशक ( गु. मच्छर ) मज्झ ४७, १०४ [ मध्य ] कटि मज्झयार २१ [*मध्यकार ] मध्यम,
मध्यस्थ
मधुजम्
मणहर १४६ मनोहर
| मणुजण १९ [ मनुजन ] मनुष्याः | मनोहरय १७३, मणोहरी २१६ मनोहर मंडल १८५ ( यथा परमण्डल) (१) योगवर्तुल ( २ ) परमंडल = परदेश मंडलिय ४९ त
मत्तमुक्त १९५ मात्रामुक्त, अधिक मंगल ११० मंगलम् ( गु. मंगळ ) मंजरि २१५, मंजरी २१० मञ्जरी मंथर २६
मन्नाय ( मन्नाव ) = अनु+नी ( गु. मनाव हुँ) मन्नाइ ७१, मन्नाएवि ७४ √ मर = मृ ( गु. मखँ ) मरमि १६४,
मरउ १०७
| मरणाअहिउ ७६ = मरणाधिक मराल° १६४
मरु २१० मरुत्
'मल १७३ ( गु. मळ ) 'महिरय ५० द्र० अइमल्हिरय
महंत १४५ महत्
V महमह = गन्धप्रसरणे ( गु. मघमघवु ) महमहइ ६३, १८३, महमहिय १४६
महाविस १४५ [ महाविष] अतिशय जल (?) महि २१० ही
महियल ६५ तल
महिल १६६, महिलिय १७६ महिला
| महिलव १६६ (१)
गयमहिलव =
गतमहोलवाः = गतमहोत्सवाः
महीरुह ६३
महुयर २९६ मधुकर
महुमास २०० [ मधु' ] चैत्रमास महुरयर ४३ मधुरतर
V मा ( गु. मा) माइ १५५ माति,
मावद्द १४१
'माल १३५ °ला (गु. माळ ) 'माहप्प १९ माहात्म्य

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सन्देशरासक-शब्दकोष
१११ मिअणाहि ४८ [ मृगनाभि ] कस्तुरी रयहर २२ (रइ.) रतिगृह मियच्छि ६५ मृगाक्षी
रच्छ १७५, रच्छि १६७ रथ्या मियनयण ८५ मृगनयना
रडरद (दर्दुरस्य मयूरस्य वा शब्दे); V मिल (गु. मळवू) मिलि २०२ ।
(गु. रडवू) रडंत २१२, रडिय V मिल्ह = मुच् , = उज्झ (गु. मेलq),
१४४, रडण १४८ मिल्ह उ ८६, मिलियइ ११३ (गु. मेलीए), रणरणय १३१ असुख (औत्सुक्य ?) मिल्हिहइ १९१, मिल्हेविणु १८१, मिल्हवि रत्त २०२ [ रक्त ] लोहित (गु. रातु) १४४, मिल्हि १५८, २२२, मिलिहय ९२ रत्तय ९९ अनुरक्त मुय = मुच्, मुयइ १३५
रत्थि २१८ रथ्या, द. रच्छि मुइअ ७०,°य १५४ मृत (गु. मुई)
| रंग १०० अनुराग मुक्ख १८, १९१ मूर्ख
रंग १४६ आनंदातिरेक (गु. रंग, यथा रंगे मुच्छ = मूर्छ , मुच्छिजहि ४६
रमधू) Vमुण= [म्ना] ज्ञा, मुणइ ६४, मुणहि २०, रंग-रज्य् (गु. रंगb) रंजियइ १०१ मुणंती १०० अज्ञास्यम् ; मुणवि
रयते १९९, मुणिय १८३, मुणिअय १९७ रंजियय १२१ रञ्जित मुत्तिय ११८ मौक्तिक (गु. मोती)
रन्न १४६ (१) अरण्य; स्थल मुद्ध २५ मुग्धा
Vरम = रम् (गु. रमई) रमिहि १६७, मुंध ८७, मुंधि ८२ मुग्धा
रमंतय १६७, रमियइ १४६, मुरय ४५ मुरज
रमिअय १५९, रमिर १७४ =
रममाण मुह १७९ °ख (गु. म्हे') मूल १९८ मूलधन
रमण° २६, ५० नितंब
रमणि २४, रमणी° २१८°णी मूलत्थाण ६५ मूलस्थान नगर (मुल्तान)
रमणीयण २१८ गण मूंदडउ ८१ मुद्रा (गु. मुंदडी)
रमणीय १८४, १५७ २१८ मेघ (गु. मेह, राज. म्ह) मेहल २७°खला
रवनय १८० रमणीय (हिं. रवन्नक, रौनक) V मोड = मोटय् (मराठी, मोडणे), मोडइ
रवि ११०
रविंद १८३ अरविंद २५, मोडवि ६८ मोर २१२ मयूर (गु. मोर)
V रस = रस् , रसइ १४८, रसंति १७१,
रसिय १४४ मोह १५१
रस २२
रसणा २६ °शना रइ २३ रति
रसिय २२°क रइ ८५ (रय) रतम्
Vरह = वस् , स्था (हिं. रहना, गु. रहेदूं) रइय १०६, रइयय १९ रचित
रहउँ ७२, रहहि ११३, रहइ ११८, रउद्द १४८ रौद्र
स्थास्यति (गु. रहे) रहहि ११३, 'रय १९९ रत,
रहिय १५९, रय १७९ (१), रउ ४५, रव २१८ रव= रहंग १७१ थाङ्ग शब्द
रहस° १७९ रभस रयण° ४६ रन
रहसच्छल १७९ रंहसोच्छलेन 'रयणि ९५, रयणि १५७ रजनी (गु. रेय) रहिय १९३, रहियय ९१ रहित

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११२
सन्देशरासक-शब्दकोष
__मलिप्त (?)
राअ १००, राय १०१ [ राग] अनुराग ललियहीण १८[ ललितहीन] लालित्यहीन राईव १३७ राजीव
Vलवलप् (गु. लवधू), लव १६६ रायमराल ४१ राजहंस
Vलह = लभू (गु. लहेवू) लहंत १८, राय १८३ संगीतस्य रागः
___ लहंतय ८९, °लहंतिय १४७, लहि २१२ रामायण ४४
लहरि०२०८ री रास १६७ रास = नृत्य (गु. रास, यथारासे | Vलहलह = तरलशिखायुक्तज्वलने रमवु, रास रमवू)
लहलहइ १८२ रासउ ४३ रासकः (गु. रासो)
Vलाय% लागय्, लाइयइ १८९ राह २४ राहु
लाह १९८ लाभ रिउ १९२ रिपु
V लिह = लिख , लिहइ २३ (जानाति), रिउणाह १९६ [ऋतुनाथ ] वसन्त
लिहिवि ८८, लिहिय ९६ रिक्ख १६० [ऋक्ष ] नक्षत्र
V लिह = लिह, लिहंति २०६ 'रिल्ल १६२ जलप्रवाह (गु. रेल) लीलंतिय ५३ लीलां कुर्वन्ती °रिसिय १५९ ऋषि
°लुद्ध २०५ लुब्ध रूअ० ७९ रुत
'लुल १४३ लिप्त (?) यथा कर्दमलुल = कर्दरुणझुण २०५ भ्रमरगुञ्जने रुणझुणउ ६५ (मेखलाशब्दे) रणझणत्कारः लल लुट् , लुलइ ४९, लुलंत १७३ रुद्ध १४५
Vले-ला (गु. लेवु) लेविणु ७१, लइवि रुन्नु १०९ रुदितम्
९८, लइ ९८, ९४ (?), लय (2) रुन्नय ६८ रोदन
८६, लिय १६८, लीअय १७६ (हिं. Vरुव रुद्, रुवइ २५, रुवंत २१४, रुइवि लिया) ६७, रुयविरुयवि १०९
Vलेव = लेपय् , लेवियइ १८७, लेवियय रोवरोद् (गु. रोवु) रोवंतिय रूव ५४ रूप
लेह ८८ [ लेख] लिखितसंदेश रेणु २१०
लेहय ६५ लेखक = लेखवाहक V रेह-राज, रेहइ १४०, रेहइ ४८, रेहति लोड २११ [लोकः ] जनाः
'लोयण २५ लोचन रेह १४० रेखा
लोह ९२ लोभ ल्हसिय ८७ सस्त (गु. लसवु) गत,
झसित लइ २३, १३४, १८६ वाक्यालंकारे (गु.
ले. मराठी, लइ) 'लय २७ लता
व २९, १२३ इव 'लक्क २४ कटि (गु. लॉक, लंक)
वयण ८३चन (ग. वैण) लक्खण २३ लक्षण
वयण ९८°दन लच्छि २०५ [ लक्ष्मी ] शोभा
वयणिज्ज १५५ वचनीय Vलज = लज्ज (गु. लाजवू) लजंति वंस ४५ [वंश] वेणु (गु. वाँसळी)
१५०, लजिजउ ७०, लजिवि ७१ वक्खर ९५ [उवक्खर<उपस्कर ] उपस्कर, रद्ध १९४ लब्ध (गु. लाधq)
वस्तु (गु. यथा घरवखरी, लंविय ६० लम्ब
'वाखरो)
व

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सन्देशरासक - शब्दकोष
[ चक्खाण = व्याख्यान ] | 'वहिय १०५ बाधित ( व्यथित ? ) प्रशस्यते (गु. वखाणवुं ) वहारगए १७३ यथा विहितं (?) Var ( गु. वावु ), वाइ २१० वाउलिय ९४ व्याकुलित वायंतय १७५ वादयत् 'वाडय ४६ पाटक ( गु. वाडो )
वखाणि ६५
Vवश्व = जू, ववउँ ६५, वच्च ७५
वज १५४ वज्र
वजंतय १७४ वाद्यमान ( गु. वाजतु ) 'वजय १७३, वज्जियय १८७ वर्जित
√ वज्जर = कथू, वज्जरहि ११०, वज्जरिय ६७ | वाम° ८६ दक्षिणेतर V वट्ट = वृत्, वट्टहि १२३, वट्टियइ १०१
वट्ट २२२ वर्त्मन् (गु. वाट )
'वट्टिय ८३ आच्छादित, व्याप्त
वडवानल ८९
वाह १८१ प्रवाह
√ वहु=वर्थ्, वडए १२०, वडहि, वड्ढि हि वि १८, ८० अपि
वद्दल १४८ मेघ (गु. वादळ ) वंक° १२३ वक्र (गु. वाँकुँ)
११२
वण' १३१ वन
यते
वणिजइ २०८ (?) वाणिज्यं करोति, व्यामि विअड' १८, विडय ५० [ विकट] निबिड विअडबंध १८ [ विकटबन्ध ] सुप्रथित विअड्ड २३ विदग्ध विअस=वि+कस, विभसंत २०१, वियसेविणु १०४, वियसाविय १३७ विस २०९ विकास
'वण्ण' ४५ वर्ण = अक्षर
वर° १४४ श्रेष्ठ
'वरच्छण १९५ [ वर क्षण ] वर महोत्सव
वरसरि १४२ सरित्
वरसंतिय ८३ वर्षन्ती ( गु. वरस ) वरिस २०४ [ वर्ष ] वर्षाकाल
V वल = वल ( गु. वळवु ), वलइ १०२, वलिवि १३०
'वलय १४६ = वर्तुल
वास १६० 'वास १८८ सुगंध वासिय २३ वासित
विजय २०० वियोगिन् विद्धी १५४ विबुद्धा
वरक्किय ९८ (?) पटी = वस्त्र (गु. वरक, विउणय १३६ द्विगुण °ख ? )
विएस १०३ विदेश
वलाय १६० बलाहक वलियडय ८० वलय
'वल्लह १९६, वल्लही २०३ वल्लभ ( गु. वहालो, वहाली) वव्वीहिय १४० चातक ( गु. बपैयो ) वम्मह° ९७ मन्मथ
'वस ९५ वश
वसंत २१५ (गु. वसंत )
√ वहू = वहू (गु. वहेवुं ), वहह १३२ ( वायुः ), वहन्तय १०२ ( जलं ), वाहिज्जइ २०५ ( उद्यते ) सं० १५

विअक्खण २३ विचक्षण
११३
विओय ७० वियोग
'विओइरिय ११८ [ वि + √ युज्+इर (?) ]
चियुक्ता
वियंभिय १४३, वियंभियय ११५ विजृम्भित विग्विण ८५ [ विभिन् ] विघ्नकारक
/ विचर = वि + चर्, विचरिज २०८ 'विचित्त १६७ विचित्र विचित्तिय १७० विचित्रित विच्छाइय १८८ [ विच्छादित ] विस्तारित (हिं. बिछाना, गु. बिछाववँ )
विज्ज १९१ (१) विदित्वा ; आवेद्य, आविद्य विज' १९ विद्या
√ विजंभ = वि+जृम्भू, विजंभइ २५ | विज्झति २०६ विध्यं ते

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सन्देशरासक - शब्दकोष V विडंब = वि+डम्ब् , विडंबइ ७६, विसंतुल १३०, विसुंठलय (विसंतुलय) विडंबिअय २४
११५ विह्वल, विहलंघल विणय २२२ विनय
विसाल ६३ विशाल विणग्गय १२२ (विणि ) विनिर्गत
विसुद्धय २२ विशुद्ध °विणोअ ४४ विनोद
विसेस २०१ विशेष वित्त ९९ वृत्त= छन्दस्
विहंगम १६३ V विदर%3Dवि+ह (दार), विदरवि १६०
विहल १३० विह्वल विदीर्य
विहलंघल १०५ विह्वल विदुम° ११८ विद्रुम
विहसंती ४८ विद्धी १८२ विद्धा
विहाणिय १९९ विभाता (गु. वहा] = विन्नि ८५ द्वौ (गु. बने)
प्रभातम् ) विप्फुरंत २०० [विस्फुरत् ] विस्फोरयत्
विहाविह १४३, १६७ (विहाविय = विभाविबुह २० विबुध
वित) विधविध विमल १६४
विहि° ३१ विधि विभिउ ४७, २०७ [ विस्मितम् ] आश्चर्यम्
| वीण° ४५ °णा विभविय ४६ विस्मापित विभल ४६ विह्वल
Vवीसर=वि+स्मृ, वीसरइ ५४ विरत्त १००, विरत्तय ९९ विरक्त
वुल्लीण २०४ गत, बोलीन
वेय ४३ वेद विरह २४
वेयण ९९ वेदना विरहग्गि २४ विरहाग्नि
वेसि २०१ वेशिन् विरहायण ११२ विरहकाल
वेसा ४६ वेश्या विरहणि २२ (हिणि) विरहिणी विराम १००
वेसावाडय ४६ वेश्यापाटक (गु. वेश्याV विलग्ग = वि+लग्य, विलग्गिवि २७,
वाडो) विलग्गिय २८
'वोमयल १३२ व्योमतल विलत्तय १७८ (विलि) विलिप्त
Vवोल = व्यति+क्रम् , वोलियय १८४ विलवंति ७९ विलवंतिय १३५,
वोलंत ९५= अब्रवीत् विलवंती १९० विलपन्ती विलसियय ७७ विलसित
सइत्ति १६९ मुदिता विलास २९
सइवत्ती १८ (सय ) शतपत्री Vविलुल = वि+लुर , विलुलंतिय १४७, सउ ७९,९९, ७४ समम्, सार्धम् विलुलिय ८७
सउणि ६२ शकुनि
सउणियण १९३ शकुनिगण विवरीय ८७ विपरीत
सउन्न २४, ९८ संपूर्ण [स+पूर्ण ? ] विवलसिय २८ दूरीभूत (2)
सय ६२ शत विवह १९५ (विविह) विविध
सयण १९४शयन विविह १३५ विविध
सयल ४२ सकल विस १३७ विष
सयवत्त १६१ [ शतपत्र ] कमल 'विस १४५ = जल (2)
सं २०१ सम्यक् (?) विसम ८६ विषम
संवच्छर° ११४ संवत्सर
विवर° ४९

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११५
/ संवर = सं+, संवरि १०२, संवरिवि २७, | सत्थर १८६ [ स्रस्तर ] शय्या ( गु. साथरो ) सत्थरण १३६ [ स्रस्तरण ] शय्या
संवरि २८
संवरण १०६ संसग्ग १३४ संसर्ग
√ संस = शंस, संसियहि १३७ 'संसित्त १०७ संसक्त संसोसिय १९९ संशोषित
सकसाथ १७१ कषाय
'सकुलिय २३ शष्कुलिका [ यथा, कर्णशष्कुलिका ]
सकोमल १२३ कोमल
V सक्क = शकू ( गु. शकयूँ ), सक्कउ ८८, १०५, सक्कइ १४८
सगग्गिर २९ गद्गद 'संकास १६३ संकाश
'संख १६३ शंख
संखेव ६४ संक्षेप
संग २३
संगम ९४
V संगह = [ संग्रह ] ग्रहणे, संगहवि २० सच्चु १९७ सत्यम्
सचविय ९६ [ सत्यापित ] साक्षात्कृत
सच्छ २८ स्वच्छ
जय १७८ [जित ] प्रसाधनार्थे रचितः ( गु. सज बँ)
सजिय ५३ सज्जित
संजीवयर २२ [ संजीवकर ] पुनरुज्जीवक संझसिय २८ [ संध्वसित ? ]
संभ्रमित,
संझसित
सह १९ स्नेह ( गु. सनेह ) संठविय १९५ संस्थापित "सत्थ ४३ [ सार्थ ] सह ( गु. साथ ) 'सत्थ १७५ सार्थ = समूह
सद्द १४८ शब्द संतविय २५ संतापित
'संता ७६ संतापः

/ संतोस = सम् + तोषय, संतोसिहइ १९७ संदेसय ६८ संदेश
संदेसय ६९ संदेश
सन्नद्धय ५२ संनद्ध
| सन्निह १६७ संनिधि
सप्पुरिस ७६ सत्पुरुष
सबर १८५ शबर
सब्भय २०८, सभय ११७, सभय सम ४७ सह
सज्झर १४३ (?)
संचडिय १४६ [ सम् + चड ] आरूढ 'संचर १४५
संचरिय २७ संचलित
संपुन ४२ संपूर्ण संपुन्निय १८० = भाग्यवती
संजाण = [ = सम् + ज्ञा, संजाणिवि १५१ उपलक्ष्य | संभरंत २१४ संस्मरत् ( गु. साँभरवु ) संजणिय २०९ संजनित
संभरिय १८४ संस्मृत
'समत्थ ८०, २० समर्थ समस्थिम ७९ सामर्थ्य
समरंत ८६ स्मरत्
समरिय १८१ स्मृत
V समा= सम् + मा ( गु. समाएँ ), समाइ ८१, समाण ८०
समाहि° ८६ समाधि समीर' ६६ समीरण १३१ समुट्ठिय १३७ स्थित 'समूह १३०
संपडिय २० [ संप्रतित ? ] लब्ध सांपडवु
संमाणिय ७८ [ समान ] सह, यथा- तुअ संमाणिअ = त्वयुक्त संमीस = सम् + मिश्र, संमीसियइ १८७
'सर° ५३ शरद्
सर १४४ स्वर
°स° २७ (गु. सर, सेर )
°सर २३ सरस
( गु.

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११६
'सर' ८३ शर
V सर = सृ, सरइ १८३, सरंत २०० V सर = स्मृ, सरवि ९७, सारसि १६५ स्मारयसि
सरय° १२२ शरद्
'सरय १६१ सरस्
सरयासरि १७१ शरत्+श्री
सरण ९५ शरण
सरल ६१
सहिय १६९ सखी (?)
सहार २११ सहकार
सरलाइ वि २६, सरलयवि १२३ सरलयित्वा सहीय २०२ ( सहिय ) सखी ( गु. सही )
सा २७
सरस १४०
'सरि १४२ सरित्
'सरि १७१ श्री
'सरिच्छ १३३ सरक्ष
'सरिस १७६ सहश
सरिस १८८, १७९, सरिसय १८७ सह (गु. सरसुँ)
सरीर १३६ शरीर
सरोरुह ४२, ६४, १२० सरोसय १३९ सरोष
सन्देशरासक - शब्दकोष
सलज्जर १४३, सलज्जिर २७, सलजिरिय ९८ ( लज्जिर = / लज्ज+इर) सलज्ज सलाइय १७६ शलाका ( गु. सळी ) सलिल' १३३
सलिलब्भव ६६ [ सलिलोद्भव ] कमल सवण २३ श्रवण
'सवण १०९ स्रवण
सवसेय १०३ [ स्व + वश्य ? ] वशीकृत सवि २०९ सर्व ( गु. सौ, सरखे ) सवित्थरय ८० सविस्तर
सविलक्ख २८ विलक्ष = हीयुक्त सविलास २९
सव्व १८५ सर्व
सव्वइ ६४ सर्व + अपि
सव्ववार २१ सर्ववार
V सस = श्वस्, ससइ २५, ससिवि ६६,
ससि ११८
'ससि ९८ शशिन्

सवियणि ६४ शशिवदना
ससिहर ४२, ९१ ( शशधर ? ) चंद्र ( गु. शशियर )
V सह = सहू, (गु. सहेवु ) सहमि १६४,
सहउ ७७, १४८, सहद्द ११८, १३२, 'सहंतिय १३१, सहप्पि १९९, सहवि १४८
साइय ९५ स्वामिन्, (हिं. सांइ ) सामलिम २४ श्यामता 'सामि ७९ स्वामिन्
सारस ५३, सारस १६५ 'सारिच्छ ५० सहक्ष
सालूर १४४, सालूरि १५५ शालूर, दर्दुर 'साव' २०२ सर्व (गु. साव ) सास ६६ श्वास ( गु. सास )
V साह [ शास् ] = कथ्, साहेइ ८२, साहि
१०४
'साह २५ शाखा
साहार° १३४ = अवलंबन, सहाय
(हिं. सहारा )
सिय° २८° सियल २१० शीतल
V सिक्ख = शिक्ष (गु. शीखवु ) सिक्खइ २० सिंगत्थि १९९ शृङ्गार्था सिंगार १६७ शृङ्गार (हिं. सिंगार ) सिज्ज १३६ शैया (गु. सेज ) V सिज - सिय्, सिज्जइ १११ शुष्यते √ सिज्झ = सिध्य् ( गु. सीझवु ), सिज्झइ ९९, सिज्झ १०९
√ सिंचेइ २०८
सिंच = सिच् ( सिच् ), (गु. साँच सिणेह १०० स्नेह सित्तय ८९ सिक्त सिद्ध २२३

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सन्देशरासक-शब्दकोष
११७ सिंधुभव ६६ [सिंधूद्भव ] चंद्र
। सुरस १६२ सिव १०५ सर्व (१)
सुरहि° १८४ सुरभि सिवण १५४ (सिविण) स्वप्न
सुललिय १८३ सुललित सिसिर १९२ शिशिरर्तु
सुवियक्खण ८२ सुविचक्षण सिसिरत्थ १३५ [शिशिरार्थ ] शैत्यार्थ सुविण ९४, १५१ स्वप्न सिहण २८, १३५ (सिहिण) स्तन सुसंत २५ (Vसुस = शुष ) शुष्यत् सिहंडि १४४ [शिखंडिन् ] मयूर
सुह १३७ सुख सिहर ४९, १४३ शिखर
सुह १३३, २०१ शुभ सिहरि १४४ [शिखरिन् ] पर्वत
सुहय १००, १२४ सुभग सीउ २१० शीतम्
सुहाइयइ १८९ सुखाप्यते सीयल १८६ शीतल (गु. शीळु)
सूडिय १९२ निझटित, पातित (गु. सूडवू) सीयलंत २१० शीतलयत्
सूरग्गउ १८१ सूरोद्गमम् सीमंतिणिय १९५ सीमंतिनी
सेय १८४ श्वेत सीसोवरि १७८ शीर्षोपरि
सेरंधि १८७ सैरंध्री = दासी सीहंड १८७ श्रीखंड
V सेव= सेव् (गु. सेवq), सेवियइ १८७, सु ३० सः
सेवियय १३५ सुइ ११८ शुचि
'सेस ११०, ११३ शेष सुय १८ श्रुत
| °सोअ ९५ (१) सूचक सुयण° ९५ (सुइण) स्वप्न
सोय १०३ शोक सुयरंत १५८ सुयरंतिय १९१ ( सुयर%3D सोरंड १६८ क्रीडाभाजन सर) सरत्
सोस शोषय, सोसिजइ १११, सुण =श्रु (गु. सुणा), सुणहु २२,
सोसंतिय १२३ सुणतय २२३, सुणवि ८२, सुणि| Vसोह- शोभ् (गु. सोहर्बु), सोहह १६१, २१२, २२०, सुणिय ९९, २१२
६१, सोहहि १६३, सोहिय २१५ सुथिर ३० सुस्थिर
सोह १६१ शोभा °सुद्ध° १७१ शुद्ध
सोहालय ५१ [ सोह+आल, मत्वर्थीय] सुंदर १७५
शोभाव्य सुंदरि १०२ सुंदरी सुन्न १९९ शून्य
हउ ८०, १३४, हउँ ६५, ११७ अहम् सुन्नार १०८ सुवर्णकार (गु. सोनार) सुमरंत १०३ ( सुमर = स्मर् ) स्मरत्
हय ७८ हत (गु. समरर्दू)
हंस १२३ सुम्मा ८३ श्रूयते
हत्थ ८० हस्त (गु. हाथ) सुर' ५३
हर-ह (गु. हरवू), हरह २१, सुरय° ९४ सुरत
हरि ९५ सुरह २३ सुरति
"हर २२ (<घर =) गृह सुरत्तय २१६ सुरक्तवृक्ष
हरसिय २२३ हृष्ट सुरलोय ७५ सुरलोक
हराविअ १९९ हारित

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११८
हरियंदण १३५ हरिचंदन हरियाउल १४६ [ हरिताकुल ] ( गु. हरियाळु )
हरिणि ४३ णी (गु. हरणी ) हरिस ४१ (१)
हरिसुय १२४ [ हरिसुत ] कंदर्प 'हवि १३० अग्नि (?) यथा विरहहवि = विरहानि
सन्देशरासक - शब्दकोष
V हव (१), हवेद्द १०४ ज्वालयति हसंतिय ५१ हसन्ती
हाम १९१ (१) धाम
हार १३७
'हार १३३ भार
हारलय १३५ हारकता हारिज १०१ हार्यते हियय ७१ हृदय हिभवलउ ८८ (१) = कार्याकुल:

सशाद्वल
·
हिंडत १८५ = भ्रमत् (गु. हाँडवु, हँडवु ) हिम १९१
हिमंत १८६ हेमन्त
हिव ४१, ११० [प्रा. हेवं] अधुना, अतः परम् (गु. हिव, हवे )
ही १६१ (?) हृत हीर' ५० हीरक
हुय १४३, १८९, ८७ हुअय ११४,
हूभय १९९, हुइय ८७, १३५,९६, हुई १९९, १३५ भूत
'हुयण १८ भुवन
'हुयास १०६ हुताश
हुआसण १७० हुताशन हेम १९९ ( १ ) = हेमंत
V हो = भू ( गु. होवु ), होइ ७५, हुंतय ६५, होहि ९८, होउ १०९, होइयय ११२

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सन्देशरासकान्तर्गत प्राकृतशब्द सूचि ।
° कुट्टि ३९ = खण्ड (?) केम ११६ = कथम् ( अप० )
अ
अइरावइ ११ = ऐरावत, ऐरावण अरि २२१ आश्चर्य
अणियती १२८ अनिवृत्ति [अ] णु ७ = पश्चात् अमियझरण ३३ अमृत-क्षरण अम्ह १२८= अस्माकम् ( गु. अम ) अम्हारिस ७ अस्मादृश अवहट्टय ६ [ अपभ्रष्टक ] अपभ्रंश अलजिर १७ [ अ + / लज्ज्+दूर ]
मान
आरद्द ३ = तन्तुवाय
V आसास = आश्वासय्, ( अप० )
आसोअ १७२ अश्वयुज इ इंदोइभ १५३ इन्द्रगोपक इहिं ९३ = इदानीम् इव ३६ ( द्रष्टव्य - विय )
आसासहि
१६
उब्विन ३९ उद्भन [ उद्विग्न ? ]
अलज्ज

३६
क
११९ कर्षित (गु. काढयूँ ) कत्तार २ कर्तृ
करकरा (काकशब्दे ), करकरायन्तु ९ करबि १० वाद्य विशेष
काय ९ काक
किरि १० किल ( प्राचीन गु. किरि ) किसणत्तण ३२ कृष्णश्व
कुक्कस १६ (कुकुस ) तुष
V कल = कल ( गु. कळवु, कळावु ) कलिज्जन्ति ३४ = दृश्यन्ते
'कल° ७२ कल्य = श्वः ( गु. काल )
ख खणद्धमत्त १२७ क्षणार्धमात्र 'खलिर° १७२ स्खल + इर] स्वछत् V खिव = क्षिपू, खिवइ २२१ खीरी १६ = पयस्था ( गु. खीर )
'जलण ८४ ज्वलन जाल° १२७ ज्वाला
उ
√ उल्लल = उद्+पत् (गु. उलळवु ), उल्ललइ जालंधरि ३८ कदली
ग
गहिल्ली १५ ग्रथिला (गु. घेली) गन्ध १२ गन्धाढ्य
|गाम - गहिल्ली १५ = ग्रामीण-वधू गुहिर ३७= गभीर
चंगिमा १५ = चारुता चुज ११६ = श्राश्वर्य
छम्म १५३ छद्मन् ●य ५ निपुण
च
छ
ज
जोइक्ख ८ [ ज्योतिष्क ] द्वीप जोइज्जइ ८ द्योत्यते
जोइज ३७ दृश्यते (गु. जोवु )
झ V झर = क्ष (गु. झवु ), झरए ११
त
तांति ७२ तिष्ठन्ति ( व्याख्या ) ( गु. टगवु,
कुँ ? )

तडतडण° १५२
तद्दिह १२८ = = तद् +- दीर्घ (?) तंतीवाय १० तंत्रीवाद्य
तंदुला १६ तंडुलक (गु. तांदुळ )
तह ३ = तत्र
ता ८ = तहि

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१२०
तिलोय ५ [ *त्रिक + लोक ] त्रिलोक तीय ( = तीए ) ४० तस्याः
थ
थड ३६ स्तब्ध
द दडब्वडउ १६ = शब्दं करोतु
दियह १२६, १२७ दिवस दिवस १२८
° दिव्व° २ [ दिव्य ] = देव दीउन्हय ९० दीर्घोष्णक दीहर ३४
दुपिच्छ ११ [ दुष्प्रेक्ष ] भाव्य दुम्मं २१३ = दूये
दुसह १५३ दुस्सह
दूइय २१३ [ * दूतिक ] दूत
दूसइ ४० दूषयति
दोहाइ ३५ द्विधाकृत
ण
जयरे २ नागरिकाः ( व्याख्या)
इ ३४, ३५ [ ज्ञायते ] उत्प्रेक्षायाम् णट्टवरह २१३ नाट्य - बर्ह गिद्द ११६ निद्रा
निद्दि ५ निर्दिष्ट
णिच्छड १२८ निश्चितम् निवइ ११६ निवृति
णिसि ८ निशा
णिसुय १० निश्रुत
सन्देशरासक - शब्दकोष
(व्याख्या)
परिव १२६ प्रतिपट्ट
परहुआ ९ परभृत
पसयच्छी ९० प्रसृताक्षी
"पहर ७२ प्रहार पहूअ ३ [ प्रभूत ] प्रधान पाइय° ४ प्राकृत
पावस १५३ प्रावृष् ( म. पावस ) पिंडीर° ३४ दाडिमी

• पिहूण ३२ प्रधान ( व्याख्या) पुणरुत्त ४०, १७२ [ पुनरुक्त ] पुनः पुनस्तदेव पेसाइय ६ [ पैशाचिक ] पैशाची भाषा
फ
म ११ मा ( गु. म म )
मयगल ११ [ मदकल ]] हस्तिन् ( गु. मेगळ ) मचंतु ११ माद्यन्तु
ध
भूम इण ९० ध्रुवं न ( अवचूरिका ) धूमेण मद्दल 10 [ मर्दल ] मृदङ्ग (हि. मंदल ) ( व्याख्या)
फलिह° ३९ स्फटिक
फुल्लइ १२ = विकसति [ गु. फूलवु ]
य
बाह ९० बाष्प
भ
भणिय १७ भणित ( म. म्हणणें )
भुअण ८ भवन
भुवण ९ भवन
राइल ३४ [ * रागिल ] रागाढ्य
प
राम १० रामा
पच्चाएस ३ [ प्रत्यग् + देश] = पश्चिम दिशू | रासय ४ रासक ( गु. रासो )
याविय १७२ रोदित
म
मा ९
| माइ ३२, ३३ मात्रा ( व्याख्या)
माणुस २ [ मानुष्य ] मनुष्य ( गु. माणस ) मिय ३७ इव (द्रष्टव्य-स्व ) मिच्छदेस ३ म्लेच्छ देश
र
रम्बडिया १६ = यवागू ( गु. राबडी )
रमण १० क्रीडा
रविंद ३४ अरविंद
रसिऊण १७२ रसित्वा, स्वरं कृत्वा
| रेहंति ३२ शोभन्ते

व
वाइ १३ व्रजति वरहिणी २१३ बर्हिणी वरिण ८४ वर्षण
वाड १४ वृत्ति ( व्याख्या) (गु. वाड )

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__१२१
सन्देशरासक-शब्दकोष वासरणाह [वासरनाथ] चंद्र | संनेहय° ४ संदेशक विभसिम ११ विकसित
सपुण्ण ३३ सम्पूर्ण विय ८४%इव (द्रष्टव्य = मिय)
समुह १३ संमुख विच्छेय° १२७ [ विच्छेद ] वियोग संमीलिय १६ [संमीलित] संमिश्रित विद्दवण ३३ विद्रावक
सरवर १४ सरोवर (गु. सरवर) विरहणी ११६ विरहिणी
°सरिच्छ ३६ सदृक्ष विवज्जइ ९० विपद्यते
ससहर ८ शशधर विहडंति ७२ विघटन्ते
सिरिय १=सृष्ट व्व ३२ इव
सिरेविणु ४० सृष्ट्वा
सिहण ३६ स्तन सयलज (सइलज्ज) ४. शैलजा
सुयण° ३६ स्वजन (व्याख्या) सक्कय ६ संस्कृत
सुकइत्त ६ सुकवित्व सबसस्थ° ५ शब्दशास्त्र
सुम्मउ १० श्रूयताम्
सं.१६

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सन्देशरासकान्तर्गत वनस्पतिनाम सूचि ।
अ
अयर ५६ [ अकरा ] अयरुय ६१ अगरु ( गु. अगर ) अभय ५८ [ अभया ] हरीतकी अम्बिलिय ५७ अम्लिका ( गु. भाम्बली ) असोय ६० अशोक
आ
आमरूय ५८ (हिं. अमरूद ? ) आमलि ५८ ( गु. आमलकी ) आरिट्टिय ६१ अरिष्टका ( गु. अरीठी ) आरू ५६ आरु
ई
'ईखोड ५६ अक्षोट (गु. अखोड ) एल ६० एला (गु. एलची )
क
कइर ६० करीर ( गु. केर-डो )
कयम्ब ६० कदम्ब
कणयचन्द्रण ५७ कनकचन्दन
कणयार ६० कर्णिकार ( गु. कणेर ) कन्दुह्य ५५ कन्दोह ( कंदोई नीलोत्पलम्
कंदुहं = कवोल ५९ १
= उत्पलम् )
कंकिल्लि ५९ कंकेल्लि
किंथ २०९ किंशुक ( गु. केसु- डो)
कुंकुम ५९
कुन्द ५५
कुरबय ६० क
केवइ ५५ केतकी (गु. केव-डो )

ख
खयर ५६ ( खइर) खदिर (गु. खेर) खज्जूरि ६२ खर्जूरी (गु. खजूरी ) खट्टण ५५ १
खतंग ६० १
गिद्द ६२ ?
ग
गुलर ५८ (हिं. गूलर )
घ
घणसार ५७ घन°
चम्बा ५५ १ चिनार ५९
चीड ६२
चूय ५७ चूत
चोय ६० चोच
छम्म ६३ ?
तम्माल ५६ तमाल
ताल ५६
तुज ५७ १
च
जम्बीर ६१
जम्बु ६० जम्बू ( जाँबु ) जूही ५५ यूथिका ( जूइ )
ड
डवण ६२ ( द्रष्टव्य-दमणय )
छ
ज
ढक्क ५७ (हिं. ढाक. गु. खाखरो ) ढल्ल ५५ १
धय ५७ धव
ढ

तुम्बर ५६ तुम्बरक
| तुलसी ६२ ( गु. तळशी )
द
त
दक्ख ५६ द्राक्षा दमणय ६२ नक दाडिम ५१ ( गु. दाडम ) देवदार ५९ रु ( गु. देवदार )
ध
न
नन्दण ६१ न नाएसरि ६३ नागेश्वरी

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नायरंग ६१ [ नागरंग ] नारङ्ग ( गु. नारंगी ) नायवेलि ५८ नागवल्ली (गु. नाग-र-वेली ) ना लिएर ५७ ° केर (गु. नाकिएर ) निम्ब ५७ ( गु. लींब- डो)
निम्बू ५९ ( गु. लींबु ) निम्बोय ५७ ?
निविंजिय ५७ निम्बबीज ?
प
पलास ५७ श
पाडल ५७ पाटल
पिप्पल ५७ ( गु. पीपळो )
पुय ५७ ?
पूग° ६३
बेरि ६२ बदरी बोहे ६२ ?
बउल ५५ बकुल
जिउरिय ५५ बीज पूरिका ( गु. बिजोरी )
बिभीय ६० बिभीतक
भम्भ ५६ ?
भाहण ६२ ?
भुज ५७ भूर्ज
ब
मायन्द ५६ माकन्द
मालइ ५५ °ती मालिय ५५ मालिका
संदेशरासक - शब्दकोष
| मालूर ५६

भ
ᄑ
मंजि ५८ मञ्जिष्ठा ( गु. मजीठ )
मरुअइ ६३ मरुत ( गु. मरवी )
महू ५८ मधूक (गु. महु-डो )
माउलिंग ५६ मातुलिङ्ग
मुर ५६
मोय ५६ [ मोदा ] अजमोदा (गु. अजमो ) | मोडिम ६३ = मोटा ?
र
रत्तंजण ६० रक्ताञ्जन
रत्तबल ५५ रक्तबला रत्तसाल ६१ शाळ
लवंग ६०
लेसूड ६० ?
ल
व
वड ६७ वट ( गु. वड )
वंस ५७ वंश वायम्ब ५९ ?
वालू ५५ एलवालु ?
स
सयवत्तिय ५५ शतपत्रिका
सरल ५९
संजिय ५६ = सर्ज ? सह ५९ की
साय ५९ शाक ( गु. साग )
सियर ५६ १
सिमि ५९ शमी
सिरीस ५६ शिरीष ( गु. सरस- डो)
सीसम ५६ शिंशपा ( गु. सीसम ) सुरयार ५९ [ सुरदारु १ ] देवदारु सुहंजण ६१ [ शुभाअन ] शिशु
ह
हिरन्न ५७ [ हिरण्य ] धतूर

१२३

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सन्देश रासकान्तर्गत विशेषनाम सूचि ।
अ
अद्दहमाण° ४ अब्दुल रहमान (?) ( व्याख्या )
ख
खंभाइत्त ५५, ६७ = स्तम्भतीर्थ ( गु. खंभात )
त
तवणतिस्थ ६५ [ तपनतीर्थ ] = सूर्यकुण्ड ( व्याख्या)
न नलचरिय ४४ नलचरित
भ
भरह १५ [ भरत ] = भरत नाट्यशास्त्र भारह ४४ भारत
मिच्छदेस ३ म्लेच्छदेश
मडिल १०४, १८१
쇠
खडहडउ ११३ खन्धउ ११८, १२१

अ
Rau A
ख
सन्देशरासकान्तर्गत छन्दोनाम सूचि ।
ग
गाह ३१,४१,७१,७४,८३,८५,८८, ९२, ११३, १२५, १४७, १७०, २१२,२१४, २२० च
चउपय ८५
चूडिलउ ११०, चूडिल्लउ ११३
ड
डोमिलउ ९२, ९६
मीरसेण ३ मीरसेन मूलस्थाण ६५ [ मूलस्थान ] मूलतान
र
द
रामायण ४४
व
विजयनयर २४ ° नगर = विक्रमपुर ( व्याख्या )
स
संनेहरासय १९, संनेहय रासय रासक
सामोर ४२ [ शाम्बपुर ] = मूलस्थान सुदयवच्छ ४४ सदयवत्स कथा ( व्याख्या ) ( गु. सदेवंतनी वार्ता )
न
नन्दणि १७० (न्दि )
फ
भमरावलि १७०
मडिल ११० मालिणि-विसु ९९
रवणिज्ज-रूउ २०७
कंकोड २०३
व
दुवइ ११८, १२१
दोहा ८८,७४, दोहउ १३६, १४७, १५१, १५५ वत्थु ९२, १३६, १४७, १८१, १९०, १९८
फुल्लउ १०७
भ

म
४ संदेश
ल

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