Sandesha Rasaka

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

Page #1
siM ghI jaina grantha mA lA saMsthApaka kha0 zrI bahAdura siMhajI siMghI 22-04- (pranthAGka 22) ***** kavi-abdula rahamAna-kRta rande za rAsaka saMpAdaka zrI jina vijaya muni zrI harivallabha bhAyANI, em. e. SRI DALCHAND JI SINGH zrI DAlacanda jI siMdhI pradhAna saMpAdaka zrI jina vijaya muni sammA nAcArya- bhAratIya vidyA bhavana-baMbaI *********000000 prakAza ka .************-*-*-*-*-zrI bhAratIya vidyA bhavana caupATI roDa, muMbaI, naM07 vi.saM. 2001] [mUlya rU. 7-8-0 *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*--*-*-*-*-*-*-*--*-*-*--*-4-12-04-10-08- mudraka-rAmacaMdra yesU zeDage-nirNayasAgara presa 26 / 28, kolabhATa sTrITa, kAlabAdevI, baMbaI.

Page #2
siM ghI jaina grantha mA lA ***********[ 22 ]***** kavi - abdula rahamAna - kRta sandeza rAsaka SRI PALCHAND JI SINGHI zrI DAlacanda jI siMdhI Wan SINGHI JAIN SERIES ************[ NUMBER 22 ]*********** ABDUL RAHAMAN'S SAMDESA RASAKA

Page #3
kalakattA nivAsI sAdhucarita-zreSThivarya zrImad DAlacandajI siMdhI puNyasmRtinimitta pratiSThApita evaM prakAzita siMghI jaina granthamAlA [jaina bhAgamika, dArzanika, sAhityika, aitihAsika, vaijJAnika, kathAtmaka- ityAdi vividha viSayagumphita prAkRta, saMskRta, apabhraMza, prAcInagUrjara-rAjasthAnI Adi nAnAbhASAnibaddha; sArvajanIna purAtana vAya tathA nUtana saMzodhanAtmaka sAhitya prakAzinI sarvazreSTha jaina granthAvali.] pratiSThAtA zrImad-DAlacandajI-siMghIsatputra kha0 dAnazIla -sAhityarasika-saMskRtipriya zrImAn bahAdura siMha jI siMghI niyAmaka evaM pradhAna sampAdaka zrI jina vijaya muni A cArya-bhAratIya vidyA bhavana-bambaI saMrakSaka evaM saMcAlaka zrI rAjendra siMha jI siMdhI tathA zrI narendra siMha jI siM ghI vyavasthApaka tathA prakAzaka bhA ra tI ya vidyA bhavana OM bambaI

Page #4
kavi - abdula rahamAna - kRta sandeza rAsaka [ saMskRta-Tippanaka-avacUrikAdisameta apabhraMza mUlagrantha tathA AMglabhASAnuvAda- vistRta prastAvanA - TippaNI- zabdakoSAdi samanvita ] pro0 hari vallabha bhAyANI, em. e. prAdhyApaka prAkRta, saMskRta evaM prAcIna gujarAtI Adi tulanAtmaka bhASAzAsra ) saMpAdaka zrI jina vijaya muni ( sammAnya niyAmaka - bhAratIya vidyA bhavana ) tathA co prakAza ka zrI jayantakRSNa ha0 dave, em. e., elaela. bI., oNnarari rajiSTrAra bhAratIya vidyA bhavana baMbaI aur dat vikramAbda 2001] * prathamAvRtti; paMcazata prati * [ 1945 khristAbda [ mUlya rU0 7-8-0] * *

Page #5
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 SRI DALCHANDJI SINGHI OF CALCUTTA BY HIS LATE DEVOTED SON DANASILA-SAHITYARASIKA-SANSKRITIPRIYA SRIMAN BAHADUR SINGHJI SINGHI DIRECTOR AND GENERAL EDITOR SRI JINA VIJAYA MUNI (HON. DIRECTOR - BHARATIYA 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 & AVACURIKA. ENGLISH TRANSLATION, EXHAUSTIVE INTRODUCTION, NOTES, APPENDIX, INDICES ETC. BY SRI JINA VIJAYA MUNI (Hon. Director - Bharatiya Vidya Bhavan) AND Prof. HARIVALLABH BHAYANI, M. A. (Professor of Prakritic 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 // siNghiijaingrnthmaalaasNsthaapkprshstiH|| asti baGgAbhidhe deze suprasiddhA manoramA / murzidAbAda ityAkhyA purI vaibhavazAlinI // bahavo nivasantyatra jainA uukeshvNshjaaH| dhanADhyA nRpasammAnyA dharmakarmaparAyaNAH // zrIDAlacanda ityAsIt teSveko bahubhAgyavAn / sAdhuvat saccaritro yaH siNghiikulprbhaakrH|| bAlya evAgato yazca kartuM vyApAravistRtim / kalikAtAmahApuryA kRtadharmArthanizcayaH // kuzAgrIyasvabuddhyaiva sadvRtyA ca suniSThayA / upAya' vipulAM lakSmI koTyadhipo'janiSTa sH|| tasya manakamArIti smaariikulmnnddnaa| abhUt pativratA patnI shiilsaubhaagybhssnnaa| zrIbahAdurasiMhAkhyo guNavA~stanayastayoH / abhavat sukRtI dAnI dharmapriyazca dhInidhiH // prAptA puNyavatA tena patnI tilakasundarI / yasyAH saubhAgyacandreNa bhAsitaM tatkulAmbaram // zrImAn rAjendrasiMho'sya jyeSThaputraH suzikSitaH / yaH sarvakAryadakSatvAt piturdakSiNabAhuvat // narendrasiMha ityAkhyastejasvI madhyamaH sutaH / sUnuvIrendrasiMhazca kaniSThaH saumyadarzanaH / / santi ayo'pi satputrA AtabhaktiparAyaNAH / vinItAH saralA bhavyAH piturmArgAnugAminaH / anve'pi bahavastasyAbhavan svasrAdibAndhavAH / dhanairjanaiH samRddhaH san sa rAjeva vyarAjata // anyaccasarasvatyA sadAsakto bhUtvA lakSmIpriyo'pyayam / tatrApyAsIt sadAcArI taccitraM viduSAM khalu // nAhaMkAro na durbhAvo na vilAso na durvyayaH / dRSTaH kadApi tadgehe satAM tad visayAspadam // bhako gurujanAnAM sa vinItaH sajanAn prati / bandhujane'nurakto'bhUt prItaH poSyagaNeSvapi // deza-kAlasthitijJo'sau vidyA-vijJAnapUjakaH / itihAsAdi-sAhitya-saMskRti-saskalApriyaH // samunnatyai samAjasya dharmasyotkarSahetave / pracArAya ca zikSAyA dattaM tena dhanaM dhanam // gatvA sabhA-samityAdau bhUtvA'dhyakSapadAnvitaH / dattvA dAnaM yathAyogyaM protsAhitAzca karmaThAH // 18 evaM dhanena dehena jJAnena zubhaniSTayA / akarot sa yathAzakti satkamoNi sdaashyH|| athAnyadA prasaGgena svapituH smRtihetave / kartuM kiJcid viziSTaM sa kArya manasyacintayat // 20 pUjyaH pitA sadaivAsIt samyag-jJAnaruciH svayam / tasmAt tajjJAnavRddhayartha yatanIyaM mayA'pyaram // 2 // vicA3vaM svayaM citte punaH prApya susammatim / zraddhAspadasvamitrANAM viduSAM cApi tAdRzAm // jainajJAnaprasArArtha sthAne zAnti ni ke ta ne / siMghIpadAGkitaM jai na jJA na pITha matISThipat // zrIjinavijayaH prAjJo muninAmnA ca vizrutaH / svIkartuM prArthitastena tasyAdhiSThAyakaM padam // tasya saujanya-sauhArda-sthaiyaudAryAdisadguNaiH / vazIbhUya mudA yena svIkRtaM tatpadaM varam // kavIndreNa ravIndreNa svIyapAvanapANinA / rasa-nAMgAGka-candrAddhe tatpratiSThA vyadhIyata // prArabdhaM muninA cApi kArya tadupayogikam / pAThanaM jJAnalipsUnAM tathaiva granthagumphanam // tasyaiva preraNAM prApya zrIsiMghIkulaketunA / svapitRzreyase caiSA prArabdhA granthamAlikA // udAracetasA tena dharmazIlena dAninA / vyayitaM puSkalaM dravyaM tattatkAryasusiddhaye // chAtrANAM vRttidAnena naikeSAM viduSAM tathA / jJAnAbhyAsAya niSkAmasAhAyyaM sa pradattavAn / jalavAtAdikAnAM tu prAtikUlyAdasau muniH / kArya trivArSikaM tatra samApyAnyatra cAsthitaH // tatrApi satataM sarva sAhAyyaM tena yacchatA / granthamAlAprakAzAya mahotsAhaH pradarzitaH // nanda-nidhyeGka-candrAbde jAtA punaH suyojanA / granthAvalyAH sthiratvAya vistarAya ca nUtanA tataH suhRtparAmarzAt siMghIvaMzanabhavatA / bhA vidyA bha va nA yeyaM granthamAlA samarpitA // AsIttasya manovAJchA'pUrvA granthaprakAzane / tadartha vyayitaM tena lakSAvadhi hi rUpyakam // durvilAsAd vidherhanta ! daurbhAgyAcAtmabandhUnAm / svalpenaivAtha kAlena svarga sa sukRtI yayau // indu-kha-zUnya netrAbde mAse ASADhasajhake / kalikAtAkhyapuryAM sa prAptavAn paramAM gatim // pitRbhaktaizca tatputraiH preyase pituraatmnH| tathaiva prapituH smRtyai prakAzyate'dhunA punH|| iyaM granthAvaliH zreSThA preSTA prajJAvatAM prthaa| bhUyAd bhUtyai satAM siMghIkulakIrtiprakAzikA // vidvajanakRtAlAdA saccidAnandadA sadA / ciraM nandatviyaM loke zrIsaiMghI granthapaddhatiH // DSC0 MMMmmmm

Page #8
->0 14 15 16 ||siNghiijaingrndhmaalaasNpaadkprshstiH|| svati zrImedapATAkhyo dezo bhAratavizrutaH / rUpAhelIti sannAnI purikA tatra susthitA // sadAcAra-vicArAbhyAM prAcInanRpateH samaH / zrImaccaturasiMho'tra rAThoDAnvayabhUmipaH // tatra zrIvRddhisiMho'bhUd rAjaputraH prasiddhibhAk / kSAtradharmadhano yazca paramArakulAgraNIH / muja-bhojamukhA bhUpA jAtA yasmin mahAkule / kiM vaya'te kulInatvaM tatkula jaatjnmnH|| patrI rAjakumArIti tasyAbhUd guNasaMhitA / cAturya-rUpa-lAvaNya-suvAksaujanyabhUSitA // RtriyANIprabhApUrNA zauryoddIptamukhAkRtim / yAM dRSTvaiva jano mene rAjanyakulajA hyasau // putraH kisanasiMhAkhyo jAtastayoratipriyaH / raNamalla iti cAnyad yannAma jananIkRtam // zrIdevIhaMsanAmA'tra rAjapUjyo yatIzvaraH / jyotibhaiSajyavidyAnAM pAragAmI janapriyaH / bhAgato marudezAd yo bhraman janapadAna bahUn / jAtaH zrIvRddhisiMhasya prIti-zraddhAspadaM param // tenAthApratimapremNA sa tarasUnuH svasannidhau / rakSitaH, zikSitaH samyak, kRto jainamatAnugaH // . . . daurbhAgyAt tacchizorvAlye guru-tAto divaMgatau / vimUDhaH svagRhAt so'tha yadRcchayA vinirgtH|| 1 tathA cabhrAnsvA naikeSu dezeSu se vitvA ca bahUn narAn / dIkSito muNDito bhUtvA jAto jainamunistataH // 12 hAtAnyanekazAstrANi nAnAdharmamatAni ca / madhyasthavRttinA tena tatvAtattvagaveSiNA / / apItA vividhA bhASA bhAratIyA yuropajAH / bhanekA lipayo'pyevaM pratna-nUtanakAlikAH // tena prakAzitA naike granthA vidvtprshNsitaaH| likhitA bahavo lekhA aitihyatathyagumphitAH // sa bahubhiH suvidvamistanmaNDalaizca satkRtaH / jinavijayanAmnA'sau khyAto'bhavad manISiSu // tasya ta vizrutiM jJAtvA zrImadgAndhImahAtmanA / mAhUtaH sAdaraM puNyapattanAt svayamanyadA // pure cAhamadAbAde rASTrIyazikSaNAlayaH / vidyApITha iti khyAtaH pratiSThito yadA'bhavat // bhAcAryatvena tatroponiyuktaH sa mahAtmanA / rasa-ni-nidhIndvabde purA ta tvA khya mndire|| varSANAmaTakaM yAvat sambhUSya tat padaM tataH / gatvA jarmanarASTre sa tatsaMskRtimadhItavAn // 20 tata bhAgatya sa~llamo rASTrakArya ca sakriyam / kArAvAso'pi samprApto tena svarAjyaparvaNi // 21 kramAta tato vinirmaktaH sthitaH zAntiniketane / vizvavandhakavIndrazrIravIndranAthabhUSite // siMghI padayutaM jaina jJAna pIThaM tadAzritam / sthApitaM tatra siMghIzrIDAlacandasya sUnunA // zrIbahAdurasiMhena dAnavIreNa dhImatA / smRtyarthaM nijatAtasya jainajJAnaprasArakam // pratiSThitazca tasyAsau pade'dhiSThAtRsajJake / adhyApayan varAn ziSyAn granthayan jainavAyam // tasyaiva preraNAM prApya zrIsiMghIkulaketunA / svapitRzreyase hyeSA prArabdhA granthamAlikA // bhayavaM vigataM tasya varSANAmaSTakaM punaH / granthamAlAvikAsAya pravRttiSu prysytH|| bANe-rava-navendrugde muMbAInagarIsthitaH / muMzIti birudakhyAtaH kanhaiyAlAladhIsakhaH // pravRtto bhAratIyAnAM vidyAnAM pIThanirmitau / karmaniSThasya tasyAbhUt prayatnaH saphalo'cirAt // bidaSAM zrImatAM yogAta saMsthA jAtA prtisstthitaa| bhA ra tI ya padopeta vidyA bhavana sjnyyaa| bhAhUtaH sahakArAya suhRdA sa muniH kRtI / tataH prabhRti tatrApi sahayoga pradattavAn / taavane'nyadA tasya sevA'dhikA jhapekSitA / svIkRtA namrabhAvena sA'pyAcAryapadAzritA // nanda-nidhyAka-candrAbde vaikrame vihitA punaH / etadgranthAvalIsthairyakRt tena navyayojanA // parAmarzAt tatastasya zrIsiMghIkulabhAsvatA / bhA.vi dyA bha va nA yeyaM andhamAlA samarpitA // pradattA dazasAhastrI punastasyopadezataH / svapitRsmRtimandirakaraNAya sukIrtinA // devAdarUpe gate kAle siMghIvaryo divaMgataH / yastasya jJAnasevAyAM sAhAyyamakarot mahat // pitRkAryapragatyartha yatnazIlaistadAtmajaiH / rAjendrasiMhamukhyaizca satkRtaM tadvacastataH // puNyazlokapiturnAmnA anthAgArakRte punaH / bandhujyeSTha guNazreSTho barddhalakSaM pradattavAn / pranthamAlAprasiddhyartha pitRvattasya kAMkSitam / zrIsiMghIbandhubhiH sarva tagirA'nuvidhIyate // ... vijanakRtAhAdA saccidAnandadA sadA / ciraM nandatviyaM loke jinvijybhaartii|| 9.. . -nurarNMmmmmmmmmm . ..... . . . .........

Page #9
siMghI jaina granthamAlA 0 adyAvadhi mudrita granthanAmAvali 1 merutujAcArya racita prabandhacintAmaNi mUlagrantha. 2 purAtanaprabandhasaMgraha. 3 rAjazekharasUriracita prabandhakoza. 4 jinaprabhasUrikRta vividhatIrthakalpa. 5 meghavijayopAdhyAyaviracita devAnandamahAkA 6 yazovijayopAdhyAyakRta jainatarkabhASA 7 hemacandrAcAryakRta pramANamImAMsA 8 bhaTTAkalaGkakkRta aka anyatrayI 9 prabandhacintAmaNi - hindI bhASAntara. 10 prabhAcandrasUriracita prabhAvakacarita 11 Life of Hemachandracharya : By Dr. G. Buhler. 12 siddhicandropAdhyAyaracita bhAnudayaNicarita 13 yazovijayopAdhyAyaviracita jJAnabindu prakaraNa. 14 hariSeNAcAryakRta bRhat kathAkoza. 15 jainapustakaprazastisaMgraha - prathama bhAga . 16 haribhadrasUriviracita dhUrtAkhyAna. 17 durgadevakRta viSTasamucama 18 kavi abdula rahamAnakRta sandezarAsaka. ** EX X ap saMprati mudyamANa granthanAmAvali 27 1 kharataragacchagurvAvali. 2 kumArapAlacaritra saMgraha 3 vividhagacchIyapaTTAvalisaMgraha 4 jainapulaka prazasti saMgraha bhAga 2 5 vijJaptilekhasaMgraha 6 uddadyotanasUrikRta kuvalayamAlAkathA. 7- udayayasUrikRta dharmAbhyudayamahAkAvya tathA kIrtikaumudI Adi anyAnya aneka prazastyAdi kRtisaMgraha 9 bitne bhara sUrikRta kathAkoSaprakaraNa. 10 meghavijayopAdhyAyakRta digvijayamahAkAvya. 11 nyAyAvatAravArtikavRtti 12 mahAmuni guNapAlaviracita jaMbUcaritra ( prAkRta ). 13 jayapAhunAma zAstra. 14 koUhalaviracita lIlAvatI kathA ( prAkRta ). 15 guNacandraviracita maMtrIkarma candravaMzaprabandha 16 nayacandraviracita hammIramahAkAvya ityAdi, ityAdi. * * mudraNArtha nirdhArita evaM sajjIkRta granthanAmAvali 1 bhAnucandragaNikRta vivekavilAsaTIkA 2 purAtana rAsa-bhAsAdisaMgraha 3 prakIrNa vANAya prakAza, 4 bhadrabAhusUrikRta bhadrabAhusaMhitA 5 siddhicandropAdhyAyaviracita vAsavadattA TIkA. 6 jayasiMhasUrata dharmopadezamAlA. 7 devacandrasUrikRta mUlazuddhiprakaraNavRtti 8 ratnaprabhAcAryakRta upadezamAlA TIkA, 9 yazovijayopAdhyAyakRta anekAntavyavasthA. 10 jinezvarAcAryakRta pramAlakSaNa. 11 mahAnizI bhasUtra 12 taruNaprabhAcAryakRta AvazyakabAlAvabodha 13 rAThoDa vaMzAvali. 14 upakezagacchaprabandha 15 siddhicandrakRta kAvya prakAzakhaNDana 16 varddhamAnAcAryakRta gaNaratnamahodadhi 17 pratiSThAsomakRta somasaubhAgyakAvya. 18 nemicandrakRta SaSTIzataka ( pRthak pRthak 3 bAlAvabodha yukta ). 19 zIlAMkAcArya viracita mahApuruSa caritra ( prAkRta mahAgraMtha ) 20 caMdappahacariyaM ( prAkRta ). 21 nammayAsuMdarIkathA ( prAkRta ) 22 neminAha caritra ( apabhraMza mahAgraMtha ). 23 upadeza padaTIkA ( varddhamAnAcAryakRta) 26 nirvANalIlAvatI kathA ( saM . kathA graMtha ) 25 sanatkumAracaritra ( saMskRta kAvya graMtha ) 26 rAjavallabha pAThakaGgata bhojacaritra. 27 pramodamANikyakRta vAgbhaTAlaMkAravRtti. 28 somadevAdikRta vidagdhamukhamaNDanavRti 29 samayasundarAdikRta vRttaratnAkaravRtti 30 pANDityadarpaNa. 31 purAtanaprabandhasaMgraha - hindI bhASAMtara. 32 bhuvanabhAnucaritra bAlAvabodha. 33 bhuvanasundarI carita ( prAkRta kathA ) ityAdi, ityAdi. * *

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 Sandesarasaka 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 XA. 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. Matravrttas ( 2 ) B. Varnavrttas 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 saMdezarAsaka: Text with Sanskrit vyAkhyA and avacUrikA gange.fore zabdakoza prAkRtazabdasUci vanaspatinAmasUci vizeSanAmasUci chandonAma sUci 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 1-90 91-93 38-996 118-121 122-123 124 124

Page #12
4 A. B. C. abl. abs. acc. AM. Ap. As. Bh. BLOCH Ch. - - CK. DAVE Des. 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, Munchen, 1918. Chando'nusasana of Hemacandra (pub. Devkaran Mulchand Sheth, Bombay. 1912). Chandahkosa of Ratnasekhara (= Appendix I to AM, I, JUB II iii Nov. 1933, pp. 54-61). Gujarati Language by T. N. DAVE, London, 1935. Desinamamala of Hemacandra (BSS. XVII).. feminine future genitive Gathalaksana of Nanditadhya (ed. H. D. VELANKAR ABORI, XIV. i-ii, 1933; pp. 1--38). Gujarati Hemacandra's Prakrit Grammar (= VIII chapter of the Siddhahema) ed. P. L. VAIDYA, 1928. Harivamsapurana 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. Mar. m, masc. Ms(s). n. new. nom. OWR. part. PISCHEL Pk. plur. Pp. pres. pret. San. Der Kumarapalapratibodha by L. ALSDORF Hamburg, 1928. locative Marwari masculine manuscript(s). neuter. nominative Old Western Rajasthani participle. Granmatik der Prakrit-Sprachen by R. PISCHEL, Strassburg, 1900. Prakrta plural Prakrita-Paingalam ed. C. M. GHOSH (Bibliotheca Indica, 1902) (The references are to the section on the Aran unless this indicated otherwise ) present preterit Sanatkumaracaritam ed. H. JACOBI, Munchen, 1921. Svayambhuechandas of Svayambhu ed. H. D. VELANKAR (JUB. V. iii, Nov. 1936, pp. 72-93). Les Chants Mystiques de Kanha et de Saraha: ed. M. SHAHIDULLAH, Paris, 1928. singular Samskrta Sandesarasaka Ramacaritamanasa 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.) Vrttajatisamuccaya of Virahanka ed. H. D. VELANKAR (JBBRAS, n. s., V. i-ii 1929, pp. vocative Varnaratnakara of Jyotirisvara-Kavisekharam carya. ed. S. K. CHATTERJI and Babua Missa, Calcutta 1940. Sc. SHAHIDULLAH: sing. Sk. SR. Tulsidas TURNER TESSITORI Vus. Foc. VB.

Page #14
svargavAsI sAdhucarita zrImAn DAlacandajI siMghI bAbU zrIbahAdura siMhajI siMghIke puNyazloka pitA janma-vi. saM. 1921, mArga. vadi 6 5 svargavAsa - vi. saM. 1984, poSa sudi 6

Page #15
dAnazIla-sAhityarasika-saMskRtipriya sva. zrIbAbU bahAdurasiMhajI siMghI . ajImagaMja-kalakattA janma tA. 28-6-1885] [ mRtyu tA. 7-7-1944 www

Page #16
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. * saM. rA. *

Page #17
( 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

Page #18
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-darsana. 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

Page #19
Dalchandji Singhi, continued to help institutions like the faina Pustaka Pracaraka 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 Visva 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 Visva-Bharati, 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

Page #20
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:

Page #21
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,

Page #22
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 Visvabharati 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

Page #23
( 8 ) Visvabharati 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 Visvabharati 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,

Page #24
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'ri + . .

Page #25
(10 ) Munshiji, to the effect that if the Singhi Jain Series be associated with the Bharatiya Vidya 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 Vaisakh (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 Bharatiya 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'astra Siksapitha". 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

Page #26
( 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

Page #27
( 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!

Page #28
( 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 'Virasasana 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 Sarak 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.

Page #29
( 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

Page #30
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 Parisad 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 Maharaj whom I considered as my highly revered Guru, I began to prepare a list of the Old Rusus 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

Page #31
two) PREFACE 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 Gujarati to Vinayaprabha Upadhyaya, who had composed his Gautamasvamirasa at Khambhat (Cambay) in 1412 V. S. I too got interested in that controversy and accordingly I began to search carefully for older Gujarati 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 Gujarat 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, Prakrit, Apabhramsa and Old Gujarati. Among these was found a poetical work called Neminathacatuspadikit of Vinayacandra which appeared to be a charining and typical representative of Old Gujarati works. There was no doubt about its being some 75 or 100 years older than the Gautama. svamirasa and hence I prepared a complete copy of it and sent it to be published in the Paryusana special number of the monthly 'Jain Svetambar 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 Sandesarasakco in the same Bhandar.* This Patan Ms. contained the bare text of the poem without any thing like the Sanskrit Avacuri or Tippana. On a superficial examination, its language appeared to me to be of a different sort from the language found in other Rasas and it was not properly intelligible to me, since I knew yet practically nothing of the Apabhramsa grammar. But my continuous reading and study of Old Gujarati works had indirectly acquainted me somewhat with that language and consequently I could grasp the essence of the contents of the Rasaka. I had read many times the Prthviraja-Rasau 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. .'

Page #32
PREFACE ( three make out that the language of the present Rasaka was to some extent of that sort which was found in the PrthvirajaRasar, though the form appeared quite different. I became eager to study the Rasaka 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 Tabba (Gujarati gloss) or Balavabodha on it, so that it can facilitate the understanding of the poem. For I had already come across in those Bhandars some Mss. of the works like the Bhavanasandhi written in the same sort of language and containing a Gujarati gloss. After this some five to seven years elapsed. During this, I was progressing in my study of the Prakrit grammar. The study of Hemacandra's grammar helped me to peep into the exact nature of Prakrit, Apabhramsa 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 Rasaka there, and I was very glad to find that that new Ms. contained, as I had anticipated, a chaya-like Sanskrit Avacurikti on the text of the Rasaka. I had then a mind to get prepared a transcript of that Ms. After this when I joined the Gujarat Vidyapith and undertook to organize the activities of the Gujarat Puratattva Mandir, I thought of publishing the Rasaka in the Puratattva Granthavali that was to be started by that Institution. I acquired the Ms. from Patan 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 Apabhramsa studies by publishing the Apabhramsa texts Bhavisattakaha of Dhanapala and the Sanatkumaracarita of Haribhadra and had begun to search diligently for the literary treasures of that language. I sent him particulars regarding the Tiscttthilukkhance-Malumpurana of Puspadanta together with

Page #33
four) PREFACE a transcript of the Harivansapurana contained therein, which I had got previously prepared. Afterwards I informed him of this Samdesarasaka 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 Sandesarusaka 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 Bharatiya Vidya Series' was started, I earnestly desired to publish this Samdesarasaka which was occupying my attention since so many years. And so acquiring again the Mss. at Poona and Patan, I got a fresh press-copy prepared from them. After collating variants, I thought of publishing the work serially in the Bharatiya Vidya (the Hindi-Gujarati quarterly). In the mean time I came to know of a third Ms. of the Samdesarasaka which was in the Jnanabhandar of Acharya Shri Jinaharisagarji at Lohavat in Marwar. I acquired that Ms. also from the Acharya. Besides the text, that Ms. also contained a Tippana-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 Lohavat Mss. was begun in 1941. In the beginning my intention was to publish merely the text with the Sanskrit commentaries and a few prefatory

Page #34
(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 Avacarika. The copyist of this Avacurika 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

Page #35
six) PREFACE entered this Sanskrit Avacurika 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. 724yeolested. But from this it cannot be made out whether this Nayasamudra is himself the author of this Avacurika 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 Gujarati, 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 Radda metre. In the Ms. which must have served as the prototype to our Ms., somebody must have marginally entered the stanza defining Radda 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 Paddhadi 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 Jnanabhandar of Acharya Shri Jinaharisagarji at Lohavat 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 Hisaradurga (i. e. Hisar fort in the Punjab) on the 8th day of the bright half of Asadha, 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

Page #36
PREFACE (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 Tippana-like Sanskrit commentary, which gives just slightly more renderings of the original text than those given in the Avacurika 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 Tippana-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 Devendrasuri 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 Pragvata family (i. e, the Porwad caste of the Banias). His father's name was Huliga and mother's Tilakhu. 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 Sastra on the earth directly from the roouth of its author (?). But what explanations of this poem he heard from the mouth of the Ksatriya named Gahada, he wrote them out in the form of * There & Ms. of the Dharmabhyudayakavya in Jain Bhandars at Patan written by the same Laksmicandra, 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 Samdesarasaka with slight variation. It is as follows: zrImatprAgvATavaMzAMbudhizazisadRzo hAligasyAMgajanmA putro mAtustilakhvAH praviditacaraNo rudrapallIyagacche / zrImaddevendraziSyaH rasa-sukha-jala-bhUvatsare kAvyamenaM lakSmIcandro lilekhAkhilaguNanidhayaH sUrayaH zodhayantu /

Page #37
eight) this varta (vartika?). In this if anything that was not proper was unguardedly written by him it was not he, but, Gahada who was to be held answerable for that. Thus it appears that Laksmicandra learned the purport of the poem from some Ksatriya named Gahada. We do not know any thing else regarding this Gahada. 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 'vartika', and to-day it has certainly proved of considerable help in understanding the poem. It is probable that the Avacarika which is found in the Poona Ms. (A) was prepared by some student on the basis of the substance of this commentary of Laksmicandra. From what is said by Laksmicandra we can also surmise that possibly there was nothing like a Sanskrit commentary on the Samdesarasaka before one written by Laksmicandra 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 vartika 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 Bhattaraka - 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 Samdesarasaka. The copyist has not put down the numbers to the stanzas, but

Page #38
PREFACE (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 Rasaka the variant readings that are found in these three Mss. One who examines these variants will see that the text of the Rasaka 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

Page #39
ten) PREFACE 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 Rasaka as given in B. and the words of the text which are found interspersed with Lasmicandra'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

Page #40
( eleven 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 Laksmicandra'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 Samdesarasaka 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 Laksmicandra'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 6 saM. rA.

Page #41
twelve) 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 Rahamana* the author of the present Rasaka 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 Rasaka, 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 Khambhat (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 Khambhat 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 Canibay we see that it was during the reigns of the Calukyan kings * The text of the Sr. gives the naine of the author as Addahamuna, which is rendered by the commentaries as Abdala Rahamana. So this form of the name is adopted by us, though current Muslim name is probably Abdul, and not Abdala.

Page #42
PREFACE (thirteen Siddharaja and Kumarapala that Cambay had reached this height of fame as a flourishing trade centre. Soon after the death of Kumarapala, 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 Vastupala, 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 Siddharaja and Kumarapala 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 Samdesarasaka must have been composed during the reign of Siddharaja or Kumarapala 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 Rahamana 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 Rasaka 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 Apabhramsa. That he had acquired proficiency in Prakrit is directly evidenced by the present Rasaka. For, he has given in the Rasaka some fine Prakrit Gathis 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

Page #43
fourtsen) PREFACE Prakrit and Apabhraiia, not to be knowing Sanskrit appeared next to impossible in those times. Thus this much we can say on good grounds that Abdala Raharana was very learned. He had composed many poems, songs etc. in chaste Prakrit. The cultured and the elite 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 Apabhramsa also which was the literary dialect of the time accessible to the common people. Actuated by some such motive Abdala Rahamana seems to have composed his poem in the popularly current dialect of Apabhramsa. 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 Paisaci which possessed rich literatures. There were two styles of Apabhramsa then current: the 'classical style' and the 'popular style', called Gramya Apabhrarisa by Hemacandra in his Kuvyanu-sasana. 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 Sardesarrasaka 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

Page #44
PREFACE (fifteen of the development of our modern vernaculars. From this view the present mork should receive a good welcome. The language of the Samdesarasaka 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 Acarya Hemacandra, the .ast grammarian to treat the fully developed form of Apabhramsa. Hemacarya 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 Anangapala of the Punjab, Cahamana Prthviraja of Delhi and Rastrakuta 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 Rasaka was composed before--but not much earlier to-the rise of Sultan Muhammad Ghori. This work of Abdala Rahamana attractively handles atheme 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 Rajasthana 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 Jhakhada

Page #45
sixteen) PREFACE and it is known in Marusthala even today by the same name (Jhankhar). The Avacurika notes Dunduyulaka i. e. Dundalo 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 Navaratra and Vijayadasami festival. In Rajasthan, to-day also it is a custom to perform the worshipping ceremony in the horse's stable and the cowstall during the Dasera festival, and it is considered a specially festive occasion anong the Rajput 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 Jayasi (c. 1540 A. C.) who composed his Padamarata 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 Apabhramsa. As such, the present Apabhramsa 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 Rahamana 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 Rahamana, 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 Rahamana himself: jema acintiu kaju tasu siddha khaNaddhi mahaMtu / tema paDhaMta-suNatAha jayau aNAi aNaMtu // 9th August, 1945 JINA VIJAYA MUNI.

Page #46

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 Apabhramsa masterpieces. The author's claim for these distinctions made in the introductory portion of the poem is thus anything but hollow. Parallels (from Prakrit, Apabhraisa or Vernacular literatures ) to the expressions and ideas contained in certain passages of the Samdesarusaka have been pointed out in Appendix I at the end, and this also emphasizes Abdala Rahamana's well-versedness in the classical and contemporary literatures. But this has no adverse implication as to the originality of the author. Though a Samdesakavya, the Sandesarisaka is far above the common run of such type of compositions, the lifeless or mediocre imitations of the Meghaduta, 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 Rahamana. 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 Apabhramsa 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 Apabhramsa and Early Vernacular literatures cannot afford to neglect this fine literary piece from Abdala Ralamana's pen. I am grateful to my revered Guru Acharya Shri Jinavijayaji for the opportunity and encouragement he gave me in my present studies in the Sardesarasaka. 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.

Page #48
siMghI jaina granthamAlA ] [ sandeza rAsaka yadi zahA hA liMgasyAMgajanmADomA tilacA dravidita crnn| rudra jI gaye / zrImadaveMdra ziSyaH trArama gata vasare chattrimalalI caMdrazca kA khilaguNanidhayaH sarayA sAyaM vRtrinIzyA vilA kinaare|| yAnacAnANi cAnAkamukha nadiu vimayA vA zrAvizAkhaM kcit| kiMca triyAu spamukhatA yAyA titAmA sAstramayA vimUDha matinAvAcI nidAna | zAyadanyathA mayA proko kazcidarthastathAya dInada nevajAnAmitinAle va gAiDa: likhitaMzrISa hisAra DI prASADhadivyaSTayA suNdhvaasre| navajunIya supiDhiyagAhapiyakaMrivarI eyArisaMmmisamara ghAdirado yanilAyama hiyaraMmada hiyare kaMdappo khivasarajAla jANarakaru kamiz diyadhaNu dukhAunniyahamayaNaJcayivirahiNipalittihiM taMpharasanamildevida viNyama dhiyAnamitriddhi nimaje piya nimakuvatapanaNiyajatru, zrAsAmivivarakAmi sahivahAUpaDivu jaMpadvivitaMbaliyadItravituriyazcaMta riyadisidakSANatijA madarasiya AmantapadAvavariyadihuNA tiNikattihariniya jamavitAvasumi mukhAMta dvimadaMtu te paDheta suraNetyaha jaya RNAya tu samAhAmidamaMdesarAsa kaM ||2updhyaayshrii zrI zrI devasAgarata sikSyamunimAnasAgaralikhite sahAzrI zrI zrI zrI pa / / yAdRzaM pustakaMdRSTA / tAdRzeliSitaMmayA / yadisuNa ma BC saJjJaka Adarza pratikRti 17 B

Page #49
siMghA jana granthamAlA] [sandezarAsaka B bardiyAzisahazAhAligasyogajanmAyubAmAtatilathAviditacaraNarudrapalIyagaLe zrImadavaMdiyAtrAkarama gata vansadevanimanAlayAcazcakArA khilarANanidhayAmarayAsodhayaMDA sunninIyahamA vilaakis| yArbanacAnANicAnAkarvamukhattascidaMunimayAcAcAvizAmnacitya kliviyagAraspamukhatAthAyAtrA hatikratAmAsAcatramayAvimUDhamatinAvAnI nidAnavAzAyadanyathAmayopAnIzcidarthasthAyadAna hanavajAnA mitiAnAtyavagADA likhitazrI hisAraDayoprASADhasadiyaSTa myaanudhvaasre| www.anellstranyarg navalubanIya suraNapaTiyagAhapiyaridarIdi hai pyArisaMmmisamaraghANadirAradamA yaraMjilAyemitrahiyaparamahahiyare kedapyArikhavasarajAle jazRNarakarukadiu~mazya diyaghaNudukhAunniyahamayAgaRyivirahiNipalinnihi tapharasamillaviuha viNyama dipAlagijAmatridi timapiyanimaUvajJAGgataMyattariNayanaMnuntu AsImivivarakAbhi NidivaTAUpaDibu jaMpaDivitebaliyadIRchisturiyazcatariyadisidakSaragatizigajA madarasiya aAmannapahAvavariyadidupADatiNikatihaharasiya jemaacinAukajanamumi ghuvarNasadimahaMtu temapatasuragatayehajayauMRNAyaubhaMtu samAdhamidaMsaMdesarAsa kaM // usayagrIzrIzrIdevasAgaratasipamunimAnasAgaralikhita sahANtrI zrIzrIzrIpabAmiyAminI // yAharIpustakaMdRSTvA taadRshelivitmyaa|ydimumnn BC saJjJaka Adarza pratikRti

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 Apabhramsa, 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 Apabhramsa 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.

Page #51
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..

Page #52
GRAMMAR 31 50 In dealing with the orthography of the Sr., the following cases come for consideration : Nasalisation SS 2. As remarked at the outset, one and the same case-ending is at times nasalised, at times the Anunasika 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,

Page #53
SAMDESARASAKA 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. SS 4. (2) Genitives. As we shall see under $ 51 A, the Apabhramsa presented by our test too, like the Svetambara (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 JHVIDTS 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 deg31s, 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

Page #54
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 Anunasika 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 deg3rs, 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 a (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

Page #55
SAMDESARASAKA 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 = fa35= Faetoft) with the genitive ending instead of re. Such interchange of 7, is seen also in the language of the Doha-Kosas and in Old Bengali. For the development of medial degdeg 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. SS 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 (une '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. SS 11. Conversely is read for you in as (= HITJE *7477:) 220, SISTE (= 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. SS 12. Y a-sruti. 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. . SS 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. Gathas of the Sr. is considerably influenced by Apabhrathsa. Henco at several placos the illustrations from these Gathas too have been included in this treatment. On the other hand, doubtful or obscure cases have not been touched upon as a rule,

Page #56
GRAMMAR 14. b and v. Many Ap. Mss. do not distinguish bU and v. They write always v for both. Unlike these, the Mss. of the SR. write b and c fairly correctly. Only in sundry cases they are confused with each other, as: NivaDa (= NiviDa = nibiDa) 47c& etc., viuNau (== biuNau = dviguNakam ) 136b, valAhaya (= balAya = balAhaka) 1600, vAha (= bAha = bASpa) 95b and 109b, volaMta (= ballaMta i. e. abravIt ) 950, pupphaMvara (= puSpaMbara = puSpAmbara) 202b, Pk. varahiNI (= barahiNI = barhiNI) and varaha (= varaha = barha) 213a; baliyaDaya (= valiyaDaya) 80b, bAuliya (= vAuliya = vyAkulitA) 94b. For vazruti, m >y and elision of an intervocalic c see S$ 30, 33. II Sound-Changes $ 15. Apabhramsa 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 : AlaMkiyau (= alaM == alaMkRta enlarged) 48d, pAvAsuya (= pavA from + /vas) 102c, 184a, pAvAsa (=pa = pravAsa) 118e, sAhAra (= sa = sahakAra) 134d, pAsAhaNa (= pasA = prasAdhana) 1790, saMgAi (= saMgai i. e. saMgena) 1560 (at the end of a Doha-pada), kuNAi (= kuNai = kvaNati) 217b (at the end of a Paddhadi-pada); hIya (= hiya = hRta) 1610, lIaya (= lideg i. e. lAta) 1760, kIyaya (= ki = kRta enlarged) 199d, aggIhara (= aggi = amigRha) 1940; (b) by gemination of a simple consonant (i) either in the seam of compounds : Navambhisa (= Navabhisa = nava-bisa) 171a, ciraggaya (= ciragaya= ciragata) 181, sabbhaya (= sabhaya) 2080, paravvasa (= paravaMsa = praravaza-) 2178, Pk, dalabbahala (so to be read metri causa for the textual dalabahala) 1la, (ii) or in the body of the word (confined -mostly to continuants like nasals, sibilants, liquids): tamAla ( = tamAla) .660, gaMmijada (gadeg).64d, gammiyai (gami) 117f, gammiyau (= gami) 67d, 1 The Prakritised passages of the Se mostly in Varsavrttas and the section. called vanaspatinAmAni (St.55-63) have been partially left out of consideration

Page #57
SANDESARASAKA saMmANiya (= samA ie. samam ) 780, kimma-i (= kima-i i. e. kathamapi) 1180, dummai (= duma = druma.) 194d; tussAra (= tusAra = tuSAra) 184d, vullINa (= volINa = vyavalIna i. e. vyatikrAnta ) 204c. vijjambhai (= vijRmbhate) 250 is probably regular as being based on a pronunciation *vijaMbhate; (c) by the preservation or addition of an Anus vara: (the Pk. acc. sing. = zubham ), NAyaM (= gAi~ 'as if') 58d, Pk. amiyaMjharaNo (= amiya-jharaNa = amRtakSaraNa ) 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 Marwali) poetic literature cultivated by the bards of Rajaputana. S 17. A heavy syllable is made light (a) by shortening a long vowel : gaMdhamoya (= gaMdhAmoya = gaMdhAmoda) 203a, jhala' (= jhala = jvAlA) 1371%; siyala (= sIyala = zItala):2100, bahirayaMti (-cahI' == badhIrayanti) 2180 : haya (- haya = bhUta) 8710 etc. kavAliya 185d is not kApAlika but kapAlin enlarged with "kaH khArthe". Pk. pahara 72a is aecording to Hemacandra (I 68) shortened from hair, but really speaking it is freshly formed from the verb /pahara (cf. s 46, iii.); (b) by simplification of a geminated consonant in the seam of compounds : umuka (= ud + *mukna i. e. mukta) 250, urunna ( = ud + *runa i. e. rudita) 9706, uchitta (= ud+kSita ) 1200, usAsa (= ud+zvAsa) 1916, usasaMtiya (= udzva satI enlarged) 830, uveya (= ud+vega) 1360, uNaMdIyai (= ud+naMdyate) 182b, dusaha 1200, etc. (7 times), nibhaMti (i. e. nirbhrAntam ) 138d ; saunna (= sam+pUrNa) 24e, 980, samA= sam+/mA as in samAi 81b and samANA 800; PK. samuha (= sam+mukha) 130, sapuNNa (= sam+pUrNa) 33a (of. 831 end); (c) by the we a ke ning of the anu khA ra to anunAsika in siMgAru (so to be read metri causa) for siMgAru ( = zRGgAram) 1670. ___Vowel-Changes (1) Change in the quantity of the rowel. 8. 18. The causative suffix 'Ava becomes degava when applied to the roots either ending in a long vowel or having a heavy root. syllable : Thavai 274, Thaviya 135c and saMThaviya 1950 (all from /ThA), Nimmaviya (from /NimmA) 31; viMbhaviya 46ca, ulhavai 137f, 1380, dhIravai 116d. mAvaI 1. Desy jhalA "mRgatRSNA", "vyartha tRSNA" is different. Our word is preserved in Dingal, Seu Te i Krisan Rukamani-ri, 140 b.

Page #58
GRAMMAR (meaning mAi) 1416 appears to be an exception and bolAviyau * bollAviyau from / bola ) a fresh analogical formation (cf. Guj. bolAvyo ). ( 2 ) Change in the quality of the vowel. $ 19. 'a' becomes i ( mostly in the closed_syllable): Nimisiddhu ( = NimisaDu = nimiSArddham ) 19d, 30, 68a, 182c, sasihara' ( = sasahara = zazadhara ) 426, 910, IkhoDa ( = ikkhoDa = akkhoDa = akSoTa ) 566, baliyaDaya ( = balayaDaya = valaya + Da enlarged ) 806, ukiMkha ( = ukkaMkha utkAGkSA) 108a cf. also the variants for ukkaMkhiriya 2600 ), kosila ( = kosalla= kauzalya ) 1866, gaggira ( = gaggara i. e. gadgada ) 290, 66c. It is of orthographical interest to note that in the variants, A reads 19 tines i for a, B 13 times and C 30 times. For this tendency under special condition in OwR, see TESSITORI SS 2 ( 1 ). 9 S $ 20. 'a' becomes u in aMjuli ' ( = aJjali ) 1306, paudaMDaDa ( = paya: = padadaNDakaH ) 140a and 'uhara ( = paryaM = padadharA) 246. In the variants u is read for a 4 times by A, 5 times by B and 9 times by C. $ 21. 'i' becomes a in virahaNi ( = virahiNI ) 220 ( Pk. 1166 ), sihaNa ( = sihiNa = * zikhinI i. e. stanau ) 28d, 1356, dharati ( = dharitti = dharitrI ) 416, dayavara ( = dideg = dvijavara ) 440, NivaDa ( = NiviDa = nibiDa ) 470, 64c, etc. (9 times; in all cases except two, B reads NiviDa), Niravakkhi (= Niravikkhi i e nirapekSam ) 780, vasaNa ( = vasiNa - vazeNa ) 950, bhajjariya (bhajiriya ) 980, salajjariya ( = salajji ) 98d, AmaMgiyai ( = abhideg from abhyaGga) 1016, gharaNiya ( = ghariNiya = gRhiNI enlarged ) 1036, viNaggaya ( = viNi': vinirgata) 1220, 1426, sivaNa ( = siviNa = svapna ) 1540, naMdaNI ( = naMdideg = naMdinI ) 170d, daMti ( = hiMti ? ) 171c, sari ( = siri = zrI ) 171d, vilattau ( = vilideg = vilipta enlarged) 1780, NaMdIyai ( = NiM = nidrIyate ) 182, vivaha ( = viviha = vividha ) 1950, parikhillArI ( = parikhillirI ) 219c; cf. also the variants for kiMkiNI 26d, 219d. SS 22. As regards the cases noted above certain phonetic limits allow themselves to be clearly distinguished. Firstly, excepting dayavara, vasaNa and daMti which may be the result of scribal carelessness, in all the cases becomes only when it is = 1 sasihara occurs also in tho Veli Krisan Rukamani-ri, 27 d. cf. diNiyara = diNayara ( - dinakara ) in Dhota-Maruri Duhd. 2 aMjuli occurs also in the Ramacaritamanasa I, 191, 7. SHAHIDULLAH connects / muNa with Sk. / man (of. PiscHEL, $489 ), but its derivation from Sk. by anaptyxis appears least objectionable. 2 saM. rA.

Page #59
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 SS 4 (1). SS 23. becomes . 10 (a) In individual words: pharasau (= pharu = paruSa enlarged ) 180, 1440, 2220, palaTTihi ( = paluTTihi ) 1170; uttaMga ( = uttuMga ) 246, cauggaNI ( = caugguNI i. e. caturguNA ) 1567, kusama ( = kusuma ) 183f, 193d, Pk kukka (=) 16 b. In the last four cases the second of the two 's in the consecutive syllables is dropped. The cases NivaDabbhara ( = NivaDu i. e. nibiDoddhura) 470, salilabbhava ( = salilu = salilodbhava 666, rahasacchala (= rahasudeg = rabhasocchala ) 1790, sUraggau (= sUrudeg = sUrodgamaH ) 1816, gaMdhakarisa (= gaMdhudeg = gandhotkarSa ) 1950, sukulaggaya (= sukulu = sukulodgata ) 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, SS 5 (1). (b) The ending of the nominative sing. of the masculine -stems is dropped sometimes when it is followed by an enclitic: ika-i ( = iku -i = ekam +api ) 99d, anna- i ( = annu = anyad + api ) 1176, puNa-vi ( = puNu vi = punaH+api ) 137f, etc. (c), prefixed to adjectival words as an emphatic element becomes A. For the examples see SS 48, ii. $ 24. The cases of appearing as and appearing as have been previously dealt with under SSSS 10, 11. Further, 'udeg becomes va in Nevara ( = Neura = nUpura) 27d, 171d, Avalaya (= Audeg = Akula enlarged) 113d, govara (= goura = gopura ) 178d; Pk. pAvasa ( = pAusa = 1536. * prAvRS) For the same tendency in Gujarati see TURNER 'Gujarati Phonology' (JRAS. 1921), SS 29.

Page #60
GRAMMAR 11 -%25. e becomes i' (a) always, when in a closed syllable: pikkhai (= pekkhai = prekSate) 960 and other forms and derivatives from Vpikkha, milhau (from / malla) 860 and other forms of Vmilha, ikka (= eNka = eka) 1000 and its other derivatives, sina (= sajjA = zayyA) 173c, etc. etc. (b) casually, in an open syllable : ima( = ema) 54a, tima( = tema) 103d, jima (= jema) 103d, kima (= kema) 69b, ihu (= ehu = eSaH) 151d, himaMta ( = hemanta) 186b, 2040. ____ef. TESSITORI, S7 (1). 826. odeg becomes degu (a) always, when in a closed syllable : duggacciya (= do = *daurgatyika) 18d, muttiya (= mo = mauktika) 118d, junha (= jo = jonhA = jyotsnA) 160d, kaMduTTa (= kaMdoha) 162, kuMja (= koMja = krauJca ) 164c, NavajuvvaNI (= Navo = navayauvanA) 220a. (b) casually, in an open syllable : Niuiya (= NioM = niyojita) 1120, viuya (= vioi = viyogI) 200d, susaMtiya (= so = zoSayantI enlarged) 1230. cf. TESSITORI, $ 8. $ 27. Vowel contraction. (a) In individual words: ayA">A in sunnAra (= *sunnaAra = svarNakAra) 108a, sAhAra (= sahaAra = sahakAra) 134d, similarly sahAra 211d, aMdhAra (= aMdhaAra = aMdhakAra) 13903; "iI">I in tIyaya (= *tiIyaya = tRtIyaka); a>o in to (= tau = tataH) 18d, 290, sAmora (= sammaura =*saMbaura - zAmbapura), 420, mora (= maUra = mayUra) 212b, Pk. Asoya (= Asauya = azvayuja enlarged)1720, ef. also iMdoa (= iMdaova = indragopa)143d, caMpaela (= caMpayaela = caMpakataila)187d; cf. relevant cases from TESSITORI $ $ 9, 11; * ia>s in paDiliu' (= prati+alIkam ? ef. Pali alika 'contrary'; paJcaliu 1 A comparison of the infleoted forms of one specimen of Ap. like that represented by, say, the Mahapurana of Puspadanta with those of another specimen like one represented by our text (e. g. instr. sing. in 'eNa or 'eNNa : that in 'iNa, instr. plur.in ehi~ or eNhi~: that in 'ihi, loo.sin. in 'eN: that in 'r, gen. sing. in 'iha~: that in hi, abs, in 'evi or eNviH that in 'ivi; nom. sing. in u: that in 'a, abl. sing. in 'ahA~: that in 'aha 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 Apabhramsa literature'--The Karnataka Historical Revier, Jan.-July 1937, p. 18f. ' paDilA oours also in the so. VIII 350.

Page #61
12 SAMDESARASAKA Hc. IV. 420) 896, 100d, 1061, 1621.m-cf. Ardha-Magadhi afsuite = fa+stata; i.. 0. 3deg>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-Magadhi. SS 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 tUrArava 218d and PK. taMDulA (= taMDulaya i. e. taNDula enlarged) in taMDulAkhIrI 16a; (ii) of the nom. acc. plur. forms of masc./neu, 37-stems: e. g., becomes a 1660 (see SS 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 SS 41). When enlarged with "kaH khArthe", it becomes maMjariya. Finally maMjariya is contracted to H (2100) and consequently it converges,with the tatsama uht. For other such cases in our text see SS 41 (d); thirdly, following the analogy of such enlarged feminines in y, final out of whatever origin is in some cases contracted to I: pret. part. caDiya becomes caDI 161d and probably tuTTiya becomes ad 786, qirasa (= arrasar?) becomes que 790, offee (162 d) becomes qiset 89b; finally, for the instrumentals in Page #62
GRAMMAR an intervocalic stop : ruvai ( rudati ) 25a etc. ( thrice ), uvara ( = udara ) 1350, kevai ( = ketakI) 53d etc. ( thrice ), cAvai ( = cAtakI) 1330. cf. TESSITORI, SS 34. SS 31. Anusvara and Anunasika. For the Anunasika see SSSS 2-8. Final Anusvara 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 samuha, sauNNa and samAi ( see $ 17 (b)) represent respectively, etc. through a weakening of the nasal in saMmuha (= saMmukha ), etc. With uNNa and saMpuNNa cf, ki-vi and kiMpi . Consonant-Changes 13 a) SINGLE CONSONANTS $ 32. Voicing. The stray cases of voicing that are met with in the SR., to wit, aNega ( = aneka ) 1776, ega ( = eka ) 180d, baga (= baka) 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. SS 33. Changes of and a A. Intervocalic (through ) becomes, which according to C. below is occasionally1 elided: (=) 628, unnaviyaya ( = unnamita enlarged ) 1487, ravannaDa ( = *ramaNyakam ) 180c, 2016, ravaNija (=ft) 207d; (loc. sing. from*==) 43c, etc., sau (= saku~ = samam ) 746, 79, 99a, parakka ( = payu~kka = pramukta ? ) 111c, 2176, sUraggaDa ( = * sUruggabu~ = sUrodgamam ) 1816, paMcau (= paMcavuM paJcamam ) 183d, suyaraMtiya ( = *suva~deg = suMma = smarantI enlarged ) 1916, dhUiNa (= * dhUrviNa = dhUmeNa ? ) 1936. Elsewhere in the text, the is retained in the words that are identical with or allied to the above-treated cases, eg. paMcamu 53e, ramaNIu 183a, etc. In vammaha ( = manmatha ) 976, 103 (quite common in Pk.), though initial, has become a through dissimilation. in ima B. Conversely nasalised (i. e.) becomes m 540, jima 108d, tima 103d, kima 696 respectively from ema < eva~, 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.

Page #63
14 SAMDESARASAKA 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 i or e of an ending or a sufilx; (i) in the final syllable : saralAivi (= saralAvivi, abs. from / saralAva = *saralApay) 26b, maMnAevi (= manAvevi) 746, bhAiyai (= bhAvi i. e. bhAvyate) 526, caDAiyai (= caDAvi from / caDAva) 520, lAiyai (= lAvi from VlAva i.e. lAgay) 189a, suhAiyai (= suhAvi = sukhApyate) 189b; dhUijjai (= dhUvi fromvdhUva = dhUpay) 1894 ; ruivi (= ruvivi, abs. from / sva). 67a, maMnAi (= maMnAvi, abs. from VmaMnAva); bhAiNa (= bhAviNa = bhAveNa) 950, 183d, dhUiNa ( = *dhUviNa = dhUmena) 1930; bhAi (= bhAvi i. e. bhAvena) 19c, ThAi (= *ThAvi = ThAmi from sthAman) 43c, etc.3 pAi (= *pAvi = pApin) 191f, pAiya (= pAviya from / pAva = prAp) 11403; (ii) in the body of the word : kayavara ( = kaI = kavi) 44d; . (b) before (mostly) the terminational u and medial u or o : raMu (= ravu = ravaH) 45b, etc. (five times), saMtAu (= saMtAvu = saMtApaH) 760, jIu (= jIvu = jIvaH) 1548, 217d, pAu (= pAvu = pApam ) 206d, taMDau (= taMDavu = tANDavam) 212b; sau, sUraggau, paMcau (see A. above); mayau (= *mayavu = mRgavyu) 836; saunna (= *sa~vunna = saMpUrNa) 24c, tiura (= *tivura = tripura)420, auvva (= *avuvva = apUrva) 4600; paukka (see 833); viuddhI (= vibuddhiya i. e. vibuddhI enlarged) 154a; kaola (kavola = kapola) 187b. (c) before : tihuyaNa (= tribhuvana) 18a, etc. ( thrice), bhuyaNa (= bhuvana) 180d, etc. (thrice), suyaratiya (see A. above), cf. sakoyala (A B;= sakomalam ) 1230, dhuya (= dhruvam ) 2096; Niattaya (= Nivattaya = nivRtta enlarged) 30d, Pk. aNiyatta (= aNivatta = anivRtta) 84ca and aNiyattI (= aNivatti = anivRtti) 128a, ia (-iva) 193d; geya (= naiva) 30d, 990, 111b etc.; goyaMgaNa (= govaMgaNa = gopAGganA) 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 Boli, etc. For Early Maithili cf. VR. $ 18. 834. Miscellaneous. A. degs becomes hU' in' saneha (= saMdesa = saMdeza) 190, Pk. 4b, daha 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 desinences the g in the gen. sing., in the h-future and in 'fe of the pres.2.sing.derives from an original sU.

Page #64
GRAMMAR 15 H = dasa = dazan ) 586, 1450, diyaha ( = divasa ) 123b, Pk. 1260, 1276, Nivehiya = Nivesiya = nivezita ) 189d, Pk. varihaNa (= varisaNa = varSaNa ) 840 and VsAha ' tell' ( = zAs, not sAdhU) as in sAhei 826, sAhi 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 SS 62), (776) from, the pronominal form ger ( = tuha ) 786, 86d, etc. and probably vahAU ( < *vavAhuya = vartma + vAhU+ uka ) 2220. dIunha ( = dIhuncha = dIrghoSNa ) 836 etc. is haplological (see SS 40. iii). The other cases are either only apparent or doubtful: 3746, etc. is quite satisfactorily derivable from samam (see SS 33. A.) and hence we need not look for it to (= ). saittihiM 169a is not sahitAbhiH as taken by the com. saitta ( = sayatta ) is altogether a different word. cf. Des. VIII 5: sayatto muditaH. For this tendency in the langunge of the Doha-Kosas, see SHAHIDULLAH, p. 34. For OwR. see TESSITORI, SS 37. b) CONJUNCTS 35. i. of the passive appears as in V (from VkSa ) : ziAMti 103d, jhijjhau 1650, jhijjhaMta 165. The alternative form also occurs: f 156b. cf. Markandeya, Prakrtasarvasva, p. 63; 7, 20. ii. a of times), jhalakaMta 1316, , see SS 46. i.); 1310, jaliya 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, SS 42. Old Bengali also has from. optionally becomes or a. 131c, etc. (four jhalakaMtiya 140 and jhalakkiya 10Gd (all from / jhalaka 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, cakkaya ( = catuSka enlarged ) 125b ( contrast joikkha 86 = jyotiSka ), duttara ( = dustara) 1420, dukkara ( = duSkara ) 204d, Pk. duSpiccha ( = duSprekSya ) 11a (b) in other cases: sakuliya ( = sakkuliya = zaSkulikA ) 236, Pk. avahaTTaya ( - apabhraSTa enlarged) 6a. V. The group (nasal+non-nasal stop) is assimilated to double nasal in saMneha' (= saMdesa = saMdeza ) 19, Pk. saMnehaya 4c, cf. saMnehaDau (A) 800( otherwise saMdesau 686, etc.), sAmora ( = *sammaura = * sambaura = zAmbapura ) 42a. In Early Maithili this tendency to assimilate a post-nasal

Page #65
10 SAMDESARASAKA stop has already set in. See VR.8 13, end. For Gujarati . cf. TURNER, "Gujarati Phonology' (JRAS, 1921), $ 78. ___vi. Nasal+c on son a n t instead of double consonant is found in muMdaDau (from mudrA+'s enlarged) 816 (cf. Early Avadhi mUMda), niMda (= nidrA) 190a, 191b, NaMdIyai (= nidrIyate) 1828, aMsu (= azru) 890, 1180, (already in Pk.), phaMsa from sparza in phaMsahi 980; paMkhuDiya (= pakkhuDiya) 27d, muMdha (= mugdhA) 66d, muMdhi 82d, etc. (five times), vibhala (= vinbhala = vihvala) 46c ; osAsaMbhama (= ucchvAsa-bhrama) 976, saMkAza (= satkAza?) 1630. 836. vii. Simplification of a double consonant. This New Indo-Aryan tendency is attested by several words: (a) without compensatory lengthening in sakuliya (= saku = zaSkulikA) 230, kaNayAra ( = kaNiyAra = karNikAra) 600, vakhANiyai ( = vakkhA from vyAkhyAna) 656, kapUra (= karpUra) 79&; ikatti (= ikvatti from ekatra) 800, ikalliya (= ikkadeg from eka+ enlarged) 92b, ikaTTha (= ikaTTha = ekastha ) 180d-all of these are words with their first two syllables heavy in the original; cUDila u (= cUDillau = cUDA+ila enlarged) 110d (cf. cUDillau 113f) and jhalakaMta (from/ jhalaka) 131c, 140cx-both with a heavy suffix; mayau (= mayavvu = mRgavyu) 83b, Alasa (= Alasya) 105d, paluTaMti (ef. palahi 1300) 195d, savi (= save = sarve) 209b; degsa (= degssa) of the pronominal gen. sing. as in tasu 85d, 94e,f, jasu 70a, kasa 49a and degsa (= "ssa) of the future as in kahisu 910, payAsisu 117b. (b) with compensatory lengthening in vesA (= vessA = vezyA) 460, UsAsa (= ussAsa = ucchvAsa) 9766, UsAriya (= ussAriya= utsArita) 186d., nIsAsa (= nissA = niHzvAsa) 830, 85c, nIsarai (= nissa = nissarati) 54c, vIsaraha (= vissa = vismarati) 54c, dIsahi (from dissadeg = dRzya ) G8d, sIsa (= sissa - zIrSan ) 178c, pIsiyai (from pissa = pivya.) 1878, saMmIsiyai (firom saMmissa = sam+mithU) 1870, Pk. dUsai ( from dussa = duSya) 400 and Asoya ( = *assauya = azvayuj enlarged) 172c ; in the the gen. ending in jAsu 70a and piyAsu 70b-all these cases involve simplification of degssa; bolAviyau (= bollA from Vbolla) 41c, volaMta ( = bolaMta) 950, phophala (= pho phala = pUgaphala) 1880, sAmora (= sammaura = sambaura = zAmbapura) 426, IkhoDa (= ikkhoDa = akSoTa) 56b, tAkaM (= takaM from.Vtarka) 104a, jAgatiya (= jagga0 from * jAgra i. e. jAgR) 1470, parAvasi (= paravvasi = paravazA) 151b, sAva (= savva = 4) 2020; AbhaMgiyai (= abhaMdeg from abhyaGga B C reads abhigiyai) 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 dIha (= dIgha = dIrgha) 25c, vAha 956 or bAha (= *bApha = bAppa) 1096 etc., jI ha ( = *jIbhA =jIhA) 132a; Pk. mAi' (= mAya = *mAtA - mAtrA) 32a and taMtIvAya (= taMtrIvAdya) 10cs. Most

Page #66
GRAMMAR 17 of these cases are already known to Pk. (especially to Ardha-Magadhi)". 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.. SS 38. Anaptyxis'. (a) Some notable cases in general: E ( E) 19d, 886 and ATE 1006 (otherwise ule 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 SS 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 usasaMtiyA and varasaMtiyA' SS 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.

Page #67
SAMDESAKASAKA appears in paMDita ( = paMDita ) 20e, maNamattha ( = manmatha ) 8300, tattakkhaNe ( tatkSaNetya paDilliya( cf. paDiliGa 106d, see SS 27)162d, fff(from alikaya ( = alIka enlarged)211a, Pk. sayalaja 82a, tilaka = tilaka ) 1680, ( = saI deg = zailajA ) 40. 18 Three novel cases based on assimilation are paMDita (= pANDic ) 190, Nittu ( = nityam ) 202d ( beside Nica 115d) and rattha ( = rathyA ) 218 ) (beside 1756). SS 40. Other casual phenomena. in i. Consonantal assimilation is found in phophala ( = phopphala: * popphala = pUgaphala ) 1886. cf. also 46c (BC) bhiMbhala = *bhinbhala = vibbhala = vihvala. Note also vocalic assimilation in sitraNa ( for siviNa ) 154a from suviNa ( = khapna ). Besides these cases of regressive assimilation, we have fasa (SS 35, i)for fa a case of progressive assimilation. ii. Me tathesis explains pAvayaNa' (= pAvaNaya = prApaNaka) 28e, and visuMThalaya 1150 for visaMkulaya. Both may be simply orthographic. iii. Loss of a syllable (or a consonant): (a) haplological in dI unha ( = dIhunha = dIrghoSNa ) 836, 1110, Pk. 900, jAisi ( = jAisisi ) 41d, gitaftu ( = gqzfafagr=g:afuar) 85b, 147a; similarly fra 115c to be somehow derived from dukkha + khidya ( ? ) ( cf. Pk. khijjia = khinna ) ; cheara ( = cheyayara = chekatara ) 180, pahiyaNa pahiyayaNa = pathikajana ) 316, Niddayara (=fagaur=fidant) 67d; (b) relating to a medial followed by a conjunct in kaMTagga ( = kaMTayagga = kaNTakAya ) 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 SS 46. ii.), we have to assume that it has resulted from gahira ( = gabhIra) being contaminated with guhA or kuhara. 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. =

Page #68
GRAMMAR 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 #fe 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 SS 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 deg377deg : 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; fortie 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 deg5: fia (= fam) 59c, 317EUR (= 3764) 566; (g) 776 (in a Doha) quite fapiiliar to the New Indian. There are prosodic grounds for so 1110 (in a yamaka) and disAsu 2016 (at the end of a trochaically closing 9). The rest are the feminines # 27c, jai 55c, 731 169d; pronominal plurals # 45a, a 940, 2066; the indeclinable seat 916. SS 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 Doha-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,

Page #69
20 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 ehi once. optative: 2. sing. in 7 times in thrice. absolutive: in / avi 61 tiraes in evi 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 paddhaDI Or dohA ). Regarding the vowel-harmony in the case of the h-endings of the genitive, see SS 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, vivaraMtara 49c and ghaNa-aMtara 1420, dIhuncha 666 and pINa unnaya 45c, etc. bhAulaM 208b is bhA-Akulam. Specially to be noted are the four cases of sentence-sandhi: nAsAsihasi (= na A ) 191e, NAviu (= Na A ) 1970; Pk. tANaNu ( = tANa aNu ) 7a', and perhaps visamuTThiyau (= visamu uTThiyau ) 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 SS 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 NigviNe ( = nirghRNAya ? ) 85d and payahatthiNa ( com. = pAdatrANahastAH ) 1400 are not clear to me.

Page #70
GRAMMAR 21 of vighnakartR) 850. It appears in the final position in a varNavRtta each one of whose quarters closes with a ragaNa. The semi-tatsama fem. instr. forms whilar (= 3294 ) 830 and aifan (=aamat) 83d also occur in an identical metrical position. SS 45. Normalization of the stems. i. Stems in deg , "3 02deg37 are transferred to the standard deg37-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 : camakau 500, Vjhalaka (from jvala) in jhalakiu 106d, etc., thakkiya (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 SS 22). Action nouns in 37 (or re). Te 52b, Jure 1050, TA 113a, 324h 1136, degge 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 (= degF) 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. geet, 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

Page #71
22 SAMDESARASARA '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 rico. The same mode of expression lies at the basis of Ap. 85/9-77, 47-77; Hindi jzu; Guj. sert (= *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 (:= degc) 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. SS 48. ii. . vii. Only one word takes the possessive suffix (r)37ias (enlarged): MENS 51c, SS 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 Dohas. 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 SS 48. Prefixes. i. 3foro forms negatives from adjectival words. Refer to the zabdakoSa for the words with aNa. ii. 1deg (<5deg?) 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 Pascakhyanaka (1199 A. C.), p. 70, 1. 3 (HOS, vol. 11), what (= :) in the Samaraiccakaha (ed. JACOBI), p. 14, 1. 7.; Heifen. (= alifa).

Page #72
GRAMMAR 23 Paiasaddamahannavo. This type of words are casually encountered in some modern vernaculars also. Cf. for example Dingal Aho, ma ( = 79 ) etc., Gujarati HOS, 999 (= ), Hindi sakuzala, Bengali sacakita, Awadhi sabhIta, Marathi sakALI (Sk. *sakalye = kalye). SS 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 degaya. Thus to a mase. karaMtau corresponds the fem. karatiya. 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. karatiya'. This karatiya further appears as karatI 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 degaMti and degaMtiya on the one hand and degaMta and degaMtaya 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 degaMta, 1 in aMtaya. Thus those in aMtiya/aMtI score the highest figure. ii. Preterit participle. 1 When metro roquires, we have also thaai with the upshortened final,

Page #73
24 SAMDESARASAKA In the case of the 'regular' (SS 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 deg. cf. TESSITORI's observations (SS 57 (2)) on the feminines in OwR, SS 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 SS 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 Gujarati, Marathi and Konkani 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 Ramcoaritar munasa 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, SS 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 37EUR 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, degR. 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 g 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 Valmiki-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. SS 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 SAUDRGARASAKA '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 Marwari 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 SS 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 'c 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 deg57 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 987EUR 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. : navaya 185c, for 1966, f. uTTaMta, paDaMta 1360, alahaMta 190. GRAMMAR 100c, viraha 1036, dhUma 109d, sulaliya 183c, kaMdappa (plur.) 218a, perhaps (plur.)2166; Loo. sing. : caraNa (plur. ) 27d, dara 28d, juyalaya 52c, suyaNa 95c, magga 105d, dakkhiNa 1126, vioya 1150, pallava 134c, saMniha, ghara 1670, kuMDavAla 1750, sijjAsaNa 179d, vasaMta 215d; f sijja 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 pabesi (216) ' = abudhatvena, abudhAH (matkAvye) na khalu pravezina : '. payahatthiNa kiya pahiya payahi (v. 1. pahihi ) pavahaMtayaha ( 1410 ) = ' payasi ( or pathi ) pravahantaH (= saMcarantaH ) pathikAH pAdatrANahastAH kRtA:' Fem. susaMtiyahaM and lIlaMtiyaha ( 123c, d) also are nom plurals. Possibly 103d presents a similar case of the nom. plur. in aha. The line reads jima tumhahi tima muMdhi pahiya jhijyaMti Niru. Here it is difficult to construe the instr. ff. Obviously the line means he mugdhe yathA yUyam tathA pathikAH api atizayam kSIyante Now B. offers a variant for af. If this is accepted, we can take it as an honorific form of tumha. ' 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., SS 26). CHATTERJI'S suggestion that this is the same as the Ap. gen. sing. and plur. ending is most probable. SS 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
SAMDESARASAKA Ste. Sing. Nom. Acc. 07; . Instr. 50; ora 20, 9; OPE/TE 9;deg3 6. Gen.. 37EUR; a 9. Abl. OSTE 4. Loc. deg 93, t/t 12; 03 12. Voc. : 037. Plur. Nom. Acc. deg37. Instr. Polska 47, ope/state 8, ogle/git 8, deg84 2. Gen. Abl. 378 1. Loc. P/SP 143 1. Voc. deg37. 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 variant 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 SS 51. B. The Dohakos'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-HUCUT 69 and forescar-farceur 97 at the end of the Doha-padas and TESTUOI-YETUTET 209 closing the Paddhaci-padas) are metrically conditioned. The remaining are viNaeNa 746, pieNa 1386 (both occurring in Dohas) and viraheNa 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 Dohakos'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 Doha rhyming with the pronominal alg, while pahiyassaoccurs in a varNavRtta (856). There does not occura single form in degE.-Abl. sing. The forms are formaty 24a, quantage

Page #78
GRAMMAR Loc. sing. 89a, g 1416 and 186d. cf. TESSITORI SS 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. SS 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 SS 51 B. (3). The only representatives of the neuter plur. forms are sayAi~ -- tulasIyalAI 62c, d and 174a. The first two of these occur in the section listing trees and at the end of the Paddhadika-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 sarehi occurs is a varNavRtta. There remains only calaNehi 25d. Gen. plur. Once is attested in a Prakritised stanza: mukkhAha 250. - Abl. plur. The solitary case is a 1026. The Dohakosas have ag for both the singular as well as the plural. SS 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 kiMsubaha and palAsara 2090, b are doubtful, 29 164 cases

Page #79
30 SAMDESARASAKA 6 instr. sing in Copy (3) and argu (3) 6 cases loc. sing in (r)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 Doha 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 Doha-pada. Pogas 696 also occurs in a Doha. The other three instrumental forms ( 4 68c rhyming with 'nayaNa, and kahiyayaNa-rahiyayaNa 91 c,d) actually end in degyaNa (see s10. (b)). These are quite peculiar forms. All the three are inflected from the enlarged pret. part. - Loc. sing. e46 806 in a Doha 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 degpikkhaNai 53d, pikkhaNaya has developed a semantic shade slightly different from that of former and as such it has come to be a 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 ostre is 991EUR 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, kaNayaMga 41c, tiracchi and taralacchi 97c, utaTThi and kuraMgi 97d, dIharacchi 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 bIharaNayaNa, tiraccha etc. or to explain them as bare degi stems employed to serve as instrumentals without any ending. For, the former alternative forces us to assume fem. ar-stems like, tiraccha, bIharaccha ( bhinta in the case of the loc. bhitti 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 SS 51 B. (2)) and in Dingal, we hesitate to subscribe to it in the light of the loc. sing. forms in degs viz., bAhaDI ( m. c. for bAhaDi ? ) 816, disi 1420, Nisi 136, 147c, etc. (8 times in all), f 1756, 183e which can be well considered as inflected from disa, jisa, etc. Still instr. taralacchi 970, perhaps loc. is 27a and above all the gen. instr. and loc. forms considered under SS 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) SS 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 ahi (Aunniyahi required by the context for the textual 'Aunniyaha 2226; cf. dayavara and vasaNa respectively for fa, afe SS 22). Cf. also the instr. sing. in of the fem. -stems (SS 56).- 136c, is the only abl. form. in 'aha : sarayaha 161d; in 'ahi : sijahi 185c. Many of the loc. sing. forms with the affix detailed under SS 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 Asu : nisAsu 173La, disAsu 2016, 2156. Loc. sing. - GRAMMAR SS 55. Masculine - and J-stems. Sing. Nom. Acc. Instr. 1 As to meme 140b, see SS 76. . iNa +3 02

Page #81
32 SALIDESARASAKA Geri. . . oft . Loc. Voc Plur. Nom. Acc. Instr. Alle Loc. ihi 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 SS 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. deg53 (deg57, "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 SS 41 (d). In the HP. in such cases the SS 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. Dhurtakhyana (Singhi Jaina Series No. 19), p. 52, note 1)": fal 26c, Edfa 51a, sticla 530, gulae 530, erfa 1186, tasu 176a, Taifata 191b; viat 50c, famaiat 157a. Note that such instr. and gen. forms in deg84 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, raNihi 1606, pasihi 1796, dIharihi 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 pacahaMtihi~ 168c, nArihiM 1740, kiMkiNIhi~ 179d and perhaps parikhillarIhiM and kiMkiNIhi~ 2190, d. sahINa and valahINa 2030, d. occur at the end of the Paddhadika-pada Loc. plur. taraMgiNihi~ 1416, pukkharihi~ 1416, duttarihiM 1420, sarihiM 1420, disihi~ 1450, akkhihi~ 176d. It is not necessary to take of as plur. with the com. No fem, 3-stem is attested in the SR. Pronouns SS 57. Personal. 1. person 4 Sing. Nom. Acc. Instr. Loc. Gen. Plur. Nom. har3a (hau~ ) maI 191f GRAMMAR 1096, 1176 etc. (about 14 times) Insts. amhihi 1146 Gen. amha 120d .. 2. person maha 1040 99%, 117d etc. (12 times); mahu 916, 189d, 197b, d; majjha 104d, 197a tuhu, nU~ (?) 776 tumhahiM 186, tumhi 117 Remarks. For the question of nasalisation in various forms see SS 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, 88a: CE, 92c: A C, 2220: B tuha) it alternates with tuha. tua or tuya 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 tuya ) it is attested in only one Ms. 1056 is the only possessive pronoun. Cf. TESSITORI, SSSS 83-84, 86, 87. taha 124a para 77 ger (g), JE (?), tujjha 120, 1916 58. Demonstrative and relative. 5 saM. rA.

Page #83
Croa. SANDESARABAKA 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;am 1070 trg 200, 850, 99d, 1220 T 98C TE 260, ag 2784 "Loc. af 183a Plur. Nom. a 776, 103a, 206b; (-a) 27c. & 940, fa 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 Doha. 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.)

Page #85
SARDEGARAMAKA Remarks. For the nasalization of the endings see $ 6.-1. sing. is 306 and robes (B(r)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. FRA 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. deg 16, of 10, 1; 38, EUR37 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. SS 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) <Page #86
: 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 SS 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 Doha) 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, 3e 27, glat 5; ogtag 11; deg 28; 2, '3 1, apfen 1. Those in '52 (see SS 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.

Page #87
38 SAMDESARASAKA Of these, only the form in aur is known to the Dohdkofas. Cf. also TEKSITORI, SS 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 deg74 / cf. the passive endings deg575/5cm ($ 71). SS 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 SS 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. SS 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 saca and suhAiyai 1896 from sukha. 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

Page #88
GRAMMAR 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 fret 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 Britas 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 Rajasthani. 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

Page #89
40 SAMDESARASAKA moment'. Cf. the com. : tataH kapAlaM kSaNamapi vAmakarAn na dUrIbhavati. Can the problematic siharahiyai 148d be brought in line with the abova? For OwR. cf. TESSITORI, S 72 (3); (6). .. resi is employed to signify the causal relation. due to', ! because of', 'on account of'. Thus kukavitta-resi 210 =kukavitvena hevanA i. e. kukavitvAt, Ordinarily resi is a tAdarthyanipAta. See He. IV. 425; Haribhadra's paMcAzaka-prakaraNa:19, 40 (resimmi ). laggi ( := abs. of Vlagga) with the adverbs of time denotes tempus a quo' i. e. it has the sense 'since' as in kaiya-laggi 122d = kadA pramRti : since how long'. Cf. TISSITORI, $ 72 (a) where lagai, lagI are noted in both the senses 'up to', 'from'. ...3: The genitiv.e..postposition taNi (fem. of taNau; see He. IV 422, 20) quite obviously cannot govern any other case except the genitive. Accordingly mai taNi (94 f.) appears to be a suspect, standing perhaps for an original maha taNi 'my'. Cf. TESSITORI, $ 73 (4); DAVE, p. 58. 4. mahi is a locative postposition : maNamahi means in the mind'. It is loc. sing. from maha, which is connected by BLOCH with madha allied to Sk. madhya. Cf. TESSITORI, S 74 (7); Dave, Index s. v, mahi. $ 74. Indeclinables. Adverbs appear in the Sr. in any one of the three forms : with the degu of the nom./acc., with the degs of the instr./loc.or altogether without any affix. We have ciru, thiru, dhIru, bhaNu, Nimisiddha etc.; turiya, punarutta savva-vAra, Nimisa, khara etc.; jiravarikha, nibhaMti, aNiyatti, ityaMtari etc. Note khaNu 19d, khaNa 86c and khaNi 866; khaNa 67a and khaNaddhi 223d; niraMtara 148c and niraMtariNa 64d; cf. also puNu 960 etc. (5 times), puNa 67a etc. (6 times) and puNi 101a, 117d; para 790 and pari 189d. Following is the list of other indeclinables arranged in semantically allied groups : ai, lai (thrice); ana-i, aru, aha, ya (6 times); ahava (ahavA), va (= vA at 4ld and in kattha va etc.?); ima and va (29a, 123c), kiri, jaNu (thrice), Najai (twice), NaM (8 times%3B at 132a = iva), NAi (twice ; NAya, NAyaM), dhuMya (= dhruvam); ittha, kattha (kastha ba, kattha vi), tattha (tattha va, tattha vi); ima and ema and eva, kima, kimma-i' and kema (Pk. 116), jima and jema, tima and tema ; kaiya, jaiya, taiya; kaha (equivalent to katham, kutra, kutaH (410)) (kaha va, kaha vi; kahakaha va, kahakaha vi), taha (taha ; taha :va, taha vi); kahi, tahi ; ki (ki-ti, ki-hu) and kiM (kiM-pi) and kaoNi, jaM, taM; ciya, ji (twice), degi (5 times); jai (jai vi) and ahaM (1016), tau and to; jAma, tAma and tAva and tA; Na or na, gahu (26. times ; Nahu vi), Neya (4 times), ma; Nika dara; para (pari); puNu (puNa, puNi); purau ; hiva (twice ). : .. .: 1...CH.OWB. kimha-r, wrongly derived by TENSITORI (S2 (1)), trom *kaoNna, kapamapi.

Page #90
GRAMMAR SS 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.; 3771EUR 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 we 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-sturi-athair; 1776= -3 -95ahore: 90-9f8fw-HR 1840 = 740-FR-qfeffa; tel@-Asformat 193a = Asformar- 2; 9733-114a= a 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 Karmadharaya 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.

Page #91
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 rayaNa-tADaM kihi parigholira- savaNi 46d for parigholira- rayaNatADaMka-savaNi 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, yi daiya-soya- asahanta bharu 103c = Niya-daiya-soya-bharu asahanta nimmala- phurai -karu 1220 = nimmalakaru ( = candra's epithet) phurai NavaghaNa- jaMti -tali 130d = NavaghaNatali jaMti 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 SS 76. end. SS 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: pahiya pavahaMtayaha 546 = pahiyaha parva ' bhayamesiya airAvai... khivaMtiyai 1400 = bhayabhesiyai airAvaii... khivaM taraMgiNa jaMtihi 1616 = taraMgiNihi jaMtihi Pk. kayaharisa varahiNIhiM 2130 = kayaharisahi vara mayaNaaggi virahiNi (i. e. degNa ) 2220 = mayaNaaggiNa virahiNa wide scope. Notable case usages. Genitive has developed a very (a) Genitive absolute. Besides the usual type seen in pavasaMta ( = pavasaMtaha), Na pavasiyA 700; tuva ( instead of tai A B ) hiayaTThiyaha, virahu viDaMbai kAu 76a and perhaps muddhaha vilavaMtiyaha 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'. tuya suyaraMta ( = suyaraMtaha), samAhimohu visamuTThiyau 86. your memory......" can 6 Thus "While cherishing

Page #92
GRAMMAR 43 - geu girata (= girataha) pAiu paDhaMtaha, ima vilavaMtI (= tiya) diNa pAiu 157ab "While singing songs and reciting the Prakrit (gathas), (I) who was thus bewailing, reached the (final) day (of the rainy season)" (piya) sumaraMta (= sumaraMtaha)......ima jaggaMtaha...asa taggaMtaha, jAmiNi gamiyaha 158 "The night is passed keeping awake, cherishing the memory of the loved-one and carrying on to live somehow". dakkhiNamaggu NiyaMtaha, maha aitthirisiu didU 159ab "While watching the road in the south, I saw the sage Agasti (Canopus)". __ ema sunnahiyaya bhamaMtaha, rayaNi vihANiya 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: tua hiyayaTThiyaha chaDivi 750 (i. e. tvAm hRdayasthitam muktvA ) tuma suyaraMta 868, tasu aNuaMci 130a, ima karuNa bhaNaMtaha ikkikkaha Na kui dhIravai 1666d, bilavaMtiyaha AsAsihasi 191e, majjha saMtosihai 197a, mahu milhihai 197b. Adverbially genitive is used instead of accusative twice : NakaMtaha 104c, d. (c) Genitive with the word of comparison : sunnAraha jima 108a and jamajIhaha NaM (i. 9. yamajIlA iva) 132a. As instr. postpositions, saMmANiya and sarisa (573. 1) should govern instr. But originally being words of comparison, they take the gen. also. So besides miyaNAhiNa sarisau 187d, we have sarisu jAIhalaha 188a and tua saMmANiya 78b. Guj. regularly uses genitive with the particle of comparison. ____Locative. Locative Absolute. Only two cases are met with : aNakiyai Niyai pauyaNi 102d and pai porisanilaeNa (i. e. pai porisanilai) 77a. The latter of these two cases also supplies an example of instrumental being used for locative. NiyabhuyaNi patta 130d and tarusiharihi caDiu 144a, cUyaha sihari caDi 144d illustrate the locative of goal. Several times singular is used for plural: vasa-vINa-kAhala-murau 45a, taha (i.e. mahIruhAm ) NAmu 64b, bagu...caDiu 144a, kayaMbiNa 146c, aMgagi 146d, dasaha disi 148a, cittavicittai taNupaMguraNihi~ 167d, tihi bhamirai 174b, bhamaru 2050. Pk. Aehi...pucchieNa pavAsa-diyaheNa 126a, sUrasasibiMbe 2a, lakkhaNachaMdAharaNe 6b. Ellipsis. The author seems to be remarkably fond of ellipsis. At several places the sense of the sentence remains incomplete

Page #93
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 sahakAra 141d : refers to vidyut 152: dir is varSAprAntadina 1890 : divasa is to be understood after aMgulamatta. 193d : supply dumma after ujjANaha~. 196a : supply dAnaM after diMti. 196d: we have to understand priyaM prati. 202d: fa: are understood. 218d: supply janAH. 219ab: supply a. SAMDESARASAKA Tmesis. We have already dealt with several cases of tmesis ( 875 ). To those add one more : saM- kevai- jaNai 2010 = kevai saMjaNai. 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., SS 38. va-ghaNa-reha - viNaggaya nimmalakaru sarayarayaNi paJcakkhu amiyabharu jharatau phurai taha caMdaha jiNaNatthu piyaha saMjaNiya-suhu muhu virahaggidhUmi kaiyalaggi jhaMpiyaDa 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". phalahAriNa unnamiyaugaMdhavahi kuMjarasavaNa- sariccha pahallira ( sAhAru ) taha pattihi ... kIrapaMti parivasai 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. mANusa - divva-vijAharehi~ Nahamaggi sUrasasibiMbe AehiM jo Namijai 2 " 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

Page #94
GRAMMAR 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 chAvaDai paharAviu 78a, mai runu 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 Doha), 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 haMsi (insti.) caDiu (cf. chAvaDai paharAviu) get current and then secondly, if as a result of the phonetic development of sta into a (i. e. endingless instr. see SS 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, SS 137 ]) sense. Some indications as to this are supplied by aMbaru puNi raMgiyai --the cloth can be dyed again', aMgu abhigiyai "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 samANA 180 (= saMmitAH) from VsamA and perhaps pacchuttANiya (f.) 1 According to TESSITORI (who follows in this matter HOERNLE SS 484) originally this was a potential passive developed from the causative) which in course of time became ordinary passive (see SS 140), while the participle in '37193 is connected by him with the same in 37toto in Sk.

Page #95
46 SAUDESARISAKA 1992 from Vega-V Tag TSH ( = 928deg+3Tg?). TESSITORI notes that they are found in Jain Maharastri, 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 TEZ 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. SS 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 Apabhramsa 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 Apabhramsa 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 Prakrta-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., AE> () (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 BTTA. 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 zvetAmbara or gurjara apabhraMza. 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 Apabhramsa but are commonly indicative of the lateness of Apabhramsa. 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. cogaNI as against H. caugunI) and pharasau (G. pharasu); (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 Apabhramsa 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 SANDESARASAKA ($ 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 Rajasthani, 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 Marwari. 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 va (833 C.); (b) agentives like saMjIvayara, ulhAvayara as compared with Hindi luTerA, citerA etc.; (c) the compound absolutive dahevi kari (in a Doha) point to such Midland influence. As suggested at relevant places (e. g., p. 19, note 1) the language of the Dohas 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 Dohas of Hemacandra. II METRES SS 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 chando'nuzAsana and the prAkRtapaiGgala, 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 Virahanka, the a2F78FCL of Svayambhu, the Target of Nandiyaddha, the anonymous #fajor and the da: Fray of Ratnasekhara'. Among these the work of Virahanka (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 Beitrage 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 Apabhramsa 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 Svayambhu 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 Puspadanta or the n ame of Dhanapala 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. SS 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 pAdas (as ghattA : the antarasamA catuSpadI type ). (c) Metres with the rhyme-type a b, c d, e f. (d) Strophic metres. Metres of the Gatha-type. adians. A. mAtrAvRttas. I. (a) Four-lined metres: rhyme a b, c d. SS 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 yamakas. 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 yamaka and the aDier 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 aDilla, aDila, alillAha eto. 2 CK. 42 recognises a third variety with a different Yamaka (1) for each of the four lines and calls it bhinnamaDillA.

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 yamaka. 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 " aDilA nakkaDaya bheeNa" i e an aDillA in the form of a narkuTaka stanza in AbhIrI with the yamaka employed in it. But just below the above-cited definition of the fear, another one is given at Vls. 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 apabhraMza and using the yamaka. 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 SAMDESARASAKA 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. yamita aDillA and maDillA, --- 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 ramaNIya is to be preserved, rayaNi (c) is to be preterred to rayaNia.

Page #102
GRAMMAR The 4. is invariably made up of two short morae. 1626 (~~~~~~~) is the only case of Gana-fusion. 2. maDilA . SS 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 vyAkhyA names the metre of Sr. 111 as maDillacchaMdaH 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. SS 5. 3. rAsA ( rAsaka ) or AhANaya ( AbhANaka ). 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 SAMDESARASAKA 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 Gana-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 SS 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 SS 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 SS 28 (cf. SS 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. gaNa this also avoids the jagaNa. (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 ghatriyaya, milhiyaya. See Grammar SS 41 (c). For 151 a, b see Metrical Emendations. VE 56 - SS 6. 4. caupaiya (catuSpadikA). 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 rAsAs. 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. laMkoDaya (laGkoTaka ). SS 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 rAsA. But the designation implies some characteristic peculiarities, which however are not clear to us. Accordingly 204 also is treated here as a . SS 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 paddhaDiyA-line is made up of four caturmAtra gaNas; 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 Paddhadika 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. Gana 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 SAMDESARASAKA SS 9. 7.1989 (184) or age (*). Occurrence : (independently) 107; (as the first four lines of the strophe 59EUR ) 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 SS 18. SS 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 ragaNas. ' But this appears to be an overstatement, since in the CK. itself two tagas-one forming a part of the strophe dAyaNa (CR.32 ) and another in the allied strophe caMdAryANi ( 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 Ck. presents one extreme, the Ch. the other. With this varying treament of kAminImohana at one place as a mAtravRtta, at another as a varNavRtta, cf. a similar treatment of for (see SS 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 dohA followed by a kAminImohana. 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 aikomala jaNadeg ) which obviously means that a kAminImohana 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 lacchIhara. 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 DESARASAKA 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. SS 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 91EURs 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 gas 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 paddhaDikA, vadanaka 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 sommiA (saumyA) 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 EUR8. 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
SAMDESARASAKA 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.; iha hi gAthAdaNDakAdivarja sarvacchandAMsi yamakitAghrINi sAmAnyena galitakAni.. 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 Doha-type. SS 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 Apabhramsa 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 Dohas occurring in other Ap. texts are also reproduced here from KP., p. 72 for comparison. Hem. stands for the Dohas 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 ch48: 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 SAMIDESARASAKA 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 hemacandra's cUliAlA has another noteworthy feature. As a rule ~~~ is forbidden in all the caturmAtras of the dohA and cUliAlA 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 cUliA+ any of the possessive sufixes 'ilaya or 'Ala(ya) gives cUDillaya or cUliAlA.

Page #114
METRE 65 being nothing but an extended dohA -- a 'crested' dohA, it is naturally expected to abide by this restriction. But illustration has one caturmAtra 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. phullaya (phullaka) - SS 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 Vls. 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 utphullaka line is just a dohA line with one mora less in the prior pAda. Consequently an utphullaka is liable to be confused with a. dohA. 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 hiu' for hiyau and dahavi or dahivi for dahevi 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. Domilaya. $ 16. Occurrence: 22-23, 95. The 3 or 3 is known to the metricians of the 'Bardic' 13 is attested in the Dohakosas and sanctioned by Hc. I 269. 9 saM. rA.

Page #115
66 SAMDESARASAKA 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). Svayambhu, 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) rAr3hau. ADha 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 pAda. This can be avoided if 's T-scheme is adopted. The odd pAdas : 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 pAda. 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 pAdas :-- The 11-moraic is divided as 4+4+3, the 12-moraic

Page #117
68 SAMDESARASAKA (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. SS 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 rAsApAda by dropping dahai (cf. vyAkhyA 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 vastuvadana (= our kAvya or vastuka) or rAsAvalaya (a metre closely allied to our ) or their mixture on one hand and karpUra (= our ullAla) or kuGkuma (= ullAla less by a mora) on the other and SaTpada, sArdhacchaMda or kAvya 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. khaDahaDaya. 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 Vls. treats E as a strophic metre. On the other hand the quotation from an unknown source given in the (on SR. 115) and the avacUrikA (on Sr. 113 ) states that khaDahaDaya known also as ativallabha 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 vatthu ( or vatthua, see SS 18 ), raDDA (see SS 17) and (or see SS 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 Vls. 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 SS 24 and SS 20, I. and 69 II Metres of the Gatha type. SS 20. 18. gAhA (gAthA ). Occurrence: (independently) 1-17, 32-40, 72, 84, 90, 93, 1 bhamarAvaliAantegAhA jara dijjae paUe / taM jANaha khaDahaDaaM pubvakaIhiM viNiddiTTham //

Page #119
SAMDESARASAKA 126-129, 149, 152, 153, 172, 213, 221; (as the second part of khaDahaDaya) 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+ jagaga being forbidden in the odd gaNas. 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 pathyAs. 11a and 152a are metrically defective. For them refer to Metrical Emendations. $ 21. 19. khaMdhaya (skaMdhaka ) ? 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 Vls. 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 haribhadrasUri s dhUrtAkhyAna ' is expressly called khaMdhao 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 Apabhramsa. 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. SS 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 rayaNia.-d: one mora too many. Emend. : aramaNiya for aramaNIya. 158 b: one mora too few. Emend. : Juice (rhyming with FTNICE) for aviak. 159 c: one mora too few. Emend. : ht for g.

Page #121
72 SAMDESARASAKA ___167 0: siMgAru stands for si~gAru. cf. Hd. IV 388 karatu. 168 a: one mora too many. Emend.: As (A.) for fasse ? 169 e: one mora too many. Emend.: gafael (cf. Grammar, SS 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 papasii. 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 niya-koaNihi. 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 (degruddhaniHzvAsayA), we accept ruddha-nisAsa for ruddha-sAsa, the requisite number of 21 morae is made up.-d. One mora too many. Emend.: utaTTi (cf. C. uta?) for uttaTThi 103c: One mora too many. Emend. : 754 (C.) for 4. 1046: One mora too many. Emend.: 3pfes (C. cf. Metr. Emend, aDillA 181d) for aDila.. * 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.

Page #122
METRE 118 : o in vioiriya 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. pesijjai. 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.: hui for huI. Emend.: (cf. C. f) for Emend. : kiu for kiyau Emend.: for ? Emend.: f (cf. B. f) for nidda ? Emend. - 151a: Two morae too many. (cf. B. faceferens) for fag-?-d. Three morae too few. Emend.: gahivi tAma mai (A.) for gahivi mai. 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 viraha - havi (cf. A. havi kaDadeg ) for viraha - aggiNa. 73 Emend. : mui for muiya ? Emend.: AB do not read a. 1876. Two morae too many. The caesura comes after the 13. mora. Emend. : laeNkaraNi for laMkaraNi and sa~mIsiyai for saMmI ? 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 : UyArai for uyA and vichAiya for far against all the Mss. ? 192c. One mora too few. Diu jhakhaDu and accordingly pharasa (B) for 'pharasu. paDiyA: Emend. : uTThiya jhakhaDA ( C ) for 200a: Two morae too few.-d: One mora too few. Emend.: viuyaha (cf. C. viuiya) for vijayaha. 201d: One mora too few. Emend. : Nava-sara- rai ( cf. vyAkhyA : sa[ra] nava-ruci - vizeSeNa; avacUrikA: rati-vizeSeNa nava-sarAMsi ) for nava-sarai. more probable than, as haplographic dropping of the group is quite understandable. rai ig from 202d : One mora too many. Emend. : sahiyahi for sahIyahi . 203c: One mora too few. Emend.: faff for Two morae too many. Emend.: Drop (cf. B. silence of the com.s.) from . 10 saM. rA. fafa-d: and the

Page #123
74 SAMDESARASAKA 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 dIhaacchi ( A.; of. B. dIhacchi) for dIharacchi. 1480: One mora too many. Emend. : mars (A.) for teatea. 183a: One mora too many. Emend. : f (B.; or fm?) for . kAmiNImohaNa:___82ab : jaMpivvau and jAivvau are to be read as jaMpinvao and jAivvao. 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 tullu for tullau? . 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 raDDA 26-30 rAsA 31 dohA 32-40 gAhA 41-58 rAsA 59-63 paddhaDiyA 64-68 rAsA 69-71 dohA 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 gAhA raDDA paddhaDiyA Domilaya gAhA dohA kAmiNI mohaNa gAhA kAmiNImohaNa upayA (?) dohA gAhA rAsA gAhA varathu Domilaya 96-99 rAsA 100 101-103 104ab 1040- f aDilA (yamita ) 105-107 rAsA rAsA 108 109-110 111 112 113 114 115-116 rAsA mAliNI phulaya rAsA maDilA METRE cUDillaya rAsA cUDillaya khaDaDDaya 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 rAsA khaMdhaya (?) duvai rAsA gAhA rAsA carathu dohA rAsA vasthu gAhA dohA rAsA gAhA rAsA dohA aDilA (ayamita ) naMdiNI gAhA bhamarAvalI bhaDillA (amita) aDillA (yamita ) vatthu rAsA vatthu rAsA vatthu paDiyA laMkoDa (?) paDiyA ramaNija paDiyA gAhA paddhaDiyA 75 gAhA raDDA

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 dohA, mAgadhikA, mAtrA, raDDA, aDillA and DhosA 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 rAsaka is constituted with vistAritakas or dvipadIs closed with vidArI. All these peculiar terms are defined by far at the beginning of the II of the Vls. But our concern is with the second type of rAsaka, treated at IV 38,8 There we are told that that which is built up with many asiors or duvahaas, with many mAtrAs, raDDAs and DhosAs is called by the name rAsaka. A definition essentially similar but supplementary in details is advanced by svayaMbhU. In his svayaMbhUcchaMdas 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 upadezarasAyanarAsa of jinadattasUri published in the apabhraMzakAvyatrayI ( 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 aDilAhiM duvaiehiM va mattA raDahiM taha a DhosAhiM / bahuehiM jo raijjai so bhaNNai rAsao NAma ||

Page #126
FORM AND STRUCTURE to that end. At VIII 49 it is said that in poetry the composition with its ghattAs, chaDaNias, paddhaDiyAs 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 rAsAchaMda. 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 aDilAs, dohAs, raDAs and gAhAs, as also DumilA, paddhaDiyAs and some fifteen other metres ( cf. su-aNNa-rUehiM 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 prakrama. 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 pUrvamegha and uttaramegha of the meghadUta these prakramas 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 ghattA chaDDuNiAhiM paddhaDiA[ hiM ] su-aNNarUehiM / rAmAbaMdhI kabve jaNa-maNa-ahirAmo (mao ? ) hoi // 2 ekavIsa macANiha Nau uddAmagiru / caudasAra vissAmaho bhagaNaviraha thiru // rAsAbaMdhu samiddhu eu ahirAmaaru | lahuatiala avasANa viraiamahura aru | 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.

Page #127
78 SAMDESARASAKA 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 Addahamana (i. e. Abdala Rahamana), famous for his Prakrit poems and songs, has composed this Samdesarasaka (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 Avahattaya, 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 Parijata 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 *

Page #128
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 Samdesarasaka 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 can 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 Rahu( 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

Page #129
80 SANDESARASAKA 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 Gathas. (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 Parvati. 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 Gathas 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 Samora (i. e. Sambapura) 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 Rasaka is staged by the actors (43). Somewhere the Sudayavatsa story is narrated, in another place the Nala episode; in yet another is recited the Bharata epic with various diversions. In some quarters selfless Brahmanas are uttering benedictions; in others the Ramayana 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

Page #130
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 Panoama 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, Satapatrikas 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 Samora the Tapanatirtha is famous in all quarters. It is also well-known as Mulasthana. Thence my master has sent me as a message-carrier and for that reason I am proceeding to Stambhatirtha" (65). 11 . .

Page #131
SAMDESARASAKA 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

Page #132
83 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 Khandava 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 Kapalika, 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 Gatha (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 Gatha, 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.

Page #133
SAMDESARASAKA 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 Malini 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 Adilla: "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).

Page #134
85 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 Madilla and a Cudillaka (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 Cudillaka and a Khadahadaka with Gatha (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

Page #135
86 SAUDESARASAKA 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 Gathas (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).

Page #136
NUMMARY 87 THIRD STRIDB Summer. It was at the advent of summer, O traveller, that 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). Catakas 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 paste 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 Doha (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. Catakas satiated with the water cried gaily. The row of cranes passing below the fresh clouds appeared charming (140.). Heated by the summer rays the

Page #137
88 SAMDESAKASAKA 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 Patala 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 Gatha and a Doha (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,

Page #138
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 Kasa grass and rows of birds (163). One's reflection could be seen in the limpid water. I could not bear the cry of Krauncas 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 saM. rA.

Page #139
SAMDESARASAKA 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 Cakravakas 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 Asvina, 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 Adilla 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

Page #140
SUMMARY movingly releases the Pancama 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). 91 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 Kapalika, 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 (Sisira). 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,

Page #141
92 BANDESARASAKA 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 a 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

Page #142
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 Ramaniya 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 Kimsuka flower appeared like a shower of blood (?). Palasas 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

Page #143
SAMPISARTAAKA their numerous necklaces dangling and their girdle-bello jitigling EUR219). 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).

Page #144
NOTES 26. jaya : coms take it to be a voc. plur. form meaning hai nAgarAH, but it is difficult to see this form and meaning in this word. 36. The sentence comes to an end after Ara. mIraseNassa goes with ag in 4a. 86. joijai is not dyotate ( so com.) but dyotyate. 18de. pattahi can be either instr. or loc. But normal construetion here requires the acc. pl. form of patta 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 AsAsijjai = AzvAsyate so that the whole 'sentence would be tataH chekataraiH rasikaiH durgataiH, patreSu alabhyamAneSu kathaikathamapi zatapacyA AzvAsyate Still one curious fact is, if from pattahi 180, gayahi 123d, yaha 187d and jalabiMdubbhavahi 1500, hi is removed, we get just the form required by the construction and context. 19. taM jANivi: 'knowing these ( facts about the work, its composition and authorship )'. Nimisiddhu khaNu goes with NisuNeDu in the next line. 20. vibuha ( voc. sing.) goes with c. he vibudha, ye paNDitAnAm etc. 28d. rasasaMjIvayaro : of, rasasaMjIvinI, the title of arjunavarmadeva's com. on the amaruzataka. 27d. paMkhuDiya: cf. oSuDai = Askhalati ( prAcIna gUjarAtI gadya saMdarbha pp. 192 1. 28, 215 last line ). 28a. Take paDiuTThiya as one word equivalent to prati + utthitA = pratyusthitA. 28d. pitta ( = netra ) is the general term for the fine stuffs in clothes. Cf. Vt. p. xxvi. If dara is taken to mean ISat we have to attribute such a sense to far as it never possesses. So better to interprete dara as dari ( acc. to Grammar, SS 51 B (2) ) ' in the hole '.. ** 42. b. Similar to saroruhadalanayaNi rhyming with sasiharavayaNi we have 64a b. sasivayaNi and saroruhadalanayaNi, 66a b siMdhubbhavavayaNi and salilabbhavanayaNi, 910 b samiharavayaNi and miyanayaNi, 960 6 Nisitama haravayaNi and saroruhadalanayaNi, 1040 b vIharaloyaNihiM and mayaNukkoyaNihi, 1250 b dIharaloyaNihi* and mayaNAkoNi and non-final 121c d miyanayaNi and sasivayaNi. This reminds us of

Page #145
SAMDESAKASAKA the refrain varaloyaNe - mithaloyaNe which we come across in some old Gujarati -compositions like the (A. C. 1271) and a later type suNi suMdari regihili kuNi karI re employed by the early Guj. poets bhAlaNa, nAkara and premAnaMda. 96 65d. . As our text knows no other case of loc. sing. in 'aI, we may accept khaMbhAittihi ( A ). N ( see below ) has khaMbhAta. 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, SS 76 (a)). 77. It is probable that ki na is kina which appears also as kiNa at 154d and is merely an interrogative particle. Cf. Ho. II 216 : kiNo prazna. 86. samAhimohu means moha: ( = mUrchA ) eva samAdhiH. The first line is tava smarantyAH mama viSamaH samAdhimohaH utthitaH. 89a. pAiya and piya refer to the husband of the nAyikA who also is a pravAsin 980. is strange. We expect here thIra (f.) . Ms. N (not availed for the text-constitution) reads & f. 99a. is intriguing. It cannot be as it just precedes. Perhaps it is an orthographic variant for the emphatic aft and Niddoseya = nirdoSAyAm api N. has niddoseNa which, following the comm., is to be interpreted as = doSaM vinA. 990. ninnehaha calaha goes with the next line. 1036. viraha sabase ya kaya = viraheNa sva-vaze ca kRtAH. 103d. ff. The instrumental appears inexplicable. A confusion of the passive and active constrcutions? See also Grammar, SS 51 B. (3) and the foot-note on p. 27. 104cd. The rhyme is responsible for the gen. of the . 105d. Alasihi is Alasyena. 107c. To construe properly we require af (loc. sing.) or even (see Grammar, SS 51. B. (2)) instead of . 116ab. The sentence is completed after . Read sasiu sAsu. 119. pimme is instr. sing. cf. suddhagale (plur.) 710, Pk. sUra-sasibiMbe 22, lakkhaNachaMdAharaNe. 122a. See p. 44.

Page #146
NOTES 122b. saraya-rayaNi-paccakkhu is a compound. 123cd.. supratiyaha and lIlaMtiyaha are nom. plur. forms (see Grammar, s51. B. 3) going with kai dIyahi vahi. gayahi is not clear: See 18de above. . 124a. aMgu is to be supplied from b as the object of appiyai. 126ab. hariUNa stands for hAriUNa. 1300. aNuaMci (= anugatya) is abs. from VaNuaMca (= anu+ac), 130d. vihalamaNu is used adverbially. 134a. taha pattihi = tasya (sahakArasya) patreSu. saMsaggihi ( = saMsargeNa) is to be construed adverbially with parivasati in b. 1370d. khayahi and degcchayahi are not clear. For degcchayahi see 18de above. la is jvAlA.. 138b. & is confusing. Further we are required to take ulhabaI in a passive sense, though the form is active. 140b. For bhayamesiya and airAvai see Grammar', $ 76 beginning.. 141cd? 142a is not clear. . 146a.. The comm. take moyaM maNihi = mavAm gaNaiH (= vrajaiH). In that GAGE I would be a strange form. .. 1480. para in dharadhArohabharu = ? / 148d. For siharaSTiyai see Grammar, $ 73. 3. 1508. For jalabiMdubbhavahi see 18de above. It appears preferathi to take bAlatthiya = galasthitAH, ___154cd. As remarked under 77a above, kiNa in d is an interrogative particle equivalent to kiM. The construction is: yadi (= yataH) jIvaH na khalu nirgataH (tataH manye saH) pAdabandhaiH baddhaH / hRdayam kim kila na sphuTitam ? nanu tad vajeNa ghaTitam / 164ab. Read kadama-bhAra-pamukkiya-salilihiM vimalihiM (sarihiM ) paDibiMbaddha daravijana : : 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 gurumati muditAbhiH............"dhUpAni gavAsane dIyante. ' 11710. In gambhisa-suddhagale, gale is instr. See notes on mimme 1196. / / 1720d. The two sentences are gaya daMti camakAra / NaM pavara zINasareM sryaa-sri-nnevr| 173d ? 174b. Only tihi (C.) bhamirai sarahai tIra (B.) sohai makes sense. CE. 1638. For tihi aviraha see p. 43 end. 13 saM. rA.

Page #147
98 SAMDESARASAKA 1760. diti ya. - 177cb. (mahilAH) kRSNAmbaraiH kRSTa( = racita)-kuTila-taraH anekabhanibhiH vibhASitAH (Asate).. 178d. Can it be caMdaddha (= caMdrArdhaH)? White flowers on the black hair look like half-moon on the top of black clouds.' 184d. seya goes with dhavalahara. 188a. Separate kappUra and sarisu. . 188d. Probably vicchAiya is an absolutive. Construe od: bhuvaNupparu pariharavi, uyArai pallaMgha vicchAiya, kAmiNihi jAmiNihi pasuppai. . 1920. The sentence is completed after kharapharasu. The next sentence extending up to 193a is tahi tiNi pavaNi haya sUDiya (ya) asesa taruthaH jhaDi kari gaya; chAya-phulla-phala-rahiya sauNiyaNa-aseviya (ya te Thiya). 1935. If bhariNi is accepted some connected sense can be made out: disA ya timiraMtariya, tuhiNa-dhUiNa bhariNi (ya jAyA). 193d. Put a semicolon after 534. 194a. Niya goes with kaMta. . 194d. If kaurai is not to be construed actively, sayaNa must mean 'bed' instead of lying down'. Then udyAnAnAm imeSu na kAnicit zayanAni kriyante (= racyante), though value of this suggestion appears doubtful. _196b. kara is puzzling. It appears that kara-keli = keli kara meaning kelim kartum (?) = kelyarthe. 2013. Does this go with Nava-kusuma-patta in c? Then viasaMtu is plural (of. p. 43 end). :: 201d. The line should read airehai Nava-sara rai-visaisi. 206. There is some obscurity in a. Apparently the whole stanza has a reference to the bhamaru in 2050. So bhamaru (plur.) is the subject and taru (i. e. their flowers) the object of lihaMti. vijti in the light of b would be (bhramarAH) tIkSNaiH kaMTakApraiH vidhyante. There remains paruppara (= paraspara) which cannot be made to fit in the context. If somehow it can mean tg, then the logical sequence would be quite all right: bhramarAH tIkSNaiH kaNTakApraiH vidhyante, paraMtu (= tathApi) te tarukusumAni lihanti, tAni tIkSNAni kaNTakAgrANi ca naiva gaNayanti / yataH rasikAnAm tanuH rasalobhena dIyate / (= tyajyate) premamohena ca pApam (= aniSTam ) na gaNyate / 209ab. i is emphatic. 210a? 21lab kaMdarpadarpaNa saMtaptA (ahaM jaataa)| mama aMge nAthaH (eva) saMdhArakaH, na sahakAraH.

Page #148
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 deg cf. m=nes (Hc. II-22). 220ab. garjati taruNi / NavajonvaNIhi~ piyakaMkhirihiM ( jA ) gAha padriya (sA) suNi. 2236 itthaMtari ya = atrAntare ca. pahAvariu = ? 2230

Page #149
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": jaM dei sAyaro lahari gjNtniirpddipuno| tA kiM gAmatalAo jalabhariyao lahari mA deu // 1 // jai garuDapakkhirAyA pakkhukkhevaM kareha gynnyle| tA kiM iyara-caDehiM nahayalagamaNaM na kAyavyaM // 2 // [2] jasu jittiu buddhiviyAsu hoi so tittiu payaDa mclo| pikkhivi airAvau gulugulaMtu kiM iyarahasthi mA mau karaMtu // mahakavdhakaIhu tAha~ taNiya kira kavaNa kaha / kiM uii mayaMki joyaMgaNau~ ma karau paha // ____Dhanapala's bhavisattakaha I, 2, 7-10. With st. 49ab ef. maggaM cia alahato hAro pINuNNaANa thnnaann| uvviggo bhamai ure jamuNANaipheNapuMjo vv| ___Hala's saptazatakam (ed. WRBKR), 671. With st. 70 cf. jau pavasaMteM sahu na gaya na mua vioeM tassu / lajijai saMdesaDA ditehiM suhayajaNassu // Ho. IV 419 (5). With st. 93 cf. hAro nAropitaH kaNThe mayA vishlessbhiirunnaa| idAnImantare jAtAH sritsaagrbhuudhraaH|| subhASitaratnabhANDAgAra, p. 283; hanumanATaka (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: jaha bharahabhAvabhaMgehiM aMgacaMgehiM nacae trunnii| tA kiM tAlAchadehi gAmagahillI na nshvet||1|| jai dudhavalakallolabahulataMdulA ullalai khiirii| tA kaNakukasasahiyA rabbaDiyA mA tddbbddi||2|| % Acoording to Acharya Shri JINAVIJAYAJI tho Ms. loaf appears to be old.

Page #150
APPENDIX 1OR With st. 115-116 cf. jaha pINasamuNNaasaMgaaA thaNaA jara maMtharalobhaNabhUsimoM vaaNaM / jaha vittharapINavisaMtulao jahaNo jaI tambirapallavakomalaoM ahro|| tA kIsa hiaa ratidiaM ca No NivvuiM tujhaM lahasi / ..... bullahamamgira viNiatta ahava saMto Niattihisika Vis. IV 74-75. With st. 119 of. pema amia maMdaru birahu bharatu payodhi gNbhiir| mathi pragaTeu sura-sAdhu-hita kRpAsiMdhu raghuvIra // . raakarrah (the Mula-gate edition), II 298 end. malA payonidhi maMdara gyAna saMta sura Ahi / kathA suthA mathi kADhahIM bhagati madhuratA jAhi~ // rAmacaritamAnasa, VII 120. With st. 124b ef. viraha-karavatta-dUsaha-phAlijaMtammi Hala's saptazatakam (ed. Wamaste With st. 137 ef. sIyalu visu visu Sa Na saMti jaNai hariyaMdaNu sihikulu aMguhA paliNu vi sUrahu sayaNattu vahai sayaNIyali cittau dehu Dahara 1ste.. - Puspadanta's mahApurANa (ed. P. L. Vaari) LXXIII. 3. 8-9. With st. 171 cf. Nava-visa-kasAya-saMsuddha-kaMTha-kala-maNoharoNisAmeha / saraya-siri-calaNa-ura-rAo iva haMsa-saMlAco // 26 // ___ occurring on p. 8 of the lIlAvaIkahA 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 paDhamo bArahamatto ete. In the sale on a st. 2GL. 16 = PP. 2 jAsu virayaNi huMti paya paMca etc. 19 ? [I 54. 3 solasamattau jahiM para dIsaha etc. |GL. 76. 4 DumilAhi payAsiNa etc. 5.pratta hohi caurAsI cahu paya etc. , , 6 terahamattA visama paya etc. |CK. 21. 7 so caMdAyaNu chaMdu phuDa etc. |CK. 32. 8 do veyA sihiyugalaM etc. 94 GL. 82. 9 nanamayayayuteyaM mAlinI bhogiloke 100 Kedarabhas pta's vRttaratnAkara III 84. 10 caupai ikku jamakaji dIsai etc. 104 |CK. 41a. 11 jamaku hoi jai bihu paya juttau etc. , , " 111 CK. 410. 12 dohAchaMdu ji dudalu paDhi etc. 112CK. 26. : 13 sagaNA iya vIsa ya chaMdu dhuvaM etc. 115 ? 14 paDhamagaNe kalachakaM etc. " " " " " 119/GL. 80. 15 sagaNA iha naMdaNichaMda dhuvaM etc. , , , , , 171|CK. 7. + This quotation is from that portion of the gAthAlakSaNa of naMdiyA which VELANKAR thinks, on several grounds, to be spurious. Now the quo. tation no. 2 above expressly gives the name of kavi naMda. This possibly suggests that naMdiyaDU had to his credit, besides the gAthAlakSaNa, 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.

Page #152
Grammar. P. 9, foot-note 1: af occurs in the Karpuramanjari also (GHOSH's edition, p. 48, 1, 19). P. 17, SS 37: For a different and more probable derivation of see SS 78(4), p. 40. and P. 22, SS 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: (Rr. 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 lavaMgama from our rAsA. P. 59 end: The variant for at at: etc. in the st. 82 (dodhakena saha aSTAviMzatyadhikaM zataM mAtrANAM dodhakena vinA azItimAtrApramitamaNaharanAmA :) 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 zabdakoSa Page 94 95 "" "> 96 " ADDITIONS AND CORRECTIONS >> "3 " under a 113 : add 131. below alaya : enter 'alasi 151 alasA'. drop asahaMti etc. for 'adhi read ahi. under .AkoyaNa : correct as 'mayaNAMkoyaNi = madanayuktaceSTA = madanaceSTAyukta'. under [A]Na : remove VANa = A + nI ( gu. ANavu )' to the next entry. under AbhaMgiyai : correct as [ abhiMga = abhyaGga ].. for Alasi etc. read 'Alasa 105 Alasya'. Drop the rest. for Vara read Vara. Similarly in all cases where the root is given as ending in a consonant.

Page #153
SAMD SARASAKA. 4 199'. . under ihu : correot 152 to 151. for Isarasari read Isarasara. under usAsa : drop 118, below erisa : enter 'eva 91.evamU'. The four entries below 3-fe are to be considered as its sub-entries for kaiTaa etc. read 'kaMTagga 206 kaMTakApa'. for kaMta etc. read 'kaMta 76, kaMtaya 167 kAMta'. under Vkara : drop 'kIya 199'. under kasiNa : add '216 kRSNa'. . ander koliya : add (gu. koLI)'. . below khajjoya : enter 'khajaMta 165 = dyotamAna'. below gaNa-gaNa : enter "gaNa 146'. . for gaMdhavahi etc. read 'gaMdhavaha 133'. Drop the rest. under Vgama : add 67 after gammiyau. below deggala : enter "Vgala (gu. maLah), galaI 106.' / ender restent : Read Trespasca for ferd. under guhira : correct as [gabhIra guhA. tander goyaMgaNa : correct as 'goyaM gaNihi 146 gavA je. under gfeler : read for for fap. cAra : Alternatively this can be explained as loc. sing. of cacara = catvara. under VcaDa : correct as 'caDI 161'. under calattha : Drop the query. After sAlAsu addock. akSacalasthA in pUrNabhadra's (1199) paJcataMtra (HOS. 11, Glossary * Drop the entry 'ja 20 yat'. under jAmiNi : read 156 for 155. under junha : read 160 for 260. correct jhaMpa to VjhaMpa.. . under jhala : read jvAlA for jhalA etc. under jhalaka : after jhalaka add ' = jvala'. Correct malakati to jhalaketa and drop (jAlajalakiau) and the rest. under V jhijjha : correct jhijjhai to jhijai. . under VjhUra : make 'jhureta 123' into a separate entry and add 'kSarat' to it.. umder Q 29 : add 132 iva'. under Nahavalliya : correct 'NahavallI' to (nabhovalI). under nADai : correct as 'nADaya 46 nATaka'. V foret : after futziat add 9c6. for forget read forgri. Drop (a)' 103

Page #154
103 " 104 " 23 105 dr d. 106 " " d. "" " 33 " "" 107 "" 109 "> 999 d. 112 " "" " " " " 113 " "" " " ADDITIONS AND CORRECTIONS pitu: : correct 102 to 202. Niddosa : correct as ' ( nirdoSa ) doSAbhAva'. below nIsAsa : enter 'Nu 141 ?'. under Vtagga : correct as 'V tagga -- jIvitadhAraNe ( ? ), Drop '= tad game'. ' under tahi : read 54 for 64. below turaka: add 'turaMga 169'. under dara : read 97 for 28. below dara : enter 'dara 28 chidra'. under V ghara : add 'dhariya 106. under dhIra : after dhIravai read 166 for 266. below dhutta : enter 'dhUa 193 dhUma'. under paukka : Drop ' (?) prayukta' and add ' pramukta ( ? )'. under pauhara : change the entry as "pauhara 24 pada-dharA'. under paya 54 : drop ' ( gu. paga mAMDavo )'. correct Vpacala to Vpacila. paDa : drop 'paDi 28'. below paDaha : enter 'paDiuTTiya 28 pratyutthitA. under paDilliya : after 'dezIttvAdadhikam' add 'paDillo 100'. under paDutta: after paDiutta correct as [ yathA pahuMja'. correct bahurUpi to bahurUvi. under bAlaya : enter 'bAha 151 bASpa'. under muha : correct he to mhA~. under VraMga : correct raMjiyai to raMgiyai. correct rUadeg to rua. remove the entry 'rova etc.' below 'Vreha etc. ' under rova : after rovaMtiya add 204'. below reNu : enter 'resi 21 hetvarthe nipAtaH '. under va : after iva add 41, 43, 44 vA. under vayaNijja: correct 155 to 156. under vaMsa' : correct 'bA~saLI' to 'vA~sa'. correct vaTTA etc. as 'baTTAU 222 = pathika'. under varakiya : correct 'varaka, kha ?' to 'burakho ?' 14 saM. rA. 105 under valiyaDaya : correct as 'baliyaDaya' and remove this entry to p. 109 below bala. under 'vahiya : correct bAdhita to vadhita. correct vAuliya to bAuliya and remove this entry on p. 90s below bahula,

Page #155
106 SAMDESARASAKA 116 below salilabbhava : enter 'salola 59 lola'. correct sakseya etc. as 'sabase 103 khavaze'. under Vsasa : drop 118. under Vsaha : correct degsahatiya to sahatiya and at the end add 'sahaNa 218'. under sAiya : drop 'khAmin , (hiM. sAMi)' and add = saMskAra'. below rehati enter 'lakkhaNa 6 (lakSaNa)= vyAkaraNazAstra'. 120 Some important variant readings from N. Ms. ' (referred to in the PREFACE, p. eleven). Text : St. 16a bahala for bahula, 20c muNai for muNahi, 216 abuhA for abuhaha, 230 sakuliji Na for degsakuliyaha, 241) laMka for laka, 240 pavahaMta for pavahaMti, 25a pusai for phusai, 25b pamukkaM for degumukka, 25c joiu for joyau, 31b paMthiyaNi for pahiyaNiyaNihi. The interpolated stanzas given between 31 and 32 are not found in N. So also 38 absent from N. 41d. tuhu for hiva, tuhu for tuha, Aviyau for Aiyau,440 sudavaccha for sudayavaccha, 450 degthaNihiM for degthaNiya, 45d NaNihi for NaTTaNiya, 520 juyalu for degjuyala, 526 juvalaya for degjuyalaya, 53aa lIlaMtI for deglIlaMtiya, 53c jhuNatI for jhuNaMtiya, 54a jovaMtayaha for joyaM,556 jUhiya for jUhI, 590 tiMbUya for niMbU. 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 (yataH), while the second is absent. 770, tuhu for tUM. 86a samaraMtu for samaraMta, 910 kahaNijju for degja, 91c kahauM, 92cs hauM, 93a saMgame, 98a thira, dhIri, 98b phusahi, 990 Na for ya, 1000 tahavi for taiya, 104ab taha for degtahaM, 105c sava for siva, 106d paDalli for paDiliu. Com mentary : First stanza in the vyAkhyA 'labdhisuMdara for munipuGgava.' The definition stanza of gAthA in the vyAkhyA on 2 : aThArasAsu mattAsu for aThArasehiM nAyavvo and vibhUsiyA for vi[hU ]siyA on 3 : pradhAnaH added after prabhUtaH on 4: apabhraMzazAstraM kRtam for apabhraMzagraMthaH kRtaH. The Definition stanza. of rahA in the vyAkhyA on 19 : rAhAseNa for rAsAseNa, suNiMdu for muNiMdu, naMdaGa for naMdava, bhaNaMtu for bhaNaMti. The definition stanza. of paddhaDI in the vyAkhyA on 20 : kannu for gattu, gavIsai for salIsai. The definition stanza of DumilA in the vyAkhyA on 23 : a hohiM for dohiM, b vattIsa for vitIsa, melavi for mela, gaNu annu for gaNa anna, d taMji for bhaMji. The definition stanza of AbhANaka in the vyAkhyA on 26 : b suTTa for suddhi, abhANau for AhANau, On 28 paTTamayavastraM for degpaDheM vastramayaM. The explanation of the definition stanza of candAyaNa in the myAkhyA on 82 : dodhakena saha aSTAviMzatyadhikaM zataM mAtrANAM dodhakena vinA azItimAtrApramitamaNaharanAmA cNdaaynncchndH| etc.

Page #156
kavi - abdula rahamAna - kRta sandeza rAsaka (paM. lakSmIcandrakRta vyAkhyA tathA avacUrikAlaMkRta )

Page #157

Page #158
kavi-abdula rahamAna - kRta sandeza raask| -1 prathamaH prkrmH| rayaNAyaradharagiritaruvarAi~ gayaNaMgaNaMmi rikkhaaii| jeNa'jja sayala siriyaM so buhayaNa vo sivaM deu // 1 // 1C rikkhAo 2 B C siriyaa| 8 B taM / 4 C buhiyaNa / 5 A C suhaM / 6 C ditu / [paM0 zrIlakSmIcandrakRtA TippanakarUpA vyaakhyaa|] // OM namo gurubhyaH // natvA jina-gurUn bhattyA smRtvA vAGmayadevatAm / vRttiM sandezarAsasya kurute munipunggvH||1|| tasyAdyAM gAthAmAha-'granthaprArambhe abhISTadevatApraNidhAnapradhAnA prekSAvatA' pravRttirityaucityAt sUtrasya prthmnmskaargaathaa| [1] yathA-'rayaNA.'-bho budhajanAH! sa sraSTA - kartA vA-yuSmAkaM zivaMmAgalyaM dadAtu-prakarotu / yena sraSTrA ratnAkara-dharA-giri-taruvarA, gaganAGgaNe akSANi' cetyAdi sakalaM-samastam, sRSTaM-utpAdi[tam] ityarthaH // 1 // KKKKKA - [avacUrikA] ------ [1] bho budhajanAH ! sa sRSTikartA vaH-yuSmAkaM zivaM dadAtu / yena sraSTrA ratnAkara-dharA-girisahavarA gaganANe RkSANi 'cetyAdi sakalaM - samastaM sRSTamutpAditamityarthaH // AdarzopalabhyamAnA bhraSTapAThA yathA1 pranthaH praa| 2 pressvtaaN| 3 shrssttaa| 4 tr| 5 rikssaa| 6 zraSTA / 7 caityAdi / 8 shrssttaa|

Page #159
sandeza rAsaka mANussadivvavijjAharehiM Nahamaggi sUra-sasibiMbe / Aehi~ jo Namijjai' taM Nayare Namaha kattAraM // 2 // paccAsi pahUo puvvapasiddho ya micchadeso tthi / taha visae saMbhUo Arado mIraseNassa // 3 // 1 C nahadeg / 2B jii| 3A namaha; B vahu | [ TippanakarUpA vyAkhyA ] [2] tathA ca- 'mANusa 0 ' - manuSya deva vidyAdharairnabhomArge sUrya-zazivimbAbhyAM Adito yo namastriyate' / bho nAgarikalokAH ! taM karttAraM namata // 2 // dvandvAlApana bheSajabhojanasamaye samAga[ me ] ca ramaNInAm / anivArito'pi tiSThati sa khalu sakhe ! vyaktanAgarikaH // 4 A 'desro vi; B desu tthi / - yastveteSu sthAneSu anivAritaH - aniSedhitaH tiSThati sa nAgarikaH procyate / hy by sthAnakeSu yatra kazcidAlocaM karoti, athavA yatrauSadhAdivArttA kriyate, tathA bhojanAvasare kasyApi gehe na gacchati / athavA ekAntapradeze, strIsamAgame ca, vArtAsamaye, yastu aniSedhito'pi tiSThati / sa caturanAgariko bhavati // eSA (etad ?) vipulAgAthAchandaH / atha gAthAlakSaNam - paDhamo bArahamatto, bIo aTThArasehiM nAyavvo / jaha paDhamo taha tIo, daha paMcavi[ hU ]siyA gAhA // [ prathama prakrama tatra gAthAchandasi prathamapadaM 'dvAdazamAtRkam, dvitIyaM padaM aSTAdazamAtRkam, tRtIyaM dvAdazamAtRkam, caturthe paJcadazamAtRkam / evaM sarvatra zeyam / [3] abhISTadevatAnamaskAramuktvA kaviH svadezAdisvarUpamAha - 'paJcAesi 0 ' - pratIcyAM - pazcimadizi prabhUtaH pUrvaprasiddho mlecchanAmA dezo'sti / tatra viSaye 'Araddo' dezItvA [ t] tantuvAyo mIrasenAkhyaH saMbhUtaH - utpannaH // 3 // Ge Ren Ben [ avacUrikA ] [2] mAnuSyadevavidyAdharairnabhomArge sUryazazibimbAbhyAmAdito yo' namastriyate' bho nAgarikAstaM kartAraM namata // dvandvAlApanameSajabhojanasamaye samAgame ca ramaNInAm / anivArito'pi tiSThati, sa khalu sakhe ! vyaktanAgarikaH // [ - A AdarzasthitA nAgarikazabdopari TippaNI | ] [3] kaviH svadezAdisvarUpamAha - pratIcyAM - pazcimAyAm, prabhUtaH - pradhAnaH, pUrvaprasiddhoM mlecchanAmA dezo'sti / tatra 'Aro' dezIsvAt tantuvAyo mIrasenAkhyaH sambhUtaH - utpannaH // Dong Dong Dong Dong Dong 1 namaskRyate / 2 deg garI / 3 dasadeg / 4 ye / 5 degskUyate / 6 namataH / 7 degsenAkSyaH / /

Page #160
2-6 ] sandeza rAsaka taha taNao 'kulakamalo pAiyakavvesu gIyavisayesu / addahamANapasiddho 'saMnehayarAsayaM raiyaM // 4 // puvvaccheyANa Namo sukaINa 'ya sadasatyakusalANa / "tiyaloe mucchaMda' jehi~ kayaM jehi" NihidUM // 5 // "avahaTTaya - sakkaya- pAiyaMmi" pesAiyaMmi" bhAsAe / lakkhaNachaMdAharaNe "sukaittaM bhUtiyaM" jehiM // 6 // 14 1 A kulideg / 2 A pAIyadeg | 3 C visaesu / 4 B saMneharA ; C saMnnehaideg | 5 A raIyaM / 6 B namo | 7 CNa i / 8 A tiadeg | 9 C sacchaMda | 10 B je niddidvaM / 11 B avahaTTaisakai pAiyAI pesAiyANa / 12 A pAiyaM c| 13 C pesAiyAiM / 14 C sakavittaM / 15 C bhUkhiyadeg / [ TippanakarUpA vyAkhyA ] [ 4 ] tasya- mIrasya tanayaH, kule kamala iva kulakamalaH, prAkRtakAvyeSu gItaviSayeSu, prasiddhaH - labdharekha : ' abdula rahamAna nAmA abhUt / tena sandezAnAM rAsakaH nAmA'pabhraMzagranthaH kRtaH // 4 // [5] kaviH svasvarUpamuktvA'nauddhatye [ na ] pUrvvakavIn namaskArapUrve vyAvarNayanAha - 'punvaccheyANa 0 ' - pUrvacchekebhyaH sukavibhyazca namo'stu / kIdRzebhyazchekebhyaH kavibhyazca zabdazAstrakuzalebhyaH / yaistriloke = svarga-mRtyu - pAtAlarUpe / sva (su)cchandum - sva (su) chando vidyate yasmin tat sa ( sa ) cchandaM zAstraM kRtam / yaizca nirdiSTaM so (zo) dhitamityarthaH / ataH kavibhiH kRtaM paNDitaiH so( zo ) dhitam // 5 // [6] apabhraMza' - saMskRta - prAkRta- paizAcikAdicaturbhirbhASAbhiH, yaiH' kavitvaM kRtam, lakSaNa-cchanda AbharaNAbhyAM tacca vibhUSitam, tebhyo namaH // 6 // [ avacUrikA ] Cha [ 4 ] tasya -: - mIrasenasya tanayaH kulakamala: prAkRtakAvye gItaviSayeSu bhogeSu ca prasiddho labdharekho abdula rahamAno'bhUt / tena sandezarAsakaM ' [ nAma ] zAstraM kRtam // [5] pUrva chekebhyaH sukavibhyazca namo'stu / kIdRzebhyaH zabdazAstrakuzalebhyaH / triloke yaiH succhandaHzAstraM kRtam / yaizva nirdiSTaM, 'zodhitaM, pravarttApitam // paNDita-kavya [raM] varaM kRtaM mayUreNa yathA - sUrNamAnIyatAM cUrNa, pUrNacandranibhAnane / kavaye bANabhaTTAya, paNDitAya ca daNDine // 1 // [6] apabhraMza-saMskRta- prAkRta-paizAcikabhASayA sukavitvaM zobhanaM kAvyaM yaiH kRtam / anyaca lakSaNa - chanda- AbharaNAbhyAM bhUSitaM maNDitaM ca // 1 reSaH / 2 saMdesA / 3 rAsakaM / 4 bhraMzaH / 5 ye / 6 rAjakaM 1 7 yozcitaM /

Page #161
sandeza rAsaka [prathama prakrama tANa'Nu kaINa' amhArisANa suisahasattharahiyANa / lakkhaNachaMdapamukkaM kukavittaM ko pasaMsei // 7 // ahavA Na itthaM doso jai uiyaM sasahareNa Nisisamae / tA kiM Na hu joijjai bhuaNe rayaNIsu' joikkhaM // 8 // jai parahuehiM raDiyaM sarasaM "sumaNoharaM ca tarusihare / tA kiM bhuvaNArUDhA mA kAyA karakarAyaMtu // 9 // taMtIvAyaM "NisuyaM jai kiri karapallavehi aimahuraM / tA "madalakaraDiravaM mA summau" rAmaramaNesu // 10 // 1 AC kaI / 2 C suya 13 B kukaittaM / 4 B C atthi / 5 A C sasiharami / 6 B 'smye| 7 A rayaNIi; C rinnei| 8 C joike| 9 C paru'; 10 B prhuenn| 11 A sumno| 12 AC nisuyaM / 13 A mddli| 14 C summii| 15 A 'ravaNesu / [TippanakarUpA vyAkhyA] [7] teSAM satkavInAm , anu-pazcAt, asmAdRzAnAM kavInAm, zruti-zabdazAstrarahitAnAM kavitvam , lakSaNa-cchandobhyAM pramuktam , kaH prazaMsayati ?-apitu na ko'pi // 7 // [8] tarhi mA kuryAstadarthamAha - 'ahavA Na.' -athavA 'ityupAyAntarassaraNe, nAtra doSaH / yadi "zazadhareNa-candreNa nizi uditam , tarhi rajanISu bhu(bha)vane-gRhe jyotiSkaM dIpaH kiM na dyotate ?, api tu dyotate // 8 // [9] parabhRtAbhiH-kokilAbhiH yadi sarasaM sumanoha [2] yathA bhavati tathA tarusihare(zikhare)raTitam, tarhi bhu(bha)vaNA(nA)rUDhAH gRhavAli(la)bhisthitAH kAkA mA karakarAyantu-karakara iti zabdaM mA kurvantu ?, api tu kurvantu // 9 // [10] yadi tantrI-vINAvAdinam, kila iti saMbhAvanAyAm, karapallavaiHhastAnalIbhiH vAditaM nitarAM zrutam , tarhi mardalakaraTivAditre rAma(mA)ramaNI(Ne)Su-strIkrIDAsu, mA zrUyatAM 1, api tu zrUyatAm // 10 // * [avacUrikA] ------ [7] teSAM kavInAm, anu- pazcAt zrutizabdazAstrarahitAnAmasAdRzAM lakSaNacchandapramukta kutsitaM kavitvaM kaH prazaMsati ?, api tu na ko'pi // [0] tarhi mA kuryAstadarthamAha- athavetyupAyAntarasaraNe, nAtra doSaH / yadi zazadhareNa niyuditaM tarhi rajanISu jyotiSkaM dIpaM bhu(bha)vane gRhe kiM na dyotate ?, api tu udyotate // [9] yadi parabhRtAbhiH-kokilAbhiH sarasaM-sumanoharaM yathA''nazikhare raTitam - zabditam, tarhi kiM bhu(bha)vanArUDhAH kAkA mA karakarAyantu ?, [ api tu karakarAyantu ] karatAn vArayati // [10] tatrI-vINAvAdaM zrutaM yadi cet karapallavairatimadhuram , tarhi mardalakaraTa(Ti)vAditra. vizeSaravaM rAmAramaNeSu-strIkrIDAsu mA zrUyatAm ?, api tu zrUyatAm // 1 ityo / 2 shki| 8 dyodyte| 4 pari / 5 zrusyatAM /

Page #162
padya 7-14 ] sandeza rAsaka jai mayagalu' mau jharae 'kamaladala bahalagaMdhaduppiccho / as "airAva matto tA sesagayA mamaccaMtu // 11 // jai asthi pArijAo bahuviha' gaMdhakusuma Amoo / phullai suriMdabhuvaNe tA sesatarU ma phulchaMtu // 12 // jai asthi gaI gaMgA tiyaloe NiccapayaDiyapahAvA / vaccas sAyarasamuhA' tA sesasarI ma vaccaMtu // 13 // jai saravaraMmi vimale sUre" uiyaMmi viasiA " NaliNI" / tA kiM vADivilaggA mA" viasau" tuMbiNI kahavi " // 14 // 11 1 B maigalu; C maigala / 2 A kavala ; B kamalA / 3B erAvai / 4 BmucaMtu / 5 A bAhuvihideg / 6 C kusama | 7 A C naI / 8 C deg samuhaM / 9 C maccatu | 10 B sUro uvayaMmmi; C sUre uvayaM / 11 B vihasiyA; C vihisiyA / 12 B C naliNI / 13 B NaM / 14 C bihasa / 15 B kahava / [ TippanakarUpA vyAkhyA ] [11] yadi mataGgajaH - diggajo madaM jharati, kIdRzaH kamaladalapracuragandhaduHprekSaH / anyacca - yadi airAvaNo matto bhavati, tarhi zeSA' gajA mattA na bhavanti ?, api tu bhavantyeva // 11 // [12] yadi pArijAto bahuviha (dha) gandhADhya kusumAmodo'sti, anyacca - surendrabhavane praphullati tarhi zeSaMtaravaH kiM na phullantu 1, api tu phullantu // 12 // [13] yadi gaGgA nAma nadI asti, triloke nityaM praga (ka) TitaprabhAvA, sAgaram - samudraM sarati, tarhi zeSAH saritaH sAgaraM kiM mA sarantu ?, api tu sarantu // 13 // [14] yadi vimale sarasi sarovare, sUryodgame kamalinI vikalitA, tarhi vRttivilagnA tumbinI vallI kiM mA vikasatu ? // 14 // [ avacUrikA ] Dong Dong Dong Dong [11] yadi mataGgajaH - diggajaH kamaladala bahalagandhaduH prekSaM [madaM ] jharati, anyacca - airApatiH - airAvaNo matto bhavati tadA zeSagajAH kiM madaM mA jharantu - mA mAdyantu ?, api tu mAdyantu // Ben Ben Ben Ben Ben [12] yadi pArijAto'sti, kIdRg ? bahuvidhagandhADhyakusumA modaH, surendrabhu (bha) vane praphuti, tarhi zeSAstaravo mA phullantu ?, api tu phullantu // [13] yadi gaGgA nAma nadyasti sA triloke prakaTitaprabhAvA sAgarasaMmukhA vrajati; varhi zeSasarito mA vrajantu 1, api tu vrajantu // [14] yadi bimale - vistIrNe sarasi sUryodgame kamalinI vikasati tarhi vRttivilA tumbinI vallI kiM mA vikasatu ?, api tu vikasatu // 1. sevA /

Page #163
sandeza rAsaka [prathama prazama jai bharahabhAvachaMde' NaccaiNavaraMga caMgimA taruNI / tA kiM gAmagahillI tAlIsadde Na NacceI // 15 // jai bahuladuddhasaMmIliyA ya ullalai 'taMdulA khIrI / tA kaNakukkasasahiA rabbaDiyA mA daDavvaDau // 16 // jA jassa kavvasattI sA teNa alajireNa bhaNiyavvA / jai caumuheNa bhaNiyaM tA sesA mA bhaNijaMtu" // 17 // tthi tihuyaNi jaM ca Nahu dicha', tumhehi~ vi jaM na suu viaDabaMdhu succhaMdu sarasau / NisuNeviNu ko rahai, laliyahINu mukkhAha" pharasau / 1C bhaavichNde| 2 A ncci| 3 BCnnvrNgi| 4 Cnncihh| 5 A sNmiliyaa| 6 BCu| 7 CstNdulaa| 8C duddb| 9 A alajjareNa; C alijrenn| 10 BC seskii| 11 B bhnnijNti| 12 B ci| 13 Cnhu| 14 A ditttth| 15 A tumhe vi| 16 suaaa| 17 C mukkhaann| 18 B virasiu; A phrsiu| [TippanakarUpA vyAkhyA] . [15] yadi bharaha(ta)bhAvacchandasA navaraGgacaGga(Ggi)mA-nUtanavarNapradhAnA nAyikA nRtyati, tarhi grAmINavadhU tAlIzabde na nRtyatu ?, api tu nRtyatu // 15 // [16] yadi pracuradugdhena sammIlitA tandulAnAM kSIrI ullalati, tarhi dhAnyakaNatuSayuktA rabbar3ikA mA daDabbaDau-mA zabdaM karotu // 16 // - [17] sAdhyamAha-'jA jassa kavva0'-yA yasya kAvyena zaktiH, sA tena lajA muktvA bhaNitavyA / yadi caturmukhena-brahmaNA bhaNitam-catvAro vedAH kRtAH, tarhi zeSAH kavayo mA kavitvaM kurvantu // 17 // [18] kavitvakaraNAyAtmAnaM protsAhya granthasya manAra ramaNIyatvaM darzayantra- [avacUrikA] - --- . [15] yadi bharatabhAvacchandasA navaraGgacaGgimA taruNI nRtyati, tarhi prAmamathilA tAlIzabdena kina mRtyatu ?, api tu nRtyatu // . [16] yadi pracuradugdhasaMmizritA tandulAnAM khorI ullalati, tarhi dhAnyakaNItuSayuktA rabbaDIyA ki mA daDabbaDau-mA zabdaM karotu ?, api tu karotu // ... [17] svakAvyakaraNe AtmAnamutsAhayati-yA yasya kAvye zaktiH sA tena lA muktyA bhaNitavyA / yadi caturmukhena-brahmaNA bhaNitam - catvAro vedAH kRtAH, taIpare kavayaH kiM kavitvaM mA kurvantu ?, api tu kurvantu // [10] kavitvakaraNe AtmAnaM protsAhya bhAtmapranthasya manAm ramaNIyatvaM darzayan, anaubatye

Page #164
paNa 15-19] sandeza rAsaka to duggacciya chearihiM pattahi alahaMtehiM / AsAsijjai kaha kaha vi saivattI rasiehiM // 18 // Niakavittaha vija mAhappa', paMDittapavittharaNu maNujaNaMmi koliyapayAsiu / koUhali bhAsiau saralabhAI saMneharAsau / ' taM jANivi Nimisiddha khaNu buhayaNa karavi saNehu / pAmarajaNathUlakkharahi jaM raiyau" NisuNehu // 19 // [raDDacchandaH / Annanoram 1 B taa| 2 B dogga; A dogociy| 3 A punnihi / 4 B kahava / 5 C sarasiehiM / 6 A degkavittavijadeg17 C mAhappu / 8 B pavivittharaNu; C pvittrnnu| 9 C kaaliy| "maNa muNevi kiMciya payAsiu'-etAdRzaH B sthitaH paatthH| 10 B degbhaaii| 11 B sNnhraa| 1 nopalabhyate C Adarza paMktiriyam / lipikarapramAdena patitA pratibhAti / 12 'tuhijai Nava saha khaNu' evaMrUpaH B pAThaH; 'taM jANa va nimasiddha khaNu'-etAdRzaH C paatthH| 13 B Cbuhiynn| 14 C sinnehu| 15 C rayaI u| [TippanakarUpA vyAkhyA ] nauddhasyena kavInAha-'patthi tihuyaNi'-bho kavayaH! tribhuvane tannAsti, yad yuSmAbhirna dRSTam-na hAtam, anyaca na zrutam - nAkarNitam / ataH sarvavizeSajJAnAt / yuSmakRtaM vikaTabandhavizeSaH(paM) succhandasaM sarasaM zrutvA, asAkaM mUrkhANAM virasitaM prAkRtaM kAvyam , lalitahInam-lAlityavarjitaM [kaH] zroSyati ? apitu na ko'pi / tarhi bhane kathaM pravRttiH / tad dRSTAntenAha-yathA durgatairdAridropaddhataizchekaiH, patrANi-mAgavallIdalAni, ala[bha]mAnaiH parvatAdI bahumau(mUlyatvAva, sa(zatapatrikA AsvAdyate, tathA mama kAvyamapi paThiSyanti // 18 // [19] tataH prAvaliH, nijagranthazravaNArtha paNDitAnAha-Niyakavitta-mo budhajanA! nizabdaM yathA kSaNaM tuussnniikriytaam| anyacca-yat pAmareNa sthUlAkSaraiHbAjhavaNeH racitam, tat nehaM kRtvA zRNuta / kIdRzaM nijakavitvavidyAyA mAhAtmya prabhAvarUpam, AtmAnumAnena pANDityapravistAraNam / kathaM prakAzitam ?-mamasi * [avacUrikA] nAha-bhoH kavayaH! tribhuvane tamAsti yadhuSmAbhirna dRSTam-na jJAtam, yasa na zrutam / [yuSmakRtaM] vikaTabandhavizeSaM succhandaM sarasaM zrutvA, asmAkaM mUrkhANAM spRSTaM-kRtaM kAvyaM kalitahInaM zrutvA kaH sthAsyati-punaH kaH zroSyati ?, api tu na ko'pi / tayagre kathaM pravRttistad sTAntenAha-yathA durgatairdaridaizchekaiH, patrANi nAgavallIdalAnyalabhamAnaiH, parvatAdau zatapatrikA ''svAyate tathA mama kAvyamapi paThiSyanti / 1tussnniikyaa| 2 diSTaM /

Page #165
sandeza rAsaka [prathama prakrama saMpaDiuju sikkhai kui samathu, tasu kahau vibuha saMgahavi hatthu / paMDintaha mukkhaha muNahi bheu, tiha purau paDhivvau Na hu vi eu // 20 // 1B sNpddiy| 2 C bihtthu| 8 B C th| [TippanakarUpA vyAkhyA] kimapi jJAtvA prakAzitam / kautUhalena bhASitam / punaH kathaM 1-saralabhAvena / sandesa(za)rAsakaM nAma / raDDucchandaH / tallakSaNam jAsu viyaraNi huMti paya paMca, paDhama ciya paMnaraha, bIya cAri gAraha niruddhau / taha tIyai paMcadaha, raDDabheu jANau su suddhau / karahiNi mohiNi miyanayaNi, rAsAseNa muNiMdu / aMtihiM dohau jasu havai, kavi naMdaDDa bhaNaMti // yasya prastAre Adau pazcadaza-ekAdaza-paJcadaza-ekAdaza-paJcadazamAtrikANi bhavanti paJca padAni / prAnte dodhakaH / iti raDulakSaNam / dodhakalakSaNamane kthyissyti|| [20] tataH prAJjalirnijagrantha zravaNArtha paNDitAnAha / tato granthapaThanasya ziSyA(kSA)mAha-'saMpaDiu ju0'-ko'pi samarthaH-prajJAvAn , saMpratitaM-prasaGgAgatam, idaM(ma) sandezarAsakaM paThati, tasya sandezakavido hastaM gRhItvA bhnnaami| ye janAH paNDitAnAM mUrkhANAM cAntaraM jAnanti, teSAM pura[ta] eSa sandezarAsako nAma na paThitavyaH / yataste mahAntaH pnndditaaH| pddhddiichndH| tallakSaNam - * [avacUrikA] - - [raDDacchando yathA-] jAsu virayaNi huMti paya paMca, paDhama ciya panaraha ya, bIa cAri gAraha niruddhau / taha tIai paMcadaha, raDumeu jANahu su suddhau / karahiamohiNi mianayaNi rAhAseNu muNiMdu / aMtihi dohau jisu havai kavi naMdaha bhaNaMti // yasyAH prastAra bhAdau paJcadazaikAdazapaJcadazamAtrANi paJca padAni, prAnte ca dodhaka iti rahAlakSaNam / dodhakalakSaNamane kathayiSye // [19] tataH prAJjalirnijagranthazravaNArtha paNDitAnAha - bho budhajanAH ! snehaM kRtvA nijakavitvavidyAyA mAhAtmyaM prabhAvarUpamAtmAnumAnena pANDityapravistAraNaM manuSyaloke kaulikena tantuvAyunA (yena) prakAzitaM kautUhalabhASitaM saralabhAvena pAmarajanena mUrkheNa kRtaM sandezarAsakaM nAma kavitvalakSaNaM niHzabdaM kolAhalaM vihAya zRNuta // [20] tato granthapaThanazIlasya zikSAmAha- yaH ko'pi samarthaH- prajJAvAn , sampratitaM-prAptamidaM zAsaM paThati tasya budhasya paNDitasya hastaM grahIsvA bhaNAmi / ye janAH paNDitAnAM mUrkhANAmantaraM kurvanti-jAnanti teSAM purata eSa na paThitavyaH / yataste mahAntaH pnndditaaH|| 1 kthyssyte|

Page #166
sandeza rAsaka hu rahai buhA kukavittaresi, abuhataNi' abuhaha hu pavesi' / jiNa mukkha Na paMDiya majjhayAra, tiha' purau paDhivvau savvavAra // 21 // [ pddhddiichndH| ] padya 20-22 ] aNurAiyarayaharu 'kAmiyamaNaharu, mayaNamaNaha pahadIvayaro / virahaNimairaddhau' suNahu visuddhau, rasiyaha rasasaMjIvayaro" // 22 // 1 B abuhattaNitta abbuhappavesi / 2 C pavesu / 3 BC na / 4 C taha | 5 A kAmIyadeg 6 C maNuharu | 7 C 'mahappaha | 8 C mayaraddhau; B maisaddhau / 9A suNaha / 10 B saMjIyaro; C saMjIviyaro | * [ TippanakarUpA vyAkhyA ] solasamattau jahi~ para dIsai, akkharagatu na kiM pi salIsaha / pAya pAyau yamakavisuddha, paddhaDiyaha ihu chaMdu pasiddhau // catvAryapi padAni SoDazamAtrANi / AdyAddhe yamakam, uttarArddha yamakam / evaM sarvatra jJeyam // 20 // [21] taddhetumAha - 'hu rahai 0 ' - budhA matkRte kAvye kutthi (risa) te, na tiSThanti - na manaH kurvanti / abudhatvena - abudhAstatrApravezinaH / ye na mUrkhAH, na paNDitAH, kintu madhyasthAH, teSAM purataH sarvadeva paThitavyaH // 21 // [22] granthasya guNA [nA]] dda - 'aNuraiya 0 ' - anurAgiNAM sarvazAstravidAM ratigRhaM samAdhisthAnam, kAmukAnAM manoharam, madanamanaskAnAM pathodIpakaram / virahijInAM makaradhvajam rasikAnAM rasasaMjIvanakaram, vizuddhaM ja[nAH] zRNuta // 22 // Xiang 9 [ avacUrikA ] paddhaDIchando yathA - solasamatta jahi pau dIsara, akkharu gaMtu na kiM pi salIsaha / pAyau pAyau jamaka visuddhau, paddhaDIaha iha chaMda visuddhau || catvAro'pi padAH SoDazamAtrikAH / AdyArdhe uttarArdhe ca yamakam // 1 [21] taddhetumAha- budhA matkRte kAvye na tiSThanti na manaH kurvanti, abudhatvena, nAbudhAstatra pravezinaH / ye na mUrkhAH, na paNDitAH, kintu madhyasthAH teSAM purataH sarvadaiva paThitavyaH // [22] granthasya guNaH - DomilAbandhena / anurAginAM (NAM) ratigRham, kAmukAnAM manoharam, madanamanaskAnAM pathadIpakaram, girahiNInAM makaradhvajam rasikAnAM rasasaJjIvanakaram, vizuddhakaram, bho janAH ! zrRNuta // saM0 2

Page #167
10 * sandeza rAsaka aihiNa' bhAsiu, raimaivAsiu, savaNasakuliyaha' amiyasaro / i' lies' vikkhaNu, atthaha lakkhaNu, suraisaMgi' ju' viaDDanaro' // 23 // [ DumilAchandaH / ] 1 C ahaha / 2 B sukuli jiya; C sukuli jahi / 5 C saggi / 6 CA 7AB viaDhadeg / 3 C laha | [ TippanakarUpA vyAkhyA ] [23] yato'tisnehena bhASitam, ratimativAsitam, karNazaSkulyAM yathA'mRtam / anyacca - vicakSaNo lae - bhAve likhati jAnAti / anyacca - arthalakSaNaM sa eva vetti yaH suratisaGge vidagdho bhavati, nAparaH / DumillAcchandaH / tallakSaNaM yathA Bu Bu Bu Bu Bu [ prathama prakrama DumilAhi payAsiNa, matta visesiNa, dohiM tahiM ciya cyAri bhaNU / bhaNa matta battIsa vitIsaghamela (?) aTThaya ThAma Thavesa gaNU // gaNa anna milijjai, soi Thavijjai, taM puNa jANi Na bhaMti karI / kari jamaku visAiNa, pAiNa pAiNa, suDDu vi chaMdu vibhaMja parI // iti zrIdevendrasUriziSya vA0 zrIlakSmIcandraviracitAyAM saMdezarAsakavRttau prathamaH prakramaH // 4 AC lahai / [ avacUrikA ] [23] yato'tisnehena bhASitam, ratimativAsitam, karNazaSkulyoH yathA'mRtam / abhyazca - etasyArthalakSaNaM sa eva vicakSaNo lae-bhAveM likhati - jAnAti yaH suratisaGge vidagdho bhavati, nAparaH // [ DumilA chando yathA - ] DumilA hi pa0 //

Page #168
padma 23-24 ] vijayanayarahu kAvi vararamaNi', uttaMgathirathorathaNi', 'biruDalaka dhayaraTTapauhara / dINANaNa pahu Nihai', 'jalapavAha pavahaMti 'dIhara / virahaggahi 'kaNayaMgitaNu taha 'sAmalimapavannu' / Najjai" rAhi" viDaMbiau " tArAhivai saunu // 24 // 10 13 14 18 phusai loyaNa ruvai" dukkhatta", "dhammillaumukkamuha", vijjaMbhai "aru aMgu" moDai / virahAnala saMtavia ", sasai dIha karasAha " toDai / 16 sandeza rAsaka 2 dvitIyaH prakramaH 1 A ravaNi; B taruNi / 2 C thoru' ; B thoraghaNa / 6 B pavahaMta / nies; C nihRya / 5 C jala jaladeg / C sAmaliya / 9C pavana / 13 C savannu / 14 B ruyai; muhu / 18 B ta C niya0 / 3 A baruDa B viraDa' / 4B 7 C kaNayaggideg / 11 B rAha / 10 A Nijai / C ruai / 15 B dukkhitta / 16 19 A aMga / 20 A saMtavIa / Sha 11. [ TippanakarUpA vyAkhyA ] [24] atha kathAsvarUpamAha - 'vijayanayarahu 0 ' - vikramapurAt kAcid varanAi(ya) kA ucca sthiradRDha - sthUlakucA bhramarImadhyamadhyA dhArttarASTra-rAjahaMsa - gatirvirahiNItvAd dInAnanA / netrayordIrghabharaM jalapravAhaM pravahantI paradezagataM patiM pazyati / tathA kanakAGkSayA virahAgninA tanu zarIraM zyAmalimA prapannAm, kaviH kathayati-manye tArAdhipatizcandra [:] sampUrNo rAhuNA viDambito grasta iti // raDucchandaH // 24 // virahAvasthAM vyAvarNayannAha - locane- 'phusai' - utphuMsati duHkhArttA roda (di) ti / dhammillonmuktamukhA vijRmbhati / aGgaM moTayati / virahAnala [25] tasyA 8A sAmalau; 12 C viDaMbio / C dhammillo / 17 C 21 C sAsa | [ avacUrikA ] Cha Cha Cha Cha [ 24 ] vikramapurAt kAcid varanAyikA ucca sthiradRDhasthUlakucA bhramarImadhyamadhyA dhArtarASTragatiH, virahiNISvAd dInAnanA, netrayordIrghatarajalapravAha pravahantI paradezagataM prabhuM pazyati / punaH kIDazI - - tathA kanakAyAstanu tathA zyAmaM prapannam, yathA jJAyate tArAdhipatiH sampUrNo biDambito rAhuNA - grasta iti // [25] tasyA virahAvasthAM vyAcaSTe - locane utphuMsati, duHkhArttA roditi, dhammillamuktA, mukhe vijRmbhati, aGgaM moTayati, virahAnala saMtaptA''zvasati karazAkhAstroTayati / evaM mugdhayA vila

Page #169
12 sandeza rAsaka [dvitIya prakrama ima' muha vilavaMtiyaha mahi calaNehi chihNtu| aDuDDINau tiNi pahiu pahi joyau pavahaMtu // 25 // [raDa.] taM ji pahiya pikkheviNu 'piaukkaMkhiriya', ___ maMtharagaya saralAivi uttAvali cliy"| taha maNahara "callaMtiya caMcalaramaNabhari', chuDavi khisiya" rasaNAvali "kiMkiNiravapasari" // 26 // ___ 1 A iv| 2 C muMddhaha; B muddhhN| 3 C chivNtu| 4 A taM; C t| 5 Cj| 6 A phiu| 7 B piy| 8 A ukhikhirIya; C ukiNpiriy| 9AdegsaralAvia / 10 A calia / 11 B calaNihi callaM / 12 A shvnni| 13 A chuvi| 14 A khisiia| 15 A. kaMkaNi; B kiNknni| 16 A.C gaya pasari / rrrrrrwww NAMA [TippanakarUpA vyAkhyA ] saMtatA''zvasati, karasASA(zAkhAH)troTayati / evaM mugdhayA vilapanyA mahIM calanAbhyAM krAman ajhai(dhvo)dvignaH, nagaramadhyaM vihAya pArzva eva saMcaran , pathi pravahan pathiko dRSTaH // ruDucchandaH // 25 // [26] taM pathika dRSTvA patyutkaNThitA, mantharagati saralayitvA yAvadussukagatyA calitA, tAvanmanoharaM calantyAcapalaramaNabharAt kaTipradezAdarasanA''vali: kiGkiNIkaNayuktA chuttitaa| AbhANakanAma cchandaH / tallakSaNaM yathA matta hohi caurAsI cahu paya cAri kala te saThi joNi nivaddhI jANahu cahu a dala / paMcakalu vajjijjahu gaNu suddhi vi gaNahu so vi AhANau chaMdu ke vi rAsau munnhu|| pade pade ekaviMzati mAtrA sarvasaM(khyA) caurAsIti / Adau SaT kalAH, tadanu trayaH / aparastu catuH klaaH| ekslimaatRkH| paJcakala: vrjniiyH|| eSa(tat) raaskchndH||26|| * * [avacUrikA] pantyA mahIM calaNA(nA)bhyAM kAman, adhvodvipno nagaramadhyaM vihAya pAve saMcaran pathi pravahan pathiko dRssttH|| [26] pathika dRSTvA tayA kiM kRtamityAbhANakachandasA''ha-taM pathikaM sA patyuskaNThitA mantharagamanaM tyaktvA yAvadussukA gatyA calitA tAvanmanoharaM calantyAstasyAzcapalaramaNabharA rasanA kiGkiNIkaNaprasarA chuTitA // chando yathA-'matta hoi caurAsI cahu paya cyAri kl.||' Ben Ben Ben Ben Ben

Page #170
sandeza rAsaka taM jaM mehala' Thavai gaMThi Nihu suhaya, tuDaya' tAva' 'thUlAvali 'NavasarahAralaya / sAta va saMvaravi 'caivi kivi saMcariya', vara caraNa" vilaggavi taha pahi" paMkhuDiya# // 27 // 12 10 13 padya 25-28 ] paDi uTThiya savilakkha salajjira saMjhasiya", 14 tau" siya" saccha "NiyaMsaNa muddhaha vivalasiya" / taM saMvari aNusariya pahiyapAvayaNamaNa, 20 phuDavi" Nitta" kuppAsa vilaggiya dara sihaNa " // 28 // chAyaMtI" kaha kaha va salajjira "Niyakarahi ", kaNayakalasa jhaMpaMtI NaM iMdIvara hi " / 25 1 A mehali / 5 C dhUlAbali / 10 A caraNi / 11 B paya / 15 A siradeg / 16BC niyaM phuDivi / 20 B Natta; C nitta / 24 B karihi / 2 B C niDura / 6 B C navadeg / 12 25 A B varihi / Ling Ling Ling Ling Ling 8 A tuDavi; C tuDaci / 7 C cayavi / C pakkhaDiya / 17 B sia / 21 A dara siha / 13 4 A tAma; C tAba / 8 A kevi / 9A saMcaya | 13 A saMjhasIya / 14 A taM / 18 A aNusarIa / 19 C 22 A yaMtI / 23 B C niyadeg / [ TippanakarUpA vyAkhyA ] [27] sA subhagA yAvat tAM mekhalAM granthau sthApayati, tAvatA muktAmayI sthUlA navasarahAralatAssvalitruTitA / [.] tAvatA nUpuracaraNAbhyAM vilagya nirbalatvAt patitA // 27 // [28] yAvat patitotthitA savilakSA salajjA saMbhramitA / tAvat zvetaM svacchaM nivasanaM - zirovastraM vivalasitaM - dUrIbhUtam / tadapi saMvarayitvA pathikaprApana (Na) - [] kA yAvat saMsRtA, tAvatA netrapaThThe vastramayaM kUrpAsakaM kazzukaM vidArya kucau ISahare chidre vilagnau - prakaTau jA (yA) tAvityarthaH // 28 // [29] sA bAlA salajjA pathikaM pati [vi] rahiNItvAt karuNam, padminItvAt [ avacUrikA ] Dong Dong Dong Dong Dong [27] sA zubhA yAvatA mekhalAM granthau sthApayati tAvatA muktAmayI sthUlAvalirnavasarahAralatA truTitA / tatastAni kAnicinmuktAphalAni saMmIlayitvA ( saMmIlya ) kAnicidautsukyAt tyaktvA saMcalitA, tAvatA nUpuracaraNAbhyAM vilagya patitetyarthaH // [ 28 ] yAvat patitotthitA savilakSA salajjA saMjhasitA tAvat zvetaM svacchaM nivasanaM - zirova vivalasitaM - dUrIbhUtam ; tadapi saMvaraddatvA ( saMvRtya ) pathikaprApamanaskA yAvat saMsRtA, tAvatA netrapaTTe vastramayaM kUrpAsaM kachukaM vidArya kucau dare chidre vilagnau - prakaTau yAtAvityarthaH // [ 29 ] sA sajjA pathikaM prati, virahiNItvAt karuNaM savilAsaM zabdaM kRtavatI / nijaka

Page #171
sandeza rAsaka [dvitIya prakrama to Asanna pahutta 'sagaggiragiravayaNi', kiyau sadu savilAsu karuNa dIharanayaNi // 29 // ThAhi ThAhi Nimisiddha suthiru avahAri maNu, ___NisuNi kiM pi jaM jaMpauM hiyaI' pasiji khaNu / eya' vayaNa Ayanni pahiu koUhaliu", Neya" Niattau tA su kamaDu vi Nahu caliu // 30 // "kusumasarAuha rUvaNihi vihi Nimmaviya gariTTa / taM pikkheviNu pahiyaNihiM" gAhA bhaNiyA" aTTha // 31 // 1 B gggir| 2 C giri| 3 A trunni| 4 A kiau| 5A suvilAsu; C svilaas| 6 B Nimisaddha; C timisiddh| 7 A hiai; C hiyy| 8 A pasijjhi; B pasajji / 9 A ei| 10 C aainni| 11C kouuhiliyo| 12 C nei niya' / 13 B C nhu| 14 BC kusm| 15 C NihiM / 16 B Nimmamiya / 17 A paMthiyaNihiM; B pahiyajaNi / 18 B C pddhiyaa| [TippanakarUpA vyAkhyA ] savilAsam, zabdaM kRtavatI / kiM kurvantI?-nijakarAbhyAM kucAvAcchAdayantI / nu vitrke| kanakakalasAvindIvarAbhyAmAcchAdayantI / yatastasyA hastau punaH punaH sakajjalanetrasparzAdakSAlanAt zyAmalatAM gatau / tato dIrghanetrA sagadgadgIrvadanA AsannaM nikaTaM prAptA // 29 // [30] kimAha-'ThAhi ThAhi0'-nimeSArddha susthiraM yadhA(thA) tiSTha tiSTha / manasyavadhAraya / yat kizcid jalpAmi tacchravaNAbhyAM shRnnu| kSaNaM hRdaye prasIda / tasyA etAni vAkyAni AkarNya, pathikaH kautUhalitaH san , na kramArddha nivRtto na cAgne clitH| kSubdhatvAt tathaiva saMsthita ityarthaH // 30 // [31] kusumazarAyudhAM vidhinA gariSThAM rUpanidhiH(dhi) nirmitAM tAM prekSya pathikenASTau gAthA bhaNitA[:] // 31 // ___ [avacUrikA] --- rAbhyAM kucaM(cau) cAcchAdayantI / 'nu' iti vitarke, kanakakalasAvIndIvarAbhyAM nIlotpalAmyA. mAcchAditau, yatastasyA hastau kajalanetrarasAdakSAlanAcca zyAmatAM gatau / tato dIrghanetrA sagaddA nikaTaM prAptA // [30] kimAha-nimeSArdha susthiraM yathA tiSTha tiSTha / manasyavadhAraya / yat kizijalpAmi tacchvaNAbhyAM zRNu / kSaNaM hRdaye prasIda / tasyA etAni vAkyAni AkarNya, pathikaH kautUhalitaH san , na kramArtha nivRtto na cAne calitaH / kSubdhatvAt tathaiva saMsthita ityarthaH //

Page #172
sandeza rAsaka * { pahiu bhaNai bivi dohA tasu su viyaGkapari / iku maNi viMbhau thiyau ki rUviNi' pikkhi kari // * kiM nu payAvai aMghau ahavi viyalu Ahi / jiNi erisi' tiya Nimmaviya Thaviya na appaha pAhi // * } padya 29-32 ] 'aikuDilamAipahuNA vivihataraMgiNasu salilakallolA / kisaNattaNaMmi alayA' aliulamAla vva rehati // 32 // * 1 C kiM / 2 B ruvaNi / 3 C aMdhulau | 4 B erisa / 5 C appahu / [ * etad dodhakayugalaM B C saJjJake Adarzadvaye labhyate, paraM A Adarze nopalabhyate / ata etasyAva - cUrikA'pi na vidyate / kSepakaprAyamidam / ] 6 B ayadeg / 7 A taraMgaMsu / 8 A aliyA / dodhakacchandaH / tallakSaNam - [ TippanakarUpA vyAkhyA ] teraha mattA visamapaya, sama egAraha mata / ihu jANijjahu dohaDau, anna ma karijahu vatta | prathama- tRtIyapade [yo ] dazamAtre bhavataH / dvitIya caturthe pade ekAdazamAtrike bhavataH / iti dodhakaH // 15 * ataH paraM pathikaceSTAmAha-pathikastAM dRSTvA dodhakadvayamAha - 'pahiu' - pathika [:] dvau dodhako bhaNati / tasyAM vidagdhapariNA ekaH manasi vismayo jAtaH / tAM rUpavatIM prekSa ( kSya) ahaM evaM manye- kiM nu prajApatiH andhaH, athavA SaNDhaH ? | yadetAdRzIM if nirmAya yenASStmapArzve na sthApiteti / * Ling Ling Ling Bu Duo [32] devIvarNanaM caraNAd, nArIvarNanaM zirasaH / ata Aha-atikuTilamAtrA pradhAnAH / yathA taraGgiNISu salilakallolA vakrAH / kRSNatve alikulamAlA iva / evaMvidhAstasyA alakAH zobhante // 32 // [ avacUrikA ] Cha Cha Cha Cha Cha [31] kusumasa (za) rAyudhaM rUpanidhirvidhinA gariSThA nirmitA / tAM prekSya pathikenASTau gAthA bhaNitAH / chando yathA ' teraha masA visamapaya, samaegAra [ha matta / ' ityAdi ] / [ 32 ] devIvarNanaM caraNAd, nArI0 zirasaH / ata bhAha - tasyA alakA [:] zobhante / ? - atikuTilamAtrayA pradhAnAH, taraGgiNIsalilakallolA iva vAH / kRSNatvenAlikukamAlA iva // *

Page #173
16 sandeza rAsaka [ dvitIya prakrama rayaNItamavivaNo' amiyaMjharaNo 'sapuNNasomo ya / akalaMka mAi vayaNaM vAsaraNAhassa paDibiMbaM // 33 // 'loyaNajayaM' ca Najjai' raviMdadala dIharaM ca rAichaM / piMDIrakusumapuMjaM taruNikavolA kalijvaMti // 34 // komala muNAlaNalayaM" amarasaruppanna bAhujuyalaM" se " / tANate karakamalaM jjai " dohAiyaM paramaM // 35 // sihaNA suyaNa-khalA" iva thaDDA niccunnayA ya muharahiyA saMgami suyaNasaricchA AsAsahi" be vi aMgAI // 36 // 13 14 1 Cdeg viddamaNo / loadeg / 6 C juaM / nalayaM B liyaM / 15 B AsAsai 2 B ya puNNa; C spunn| 7 B nnjii| A 8 kavolaM / 11 A juvalaM / 12 B c| [ TippanakarUpA vyAkhyA ] [33] tasyA vadanaM vAsaranAthasya pratibimbavad rarAja / kIdRzam ? - rajanItamavidrAvakaH, amRtasrAvI, saMpUrNaH akalaGko yaH somo mAtraM upamA // 33 // B'mAya' / 4 C iNaM / 5 C 9BC *miNAladeg / 10 A 13B jaI / 14 C kalA | [ 34 ] ahamevaM manye - tasyAH striyAyA locanayugaM dIrghataraM rAgADhyaM aravindadalaM jigya (jaya ? ) ti / dADimIpuSpagucchaM tasyA [:] kapolo (lau) jigya (jaya )taH // 34 // [35] ahamevaM manye-tasyA bAhuyugalam, amarasarautpannaM komalaM mRNAlanalakam, padmasarasaH saMbhUtasvarNakamalaM bhUmimadhyadaNDaM jigya ( jaya ? ) ti / tayoH bAhroH prAnte yat karakamalaM tad dvidhAbhUtaM padmaM jJAyate // 35 // [ 36 ] tasyA nAi (ya) kAyAH kucau khajanakhalU (lau) iva zobhataH / khalopamAnaM katham ? - stabdhau nityonnatau mukharahitau / aprasUtatvAt / saGgamenAnyo'nyamilitena svajanasadRkSau / kiM kurvatau ? - dvAvapi aGgAni AzvAsayantau // 36 // [ avacUrikA ] Dong Dong Dong Dong Dong [ 33 ] tasthA vadanaM vAsaranAthasya pratibimbamiva rarAja / kIDazam ? - rajanI tamo vidvAvako. mRtasrAvI / sampUrNasomasya akalaGkamAtrA vAsaranAthasyopamA nAnyA // Tun Tun Tun Bu [ 34 ] yasthA locanayugalamaravindadalaM dIrghataraM rAgADhyaM zobhate / piNDIra kusumapuavad dADimIpuSpagucchavat tasyAH kapolau dRzyete // [ 35 ] tasyA bAhuyugalaM amarasarautpannaM mAnasazaraH saMjAtaM mRNAlanalakaM mithaH svarNakamalasya bhUmimadhyasthadaNDamiva komalaM zobhate, tayorbAhu (hroH) yaskarakamalaM tad dvidhAbhUtapadmamiva jJAyate // [ 36 ] tasyA[:] kucau svajanakhalAviva zobhataH / khalopamA [na] mAha - stabdhau kaThinau nityovratau, aprasUtatvAt, mukharahitau / tathA ca saGgame mele svajanasadakSau / yato dvAvapyaGgAnyAsvA * zvAsayataH / athavA'ntarabAhyAne AzvAsayataH //

Page #174
padya 33-40] sandeza rAsaka giriNai samaAvattaM joijai NAhimaMDalaM guhireM / majjhaM maccasuhaM 'miva tucchaM taralaggaIharaNaM // 37 // jAlaMdharithaMbhajiyA UrU rehati tAsu airammA / vaTTA yaNAidIhA sarasA sumaNoharA jaMghA // 38 // [kSepaka] rehati paumarAi va "calaNaMguli "phalihakuTTi nnhpNtii| tucchaM romataraMgaM umvinnaM "kusumanalaesu // 39 // sayalaja sireviNu payaDiyAi~ aMgAi~ tIya savisesaM / ko kaviyaNANa" dUsaI, siTuM vihiNA" vi puNaruttaM // 4 // Awar Aparama 1 BC n| 20 nAbhi 3A ghirN| 4 C suhmmiv| 5 B tuchati / 6C jaalNdhr| 70 biyA; B jiuu| 8 A rehiti| 9 B vaTTA i NAya / 10C rmmaa| 1A Adarze etadullekho lbhyte| 11 A crnnN| 12 phliy| 13 C uvviaalN| 14 AC kusm| 15 C tiii| 16 A kiiynnaann| 17 B dUsaI / 18 A. vihnnaai| [TippanakarUpA vyAkhyA ] [37] tasyA nAbhimaNDalaM girinadyAvartasadRzaM gabhIraM] dRzyate / anyaccatasyA madhyaM martyasukhamiva-mAnukhya(pya)kabhogasAtamiva tucchaM dRshyte| kadAcana haragocaram , kadAcanAhaggocaram / athavA taralagatau hAriNaM padamiva // 37 // [38] tasyA UrU jAlandhari-kadalI-garbhasadRzau raajtH| ca punaH-vRtte, nAti. dIrghe, sutarAM manohare sarase jakke rAjataH // 38 // . [39] tasyAdharaNAlayaH panarAgakhaNDAnIva zobhante / tathA ca-tAsAmaGgalI. nAmupari nakhAH panarAgoparisthasphaTikakhaNDAnIva / tathA ca-tAkhaGgalISu udbhagnakamalanAlatantusazaM romatarakaM vyaracat // 39 // [40] vidhinA sai(zai)lajAM sRSTvA tasyA aGgAni tadvat, tato vA savizeSa m], - [avacUrikA] R [37] tasyA nAbhimaNDalaM girinayAvartasadRzaM gaMbhIraM dRzyate dyotate vaa| anyaca - madhyaM maryasukhamiva tuccham, kadAcanendriyagocaram, kadAcana taralagaterharaNam, athavA taralagatau hAriNaM padamiva // [30] jAlandharI-kadalIstambha-jetArau tasyA urAvatiramyau rAjataH / vRtte nAtidIrghe sarase sumanohare jaGgre rAjataH // [39] tasyAbharaNAlayaH pamarAgakhaNDAnIva zobhante / tathA ca-tAsAmaGgulInAmupari makhAH parAgoparisthitasphaTikakhaNDAnIya / tathA ca -tAsvaGkulinanakamalanAlasantusadRzaM romatara vyaracat // [40] vidhinA []jA sRSTvA tasyA bhaGgAni tadvat tato'pi savizeSa yathA praga(ka)TitAni - kRtAni / ata Aha-ka: kabIn dUSayati, yad vidhinA'pi punaruktaM sRSTam // saM03

Page #175
18 sandeza rAsaka gAhA taM nisu viNu 'rAyamarAlagaI', #calaNaMguTThi dharati salajjira ullihai / tara paMthiu kaNayaMgi tattha bolAviyau, kahi' jAisi hi pahiya kaha va tuha' Aiyau // 41 // NayaraNAmuLe sAmoru saroruhadalanayaNi, 10 " NAyarajaNasaMpannu " harisa "sasi haravayaNi" / dhavalatuMgapAyArihi tiurihi" maMDiyau", 18 hu dIsa " kui mukkhu sayalu" jaNu " paMDiyau // 42 // vivihaviakkhaNa" satthihi jai pavasii" Niru, summai chaMdu maNoharu pAyau mahurayaru" / 1 C rAideg / 2A gaya; B gaI / viau C volAviu / 6A kaha | 7 B tuhu / 10 C nAyara 11 A saMpanna / 12 C sazihara | 15 C maMDiu | 16 B diis| 17 C sayaladeg / 20 B pavisI / 21 C mahuru saru / [ dvitIya prakrama 3 A caraNaM / 4 A tN| 8 C Aiu / 13 C bayaNi / 18 A jaNa / [ TippanakarUpA vyAkhyA ] yathA prakaTitAni - kRtAni / ata Aha- kaH kavIn dUSayati / yad vidhinA'pi punaruktaM sRSTam // 40 // [41] tadanu kiM kRtaM tathA tadAha - 'gAhA taM nisuNe' - tA gAthAH zrutvA rAjamarAlagatyA caraNAGguSThena dharitrIM salajamullikhantyA kanakAGgayA pathiko vAcAlitaH / ataH paraM ka yAsyasi, kutaH samupAgataH // 41 // 5A bolA9 B nayaru nAmi / 14 A tiuri maMdeg / 19 B viyakhaNu / [42] tatpRSTaH pathikaH prAha - 'nayaru0 ' - he hemasaroruhadalanetre zazadharavadani('ne) ! sAmoru = mUlasthAnanAma nagaraM varttate / kIdRzam ? - nAgarikaiH saMpUrNam, dhavalatuGgaprAkAraistripuraizca maNDitam / anyacca - yatra ko'pi na mUrkhaH, kintu sakalospi janaH paNDitaH // 42 // Duo Duo Ge Duo Duo [ avacUrikA ] Dong Dong Dong Dong Dong [41] gAthAH zrutvA tato rAjahaMsagatyA caraNAGguSThena dharitrIM salajja mullikhantyA tathA kanakAmayA pazcika iti vAcAlitaH - he pathika ! [ kva yAsyasi ? kutastvamAgataH ? // ] [ 42 ] sAmoraM mUlasthAnaM nAma nagaram / he saroruhadalanayane ! nAgarajanaiH sampUrNam, zazadharavadani (ne) dhavalatuGgaprAkAraikhipuraizca maNDitaM ghartate / tatra ko'pi mUrkho ma dRzyate, sakalo'pi janaH paNDito'sti //

Page #176
pagha 41-45] sandeza rAsaka kaha va ThAI' cauveihiM veu payAsiyaI', ___ kaha bahurUvi Nibaddhau rAsau bhaasiyii|| 43 // kaha va ThAI sudayavaccha' kattha va nalacariu', ____ kattha va vivihaviNoihi bhArahu uccariu" / kaha va ThAi AsIsiya cAihi" "dayavarihiM, ___ rAmAyaNu ahiNaviyaaI" kattha vi kayavarihiM // 44 // ke "AinnihiM "vaMsavINakAhalamurau, __ kaha "payavaNNaNibaddhau summaI gIyarau / AyaNahi susamattha pINaunnayathaNiya", callahi callaM "karaMtiya kathaM vi NaTTaNiya // 45 // 1 C ThAI / 2 A veyahi: C beihiM / 3 A siaii| 4 A vaharUvi Ni C vihiM th| 5A. bhAsIai; C bhaasiyii| 6C tthaaii| 7 AC sudvcch| 8 AC vara nl| 9Ccriyu| 10Ckattha vivihiN| 11 B uccritrN| 12 Adegcaaiiy| 13 C pavai / 14 A nnviiai| 15 C Ainnihi; B AyannahiM / 16 C baMsavINa, B viinnvNs| 17 A payarvana; C pyvaa| 18 A suNmi| 19 B aainnihi| 20C piinnumy| 21 A degthnnihi| 22 A coa krti| 23 B krtii| 24 'ya' nAsti BI 25 A. katthaevi; C kattha v| 26 A nninnihi|| [TippanakarUpA vyAkhyA] [43] yadi vicakSaNaiH saha purAnta[:] paribhramyate, tadA manoharaM chandasA madhuraM prAkRtaM zrUyate / kutrApi caturvedibhiH veda[:]prakAzyate / kutrApi bahurUpa(pi)bhirnibaddho rAsako bhASyate // 43 // [14] kutrApi mu(sa)dayavacchakathA, kutrApi nalacaritra[m], kutrApi vividhavinodaiH bhArataM uccaritaM zrUyate / anyaJca-kutrApi kutrApi AziSA tyAgibhijivaraiH rAmAyaNamabhinUyate // 44 // [45] kecid vaMzavINakAhalamurajamRdaGgazabdAn AkarNayanti / kApi ____ - [bhavacUrikA] [3] yadi vicakSaNaH saha purAntaH paribhrama(myote, tadA manoharaM chandasA madhuraM prAkRtaM zrUyate, kutrApi dhaturvedimirvedaH zrUyate, prakAzyate vA / kutrApi bahurUpakairnibaddho rAsako bhAkSa(pyate // [54 ] kutrApi sadayavacchakathA, kutrApi nalacaritram , kutrApi vividhavinodai rataM zrUyate; kunApyAziSA syAgimirdvijavarairbhArata (rAmAyaNa ?) muccAryate // [15] ke'pi vaMzavINAkAhalamurajazabdAnAkarNayanti / kutrApi prAkRtavarNairnibaddho gItaravaH zrUyate / kutrApyAkarSaNe samarthAH pInogatastanyaH nartakyazcalacakazabdaM kurvantyaH paribhramaNaM kurvanti / ~wwwwwwwwwwwwwwwww wwwwwwwwwww

Page #177
sandeza rAsaka nara auvva vibhaviya' vivihanaDanADaihiM, mucchihi pavisaMta ya vesAvADaihiM / 5 mahiM kA' va 'mayaviMbhala gurukarivaragamaNi, anna rayaNatADaMkihi' 'parigholirasavaNi // 46 // avara kaha va NivaDabbharaghaNatuMgatthaNihiM, bhariNa' majjhu hu" tuTTaI " tA vibhiu " maNihiM / kA vi keNa sama" dara hasai niyako aNihi ", chittatucchatAmicchatiracchiyaloyaNihi // 47 // 1 B vimhahiM; C vihideg / pavisaMtA / 4 BC vADayahi / 8 C parigholi / 9 C dharaNi / 13 C sama hasai / 14 A 15 C degtaricchiya / 2 B mucchijai; C mucchajahiM / 3A pavasaMtiya; B 5 C ke vi / 6 B C maimiMbhala / 7 A tADaMkahi / 10 A guhu | 11 C tutttte| 12 B viMbau; C viMbhau / nniyako aNihi; B niyaimaiko iNihi; C nayamaikoUNihi / t [ TippanakarUpA vyAkhyA ] prAkRtavarNanibaddho gItaravaH zrUyate / kutrApi AkarNane (rSaNe) samarthA [:] pInonnata stanyaH narttakya [:] calacaletizabdaM kurvantyazcalanti // 45 // [ dvitIya prakrama [ 46 ] yatra narA vividhanaTanATakibhirvismayante / yatra vezyAbhivaizyApATake pravizanto nIrAgiNo'pi mUccharyante / tad varNanamAha- kAzcid vezyA madabhimbhalA gajagamanA bhramanti / anyA ralatADaGkaH prati gholantazravaNAH paribhramanti // 46 // [ 47 ] aparA kAcana bhramati / kIdRzI ? - yat tasyA madhyaM niva (bi)DottaraghanatuGgastanayorbhAreNa na truTati tadA''zcaryam / aparA kAcana kenApi saha nijakamadakaukutryAM (kucAbhyAM ) kSiptatucchatAmiccha[m ] kajjalaM tiryaga (ka) sthitalocanAbhyAM dara manAkU (ga) hasati // 47 // Quan [ avacUrikA ] [ 46 ] yatra naMrA vividhanaTanA TikIbhirvi smayante / yatra vezyAbhirvezyApATake pravizanto nIrAgigospi mUcryante / tadvarNanamAha- kAcid vezyA madabhimbhalA gajagamanA bhramati / anyA rajatADa : pratigholantazravaNA bhramanti // [ 47 ] aparA kAcana bhramati kIDazI ? - tasyA madhyaM niva (bi) DoDaraghanatuGgakhanayorbhAriNa na truTati, tadAzcaryam / aparA kAcit kenApi saha nijakamadakaukucAbhyAM kSiptatucchakajalatisthitalocanAbhyAM dara manAkU (ga) hasati // Dong Dong Dong Dong Dong

Page #178
sandeza rAsaka avara kA vi suviakkhaNa' vihasaMtI' 'vimali', NaM sasisUra Nivesiya' rehai' gaMDayaliM' / mayaNavaTTu" "miaNAhiNa kassa va paMkiyau", padya 46-49 ] 10 annaha bhAlu" turakki tilai AlaMkiyau // 48 // hAru kasa" vi thUlAvali Nihura rayaNabhari, 14 lui maggu alahaMta thaNavaha sihari / guhira" NAhivivaraMtaru" kassa" vi kuMDaliu", tivala" taraMga " pasaMgihi rehai maMDaliu " // 49 // ramaNabhAra" guruviyaDau kA kaTThihi" aimalhirau" camakkau turiyau gharai ", hu" sarai " / 26 27 5B Najai NaM / 4 C vimala / gaMDiyali | 10 C deg baTTa | 11 B 1 C degviyakhANi / 2 B C vihasaMti / 3Bya videg 6A suuru| 7A Nivesiu / 8 'rehai' nAsti B 9 A mayaNA: C mahaNAdeg / 12 A paMkaau | 13 C bhAla | 14 A kasa thUlA ; B kasa va thUlA / 15 A gahiradeg / 16 B viDaMtaru | 17 B C kassa va 18 A kuMDaliyau / 19A B vimala / 20 B taraMgi pasaMgiu / 21 C maMDaliyau / 22 A bhAru / 23. C kahihiM / 24 A varai / 25 C degmilhirau / 26 B nahu / 27 B saraI / [ TippanakarUpA vyAkhyA ] [48] aparA kA'pi suvicakSaNA vihasantI vimalA nirmalahAsyA bhramati / kazI ? - ahamevaM manye zazi-sUryo gaNDayorniviSTau / kasyAzcinmadanapaGkaM kucasthalaM mRganAbhipaGkAGkitaM varttate / anyasyA bhAlaM tIkSNena tilakenAlaGkRtaM varttate // 48 // [49] kasyAzcit stanapaTTasiSa ( zikha) re hAraH pravezamalabhan rakSabhareNa lolati / kasyAzvinnAbhivivaraM gambhIraM kuNDalitaM - kuNDalAkAraM varttate / punaH kIdRzaM nAbhivivaram. 1- trivalItaraGgaprasaGgato maNDalitamiva zobhate // 49 // [50 ] kAcid ramaNabhAraM guruvikaTam, atisthUlatvAt, kaSTena bibharttiH / *** [ avacUrikA ] [40] aparA kAcit suvicakSaNA vikasantI vimalA'tinirmalahAsyA bhramati / kIDazI ? - mampe, zazi-sUryo gaNDayorniviSTau / kasyAzcana madanapaGkaM kucasthalaM mRganAbhipaGkAGkitaM vartate / anyasyA bhAkaM tIkSNena tilakeAlaGkRtaM vartate // 21 Dong Cha Wei [ 49] kalyAna khanapaTTazikhare niSThure hAraH pravezamalabhan ratnabhareNa lolati / kasyAcinnAbhivaraM gambhIraM kuNDalitaM - kuNDalAkAraM vartate / punaH kIdRzaM nAbhivivaram ? - trivalI taraGgaprasaGgato maNDalitamiva zobhate // [ 50 ] kAcid ramaNabhAraM guruSikaTam, atisthUlatvAt, kaSTena vibharti - dhArayati / tasyA

Page #179
22 sandeza rAsaka jaMpatI mahurakkhara kassa va' kAmiNihiM, hIrapaMtisAriccha' DasaNa jhasurAruNihiM // 50 // avara kaha va varamuddha hasaMtiya aharayalu, sohAla karakamalu sarala bAhaha' juyalu / annaha' taruNikaraMguliNaha' ujjala vimala, avara' kavola kalijjahi' dADimakusumadala' // 51 // bhamuhajuyala sannaddhau kassa va bhAiyai ", urs as koyaMDu " aNaMgi" caDAiyai / ikaha Nevarajuyalaya" summai rau ghaNau, annaha rayaNanibaddhau mehala" ruNajhuNau " // 52 // 13 5 B nakha / 6 A 1 Cvi / 2 C 'sariccha' / 3B bAhu | 4 B aNNahaM / ahava / 7 A kalijjihi / 8 Cdeg kusama / 9 Bvi| 10B 12 C Agi / 13 A juyalau; C juyala / 14 Brunnu| 15 C deg jhaNai / 1 yaI / 11 C koiMDu / [ TippanakarUpA vyAkhyA ] tasyAzcalantyA upAnahozcamacamacchando'timandharastu (stva) ritaM na sarati / aparasyA madhurAkSaraM jalpantyAH kAminyA hIrapaktisadRkSA nAgavallIdalA''rakA dazanAH zobhante // 50 // [ 51] aparasyA varamugdhAyA hasantyA adharadalaM karakamalaM saralaM bAhuyugalaM zrayaM samaM zo [bha]DhyaM varttate / tatra kamalabhramo yathA - bAhuyugalaM daNDasthAnIyam, adharaM dala sthAnIyam, karaM kamalasthAnIyaM jAtam / evaM kamalabhramaH / anyasyAstaruNyAH karAGgulinakhA ujvalA vimalA [:] so(zo) bhante / aparasyAH kapolau dADimakuza(su) madalau zobhataH // 51 // [ 52] kasyAzcid bhrUyugalaM sannaddhaM zlakSNaM bhAti / manye kamapi kodaNDaM madanena caTApyate / ekasyA nUpurayugalasya ghanaH zabdaH zrUyate / anyasyA rattanibaddhAyA mekhalAyA ruNajhuNazabdaH zrUyate // 52 // [ avacUrikA ] Cha Cha Cha Cha Cha zcalantyA upAnahozcamacamazabdo'timantharasvaritaM na za ( sa ) rati / aparasyA madhurAkSaraM jalpantyAH kAminyA hIrapaGkisadRkSA nAgavallIdalAraktA dazanAH zobhante // [ 51 ] aparasyA varamugdhAyA hasantyA adharadalaM karakamalaM bAhuyugalaM samaM zobhAvyaM vartate / tatra kamalabhramo yathA - adharaM dalasthAnIyam, karaM kamalasthAnIyam, saralaM bAhuyugalaM daNDasthAnIyam / anyasthA api nAya ( yi ) kAyAH karAGgulISu nakhA ujvalA bhAnti / aparasyAH kapolau dADimakusumadalau kalyete // [ dvitIya prakrama Ge Ling Ling Ling Ling [ 52 ] kasyAzcid bhrUyugalaM lakSNaM bhAti / manye kodaNDaM kamapi madanena caTApyate / ekasthA api nevarayugale ghano ravaH zrUyate, anyasthA rakhanibaddhame khalA raNajhaNatkAraH zrUyate //

Page #180
23 padya 50-54] sandeza rAsaka cikkaNarau caMbAihiM lIlaMtiya pavaru,' Navasara Agami Najai sArasi rasiu saru / paMcamu kaha va jhuNaMtiya jhINau mahurayA~, ___NAyaM tuMbari sajjiu surapikkhaNaI saru // 53 // ima ikkikaha tattha rUvu joyaMtayaha", ___ jhasurapiMga paya khalahi pahiya pavahaMtayaha / aha bAhiri" paribhamaNi" koi jai nIsarai, pikkhivi viviha" ujjANu" bhuvaNu tahi vIsarai // 54 // ____1 A pavara / 2 Cdegsaru / 3 A degaggi muNijai; B aggami laggaya / 4 C sArasiu saru / 5 C paMcama / 6 A degyr| 7 CNArayatuMbaru / 8 B pikkhaNaya / 9 B C ikakaha / 10 B ruuv| 11 A joyaMtayaha; B joyNtiyNh| 12 CkhlhiN| 13 A 'tayaha: BdegtiyhN| 14 A bAhari; C baahir| 15 A bhamaNa; B bhamaNu / 16 B pikhi; A nAsti 'vi'| 17 C bhi| 18A ujANa; BujANa / 19 B taha / wwwimm [TippanakarUpA vyAkhyA ] [53] kAlAMcinAi(yi)kAnAM lIlantInAM upAnahAM pravaraH cikaNaH zabdaH pravartate / manye, navazaradAgame sArasena rasitam / kasyAzcit kvApi paJcama kurvantyAH kSINo madhurataraH kharo bhAti sma / manye suraprekSaNe tumbareNa svaraH sjitH|| 53 // [54] evamekasyA ekasyAstatra rUpaM pazyatAM pathi pravahatAM pathikAnAM jhasurapiGgena nAgavallIdalA''svAdanAnmuktarasena [pAdAH] skhalanti / atha bahiH paribhramaNArtha ko'pi yadi nissarati, tadA vividhodyAnaM dRSTvA bhuvanAni vismarati // 54 // - [avacUrikA] ---- [53] upAnahazcikagaH zabdaH pravaraM lIlantInAM nAyikAnAM pravartate / manye navazaradAgame sArasena rasitam / kasyAzcit paJcamaM kurvantyAH kSINo madhurataraH svaro bhAti sa / manye, suraprekSaNe tumbareNa svaraH sajjitaH // [5] evamekasyA ekasyAstava rUpaM pazyatAM pathi pravahatAM pathikAnAM nAgavallIdalAsvAdanAnmuktarasena pAdAH skhalanti / atha bahiH paribhramaNArtha ko'pi yadi nissarati tadA vividhoyAnaM dRSTvA bhuvanAni vismarati //

Page #181
24 atha vanaspatinAmAni - sandeza rAsaka Dhalla kuMda 'sayavattiya kattha va rattabala, kaha va' ThAi vara mAlai mAliya taha vimala / jUhI khaTTaNa vAlU caMbA baula ghaNa, kevara taha 'kaMduTTaya aNuratA sayaNa // 55 // mAuliMga mAlUra moya mAyaMda mura, dakkha bhaMbha' IkhoDa' pINa' ArU siyara' / taruNatAla taMmAla" taruNa tuMbara "khayara, 13 saMjiya" saivattiya " sirIsa " sIsama " ayara " // 56 // pippala" pADala puya palAsa ghaNasAravaNa, maNahara "tuja hiranna bhujja" dhaya" vaMsavaNa | nAliera " niMboya niviMjiya" niMba vaDa, Dhakka" cUya aMbiliya" kaNayacaMdaNa nivaDa // 57 // AmarUya" gullura mahUya Amali" abhaya, nAyaveli maMjiTTha pasari" daha disaha " gaya // 58 // {+maMdAra jAi taha siMduvAra / mahamahai su vAlau atihi phAra || rAsAchandaH | } 5 C kuMduTTaya; B kaMduDui / 9A sihara / 10 B | 14 A C sarIsa | 1 A sadeg | 2 C vi / 3B juuhiykhnn| 4 C vaubA | 6 A bhabhA; B bhaMbhA / 7 C AkhoDa / 8 B khINa; C pIDa / tamAla / 11 B tuMbaru khayaru | 12 A saMjIa / 13 A battI 15 A siisv| 16 A apara / 17 A pippaDa / 18 A tubU | 19 A bhuj| 20 C dhara / 21 B C nAlaera / 22 C nivaMjiya / 23A kakka; B 25 C AmamUra / 26 A AvalIa / 27 B pasara / kevalaM B Adarze prApyate, nopalabhyate A C Adarzayugme / Dakka / 24A aMbilI / 28 A disihi / + etatpAdayugmaM [ TippanakarUpA vyAkhyA ] [ 55-58] nAmAnyeva // 55-58 // [ dvitIya prakrama

Page #182
padya 55-62 ] sandeza rAsaka kiMkili kuMja kuMkuma' kavola, surayAra sarala sallai salola / vAyaM niMba niMbU cinAra, simi sAtha sarala siya devadAra // 59 // [ paDI / ] sUDa' ela laMbiya' lavaMga', 10 kaNayAra kara kurabaya" khataMga | 12 aMbiliya" kayaMba bibhIya coya * rattaMjaNa jaMbuya guru asoya // 60 // jaMbIra" suhaMjaNa" nAyaraMga, bijjauriya" ayaruya" pIyaraMga / naMdaNa jima" sohai" rattasAla", jiha pallava dIsa " jaNu pavAla" // 61 // AriTTiya" damaNaya" gidda cIDa, jiha" Alai dIsai sauNi " bhIDa / khajjUri" beri" bhAhaNa" sayAI, boheya" DavaNa" tulasIyalAI // 62 // 30 25 A nAyaba 4 A niMbU a / 1A kuMjama; C kuMkama / 2B sala 5 A lhesUDa; B lesUDiya / 6 C laMbaya | 7 B ela lavaMga caMga / 8B kaNayara / 9 B karIra; C kaliya / 10 A kurabai; B kuruvai / 11 A aMbilIka; B aMbilIyayakadeg / 12 B cUya / 13 A jaMbhIra / 14 C suhiMjaNa | 15 A bijaurI airuI / 16 C bijjaurIya ArU / 17 A vaNa / 18 A sohaihi; C sohahi / 19 sAla 20 A dihi | 21 A pavAlu / 22 A ArIThaya; C Aradviya / 23 B damaNa: C davaNa / 24 B jihi / 25 A C sauNa / 26 C khjjuur| 27 B bori | 28 A bhAhuNi; B bhAha | 29 B vAheya / 30 C DuvaNa; B DuvaNu / saM0 4

Page #183
26 sandeza rAsaka nAsari moDama pUgamAla, 'mahamahai chamma maruai visAla // 63 // [ arddham ] annaya sesa mahIruha atthi ji sasivayaNi, muNai NAmu taha kavaNu saroruhadalanayaNi / aha savvai saMkheviNu nivaDa ' niraMtariNa, joyaNa dasa gaMmijjai taruchAyaMtaraNa // 64 // * [+purau suvittharu vannau addhau jaivi, kari ajju gama maha bhagA dhU atthavai ravi // ] tavaNa' titthu cAuddisi miyacchi" vakhANiyai", mUlatthANu" supasiddhau mahiyali jANiyai / tiha huMta hauM" ikkiNa" lehau pesiyau ", khaMbhAittaI" vaccauM" pahuAesiyau // 65 // 13 1 A moDiva / 2 B aha / 3Adegruhu / 4 BC ju| 5 B niviDa / C degtiriNa / etatpAdayugalaM kevalaM B Adarze samupalabhyate / 7 A B tavaNi / 9 C miccha / 10 A vakhANIyai / 11 A mUlathANa 12 B C hau | 14 A pesiu | 15 A khaMbhAittihiM / 16 A B vaJcau / [ dvitIya prakrama [ TippanakarUpA vyAkhyA ] [62] atra zakuni [nAM]-pakSiNAM AlayAnAM gRhANAM bhIDA dRzyate / zeSaM Bu Bu Bu - gamyam // 62 // [ 64 ] ityAdivRkSajAtiSu sugamaM nAmAnyeva // 64 // [ 65 ] he mRgAkSi ! sAmorUpure tapanatIrtha- sUryakuNDaM prasiddham / caturdikSu vyAkhyAyate / tanmUlasthAnaM nAma prasiddham / sarvairapi narAmarairjJAyate / tato'haM lekhavAhaka ekena prekSi (Si) taH / stambhatIrthe prabhvAdiSTo vrajAmi - gacchAmi // 65 // [ avacUrikA ] [ 62 ] zakuni=pakSI, Alaya=nIDaM / zeSaM nAmAnyeva // [ 64 ] anye'pi zeSamahIruhA vRkSA he zazivadana (ne) ! ye santi teSAM nAmAni he kamalanetre ! ko veti / atha sarve'pi saMkSepeNa nibiDA ghanA nirantarAH santi teSAM chAyayA dazayojanAni gamyante // 6 B deg taruNi; 8 C titthi / 13 B ikkaNi / [ 65 ] he mRgAkSi ! yatra sAmorapure tapanatIrthaM - sUryakuNDaM prasiddhaM vyAkhyAyate / tanmUlasthA [ naM ] nAma prasiddhaM sarvairapi narAmaraiH zrUyate / tato'haM lekhavAhaka ekena preSitaH stambhatIrthe prabhA (vA) diSTaze vrajAmi //

Page #184
sandeza rAsaka eya vayaNa' Ayannavi siMdhubbhavavayaNi, sasivi sAsu dIhunhau' salilabbhavanayaNi / toDi karaMguli karuNa sagaggira giraphsara, padma 63-67 ] jAlaMdhara va samIriNa muMdha tharahariya' ciru // 66 // ruivi khaNaDu phusavi nayaNa puNa vajjariu", khaMbhAitaha" NAmi" pahiya taNu jajjariu" / 13 15 16 taha maha" acchai NAhu" virahaulhAvayaru", ahiya kAlu gammiyau Na Ayau hiyaru // 67 // para moDavi" nimisiddha" pahiya jai " daya karahi, 21 22 kahauM" kiMpi saMdesara piya tucchakkharahi" / 2 A Ayannivi / 3A sasiusAsu / A muddha / 7A degharIa / 8 B ruyavi / 1 C vayaNu / 5 C kasamIdeg / 6 10 C vajjariyau / 11 B ittihiM / 14 C jajjariyau | 15 A mahu / 16 B nimisaddhu / 20 je / 21 A B kahau | 4 B dIunhau; C dIva unhau / 9A. khaNaddhau; B khaNaDu vi / 13 B pahitaNu / B moDivi / 19 B 12 C nAmu; B nAmi / C nAhu | 17 baru / 18 22 A B tucchakharihi / [ TippanakarUpA vyAkhyA ] [ 66 ] sindhUdbhavavadanA - candramukhI, salilodbhavanayanA - kamalAkSI, etAni vacanAnyAkarNya, dIrghocchrAsaM niHzvasya, karAGgulItroTaya (yitvA sagadgagIHprasarA, vAtAhatA jAlandharIvat - kadalIvat, ciraM mugdhA tharaharitA - kampitA // 66 // [ 67 ] kSaNArddha ruditvA, netre mArjaya (ya) tvA, tathA punaruktam-he pathika ! stambhatIrthanAmnA mama zarIraM jarjaritam / tatra virahaspheTako mama bharttA varttate, taM feat mayA'dhikaH kAlo nirgamitaH / paraM sa nirdayo na samAgataH // 67 // moTayasi, tadA kiJcit [ 68 ] he pathika ! yadi dayAM kRtvA kSaNArddha padaM ----- [ avacUrikA ] [ 66 ] sindhUdbhavavadanA - candramukhI, salilodbhavanayanA - kamalAkSI, etAni vacanAnyAkarNya dIrghoSNaM zvAsaM niHzvasya karAGgulIrmarddayitvA sagadgadgIHprasarA vAtAhatA jAlandharI = kadalIvat viraM mugdhA tharaharitA - kampitA // Hui [ 67 ] kSaNArdhaM ruditvA, netre mArjayitvA tayA punaruktam - he pathika ! stambhatIrthanAmnA mama zarIraM jarjaritam / tatra virahapheTako mama bharttA varttate / taM vinA mayA'dhikakAlo nirgamitaH, paraM sa nirdayo na samAgataH // [ 68 ] he pathika ! yadi dayAM kRtvA kSaNArthaM padaM moTayasi - upavizasi, tadA kiMcit saMde. Cha Cha

Page #185
28 sandeza rAsaka pahiu bhaNai kaNayaMgi kahaha kiM runnayaNa, jhijaMtI Niru dIsahi ubvinnamiyanayaNa // 68 // jasu Niggami reNukkaraDi, kIa Na virahadaveNa / kima' dijjai saMdesaDau N, tasu NiDurai maNeNa // 69 // * [ * pANI taNai viu, kAmahI phuTTa hiA / jai ima mANasu hoi, nehu ta sAcau jANIyai // kiMtu kahivva bhaMti viNu, dhU paMthiya jANAI / ajjai jIviu kaMta viNu, tiNi saMdesai kAI // ] 10 jasu pavasaMta Na pavasiA, muia' vioi Na jAsu / lajjijjara saMdesaDara, diMtI pahiya piyAsu // 70 // [ dvitIya prakrama 1 A mayaNovinnavayaNi / + 'kiM jhijahi diNarayaNi uvvinniya miyanayaNa' C AdarzasthitametatpAThAntaram / 2 B reNukaraDa; C reDukkaraDi / 3 C kaiya; B Ni / 4A kiva / 5 A degsaMnehaDau | 6 B nihura | 7 C pavasaMtu; 'B pavisaMta / 8 B pavisiyA / B vijaya na; C viyaui na | 9 C muIa; B muii| ne etad dodhakavRttaM A Adarza upalabhyate, paraM tatra nAsyopari avacUrikA likhitA labhyate, ataH prakSiptamevedaM pratibhAti / f idamanyad dodhakavRttaM kevalaM C Adarze samupalabhyate / paraM tatrApi nAsyopari TIppanarUpA vyAkhyA, avacUrikA vA kRtA labhyate, ata idamapi prakSiptameva jJAyate / 10 [ TippanakarUpA vyAkhyA ] saMdezakaM priyAya tucchAkSaraiH jalpAmi / pathiko [bha]Nati - he kanakAGgi ! kathaya / rudanena kim ? | udvignamRganetre ! nitarAM Si (khi) dyamAnA dRzyase // 68 // [ 69 ] tataH sA jIvane'pi sala [ja] tvaM prakaTayantI prAha-yasya nirgame virahadavenAhaM reNUtkaraM - bhasmaputraM na kRtA / atastasmai niSThureNa manasA saMdezakaH kathaM dIyate // 69 // Bu Bu Bu Bu Bu [ 70] yatastamevArtha dRDhayannAha - yasya pravasato na pravi (va) sitA / anyaca yasya viyoge na mRtA / atastasmai priyAya saMdezakaM dadatI lajje // 70 // [ avacUrikA ] Dong Dong Cha Cha Cha zakaM priyAya tucchAkSarairjalpAmi / pathiko bhaNati he kanakAGgi ! kathaya, rodanena kim ? / udvignamRganetre ! nitarAmatyarthaM khidyamAnA dRzyase // [ 69 ] tataH sA jIvane'pi, sajala ( salajja ) tvaM prakaTayantI prAha- tasya nirgame virahadavenAhaM reNUtkaraM bhasmaputraM na kRtA / atastasmai niSThureNa manasA saMdezakaH kathaM dIyate // [ 70 ] yatastamevArthaM dRDhayannAha - yasya praviza (vasa ) to'pi na pravi (va) sitA / anyacca yasya viyoge na mRtA / atastasmai saMdezakaM dadatI lajje //

Page #186
29 16 manawara padya 68-74 ] sandeza rAsaka lajjavi paMthiya jai rahau~, hiyau na dharaNau jaaii| gAha paDhijasuikka piya', kara leviNu mannAI // 71 // tuha virahapaharasaMcUriAI vihaDaMti jaM na aNgaaii| taM ajakallasaMghaDaNa osahe NAha taggaMti // 72 // *UsAsaDau na milhavau", "dajhaNa aMga bhaeNa / jima hau mukkI vallahai, tima so mukka" jameNa // 73 // kahavi iya" gAha paMthiya, "mannAevi piu / dohA paMca kahijjasu, guruviNaeNa sau // 74 // 1B lajivi / 2 A pathiya / 3 A B rhu| 4 B jaaii| 5 B paDhijasi / 6A pi| 7 A maMnAi / 8 B tuva; C tua / 9 C aNgaaNii| 10 A. saMghaDa usahe; B sNghddshe| 11 B milhiyi| 12 B ddjjhnn| 13 C dNg| 14 A hu| 15 B mukk| 16 A javeNa; Cjimenn| * sarveSu AdarzaSu etad dodhakavRttamupalabhyate, vyAkhyA'pi kRtA vidyate, paraM agrimapadyakathitavarNanAnusAreNa prakSiptamidaM pratibhAti / 17 B iha; A ia| 18 A. gAhA / 19 A mNnaaevi| [TippanakarUpAvyAkhyA [1] he pathika! lajAM kRtvA yadi tiSThAmi tadA hRdayaM dhArayituM na shktaa| ata ekAM gAthAM priyaM prati paTheH / karaM gRhItvA tamanunaye[:] / sakopacittaprasAdanamanunayaH // 71 // [72] tAmAha-he nAtha! tvadvirahaprahArasaMcUrNiNatAni aGgAni yanna vighaTante tatra kiM kAraNa[m] ?-adya kalye saMghaTana[m]-mela ityauSadhaprabhAvena tiSThanti // 72 // [73] tadvastu rakSantI bhatte() AziSA(Sa)mAha-aGgadahanabhayAdukhA(cchA)sA[-] na muJcAmi / tata AzIH- yathA'haM vallamena muktA tathA sa ja(ya)mena mucyAt // 73 // [74] bho pathika ! e(i)mAM gAthAM kathaya(yitvA priyaM manApayet / tataH paJca dodhakAH kathanIyAH / gariSThavinayena saha // 74 // 2 [avacUrikA] KAKK [71] he pathika ! lajAM kRtvA yadi tiSThAmi, tadA hRdayaM dhatuM na zaknomi / ekAM gAthAM priyaM prati paTheH / karaM gRhItvA priyaM maanye:-priymnukuulyeH|| [72] tAmAha -he nAtha ! tvadvirahaprahArasaMcUrNitAnyaGgAni yanna vighaTante, tatra kiM kAraNam ? - adya kalye saMgha[8]nam -- mela ityauSadhaprabhAvena tiSThanti // [73] tadvastu rakSantI bhatre AziSamAha - aGgadahanabhayAducchvAsA[-] na muJcAmi / tata AzIryathA'haM vallabhena muktA tathA sa ja(ya)mena mucyAt // [74] he pathika! etAM gAthAM paThitvA priyaM mAnayeH, paJca dodhakAn guruvinayena saha kathayeH //

Page #187
sandeza rAsaka [dvitIya prakrama piavirahAnalasaMtavia, jai vaccau suraloi / tua chaDDivi hiyaaTThiyaha, taM parivADi Na hoi // 75 // kaMta ju taI hiayaTThiyaha, viraha viDaMbai kaau| sappurisaha maraNAahiu, paraparihava saMtAu // 76 // garuau parihadUM ki na sahau~, pai porisa nilaeNa / jihi aMgihi tUM" vilasiyau, te dahA viraheNa // 77 // viraha pariggaha chAvaDaI, paharAviu niravakkhi / tuTTI deha Na hau hiyau, tujhe" saMmANiya" pikkhi // 78 // ____1C tuv| 2 BdegTThiyahaM / 3 B virhu| 4 A C mrnnaahiau| 5 A degparihau / 6 A B prihsu| 7 B kim| 8 Cmai shiyu| 9 A porasa; B paurisa / 10A jiha; B jihN| 11 A tuM; B tuu| 12 A vilsiu| 13 B daDDA / 14 B chAvaDaiM; Cchaavddu| 15 A phiraaviu| 16 C na hiyau hayau / 17 B tuya; C tuha / 18 B saamaannii| [TippanakarUpA vyAkhyA ] [75] maraNe'pi dUSaNamAha -tvAM hRdayasthitaM muktvA tvadvirahAnalasaMtaptA yadi svarge vrajAmi, tadA pratipannaM na bhavati / yato'haM tvatsahacarI // 75 // [76] bhAryAyA bhartuvirahakaSTe bhaturdUSaNamityAha-he kAnta ! yat tvayi hRdayasthite'pi sati virahaH kAyaM-dehaM viDambayati, tat tavaiva lajA / yataH, satpuruSANAM parakRtaH parAbhavaH saMtApo maraNAddhikaH // 76 // - [77] bhartAraM nindantyAha-gurutaraM parAbhavaM tvayi paura(ru)Sa nilaye'pi sati kiM na sahAmi, api tu sahAmyeva / yato yairaGgaistvaM vilasitaH, tAnyaGgAni viraheNa dagdhAni // 77 // [78] punarbhatRpauruSaM prakaTayantyAha-virahazatruparigraheNa zarIre nirapekSa ** * [avacUrikA] -- [75] maraNe'pi dUSaNamAha - tvAM hRdayasthitaM muktvA tvadvirahAnalasaMtaptA yadi svarge vrajAmi, tadA pratipannaM na bhavati, yato'haM tvatsahAvAriNI // [76] bhAryAyA bhartRvirahakapTe bhaturdUpaNamityAha - he kAnta ! yadi tvayi hRdayasthite'pi sati virahaH kAyaM-dehaM viDambayati, tat tavaiva lajjA / yataH satpuruSANAM parakRtaH parAbhavaH santApo maraNAdadhikaH // [77] sAraM nindantyAha - gurutaraM parAbhavaM tvayi pauruSanilaye'pi sati kiM na sahAmi, api su sahAmyeva / yato yairaGgaistvaM vilasitastAnyaGgAni viraheNa dagdhAni // [78] punarbhatRpauruSaM prakaTayantyAha-virahazatruparigraheNa zarIre nirapekSaM praharitaM paraM hRdayaM na prahataM-na sphoTitam / kiM kAraNam ? - tvadyuktaM vilokya, sAmarthyavAnAnyat //

Page #188
sandeza rAsaka 31 maha Na samatthima' viraha sau', tA acchauM" vilavaMti' / pAlI rUpamA para, dhaNa 'sAmihi ghummaMti // 79 // padya 75-81 ] 10 saMdesaDau' savittharau, hau kahaNaha" asamattha / bha" piya" ikatti " baliyaDai", be" vi samANA" hatthA // 80 // 14 saMdesaDara savitthara", para mai kahaNu na jAi / jo kAlaMguli" mUMdaDau, so bAhaDI samAi 9A saMnehaDau 1 A maNaha samappima / 2B siu / 3 B acchau / 4 A vilavaMta / 6 A pavANu / 7 A sAI; C saamiy| 8 A ghumaMta / 11 B bhnnu| 12 A priya / 13 A ekatu; B ikkati 16 A samANai; B samAjiya / 17 B savitharau / 18 A kAluMguli / 20 B samAI + C Adarza etau dodhakau viparyayakrameNa likhitau labhyete / / 14 C valayaDai } | // 81 // | 5 C pAliyarUva / [ TippanakarUpA vyAkhyA ] praharitam, paraM hRdayaM na prahRtam na sphoTitam / kiM kAraNam ? - tvayuktaM vilokya / sAmarthyAt, nAnyat // 78 // Bu Bu Bu Bu [ 79] Atmano'samarthatA [ m], bharttuH samarthatAmAha-mama viraheNa saha sarma(ma)rthatA nAsti / ato vilapantI tiSThAmi / yato gopAlAnAM pUtkArameva pramANam / paraM dhanaM - gokulaM svAmibhirbhrAmyate, nAnyaiH // 79 // 10 B kahivA / 15 C do bi / 19 C muMda; B [80-81] Atmano dodhakadvayena durbalatAmAha - 'saMdesaDau 0 ' - [ atra prathamadodhakasya vyAkhyA nopalabhyate ] saMdesa (za) ko vistIrNaH, mayA katthi (thaya) tuM na pAryate / yat kAlAGgulau -kaniSThAGgulau mudrAratnamAsIt, tad bAhau dhR ( dhi ) yate // 80-81 // [ avacUrikA ] [ 79 ] Atmano'samarthatAM bhartuH samarthatAmAha - mama viraheNa samarthatA nAsti, ato vilapantI tiSThAmi / yato gopAlAnAM pUtkArameva pramANam, paraM godhanaM - gokulaM svAmibhirbhrAmyate, nAnyaiH // Cha Cha Cha Cha [ 80 ] he pathika ! sandezakaM vistaramahaM kathi (thayi ) tumasamarthA, paraM he pathika ! priyaM prati bhaNa - ekasmin valaye dvau hastau mAtaH // [1] he pathika ! sandezakaM savistaraM mayA kathi (thaya) tuM na pAryate na zakyate, paramiti kathanIyam - yaH kAlyaGgulyAM mudraka AsIt sa bAhuM samAyAti //

Page #189
32 sandeza rAsaka turiya 'NiyagamaNu icchaMtu tattakkhaNe, dohayA suNavi sAhei suviyakkhaNe / kahasu aha ahiu jaM kiMpi jaMpivvaDa, maggu aiduggu mai dhi' jAivvau // 82 // vayaNa' NisuNevi 'maNamatthasaravaTTiyA, 'mayausaramukka NaM hariNi uttaTTiyA / mukta dIunha " nIsAsa usasaMtiyA ", paDhiya" iya" gAha" NiyaNayaNi" varasaMtiyA " // 83 // 1 C niyadeg / 2 A dohiyA / 3 B suNivi / 4 A muMdha; C muddhi / 5 C bayaNa / 6 A mayamattha / 7 B mayayadeg / 8 C hariNa / 9 A uttaTThIA / 10 A nniisaas| 11 A usasaMtIA; C UsaMtiyA / 12 A patthiya | 13 B iha / 14 A gAhi / 15 C nayaNa | 16 A saMtIA / [ TippanakarUpA vyAkhyA ] [2] tasmin kSaNe tvaritaM nijagamanamIpsan dodhakau zrutvA, kaH (saH) kathayati - he suvicakSaNe ! atha yat kimapi adhikaM kathanIyamasti, tat kathaya / mayA durgoM mArgoM gantavyaH // 82 // candrAyaNacchandaH / tallakSaNam - [ dvitIya prakrama so caMdrAyaNa chaMdu phuDa, jahiM dhuri dohA hoi / aha tiNi rahiyau maNaharaNu, buhiyaNi saMsiu soi / buNihi saMsiyau so vi jANijjae, kAmiNImohaNI purau pADhijae / matta aDavIsa sau jeNa viraijjae, so vi caMdAyaNo chaMdu salahijjae || sa (tat) candrAyaNacchandaH - yatrAdau dodhakaH, prAnte AsI ( azI ) timAtRko kAminImohanaH / atha dodhakavarjitaH kAminImohana eva candrAyatanam / [ 83] punarvirahAvasthAM varNayannAha - pathikavacanaM zrutvA manmathazaravyAptA mRgavyuzaronmuktA, vitarke - hariNIvadutrastA jAtA / tadA dIrghoSNovA (cchA) sA muktAH / anyacca - ucchvasantyA nijanetrAbhyAM azru varSantyA eSA gAthA paThitA // 83 // Dong Dong Dong Dong Dong [ avacUrikA ] [2] tasmin kSaNe tvaritaM nijagamanamIpsan dodhakau zrutvA pathikaH kathayati - he suvicakSaNe ! atha yatkimapyadhikaM kathanIyamasti tatkathaya, mayA durgoM mArgoM gantavyaH // caMdAyaNachandaH / lakSaNaM yathA 'so caMdAyaNachaMda phuDa jahi dhuri dohA hoi' / Qiao Ge [ 83] pathikavacanaM zrutvA manmathazaravyAptA mRgavyu = AkheTa kizaronmuktA, vitarke hariNI - dutthi ( duHsthi ) tA jAtA, tadA dIrghoSNaM zvAsaM muktA (?) / anyaccocvasantyA nijanetrAbhyAmazru varSantyA, eSA gAthA paThitA //

Page #190
padma 82-45 | sandeza rAsaka aNiyattakhaNaM' 'jalavarihaNeNa' lajjaMti nayaNa nahu dhiTThA / khaMDavavaNajalaNaM viya' virahaggI' tavai ahiyayaraM // 84 // paDhavi iya' gAha miyanayaNa' uvvinniyA", bhaNai pahiyassa aikaruNadukkhinniyA" / "kaDhiNanIsAsa" raiAsasuhavigviNe", vinni caupaiya" pabhaNijja tasu nigviNe " // 85 // * tu samaraM samAhi mohu" visama TThiya", taha" khaNi khuvai kavAlu na " vAmakaraTThiyau | 13 1 A C aNiattakkhaNaM / 2 A jali | 3 C varahiNeNa / 4 C dhiTTI | 5 A ciya / 6 C virahaggaM / 7 C paDhiya / 8 B iha / 9 A degnayaNi / 10 A ubvinIA / 11 C bhaNiya / 12 A dukkhannIA / 13 A kaThiNaNIdeg / 14 A raiyAsa; B raiAsu / 15 A suhavighaNe; B sahavidhiNe / 16 A caupaIya; B caupaI / 17 A B nigghaNe / 18 C samaraMtu / 16 A moha | 20 A visamaThiau; B visamuTThiyau / 21 A taM / 22 C bAmakari / 33 [ TippanakarUpA vyAkhyA ] [ 84 ] netrayoraviratajalapravAhasyAnivRttatvamAha - mama netre dhRSTe anivRttalakSaNaM jalavarSaNena na lajjataH / tadA kiM virahAgnirupazAntA (ntaH ) ? / tadAhaSAM (khAMDavavanajvalanamiva virahAgnima (ra) dhikataraM tapati / atropanayaH - yadA dhanaJjayaH khANDavavanaM jvAlayituM pravRttaH, tadaiko vidyAbhRdAgatyopazAntathituM pravRttaH / tadaiva dhanaJjayena tatra vaidyuto'gniH kSiptaH, adhikaM adhikaM dadAha // 84 // [85] etAM gAthAM paThitvA atikaruNaduHkhAkIrNA udvignA mRganetrA pathikasya purato bhaNati / kaThina niHzvAsamevaMvidhaM yad rataM tasya yadAzAsukhaM, tasya vighnakArakAya tasmai nirghRNAya priyAya dve catuSpadike bhaNeH // 85 // [ 86 ] tadAha- he kApAlika ! - kapAlena caranti kApAlikA (kAH), athavA [ avacUrikA ] ++++++ [84] netrayora viralajalapravAha tvamAha - mama netre dhi (gha) STe'nivRttalakSaNaM jalavarSaNena na jAtaH / tadA kiM virahAbhirupazAntaH ? / tadAha - khANDava [vana ] jvalanamiva virahAbhiradhikataraM tapati / yadA dhanaJjayaH khANDavavanaM jvAlayituM pravRttastadaiko vidyAbhRdAgatyopazamadda ( yi ) tuM pravRttastadaiva dhanaJjayena tatra vaidyuto'gniH kSipto'dhikaM dadAha // [ 85 ] etAM gAyAM paThitvA'tikaruNaduHkhAkIrNA udvignA mRganetrA pathikasya purato bhaNati - kaThinaniHzvAsamevaMvidhaM yad rataM tasya yadAzAsukhaM tasya vinakArakAya tasmai nirghRNAya priya catuSpadike maNeH // [ 86 ] he pathika ! - kapAlena caranti kApAlikAH, tasya sambodhanam [ he kApAlika 1 ] bhaI saM0 5

Page #191
34 sandeza rAsaka sijjAsaNau' na' milhau khaNa khaTTaMga laya, kAvAliya' kAvAliNi tu lhasiu aMsu uddhasiu' aMgu viluliya" alaya, huya "ubbibiravayaNa "khaliya vivarIya gaya " kuMkumakaNayasariccha kaMti kasiNAvariya", 15 16 hui" muMdha " tu virahi NisAyara Nisiyariya " // 87 // ** 1 A sijjAsaNu / 2 A nahu / 3 A khaNu / 4 A kAbAlIya; B kArAliya / 5 A kavAlaNi / 6 A tua | 7 C virahehiM / 8 A kia / 9 A uddhasuu; B ulhasiu | 11 A ubiMviradeg; C uvviMbara deg 12 C kkhaliya / 13 A gi| 14 A B huI / 16 A muddha; B muMdhi / 17 C nisayariya; B niziyarIya / 10 A vilaliya / varIa | 15 A [ dvitIya prakrama 8 viraheNa kiya' // 86 // [ TippanakarUpA vyAkhyA ] kaM brahma tasya apagatA Ali [:] yasmin sA kapAlikA (?) kApAlireva kApAlikaH, tasya sambodhanaM kR(kriyate / ahaM tava viraheNa kApAlinI - yoginI kRtA / katham ? - tava smaraNasamAdhau moho viSamaH samutthitaH / moho- mUrcchA, moha:snehaH / tataH kapAlaM kSaNamapi vAmakarAnna dUrIbhavati / kapAlaM - bhikSubhAjanam, kapAlaM - mastakam / anyacca zayyAsanaM na muJcAmi / zayyAyA adhastAdazanam, zayyAyAmAsanam / tathA khaTvAGgaM na muJcAmi / khaTvAGgaM - palyaMkapAdam, yogiyogopakaraNaM ca // 86 // [ 87 ] he pathika ! taM vande ( vade: ), nisA (zA) su caratIti nizAcaraH / tasya sambodhanam - he nizAcara! mugdhA tava viraheNa nizAcarI - rAkSasI kRtI ( tA ) / katham ? - tejo hasitaM - gatam [aGkaM ] uddhaSitam, alakA vilulitAH / ubbimbiravadanA- phikkavadanA jAtA / skhalitA viparItA ca gatirabhUt / kuGkumasahakSA kAntiH kAlimAvRtA / dvitIyapakSe'pyevam // 87 // Ling Ge Ge Bu [ avacUrikA ] tava viraheNa kApAlinI - yoginI jAtA - kRtA / katham ? - tava smaraNasamAdhau moho viSamaH samutthitaH / moho - mUrcchA, mohaH - snehaH / tataH kSaNamapi kapAlaM vAmakarAna dUrIbhavati / kapAlaM - bhikSubhAjanam, kapAlaM - mastakam / anyacca sa ( rA ) yyAsanaM na muJcAmi / khaTvAGgaM - patyaGkapAdam, yogiyogopakaraNaM ca // [ 87] he pathika ! taM priyaM vadeH, nizAsu caratIti nizAcaraH, tasya sambodhanam - he nizAcara ! mugdhA tava viraheNa nizAcarI - rAkSasI kRtA / katham ? - tejo zasitam aGgamuddhaSitam, alakA vilulitA [:] | ubbibiravadanA - phikkavadanA jAtA / skhalitA viparItA ca gatirabhUt / kuGkumakanakasahakSA kAnti: kAla ( li) mAvRtA / dvitIyapakSe'pyevam // Dong Dong Dong Cha Cha

Page #192
35 padya 86-90] sandeza rAsaka tuhu puNuM kaji hiAvalau, lihivi na sakau lehu / dohA gAha kahija' piya, paMthiya karivi saNehu // 88 // pAiya piya vaDavAnalaha, virahaggihi uppatti / jaM sittau thoraMsuyahi", jalai "paDillI jhatti // 89 // sosijjata vivajaI sAse "dIunhaehi pasayacchI / nivaDaMta bAhabhara loyaNAi dhUmaiNa" sicaMti // 90 // pahiu bhaNai "paDiuMji jAu sasiharavayaNi, - ahavA kivi" kahaNijja su mahu kahu miyanayaNi / 1C tuh| 2 B puNi; C punn| 3 C kj| 4 B hiNyaav| 5 A lihavi: B nnihivi| 6A sakaM / 7 B kahiji; C pddhij| 8 A krvi| 9C paay| 10C virahaggiya; B gihiM / 11C 'suyahiM / 12 C yddillii| 13 B C sosijNtu| 14 C biv| 15 B diihunh| 16 B diihcchii| 17 AdhU jai Na; C dhuumynn| 18 B C sijjhati / 19 C pnnuuNji| 20C jaami| 21 B kiMvi; C kihu| 22 C khinnjj| 23 A kaya / [TippanakarUpA vyAkhyA ] . [88] bho pathika ! tvaM atitaM(atyantaM) kAryavyAkulaH / ahaM lekho(kha) likhitvaM(tuM) na zaknomi / ato dodhaka[:] gAthA [ca] kathanIyA mama vallabhasya purtH| mamopari snehaM kRtvA // 88 // [89] virahAneratizAyitvaM dodhakena gAthayA cAha-ahamevaM manye virhaanevNddvaanlaadutpttiH| yat sthUlAzruvAribhiH siktaH, 'paDillI' dezItvAdadhikaM jhagiti jvalati // 89 // [90] dIrghAkSAH(kSyAH) dIrghoSNaiH zvAsaiH so(zo)dhyamAno(No)'pi vivarddhate virahAgniH / yad dhUmreNa nipatad bASpabhare locane srvtH||90|| [91] pathiko bhaNati-he zazadharavadane ! preSaya, vrajAmi, athavA yat kimapi * [avacUrikA] : [40] he pathika ! svaM kAryAkula:- ucchu(tsu)kaH, [ahaM ] lekhaM likhituM na zaknomi / tvaM priyAya dodhaka-gAthe bhaNeH / pathika ! snehaM kRtvA // [89] virahAneratizAyitvaM dodhaka-gAthAbhyAmAha-he pathika ! priyamAha-ahamevaM mnyevirhaanervddvaanlaadutpttiH| yat sthUlAzrubhirisaktaH, 'paDillI dezIvAdadhikaM jhagiti-jvalati // [90] he pathika ! priyaM bhaNe:-dIrghoSNaiH zvAsaiH soSyamAnA(zoSyamANA) satI sA prasRtAkSI vipadyate, paraM-yadi cellocanayorbAhya(pa)bharairbuvaM-nizcayaM yadi sA na sicyate // [11] pathiko bhaNati-he zazadharavadane ! mAM preSaya, he mRganayane ! athavA yatkimapi katha

Page #193
36 sandeza rAsaka kahau pahiya ki 'Na kahau kahisu kiM kahiyayaNa, jiNa kiya' eha avattha 'neharairahiyayaNa' // 91 // jiNi hau virahaha kuhari eva kari ghalDiyA, atthalohi' akayatthi ikalliya" milhiyA " / 10 12 saMdesaDara savittharu tuhu" uttAvalau, kahi pahiya piya gAha vatthu taha" Domilau // 92 // * taiyA" nivaDaMta" NivesiyAI saMgamai jattha hu hAro / inhi " sAyara - sariyA " - giri-taru- duggAI aMtariyA " // 93 // 1Akana / 2 A jiNi / 3 A kaya; C kahiya / 4 B haraya; C hadaya / 5 A mnn| 6 A jig| 7 A virahu; B viraha / 8 B em| 9 C degloha akadeg | 10 A ikallI / 11 A milhIA; C nAsti padamidam / 12 A C tuha / 13 B tahi / 14 A C taIyA | 15 C tavata | 16 A inheM / 17 A sarIA / 18 B aMtariyaM / 1 [ dvitIya prakrama [ TippanakarUpA vyAkhyA ] kathanIyaM tad he mRganetre ! kathaya / bho pathika ! kathayAmi, [ kiMvA na kathayAmi 1 ], paraM kathayiSye / athavA sneharatirahitAya tasmai kathitena kim / yenaiSA'vasthA kRtA // 91 // [ 92] yenArthalomena kAminI muktA / virahagarttAyAM kSiptA / saMdezakastu [nistI]rNaH, tvaM tuccha ( tsu) kaH / paraM tasmai ekAM gAthAM [ vastukaM ] DomilakaM ca vadeH // 92 // [93] pUrvasukhAnubhavaM smArayantI duHkhaM prakaTamAha - tadA tvayi niva (bi) DaM yathAnivesi (zi) te avaSo (Avayo) rantare hAro na saGkrAntaH / idAnIM sAgarasarit durgAdi antaritam // 93 // Bu Duo Nong Duo Ben [ avacUrikA ] Dong Dong Dong Dong Dong mIyaM tammama kathaya / he pathika ! kathayAmi kiM na kathayAmi vA ?, paraM kathayiSye, tena kathitena kim / sneha [rati]rahitena yenaiSA'vasthA kRtA // [ 92] virahakuhare - virahagarttAyAM yenAhaM kSiptA / evaM kRtvA - kSizvA, arthalobhAt akRtArthenaikAkinI muktA / sandezakaM (kaH ) savistaraH, tvamuccha (su) kaH / priyAya katheH (thayeH) - gAtha vastukaM ca Domilam // [ 93] pUrvasukhAnubhavaM smArayantI duHkhaM prakaTamAha - yadA tvayi nivaData - yathAnivekSita bhAvayorantaH hAro na saMkrAntaH, idAnIM sAgarasaridbhiritarudurgAzrAntaritAH /

Page #194
padya 91-94] sandeza rAsaka Niyadaiyaha utkaMkhiriya kivi virahAuliya, piyaAsaMgi pahuttiya tasu saMgami bAuliya / te pAvahi suviNaMtari dhannau "piyataNupharasu, AliMgaNu avaloyaNu cuMbaNu" cavaNu suryrsu| ima" kahiya pahiya tasu Niddayaha jaiya" kAli pavasiyau tuhu / tasu laI mai taNi"NiMda Nahu ko puNu suviNaI saMgasuhu // 94 // [SiTpadam / ] mmmmmmmmmmmm __ 1 Bdegdaiya u; Cdegdiiyh| 2 C ukkiMkhiri / 3 A kaavi| 4 B deguliiy| 5 'tasu' nAsti C 6C saMgama / 8 ACje|9C paavhiN| 10 'piya' nAsti C 11CnAsti 'cuMbaNu'; A B nAsti 'cvnnu'| 12 B surideg| 13 'ima' nAsti A1 14 B jahi kaalihi| 15 C tesu| 16 C sigli| 17 B tnnu| 18 B puNa; C pnni| 19 A suviNaya; B suinni| 20 A sNgu| 1 C Adarza evedaM padaM lbhyte|| wwwwwwwwwwwwwwwwwwmar [TippanakarUpA vyAkhyA ] [94] Atmanastu mahaduHkhatvamAha-yA[:] kAca(zca)na striyo nijadai(yi)totkaNThitA virahAkulitA[:] priyasaGgaM prapannAH, tatsaGgamavyAkulitA bhavanti, tAH svapnAntare dhanyaM tanusparza AliGganaM avalokanaM cumbanaM dazanakhaNDanaM surataM ca prAmuvanti / he pathika! tasmai nirdayAya kathaye[:]-mamAvasthAM tu zRNu, yasmin kAle tvaM pravizi(vasi)taH, tasmAllavAt-kSaNAnmama nidrA nAsti, kiM punaH khamasaGgamasukham / "grAmo nAsti kutaH sIme"ti zA(nyA)yAt / vstukcchndH| tallakSaNaM yathA do veyA sihiyugalaM juyAi dunniu dugaM ca vtthuyo| panarasa terasa panarasa terasa jutto divddhcchNdo|| caturvizati mAtRkANi catvAri padAni / pazcAt paJcadaza-trayodaza-paJcadazatrayodazamAtrikANi catvAri padAni / eSa (etat) vstukcchndH| aparaM nAma SaTpadam // 94 // * [avacUrikA] [94 ] virahiNInAM virahe manAk sukhasaMbhavamAha - yAH kAzcana striyo nijadayitotkaNThitA virahAkulitAH priyAsaGgaM prapannAH, tatsaGgamavyAkulitA bhavanti, tAH svamAntare dhanyaM tanusparzamAliGganamavalokanaM cumbanaM dazanakhaNDanaM surataM cApnuvanti / he pathika ! tasmai nirdayAyaivaM kathaye:mamAvasthAM vaM zRNu, yasmin kAle svaM pravizi(vasi)tastasmAllavAt-kSaNAnmama nidrA nAsti, kiM punaH khamasAmasukham / 'grAmo nAsti kutaH sImA' iti nyAyena //

Page #195
sandeza rAsaka piyavirahavioe', saMgamasoe, 'divasarayaNi' jhUraMta maNe, *tasu su Niru aMgu susaMtaha, vAha phusaMtaha', appaha Niddaya kiM pi bhaNe / nivesiya, bhAiNa pesiya", mohavasaNa volaMta khaNe, maha sAiya vakkharu, hari gau takkharu, jAu saraNi kasu pahiya bhaNe // 95 // 38 ihu Domilau " bhaNeviNu nizi (si) tamahara "vayaNi, 13 14 huiya Nimisa" NiSphaMda saroruhadalanayaNi / 18 18 hu kihu" kahai" Na pikkhai jaM" puNu avaru " jaNu, citti" bhitti NaM lihiya muMdha" saccaviya" khaNu // 96 // 1 C degviyoe / 2 C rayaNi divasadeg / 2 B rayaNa / 4A jhUra'ti / 5AB aMgi / 6A susNthN| 7A phuraMta / etaduttarArddhAtmakabhAgo'sya padyasya patitaH C Adarze / 8B9A bhAiNi / 10 B bhesiya / 11 A Domiliu; B Domilau / 12 A nittamahumahuravaNi / 13 A huIya; B huI / 14 B nimiza / 15 C kihuM / 16 A kahi / 17 B iya / 18 C nAsti 'jaM puNu' / 19 C avara / 20 A citta / 21 A muddha | 22 B sAcca viya / [ TippanakarUpA vyAkhyA ] [ 95] te sarvasve kiM karttavyatAmUDhatvamAha - priyaviraha viu ( yo ) gAya saGgamasUcakAya rAtriMdinaM klizyantI, nitarAma zoSayantI, bASpAni mArjayantI, AtmanA (no) nirdayAya kiM bhaNAmi / paraM tvaM tvevaM vadeH- yat tvAM hi (ha) daye nivezya bhAvenApreSya ( kSya), mohavazAt kSaNam, tayoktam - mama khAmino vakkharaM = rUpaM nAma vastu virahanAmA taskaro hi (ha) tvA gacchati pratyaham / tad bhaNa, priya kasya zaraNaM vrajAmi ? // 95 // [ dvitIya prakrama [ 96] etat Domilaka [mu] ktvA, candravadanA kamalanetrA nirmi (rniM) meSA niHSpandA jAtA / na ca kimapi kathayati, aparaM janaM na prekSate / atra vitarke - bhittau citralikhiteva satyApitA-jJAtetyarthaH // 96 // [ avacUrikA [15] priyavirahaviyogAya saGgamasUcakAya rAtriMdinaM klizyantI, nitarAma zoSayantI, bApAni mArjayantI, pathika ! Atmano nirdayAya priyAya kiM bhaNAmi / paraM tvaM tvevaM vadeH - yavAM hRdaye nivezya bhAvenAprekSya, mohavazAt kSaNam, tayoktaM mama svAmino vakkharaM nAma vastu virahanAmA taskaro hRtvA gacchati pratyaham / tadbhaNa priya ! kasya zaraNaM vrajAmi ? // * == [ 96 ] etat DomilakamuktvA, candravadanA kamalanetrA nirme ( nirnimeSA niHSpandA jAtA / na ca kimapi kathayati, aparaM janaM na prekSate / atra vitarke - bhittau citralikhiteva satyApitAdRSTetyarthaH // Dong Dong Dong

Page #196
padya 95-98 ] sandeza rAsaka 'osAsaMbhamaruddhasAsa urunnamuha', vammahasara paDibhinna saravi piyasaMgasuha / dara tiraccha taralacchi pahiu jaM joiyau, NaM guNasaha uttaTThi kuraMgi paloiyau // 97 // pahiu bhai thiru hohi dhIru' AsAsi khaNu, laivi varakkiya sasisaunnu phaMsahi " vayaNu / tassa vayaNu" Ayanni" virahabhara " bhajjariya", lai aMcalu" muhu" puMchiu taha va salajjariya" // 98 // pahiya Na sijjhai kiri" balu maha kaMdappasau, rattau jaM ca virattara niddose ya piu / 1 C UsAsaM / 2 B urannamuha / 3 B joiyai / 4 C utaTTha paloiyai / 7 A B dhIri / 8 C AsIsi / 9 A degsaunha | 10 B puMsahi / 12 A. AyaMnni; C Ainni / 13 Cdegbhadeg / 14 A bhajjarIyA / 16 B muhuM; C muha | 17 A salajjarIA; C salajjiriya / 18 C sijjai / [ TippanakarUpA vyAkhyA ] [97] ucchvAsa bhramaruddha ni [ : ] svA (zvA) sayA ruditamukhyA manmathazaraiH pratibhinayA priyasaGgamasuSa (khaM) smRtvA tadanugavo (to) 'sti vetIpat tiryag taralAkSibhyAM pathiko dRSTaH / manye vitakeM vA / guNazabdo'trastayA kuraGgayA dRSTaH saH // 97 // 39 [9] atha pathikasaujanyamAha - pathiko bhaNati - sthirA dhIrA bhava / kSaNaM AkhA (zvA) saya / varakkI - pArTa (TI) gRhItvA zazisaMpUrNa mukhaM pramArjaya / tasya vacanamAkarNya virahabharabhagnayA salajjayA vastrAJcalamAdAya mukhaM pramArjitam // 98 // 5 C kuraMga / 6 B 11 B vayaNa / 15 C aMcala | 19 A kira / [ 99 ] AtmanaH sarvathaivAsamarthatAmAha- he pathika ! mama kandarpeNa samam, kila iti saMbhAvanAyAm, balaM na siddhyati / yacca tadrUpa eva priyo [nirdoSeNa ] doSaM Tun Tun Ling Ling Ling [ avacUrikA ] Dong Dong Cha Cha Cha [97] ucchvAsabhramaruddhaniHzvAsayA ruditamukhyA, manmathazaraiH pratibhinnayA, priyasaGgamasukhaM smRtvA tadanugato'sti veti, ISattiryakU taralAkSibhyAM pathiko dRSTaH / manye - vitarke vA / guNazabdo'stA kurA dRSTaH saH // [ 98] atha pathikaH saujanyamAha - pathiko bhaNati - sthirA dhIrA bhava / kSaNamAzvAsaya / varAkI - paTIM gRhItvA zazisaMpUrNa mukhaM mArjaya / tava (sya) vacanamAkarNya virahabharabhagnayA lajjayA vastrAJcalamAdAya mukhaM pramArjitam // [ 99 ] AtmanaH sarvathaivAsamarthatAmAha - he pathika !, kileti saMbhAvanAyAm, mama balaM

Page #197
40 sandeza rAsaka ya' suNiya paraveyaNa ninnehaha' calaha, "mAliNivittu kahivvau' ikkai taha khalaha // 99 // viraivirAme soho muNaMtI, suhai rAo uggilaMto siNeho / bharavi' navayaraMge iku" kuMbho gharaMtI, hiyau taha paDillo" boliyaMto viratto // 100 // [ dvitIya prakrama * as aMbaru uggalai rAya" puNi" raMgiyai, aha ninne aMgu hoi AbhaMgiyai " / aha hArijai daviNu jiNivi" puNu bhiTTiyas, 17 19 piya viratu" hui cittu pahiya kima" vaTTiya " // 101 // 1 C ne | 2 A Ninnehaha / 3 C mAlaNi / birA / 6 B C taya / 7 B virAo uggilaMtI / 11 B vaDilo / 12 A C raai| 13 A puNu / giyai | 16 C jiNi puNi / 17 B C piyaha virattau hiyau / 18 A kivi / 19 A vaTTIyai / 4A kahijasu / 5 A viraha; C biraha8 A bharaya / 9 C navaideg | 10 B ikuM / 14B raMgu; C hoi aMgu / 15 C abhi [ TippanakarUpA vyAkhyA ] vinA rakta eva viraktaH / na ca tena paravedanA zrutA / atastasmai calitAya khalAya mAlinIvRttaM ekaM kathanIyam // 99 // [ 100 ] Atmano'vimarzitvamAha - adyApi (?) rati virAme ahaM svahi (ha) dayaM naSTasaukhyaM manyAsyam / tadA he subhaga ! yo rAgo navaraGgasnehamudgilannAsIt, tenaikaM kumbhaM bhRtvA'dhArayiSyam / yato hRdayaM viraktaM tatra kumme kSitvA na ( pra ) kSitaM kRtvA asthApayiSyam - vyApAraviSyam // 100 // eSa ( etat) mAlinIcchandaH / tallakSaNam - "nanamayayayuteyaM mAlinI bhogiloke // " paJcadazAkSaraM mAlinIvRttam / dvau nagaNau tadnu magaNaH tadanu dvau yagaNI // [ 101] yadi vastraM gatarAgaM tadA punA rajyate / aGgaM niHsnehaM rUkSaM bhavati, tailena -- [ avacUrikA ] kandarpeNa samaM na siddhyati / yat priyo nirdoSeNa doSaM vinA rakto'pi viraktaH / tena paravedanA na zrutA - na jJAtA / atastasmai khalAya nispRhAyaikaM mAlinIvRttaM kathayeH // chandolakSaNaM yathA - 'nanamayayayuteyaM mAlinI bhogilokaiH / ' [100 ] yadi vi (api ? ) rativiyoge'haM svahRdayaM naSTasaukhyamajJAsyan (m) tadA yo rAgo navarane snehamunilannAsIt tenaikaM kumbhaM bhRtvA'dhArayiSyam, yato hRdayaM viraktaM tatkumbhe kSitvA kSaNaM kRtvA svasthamavadhArayiSyam // [ 101 ] yadi vastraM gataraGgaM bhavati, tadA punA raGgaya ( rAjya ) te, atha niHsneho aGgaH - zarIraM rauSyaM

Page #198
padya 99-103 ] sandeza rAsaka pahiu bhaNai pasayaccha' dhIri maNu' paMthi dharu, nIru' bharu | saMvari Niru' loyaNaha vahaMta pAvAsu bahukaji gamahi tahi " paribhamai, aNakiyas" Niyas" pauyaNi suMdari ! hu" valai // 102 // 12 te ya viesi" phiraMtaya "vammahasarapaya, 16 17 NiyagharaNiya sumaraMta" viraha savaseya kaya" / divasarayaNi yidaIya" soya asahaMta bharu, 20 jima tumhahi " tima" muMdhi" pahiya jhijjhaMti" rui // 103 // 1 C pasaicchi; B pasiyacchi / 2 A mANuya | 6 B loyahaM / 7 A vatu / 8 A NIru / 9 11 A C akiyai / 12 C niyaya / 13 B nahu / 17 B kiya / 18 Cdegdaiya / 19 16 B suyaraMta / 21 C 22 B jhijjhata / 41 3 C kru| 4 C sNvru| 5 A gitu / B pAvAsuyaha / 10 AC taha | 14 C viyasi / 15 A vamhahadeg / 20 A tiva / B tumhaha / [ TippanakarUpA vyAkhyA ] punaH prakSa ( kSya) te / yadi dravyaM hAritaM bhavati tadA jitvA punaH prApyate / paraM pathika ! priyasya viraktaM cittaM kathaM vyAvartyati (rttate // 101 // [102] he sundari ! sthirA bhava / mano mArge dhara / locanAbhyAM vahannIraM saMvara / pravAsino bahukarmaNi gacchanti bhramanti ca / matkR ( a ) te prayojane na vyAghuTanti // 102 // [103] te ca videze bhramantaH, manmatharAra mahatA nijagRhiNI [:] smarantaH, viraheNa vasI (zI) kRtAH, divasarAtrau nijadaya (ya) tAzoka bharamasahantaH, yathA yUyaM tathA nitarAM pathikA api kSIyante - durbalA bhavanti // 103 // Tun Tun Tun Tun Bu [ avacUrikA ] Jing Jing Jing Jing Jing (rukSaM) bhavati tadA tailyenAbhyaGgyate-mardyate, atha draviNaM hAryate punarapi jitvA bhivyate - prApyate / he pathika ! priyasya viraktaM hRdayaM kathaM vyAvarttate // [ 102 ] pathiko bhaNati - he prasRtAkSi ! mano dhIraya, mArge dhara, locanAbhyAM vahannIraM nitarAM saMvara / pathikA bahukAyeM gacchanti, tatra paribhramanti / akRte nijaprayojane he sundari ! na valanti - na vyAghukyanti // [ 103] te ca videzaM bhramanto manmathazaraprahatA nijagRhiNIH smaranto viraheNa vazIkRtAH, divasarAtrau nijadayitAzokabharamasahantaH, yathA yUyaM tathA nitarAM pathikA api kSIyante - durbA bhavanti // saM0 6

Page #199
42 sandeza rAsaka er' aNa Ayannivi dIharaloyaNihiM', paDhiya' aDila' viyaseviNu mayaNukkoyaNihiM / [ arddham / ] * jai mai Natthi Neha tAkaM tahaM, paMthiya kajju sAhi maha kaMtahaM / jaM' virahagga majjha 'NakkaMtaha, hiyau havei majjha kaMtaha // 104 // [ aDillucchandaH / ] 1 C pahiya / 2 A degloyaNihi / 3 A paDhi aDideg / 4 C aDila | 6A paMthi kajja | 7 A jai / 8 B taha / 9 B majjhu hu; [ dvitIya prakrama 5 A Nehu Natthi / [ TippanakarUpA vyAkhyA ] [104 ] etad vacanamAkarNya dIrghatarAkSA ( kSyA) madanotkaukucyayA aDillA paThitA / AC kaMtaha | saMdeha (za) rAsako'yamiti granthabhAvaM sUcayannAha - yadi kAntasya mayi sneho nAsti, tathApi mama kAntAya, kArya-saMdezakaM sAdhaya - kathaya / yad virahAgnirmama kAntasya, anyacca mama hRdayaM jvAlayati, na kAntasya - eko'rthaH / yadi tasya snehaM (ho) mayi nAsti, ityahaM 'tAkaM' dezItvAt tarkayAmi / tathApi pathika ! mama kAntAya kArya - saMdezakaM sAdhaya - kathaya / prAkRtatvAt SaSThIsthAne caturthI / yad virahAgnirmama madhyam, AnakrAntaM - nAsikAntaM yAvat, nakA (ktA) ntaM - ahardivasaM rAtriprAntaM hRdayaM jvAlayati - dvitIyo'rthaH // 104 // alicchandaH / lakSaNaM yathA upa ikku jamakku ji dIsai, aDilachaMdu su buhahi salIsai // aDillucchandolakSaNam - catuHpadeSu eka sahakSo ja (ya) mako bhavati / sa vibudhaiH alicchandaH kathyate // [ avacUrikA ] [ 104 ] etadvacanamAkarNya dIrghatarAkhyA (dayA) madanoskokucyayA, aDillA paThitA / saMdezarAsako'yamiti granthabhAvaM sUcayati - yadi kAntasya mayi sneho nAsti ityahaM 'vAkaM ' dezIsvAt - tarkayAmi, tathApi pathika ! mama kAntAya, kArya - saMdezakaM sAdhaya - kathaya / prAkRtatvAt SaSThIsthAne caturthI // dvitIyapakSe-yadvirahAnirmama madhyam, AnakrAntaM nAsikAM yAvat, naktAntaM - mahodivasa rAtriprAntam hRdayaM jvAlayati - dvitIyo'rthaH //

Page #200
saka paca 104-106] kahi Na savittharu' sakkara 'mayaNAuhavahiya, ___ iya avattha amhAriya kaMtaha siva kahiya / aMgabhaMgi Niru aNaraI ujjagau Nisihi, vihalaMghala gaya magga calaMtihi Alasihi // 105 // dhammilaha saMvaraNu na ghaNu kusamihi raiu, kajalu" galai kavolihi jaM nayaNihi dhariu / jaM piyaAsAsaMgihi aMgihiM palu caDaI, viraha huyAsi" jhalakiu taM paDiliu jhaDai // 106 // AsAjalasaMsitta virahaunhatta jalaMtiya", ___Nahu~ jIvau" Nahu marau pahiya ! acchau dhukkhaMtiya" / 1C svitthtu| 2 C mnnaayuh| 3 B nAsti 'iya'; C huaa| 4 A amhArIya / 5B pahiya kNth| 6 B saha; C su| 7 C aNarau; B arunnu| 8 B uyaggau / 9 BC clNth| 10 C aalisihi| 11C kjl| 12 C nynni| 13 Bdhriyu| 14 A aMgi p| 15 B cddii| 16 A virhu| 17 A huyAsa; B huyAsu / 18 C jhalaki paDillau taM; B taM paDaliu jhli| 19 A jalaMtIya; C jlNtii| 20 A nahu / 21 B jIyau / 22C dhukNtii| [TippanakarUpA vyAkhyA] // 105] bhopathika! saMdezako vistrH| madanasa(za)ravyAptayA mayA kathi(thayituM na zakyate / paraM bho pathika! madIyA'vasthA priyatamasyAgre sarvA kathanIyA / aharnizaM me-mama aGke aratirvarttate / tava virahe mArge calantyA vihalakalA bhavAmi // 105 // [106] dharmila(mmilla)sya saMvaraNaM kusumairna racitam / netrayodhRtaM kajalaM kapolamArge galati / yat priyAgamAsa(za)yA palaM-mAMsaM dehe caTati, tadvirahAgninA jhalakitaM-bhasmIkRtaM dviguNaM jhaTati // 106 // [107] AsA(zA)jalena saMsa(si)ktA virahAgninA jvalantI ca na jIvAmi, [bhavacUrikA] . [105] he pathika ! ahaM madanAyudhabAdhitA saMdezakaM savistaraM kathi(thayituM na zaknomi, paramimAmavasthAM sakalAM kAntAya kathaya / tAmAha - aGga bhaGgaH, nitarAmaratiH, nizi jAgaraH, vihalakalA gatirmAneM calantyA mAlasyena // [106] dhammillasya saMvaraNaM kusumaina racitam , netrayordhataM kajalaM kapolamArge galati, yatriyAgamAsa(za)yA palaM-mAMsaM dehe caTati, tadvirahAgninA jhalakitaM- bhassIkRtaM dviguNaM jhaTati //

Page #201
44 sandeza rAsaka [dvitIya prakrama itthaMtari puNa puNavi' teNi pahiya dharevi maNu, phullaGa bhaNiyAM dIharacchi NiyaNayaNa phuseviNu // 10 // sunnAraha jima maha hiyau, piya'ukiMkha kareI / virahahuyAsi dahevi kari, AsAjali siMcei // 108 // pahiu" bhaNai pahi jaMta amaMgalu" maha ma kari", ruyavi ruyavi puNarutta vAha saMvarivi dhari / pahiya ! hou tuha" iccha" aja sijjhau gamaNu, mai na runnu virahaggidhUma loyaNasavaNu // 109 // 1AC puNaravi phiy| 2 A C nAsti 'tenni'| 3 A dhAravi; C dhrevinnu| 4 A phulu| 5AC bhnniu| 6A dIhaacchi; B diihcchi| 7 C py| 8 A ukiMSi karei; C ukiNkhrei| 9 A. saMcei / 10 C phiy| 11 C amNgl| 12 C mahu / 13 B krhi| 14 C ruivi| 15 C punnrtt| 16 A tuya / 17 B icchiu| --- [TippanakarUpA vyAkhyA ] na mR(ni)yate; dhukkhaMtI agniriva tiSTAmi / atrAntare, pathikaM mano dhRtvA, punaH punarapi netre spRSTvA, phullako bhaNitaH // 107 // [108] he priya ! mama hRdayaM varNakAravad vartate / yathA svarNakAraH priyotkaNThayA-abhISTalAmecchayA svarNamagninA dagdhvA, jala(le)na siJcati, tathA zarIrasvarNa priyavirahasmaraNenAgninA dagdham , punaH saGgamAzAjalena siJcitam // 108 // [109] pathiko bhaNati-vrajataH pathi mamAmaGgalaM mA kuru, ruditvA ruditvA / punarazrUNi saMvara / sA prAha-pathika! tavepsitaM bhavatu / adya gamanaM siddhyatu / mayA na ruditam / virahAgnedhUmAdhikatvAllocanazra(sra)vaNaM jAtam // 109 // ***** [avacUrikA ] [107] AzAjalena siktA virahAgninA jvalantI na ca jIvAmi, no marAmi, kintvaniriva dhukhantI tiSThAmi / atrAntare mano dhIrayitvA, netre spRSTvA, pu(phulako bhaNitaH // [108] he priya ! mama hRdayaM svarNakAravad varttate / yathA svarNakAraH priyoskaNThayA-abhISTalAbhecchayA svarNamagninA dagdhvA jalena siJcati, tathA zarIrasvarNa priyavirahAgninA dagdhvA punaH sAmAzAjalena siJcati // [109] pathiko bhaNati-pathi vrajato mama] mA'maGgalaM kuru / ruditvA punarazrUNi saMvara / sA prAha - tavepsitaM bhavatu / adya gamanaM prasiddhyatu / mayA no ruditam / virahAne--mAdhikatvAlocanAva stravaNaM jAtam //

Page #202
45 padya 107-111] sandeza rAsaka pahiu bhaNai pasayacchi' ! turiyau kiM vajjarahi, ___ ravi 'diNasesi pahuttu pahuMjahi daya karahi / jAhi pahiya ! tuhaM maMgalu hou puNannavau, piyaha kahiya hiva ikka "maDila annu" cUDilau // 110 // taNu" dIunhasAsi sosijaI, ___ aMsujalohu Neya so sijai / hiyau paukku paDiu dIvaMtari, NAi pataMgu paDiu" dIvaMtari // 111 // 1A pasacchi: B psiycchi| 2 B diNi' / 3 Cses| 4 C pddujy| 5C jahi / 6 A tuya; B tuv| 7 C mNgl| 8 C ho| 9 A nAsti 'hiv'| 10 A ika aDilla / 11 BC anu; A. anu th| 12 C tinnu| 13 B sijii| 14 C paDikku / 15 A B 'paDiu piyaMgu NAi dIvaMtari' etAdRzaH pAThaH / [TippanakarUpA vyAkhyA ] [110] pathiko bhaNati-he prasRtipramANalocane ! tu(tvaritaM kathaya, kiM saMdezakaM dAsyasi / raviH-sUryaH, astaM aayaatH| mamopari dayAM kRtvA preSaya / sA AsI (ziSa)dattvA kathayati-jA(yA)hi tvam / tava punaHpunarnavo maGgalo bhavatu / mama priyasthAne ekaM a(ma)DilaM anyat cUDilakaM kathanIyam // 110 // [111] tanu dIrghoSNu(SNa)zvAsaiH sokhya(zuSya)te, azrujalaughastu tasmAdutpano'pi na ca so(zu)dhyate- iti mhdaashcrym| mama hRdayaM dvIpAntare patitaM-zUnyaM jaatmityrthH| manye pataGgo dvI(dI)pamadhye patitaH, so'pi mR(ni)yate // 111 // mddillcchndH| tallakSaNam - "jamakku hoi jahi bihu paya juttau / maDillachaMdu taM ajuNi vuttau // " * ** [avacUrikA] - [10] pathiko bhaNati-he prasRtAkSi ! tvaritaM kiJcid vd| ravirdinazeSaM prAtaH / dayAM kRtvA mAM visarjaya / sA prAha - he pathika! vraja, tava punarNavaM mAGgalyaM bhavatu / priyAyaikA bha(ma)DillAM anyat cUDilakaM ca vadeH // . [111] tanu dIrghoSNazvAsaiH sokhya(zuSya)te / asu(azru)jalaughastu tasmAdutpanno'pi na ca zuSyata iti nAdAzvaM (? mahadAzcaryam) / mama hRdayaM dvIpAntare patitaM-zUnyaM jAtamityarthaH / manye prataGgo dIpamadhye patitaH / so'pi mriyate //

Page #203
46 sandeza rAsaka [dvitIya prakrama uttarAyaNi 'vaDihi divasa, Nisi dakSiNa ihu purva Niuiu / ducciya vaDDahiM jattha piya, ihu tIyau virahAyaNu hoiyau // 112 // 15 gayau divasu thiu sesu pahiya ! gamu milhiyai, Nisi atthamu bolevi divasi" puNu" calliyai / bibAhari diNa"biMba junha gosihi" balaI", to "jAiai a kaji maI aiAvalai*, jai na rahahi iNi ThAI pahiya ! icchahi gamaNu, cUDillau khaDahaDau piyaha gAhAI bhaNu // 113 // 1C bddhhi| 2 C dakSiNa; B dkssnn| 3 Ciy| 4 C puvi / 5C niuyau / 6 A vtthhi| 7 A liiyu| 8 A virahAiNu; C tua virhaaynn| Cgama / 10 C atthimu| 11 C divisi| 12 C punni| 13 B biNbaahr| 14 BC diNi / 15 C biNbu| 16 C junu| 17 B goshiN| 18 C cli| 19 A jAyai akaji / 20 B mamai; A mai a|* C Adarza eSaH pAdaH 'raiNi to jAi hara kanjihiM Avalau' etAdRzo lbhyte| 21 B C tthaaii| 22 B gvnnu| 23 A gAiM bhmnnu| [TippanakarUpA vyAkhyA] [112] sarvakAlasa(sya) duHkhatAmAha - uttarAyaNe divasA varddhante rAtrayo hIyante, dakSiNAyane rAtrayo varddhante divasA hIyante / yatra dve vardhate tanmanye eSaH tri(4)tIya[:] virahAyano jAtaH / dvayorenau turyaH sukhAyanaH, cakArAt // 112 // coddiyaalkcchndH| tallakSaNam - "dohAchaMdu ji du dalu paDhi matta ThavijahiM paMca su kehA / cUDillau taM buha muNahu gulhu payaMpai saccu su ehA // " dodhakacchandasaM paThitvA prAnte prAnte paJca paJca mAtrA nyasyante / coDiyAlako bhavati // [113] divaso gataH, sthitaH zekhaH(SaH) / he pathika ! gamanaM mucyatAm / nirmA * [avacUrikA] 112] uttarAyaNe divasA vardhante, rAtrayo hIyante; dakSiNAyane rAtrayo vardhante na divsaaH| yatra dve vardhate tanmanye - eSastRtIyo virahAyano jAtaH / dvayohAnau turyaH sukhAyanazcakArAt // [113] he pathika ! divaso gataH-sthitazeSo jAtaH / gamanaM mucyatAm / nizyastamanaM

Page #204
padya 112-115] sandeza raaskaa| phalu virahaggi pavAsi turaM, pAiu amhihiM jAi piyaha bhaNu / ciraM jIvaM tau lahu varu, huau saMvaccharatullau ikku diNu // 114 // jai pimmavioya visuMThalayaM hiyayaM, ___ jai aMgu 'aNaMgasarehi hayaM NihuyaM / jai bAhajaloha kavolarayaM NayaNaM, jai Nicca maNaMmi viyaMbhiyayaM mayaNaM // 115 // 1A phl| 2 Atuy| 3A amhh| 4 A cir| 5 Csmrtullu| 6A viaaii| 7C aNaMgu s| 8 BCkoldeg| 9 B Nicca maNaM viyaMbhiya mayaNaM / [TippanakarUpA vyAkhyA] nirgamayitvA vAsare punazcalyatAm / pathikaH prAha-bimbAdhare ! dinabimbajyotsnA gose-prabhAte jvalati / ataH kAraNAd rAtrAveva kArye utsuke mayA gamyate / punaH sA prAha-he pathika ! yadyasmin sthAne na tiSThasi-gamana micchasi, tadA ekaM cUDilakaM khaDahaDaM ca gAthAM bhaNeH // 113 // [114] he priya ! tava pravAse virahAne sakAzAt phalaM prApta iti gatvA priyaM bhaNa / kiM tat-ciraMjIvI varaH prAptaH / yadeko'pi vAsaraH saMvatsarapramANo jaatH|| 114 // [115]......[ asya padyasya vyAkhyA nopalabhyate mUlAdarza / ] * [avacUrikA] KAR bolayitvA-nirgamayitvA, divase punazcalyatAm / he bimbAdhare! dinavimbajyotsnA-bhAvApo gose-prabhAte jvalati / mayA'tyautsukye kArye gamyate / punaH sA prAha - yadyasmin sthAne na tiSThasi, he pathika ! yadi gamanamicchasi, tadA cUDillakaM, khaDahaDakaM, gAthAM ca priyAya bhnneH|| khaDahAcchandolakSaNaM yathA sagaNA ia vIsa ya chaMda dhuAM bhaNiyaM, lahu cAlIsa vIsa gurU sumaNoharayaM / khaDahaDayaNAmehi Niccu pasiddhapayaM, aivallahaNAmi duIya ya taM kahiyaM // 1 // [14] he priya! tava pravAse virahAneH phalaM prAptamiti gatvA priyaM bhaNa / kiM tat ? ciraMjIvI varaH prAsaH / yadeko'pi vAsaraH saMvatsaratulyo jAtaH / [15] yadi me priyaviyoge hRdayaM visaMsthUlam , yAmananazarairnibhRtaM yathA hatam , yadi bApajalaughakapolarataM netram , yadi manasi nityamapi madanaM vijRmbhitam , tathApi jIvyate //

Page #205
48 sandeza rAsaka tA pahiya ! kema Nisi samae pAvijjara nivai ya jIvijjai jaM piyavirahaNIhi divasAi taM cujaM // pahiu bhaNai kaNayaMgi ! sayalu' jaM tumhi kahiu, annai jaM mai didu payAsisu taM ahiu / paumadalacchi palaTTihi icchahi piyabhuvaNu', OM puNi magga payaTTara bhaMji ma maha gamaNu / puvvadisahi tamu pasariu, ravi atthamaNi" gau / Nisi kaTThahi gammiyai, maggu duggamu" sabhau // 117 // 11 * 1 B C nivvuItha / 2 C divase vi / 3 C sayala / 4B 5 A palaTTa hi B | 6 CdegbhuvaNa / 7 A hau / 8 B gavaNu / 9 B puvvadisau / 10 B atthavaNi / 11 C aiduggu bhau / sabhayaH // 117 // etat khaDahaDacchandaH / lakSaNam - " sagaNA iya vIsa ya chaMdu dhuvaM bhaNiyaM, lahu cAlIsa [vIsa ] gurU sumaNoharayaM / khaDaDayanAmehi nicca pasiddhapayaM, aivalahu nAmi duI ya ya taM kahiyaM // " viMzatiH sagaNAH, laghu catvAriMzat, viMzatiH guravaH / ativallaho nAmadvitIyaM nAma / [116] tAvat he pathika ! nizi nirvRti [ : ] nidrA ca kathaM prApyate / yat priyavirahitAbhiH kaizcit ( kecid ) divasAH jIvyante tadevAzcaryam // 116 // [ dvitIya prakrama taha Ni / 116 // [ TippanakarUpA vyAkhyA ] [117] pathiko bhaNati he kanakAGgi ! yat tvayA sakalaM kathitam, anyat yanmayA dRSTaM vRttAntam, tasmAdadhikaM prakAzayiSye / he padmadalAkSi ! nijabhavane prayAhi / ahaM punarmArge pravarttAmi / mama kRte mArge durgamo vartate, anyacca Tun Tun Tun Tun Tun [ avacUrikA ] Dong Dong Dong Dong Kuan [116 ] tAvad he pathika ! nizi nirvRttiH, nidrA ca kathaM prayAti ( prApyate), yat priyavirahitAbhiH kecidivasA jIvyate tadevAzcaryam // [117] pathiko bhaNati - he kanakAGgi ! yadbhavatyA sakalaM kathitam, anyad yanmayA dRSTam, tat savizeSaM prakAzayiSye / he padmadalAkSi ! vyAghuTTa, nijabhavanaM vAJchaya / ahaM mArge pravartAmi / gamanaM mA bhaJjaya / pUrvadizastamaH prasRtam / ravirastamanaM gataH / nizi kaSTena gamyate / mArgo durgamaH sabhayazca //

Page #206
padya 116-119] sandeza rAsaka pahiyavayaNa Ayanniva pimmavioiriya', sasi usAsu dIhunhau puNa khAmoyariya', aMsukaNohu kavoli ju kimmaI kui rahai, NaM vihumapuMjovari muttiu sui sahai / kahai ruvaI vilavaMtI piyapAvAsahaI', __ bhaNaI kahiya" taha piyaha iku khaMdhau duvaI // 118 // maha" hiyayaM "rayaNanihIM, mahiyaM gurumaMdareNa taM NiccI / ummUliyaM asesaM, suharayaNaM kaDDiyaM" ca tuha pimme // 119 // ____ 1 A vynnu| 2 C aaynvi| 3 A viuiriya; B viyouriy| 4 A khAmoiriya / 5 C kauli; B kvolihi| 6 C kemai / 7 B mhii| 8 B syi| 9 C pAvAsahaya; B pavAsaha / 10 B bhnnii| 11 B kahiya sahiya tara / 12 A ika; B itthku| 13 C duvaya / 14 B mm| 15 C raiNideg| A Adarza 'mahiyaM tuha virahamaMdare NicaM / ' etAdRzaH paatthH| 16 C raiNaM; B rayaNA / 17 A B kddddiyaaii| [TippanakarUpA vyAkhyA [118] pathikavacanaM zrutvA premiviyogitayA kSAmodaryA dIrghosna(SNa)zvAso muktaH / tasminnavasare azrukaNa(No) yaH ko'pi kapole tiSThati, tanmanye vidrumapuopari mauktikaM so(zobhate / tataH priyapravAsahatA roditi vilapantI pathikAya kathayati-ekaM skandhakaM duvaiyaM ca priyaM vdeH|| 118 // [119] mama hi(hodayameva rtnidhiH| tat tava guruvirahamandareNa nityaM mathitam / unmUlya sukharatnaM samagraM niSkAsitam // 119 // dvipadIchandaH / tallakSaNam - paDhamagaNe kalachakkaM caukkalA paMca huti kamalaMtA / gurumajjhasavvalahuyA duvaIe bIyachaTuMsA // 1 // *** [avacUrikA] Re [11] pathikavacanaM zrutvA premaviu(yo)gatayA kSAmodaryA dIrghoSNaH zvAso muktaH / tasminnavasare'zrukaNo yaH ko'pi kapole tiSThati, tanmanye vidrumapuopari mauktikaM zobhate / tataH priyapravA. sahatA roda(di)ti bilavaM(paM)tI pathikAya kathayati-he pathika ! ekaM skandhakaM duvayaM ca priyaMbhatAraM vdeH|| [119] mama hRdayameva ratnanidhiH / tattava gurubirahamandareNa nityaM mathitam / unmUlya sukharavaM niSkAzitam // saM. 7

Page #207
50 sandeza rAsaka mayaNasamIravihuya' virahANala' diTThiphuliMgaNigbharo, dusaha phuraMta tivva maha hiyai niraMtara jhAlaM duddharo / aNaraichAchittu paccii tajjai tAma daDDhae', ihu accariu tujha ukkaMThi saroruha amha vaDhae // 120 // 10 khaMdhau duvai" suNevi" aMgu romaMciyara, Neya pimma" parivaDiu" pahiu maNi* raMjiyau" / taha "paya jaMpai miyanayaNi suNihi " dhIri" khaNu", kihu pucchau sasivayaNi payAsahi" phuDa " vayaNu // 121 // 1 A degvihUyadeg / 2 B hAli / 3 B C dusahu phuraMtu / 4 C hiyaya / 5 B jhAlaM / 6 C duddhare / 7 B daiyae / 8 A tumha / 9 C sarosahu | 10 A duvei / 11 B suNe viNu / 12 B pibhu| 18 C parivaDiyau / 14 A maNa / 15 B raMciyau / 16 A C taha jaMpai / 17 A suNa taha; C suhi / 18 C dhIrayasu / 19 A C khaNa | 20 B payAsai / 21 B phuDu / * [ TippanakarUpA vyAkhyA ] [ 120 ] madanasamIraNena vidhUto virahAnalo varttate / kIdRzaH - du (Da) STiphuliMgaiH nirbharaH - bhRta ityarthaH / tIvraM mama hi (ha) daye sphuran jvalan / punaH kIdRzaH - ni[raM ]tarajvAlAdurdharaH / punaH- aratirakSAyuktaH / mAM paralokAya prerayati / tadakurvantIM tarjayati varddhate / parametadAzcarya tavotkaNThayA saroruhaM varddhate / agnau kamalaM kathaM varddhate ? - atra tu saroruhaM zvAsaH ( zvAsam ) // 120 // [ dvitIya prakrama [121] sa pathikaH khandhakaM dupadIM ca zrutvA, aGge romAJcakazuko babhUva / tathA premo (ma) na gataH (tam ) / tayA pathikasya mano raJjitaH (tam) / tathApi he mRganetre ! mano dhIraya (ya) tvA kAnicit padAni jalpa / punaH, tathA'haM kiJcit pRcchAmi / yadi zazivadane ! sphuTaM prakaTaM prajalpasi // 121 // Dong Dong Dong Dong Dong ww Duo Ge Ge Jiao [ avacUrikA ] [ 120 ] madanasamIraNena vidhUto virahAnalo varttate / kIdRzaH - dRSTisphuliGgairnirbhara: - bhUta ityarthaH / tIvraM mama hRdaye sphuran jvalan / punaH kIdRzaH - nirantarajvAlAdurdharaH / punararatirakSAyuktaH / mAM paralokAya prerayati / tadakurvantIM laja (tarja) yati varddhate dahati ca / parametadAzvaryaM tavotkaNThayA saroruhaM varddhate / atra tu saroruhaM zvAsam // [ 121] skandhaM dvipada ca zrutvA aGgaM romAJcitam prema naiva paripatitam / pathiko manasi raJjitaH / tAM prati jalpati - zRNu, kSaNaM dhIrA bhava, he zazivadane ! kimapi pRcchAmi, sphuTaM - prakaTaM yadi prakAzayasi || dvipadIchandolakSaNaM yathA - "paDhamagaNe kalachakaM, caukkalA paMca huMti kamalaMtA / gurumajjhasabbalahuyA, duvaIe bIyachahaMsA // "

Page #208
sandeza rAsaka NavaghaNarehaviNaggaya' nimmala' phurai karu, sarayarayANi paJcakkhu jharaMtara amiyabharu | taha caMdaha jiNaNatthu piyaha saMjaNiya suhu, kaiyalaggi' virahaggidhUmi jhaMpiyau" muhu // 122 // baMkakaDakkhihi" tikkhihi " mayaNAkoyaNihiM", 14 bhaNu vaha kaI diyahi jhuraMtihiM " loyaNihiM / jAlaMdhari" va sakomalu" aMgu sosaMtiyaha ", padya 120-123 ] 19 20 haMsasarisa saralayavi yahi lIlaMtiyaha " // 123 // ima" dukkhaha taralacchi kAMi" tai" appiyai ", dussaha" virahakaravattihi" aMgu karappiyaI / 1 1 C degviNaggau | 2 C nimmalu / 3 A sarai / 4 A raiNi / 5 A paMcakkha / 6 B suratau / 7 C jiNaNattha | 8 A kaIa aggi / 9B nAsti 'dhUma' 10 C kaMpiyau / 11 B C degDikkhihi / 12 A tikkhi; B tikkhahi / 13A mayaNukkoyaNihi; BC koiNihi / 14 A kaya / 15 A jhuraMtau | 16 C jAlaMdhara | 17 A B sakoyalu / 18 C susNtiyh| 19 C lIlaMtiyahi / 20 B imai dukkha / A B kAi | 22 A tnnu| 28 A appIai / 24 C dusahu virahu / 25 C karavittihi / 26 A karIppIai / 21 [ TippanakarUpA vyAkhyA ] [122] nUtanamegharekhAvinirgatacandravad nirmalaM tava vadanaM varttate / yathA rajanyAM prata (tya) kSo amRtakaro amRtaM jhU (jha) ran so (zo) bhate / tad vadanaM candrasadRkSaM kaM dinamArabhya virahAnau jhapitaH (tam) - zyAmIkRta (tam ) ityarthaH // 122 // 51 [123] vada kaM dinamArabhya vakrakaTAkSatIkSNAbhyAM madena kUNitAbhyAM varSantI varttase / kadalIvat sakomaladalaM aGgaM zoSayantI, haMsasadRkSAM salilAM gatiM saralayantI kaM dinamArabhya varttase // 123 // [ 124 ] kaM dinamArabhya evaM durakA ( duHkhA ) ya taralAkSi ! tvayA nijAtmA ate / [ avacUrikA ] Dong Dong Dong Ben [ 122 ] navaghanarekhAvinirgata nirmala sphuratkaraH zaradvajanyAM pratyakSamamRtabharaM kSaran evaMvidho candraH, tasya jayanArtha priyasya saMjanitasukhamevaM viziSTaM mukhaM kaM dinamArabhya virahAbhibhUtreNa zampitam // [123] vakrakaTAkSatIkSNAbhyAM madanAkocanAbhyAmevaMvidhAbhyAM locanAbhyAM bhaNa kaM dinamArabhya kSarabhyAM vartase / jAlandharI = kadalIvat sakomalamaGga zoSayantI vartase / haMsasadakSAM gatiM saralAM kRtvA lIlayantI vartase / prAyaH striyaH sakAmA vakragatayaH // [ 124 ] he taralAkSi ! evaM pUrvoktaprakAreNa tvayA bhavatyA anaM duHkhAya kimityarpyate /

Page #209
52 sandeza rAsaka [dvitIya prakrama 'harisuyabANakhurappihiM kai diNa maNu pahau, bhaNu kai kAli paDuttau suMdari tujhaM suhau // 124 // pahiyavayaNa Ainnivi dIharaloyaNihi / / paDhiyau gAhacaukkau~ mayaNAkoyaNihi // 125 // [arddham , kulakaM pnycbhiH|] Aehi pahiya kiM pucchieNa" maha piyapavAsadiyaheNa / hariUNa jattha sukkhaM laddhaM dukkhANa paDivaTai // 126 // 1C hrsui| 2 A degkharappihi; B degkhurssupphi| 3 A kai diNu; C kaidiNi munn| 4A kaal| 5C pddttu| 6 B tuya; C suh| 7 A pddhiu| 8 Bdegcauku / 9 A. maiNakoiNihiM; C mayaNuko / 10 B aieh| 11 C pucchiehiM / 12 C diyahehiM / 18 A pddivttN| [TippanakarUpA vyAkhyA ] virahaka[ra] patraiH, aGgaM kimiti klp(kry)te| harisutaH-kandarpaH, tasya bANakSurapraiH kaM dinamArabhya manaH prahatam / kasmin dine tava bharttA prclitH|| 124 // [125] evaM pathikena pRcchA kRtA, iti prathame(mam) / ghanarekhAvinirgatazAradazazijayanArthe 'samuhaM' svamukhaM bhavatyA kaM dinamArabhya virahAgninA jhampitam, iti dvitIya [praznam] | locanAbhyAM azru kSarantyA kadalIsamAnaM dehaM sokha(zoSa)yantyA kAni (kati?)dinAni jAtAni, iti tRtIyapraznam / evaM duHkhAyAtmA kimiti pradIyate, kandarpatIkSNakSurapraiH kadA manaH prahatam, tvatpatiH kadA prasthitaH, iti caturthapraznam / pathikavacanaM zrutvA dIrghAkSA(kSyA) gAthAcatuSkaM paThitam, iti paJcamam // 125 // [126] he pathika ! mapriyapravAsadinena pRSTena kim / yasmin dine saukhyaM tyAjya(tyaktvA ) duHkhAnAM pratipaDheM prAptam // 126 // [bhavacUrikA] ---- duHsahavirahakarapatreNa aGgaM kimiti karpyate-khaNDyate / harisutasya - kandarpasya [vANa]kSurapraiH ke dinamArabhya, te-tava manaH prahatam / he sundari ! bhaNa, tava subhagaH- bhatto kasmin dine prasthitaH // [125] pathikavacanaM zrutvA dIrghAjhyA gAthAcatuSkaM paThitam // [126] he pathika ! AkarNaya, matpriyapravAsadivasena pRSTena kim / yasmin saukhyaM syaja (tyaktvA) duHkhAnAM pratipaDheM prAptam //

Page #210
padya 124-129] sandeza rAsaka tA kahasu teNa kiM sumarieNa viccheyajAlajalaNeNa* / jaM' gao khaNaddhamatto NAmaM mA tassa diyahassa // 127 // jattha gao so suhao tadiha divasA amha aNiyattI / Nicchau hiyae paMthiya kAlo kAlu vva pariNamai // 128 // mukkA'haM jattha pie Dajjhau gimhAnaleNa so gimho / malayagirisosaNeNa ya sosijjaDa sosiyA' jeNa // 129 // * C Adarze 'jAliyavioyajalaNeNaM' etAdRzaH pAThaH / 1 B jattha / C taddiya / 3 C pie 1 4 C malayaggisiNeNa; B malayaggirisodeg / [ TippanakarUpA vyAkhyA ] [127] tAvat kathaya-tena divasena jvAlitaviyogAgninA smRtena kim / yasmin kSaNArdhamAtre sa gataH / atastasya divasasya nAma mA gRhNIyAH // 127 // [128] yaddinamArabhya sa suhRdo bharttA prasthitaH, taddinamArabhyAsmAkaM anivRttiryA (ja) tA / bho pathika ! sa kAlaH - divasaH kAlavannizcitaM hi (ha) daye pariNamati // 128 // 5 B sosiyaM / ! [ 129] yatra grISme priyeNAhaM muktA, sa grISmaH grISmAnalena dahyatu / malayAcalasoSana (zoSaNa) pavanaiH sa zoSyatu yenAhaM zoSitA // 129 // * // iti saMdezarAsakavRttau zrIdevendrasUriziSya vA0 zrIlakSmIcandravira - citAyAM saMdeza pradAnanAma dvitIyaH prakramaH // Ben Pin 53 2 B taddidu; * [ avacUrikA ] [ 127] tAvat kathaya - tena divasena jvAlitaviyogAgninA smRtena kim / yasmin kSaNArdhena sa gataH / atastasya divasasya nAma mA gRhNIyAH // Dong Dong Dong Dong Dong [ 128 ] yasmin dine sa gatastasmAddinAdasmAkamanavR (nirvR) tirjAtA / nizcitaM he pathika ! bhasmaddhadaye kAlaH - samayaH kAla iva pariNamati // - [ 129] yantra - yasminnidAghe ahaM priyeNa muktA, sa grISmo grISmAnalena - raudravaizvAnareNa dadyasa grISmaH zrIkhaNDazoSaNena zuSyatu, yena grISmeNa zoSitA // tAmU,

Page #211
54 [tRtIya prakrama sandeza rAsaka -3 tRtIyaH prakramaH [ato grISmavarNanam / ] NavagimhAgami pahiya NAhuM jaM pavasiyau, karavi karaMjuli suhasamUha maha Nivasiyau / tasu aNuaMci paluTTi virahahavitaviya taNu, valivi patta NiyabhuyaNi visaMThula "vihalamaNu" // 130 // taha aNarai raNaraNau" asuhu asahatiyaha", dussahu malayasamIraNu mayaNAkaMtiyahaM / visamajhAla jhalakaMta jalaMtiya tivvayara, mahiyali vaNatiNadahaNa tavaMti ya taraNikara" // 13 // wwwww aaaaaaaaaaaaain 1C phie| 2 C gh| 3 C pvisiu| 4 B krivi| 5 B degsamuha / C Adarza patita eSa paadH| 6 A taNu / 7 B degaNcu| 8 B pluttttvi| 9 A degtviu| 10 C patti / 11 C vihvlmnn| 12 A 'mnni| 13 C rnnaarnnu| 14 C asahaMtayahaM / 15 C mayaNakaMtayahaM / 16 B mhiyl| 17 B tivvkr| [TippanakarUpA vyAkhyA ] [130] atha grISmartuvarNanaM kavirAha-'NavagimhA.'-he pathika ! navaprISmAgame nAthaH pravasitaH, tadaivAJjaliM kRtvA-hAsyanamaskAraM kRtvA sukhamapi pravasitam / tadanu vyAdhuTya virahAgnitApitatanuSI visaMsthula-vihalaGghalamAnasA gRhamAgatA // 130 // [131] tathA aratiM raNaraNakaM asukkhaM(kha) ca sahantyA mama madanAtayA malayasamIraNo duHsaho babhUva / tathA taraNikarA viSamajvAlayA jvalantamahItalavanatRNadAhakAstapante // 131 // * [avacUrikA] - [30] ato grISmasvaM vyAcakhyAsurAha - 'NavagimhA0' - he pathika ! navagrISmakAlAgame nAthaH pravazi(si)taH / tadaivAJjaliM kRtvA -hAsyanamaskAraM kRtvA sukhamapi pravazi (si)tam / tadanu vyAdhuvya virahAgnitApitatanuSI visaMsthulA vihalavalamAnasA gRhamAgatA // [13] tathA-aratiM raNaraNakaM asukhaM ca sahantyA mama madanAAyA malayasamIraNo duHsaho babhUva / tathA taraNikarA viSamajvAlayA jvalantamahItalavanatRNadAhakAstapante //

Page #212
padya 130-134 ] sandeza rAsaka jamajIhaha NaM caMcalu Nahayala lahalahai, taDataDayaDa dhara tiDai Na teyaha bharu sahai / aiunhau 'vomayali pahaMjaNu jaM vahai, taM jhaMkharu virahiNihi aMgu pharisiudahai // 132 // piu cAvaihi bhaNijai navaghaNa kaMkhirihiM, salilanivahu tucchacchau" sarai taraMgiNihiM / phalahAriNa unnamiyau" aisacchayaI suhi, kuMjarasavaNasariccha pahallira" gaMdhavahi // 133 // taha pattihi saMsaggihi cUyAkaMkhiriya", kIrapaMti parivasaI NivaDa" NiraMtariya / lai pallava jhullaMti" samuTThiya karuNajhuNi, hau kiya NissAhAra pahiya "sAhAravaNi // 134 // [yugmam ] 1 A NahIyalu / 2 C tddiiddi| 3 B nehaya; C teaha / 4 B ddomyli| 5 B vahaI / 6 B virahiNIhi; C virhinniaNgu| 7 B pharasiu; C phrisu| 8 C vaavhi| 9C kiNkhirihiN| 10 A nivu| 11 C tucchchhu| 12 C unnviy| 13 C aisucchaha / 14 B pahillira; C pahullira / 15 C gNdhvihi| 16 B shsggihi| 17 C bUyAkaMkhirihi / 18 C degvyi| 19 B nividd| 20 A NivaDaMtariya; C nirNtrihiN| 21 B jhulaMta / 22C saahiir| [TippanakarUpA vyAkhyA ] [132] vitarke caJcalaM nabhastalaM yamajihvAvallahalahati / traDabaDabaDaditi dharA su(zuSyantI-zabdaM karoti / tejobharaM na shte| atyuSNaH prabhaJjano vahati / jhaMkharo DuDuyAlakanAmA pavanaH virahiNInAmaGgaM spRSTvA dahati // 132 // [133-134] navadhanotkaNThitaizcAtakaiH "priya priya" iti zabdo bhaNyate sma / taraGgiNISu salilapravAha[tucchAccha[:] sarati sma / atha SaTsu padeSu sahakAravarNanam -phalabhAreNonnamitaM zubhaM sahakAravanaM atisacchAyati-adhikaM zobhate / + [avacUrikA] [132] vitarke-calaM nabhastalaM yamajihvAvat lahalahati / DabaDabaDaditi dharA zuSyantIzabdaM karoti / tejobharaM na shte| atyaNya(yuSNaH)prabhAno byomatale vahati / jhasaro DuNDayAlakanAmA pavano virahiNInAmaGgaM spRSTvA dahati // [133-134] navadhanotkaNThitaizvAtakaiH "priya priya" iti zabdo bhaNyate sma / taraGgiNISu salilapravAha[:] tucchAcchassarati sa / atha SaTsu padeSu sahakAravarNanam - phalabhAreNonnamitaM zubhaM

Page #213
56 sandeza rAsaka hariyaMdaNu' sisiratthu uvari jaM' leviyau, taM siha paritava ahiu 'ahiseviyau / Thaviya viviha vilavaMtiya aha taha 'hAralaya, kusumamA tivi muya jhAla tara huI sabhaya // 135 // Nisi sayaNiha" jaM khittu sarIraha" suhajaNaNu, viuNau" karai uveu" kamaladalasattharaNu / ima sijjaha uTTaMta paDaMta salajjirihiM", 18 paDhiu vatthu taha dohau" pahiya sagaggirihiM // 136 // * 1 A haricaMdaNu / 2 A sasiratthuu; C sisaratthi / 3 C uvarija | 4 B sihaNa pari; C sihaNovari / 5 C ahadeg / 6 B tahi / 7 B hAri 8A muiyai: B mujhai / 9 A hau; B t| 10 A sayahaM / 11 C sarIrahu / 12 B C viNau / 13 B uvveu / 14 A B salajjarihiM / 15 C dUhaDa / 16 A sagiggirahiM / [ tRtIya prakrama [ TippanakarUpA vyAkhyA ] anyacca - yatra kuJjarazravaNasadRkSeSu gandhavahena prakampiteSu AmrapatreSu, cUtotkaNThitA saMsargiNI parivAritA preGkholatI kIrapatirvarttate / tataH karuNadhvaniH samutthitA / tAM zrutvA'haM nissAdhArA jAtA / tanmanye he pathika ! sarvaraJjakenAhaM viraJjitA // 133-134 // [135] haricandanaM yat zaityArthe urasi lepitaM tadvya hise vitatvAt kucau tApayati / tathA vividhaM vilapantyA hAralatA kusumamAlA ca zaityArthe urasi nyaste, te'pi jvAlAM muJcataH / tato maraNazaGkinI sabhayA jAtA // 135 // [ 136 ] nisi (zi) zarIrasukhArthe kamaladalaprastaraNaM kRtaM tadapi dviguNamudvegaM karoti / evaM sa ( rA ) yyAtaH uttiSThantyA, nirbalatvAt tatraiva patantyA, vastuko dodhakazca salajjayA sagadgad girA paThitaH // 136 // Duo Ben Duo Ben Cha Cha [ avacUrikA ] sahakAravanamatisacchAyamadhikaM zobhate / anyazca - yatra kuJjarazravaNasadRzeSu gandhavahena prakampiteSu AmrapatreSu cUtotkaNThitA saMsargiNI parivAritA preGkholantI kIrapaGktirvartate / tataH karuNadhvaniH samutthitA / tAM zrutvA ahaM nirAdhArA jAtA / tanme ( manye) he pathika ! sarvaraakena ahaM viracitA // yugmam // [ 135] haricandanaM yatsailA ( yacchetyA ) the urasi lepitaM tadapyahi secitatvAt kucau tApayati / tathA vividhaM vilapantyA hAralatA kusumamAlA ca zaityArthe urasi nyaste, te api jvAlAM muJcataH / tato maraNazaGkinI sabhayA jAtA // [ 136] nizA (zi) rAtrau zayanIye zarIrasukhajanakaM yatkamaladalassrastaraNaM kRtaM tadviguNamudvegaM karoti / evaM zA (yyA) yA uttiSThantyA salajjayA sagadgadaM yathA bhavati tathA vastuko dodhakazca mayA paThitaH //

Page #214
sandeza rAsaka viyasAviya raviyarahi' tavihiM araviya' tavaNi, amiyama Na suha jaNai dahai visajammaguNi / dasiu dasaNihiM bhuaMgi' aMgu caMdaNu khayahi', khivai hAru khArunbhavu kusamasaracchayahi / rAIva caMdu caMdaNu rayaNa sisira bhaNivi jagi saMsiyahiM" / ulhavai Na keNai virahajjhala" puNa vi " aMga parIhiMsiyahiM" // 137 // taNu ghasAriNa* caMdaNiNa aliu ji kivi caccaMti" / puNa vipie va ulhavai piyavirahaggi" niti // 138 // 14 15 padya 135- 138 ] 1 B ravibhavahi; C raviyarihi / 2 C tava hi / amiya amau visu jaNa; C amiya mao vihu jaNai / duhubhu 6 B caMdaNi / 7 A khivai; C dahai 9 C jagga / 10 B saMsaihiM / 11 B virahutaha; C virahahava / 18 A hiMsI ahiM / 14 A sariNa / 15 B cavvaMti / 16 A virahiggi / / * [ TippanakarUpA vyAkhyA ] [137] araviya - aravindAni ravikaraiH vikasApitAni, tapanaguNatvAt, tapanti, ityapi / amRtamayUSo (kho) viSeNa saha janmatvAt asukhaM janayati / ca zabdAd dAhayati ca / candanaM bhujaGgadazanaiH daSTam, ato'GgaM kSi (kSa) payati / hAraH kSArodbhavaH, ato'GgaM kSa( kSi ) pati / keSAM kusumasa (za) rakSatAnAm / rAjIva- candracandana - ratnAni zizirANi ucyante, paraM virahAgnijvAlA kenApi na vidhyAti, ataH punaraGgAni parihiMsyante // 137 // 57 3 C raviya; B aravitAviya / 4A 5 B usaNihiM dazai bhuyaMgu; C DaMsau 8 B saratthaihiM; C saricchayai / 12 A aMgi; B aMgu / [138 ] ye kecana janAH tanuH ghanasAreNa = karpUreNa candanena carcayanti, tadalI - kam / yataH priyaviyogAgniH prie ( ye ) Naiva vidhyAti / dhruvaM pathika atra bhramo na // 138 // grISmavarNanA // Qiao Qiao [ avacUrikA ] [ 137 ] aravindAni ravikarairvikasApitAni, tapanaguNatvAt, tapanti ityapi / amRtamayUkho viSeNa saha janmatvAd bhasukhaM janayati dAhayati ca / candanaM bhujaGgadazanairdaSTamataH aGgaM kSapayati / hAraH kSArodbhavaH ato'GgaM kSipati, keSAM kusumazarakSatAnAm / rAjIva- candra-candana- - ratnAni zizirANyucyante, paraM virahAgnijvAlA kenApi na vidhyAti / ato'GgAni parihiMsyante // [ 138 ] etadalIkaM yad virahArttA tanuH = zarIraM ghanasAreNa = karpUreNa candanena carcayantI - limpayantI / punarvirahAniH priyeNaiva nirbhutaM vidhyAti // iti grISmavarNanA samAptA // saM0 8

Page #215
58 sandeza rAsaka [ atha varSAvarNanam / ] ima taviyara' bahu giMbhu kaha 'vi mai' voliyau, pahiya pattu purNa pAusu dhiTTu Na pattu piu / caudisi ghoraMdhAru pavannau garuyabharu, gayaNi guhiru ghurahurai' sarosa aMbuharu // 139 // udaMDau pesijjai" jhAla "jhalakaMtiyai, 10 bhayabhesiya airAvai gayaNi vivaMtiyai / rasahi sarasa vavvIhiya" Niru tippaMti" jali, 14 are# reha hi rees NavaghaNa jaMti" tali // 140 // 17 12 16 gaMbha" taviNa" khara tAviya bahu" kiraNukkarihiM", 20 para paraMtu pukkharahu Na mAvai pukkharihiM" / [ tRtIya prakrama 1 C taviu | 2 A kahava; B kaha kari / 3 B nAsti; C mui / 4 B puNu / 5 C pAvasuM / 6 A caudisu; C cahudisi / 7 C ghuruhu / 8 A B aMbaharu / 9 DaMDara | 10 C pesiya 11 A kalakaMdeg / 12 A vabbIhiya; B vAvIhiya; C vavvIyaM / 13 B tivvaMti / 14 A B baha | 15 C Navagha jNt| 16 B gimhadeg / 17 C taviNu; B tavaNi / 18 BC 'bahu' nAsti / 19 B kiraNukara kirihi / 20 B puSkarahu / 21 B puSkarihi; C pukharahi / [ TippanakarUpA vyAkhyA ] - [139] atha varSAvarNanAmAha evaM grISmo bahutaptaH - atyuSNaH kaSTaM kRtvA mayA nirgamitaH / tadnu varSAkAlaH prAptaH paraM dhRSTo na priyaH / caturdikSu ghorAndhakAro gurubhara (raM) prapanno'mbudharo gagane sarosaM (paM) yathA garjati // 139 // [140 ] bhayabhISaNayA airAvatyA gagane dyotantyA jvAlAvad dedIpyamAnayA pagadaNDagazcaraNamArge dRzyate / bappIhakAH sarasaM rasanti, nitarAM jalena []pyanti / anyacca - nabhasi navaghanatale gacchantI bakAnAM zreNiH zobhate // 140 // Ge Ge Ge Za Jiao [141] grISma tapanakharataptakiraNotkarSa sambadhi payaH puSkarAt patat puSkaraNISu [ avacUrikA ] Shi Jin Cha Cha Dong [ 139 ] atha varSAvarNanamAha evaM grISmo bahutaptaH - atyuSNaH kaSTaM kRtvA mayA nirgamitaH / tadanu varSAkAlaH prAptaH, [ paraM ] dhRSTo na priyaH / caturdikSu ghorAndhakAro gurubharaM prapano'mbudharo gagane saroSaM yathA garjati // [ 140 ] bhayabhISaNayA airAvatyA vidyutA gaganaM dyotantyA jvAlAvaddedIpyamAnayA pagadaNDazcaraNamArgo yate / bantrIhakAH sarasaM rasanti, nitarAM jalena tRpyanti / anyacca - nabhasi navaghanatale gacchantI bakAnAM zreNiH zobhate // [14] grISma tapanakhara taptakiraNotkarSa sambandhi payaH puSkarAvartavat patat puSkarISu nadISu na

Page #216
sandeza rAsaka payahatthiNa kiya pahiya payahi' pavahaMtayaha', pai' pai sai karalau gayaNi khivaMtayaha' // 141 // NivaDalahari ghaNaaMtari saMgihiM' duttarihiM', padya 139 - 143 ] kari karalu' kallolihi gajiu varasarihiM " | disi pAvAsuya" thakkiya NiyakajjAgamihi, gamiyai" NAvihiM" maggu pahiya Na turaMgamihiM // 142 // 14 kaddamalula " dhavalaMga vihAviha sajjharihi ", taDinae vi" payabhariNa alakkha salajjarihi " / 59 18 u" tArAyaNu alakhu viyaMbhiu tamapasaru, channau" iMdoehi niraMtaru" ghara siharu " // 143 // [ kSepaka ?] 11 B pavAsuiya / 1 B paihi; A pahihi / 2 A pavahaMtayahi; B pavahaMtiyaha; C pavahaMtiyai / 3 C paya paya / 4 C pesau / 5 C gayaNa / 6 A khivaMtiyahi; B khivaMtiyaha / 7 C saMgiNa / 8BC duttarahiM / 9 B kalayala; C karayaru / 10 C varasarahi; A suravarihiM / 12 C gamiyaI / 13 B naavih| 14A kaIyasalila; C kaddamalala | 15 A B degjharahi / 16 B taDinaehi; A taDaviei / 17 B salajjarahiM; C salijjirihi / 18 B huva; C huya | 19 B channauiudoihi; C channauidauehi / 20 B nAsti / 21 C dharasihari; A siharadharu / [ TippanakarUpA vyAkhyA ] na mAti / yataH - 'sahasraguNamucchaSTu (tsraSTu) mAdataM (te ) hi rasaM raviH' / tathA ca pathi pravasantaH pathikAH payobhiH padatrANahastAH kRtAH / gagane vidyutA karalaH pagadaNDako dRzyate, nAnyathA // 141 // [ 142] kallolairnibiDalaharI ghanAntarasaMsargeNa dustarairvarasaritAsu garjitam / dizaH pravAsataH [ sthitAH ] / atha cet kAryAgame pravAsaH, tadA naubhirgamyate na turaGgamaiH // 142 // [ 143 ] kSepakam - dharA strI meghabharttA (tra) game, yathA strIbhartRsaGgame zrIkhaNDavilepanaM karoti / pArzvavAcchAdayati salajjatvAt / tArA- Ayatane - netre alakSe ----- [ avacUrikA ] Cha Cha Cha Cha Cha mAti / yataH - 'sahasraguNamutsraSTumAdatte hi rasaM raviH' / tathA ca pathi pravasantaH pathikAH payobhiH padatrANahastAH kRtAH / gagane vidyutA karala: pagadaNDako dRzyate, nAnyathA // [ 142 ] kallolairnibiDalaharIdhanAntarasaMsargeNa dustarairvarasaritAsu garjitam dizaH pravAza (sa) taH sthitAH / atha cet kAryAgame pravAsastadA naubhirgamyate na turaGgamaiH // [ 143 ] kSepakaH - dharA zrI meghabhartrAgame, yathA strI bhartRsaGgame zrIkhaNDavilepanaM karoti /

Page #217
sandeza rAsaka [tRtIya prakrama bagu milhavi salilabahu tarusiharihi caDiu, ___ taMDavu karivi sihaMDihi varasiharihi raDiu / salilihi vara sAlUrihi pharasiu rasiu sari", kalayalu kiyau kalayaMThihi caDi cUyaha" sihari // 14 // NAya NivaDa paha ruddha phaNidihiM daha" disihi, huiya" asaMcara magga mahaMta mahAvisihi / pADaladalaparikhaMDaNu nIrataraMgabhari, urunnau girisiharihi haMsihi karuNasari // 145 // __1A bau / 2 A milhivi| 3 A taMDau; C tNddbu| 4 C sihammihi / 5 C vru| 6 C rddyu| 7 A salalihi; C slilhi| 8 C vri| 9 A pharasau; C pharisiu / 10 A B saru / 11 B cUyahaM; C bUyaha / 12 C[pha] jiMdahiM / 13 C dasa / 14 BhuIya / 15 BC mahavvisahiM / [TippanakarUpA vyAkhyA] karoti-AcchAdayati / tamaHprasaramIpsati / kausumbhaM vastraM paridadhAti / dharA strI, meghabhartRsaGgama iti viceSTitamatra bhAvaH // 143 // [144] saliladrahaM tyaktvA tarusiSa(zikha)re bakairArUDham / tANDavaM nRtyaM kRtvA varasiSa(zikha)riSu-parvateSu zikhaNDibhiH raTitam / za(sa)lileSu zAlUraiH pura(paru)SakhareNa sa(za)bditam / kalakaNThIbhizcutazikharamAruhya kalakalazabdaH kRtH||144|| [15] nAgaiH-sappaiH phaNIndraiH-phaNayuktaiH mahAviSaiH nibiDaM yathA daza[sudikSu panthA ruddhH| mArgaH asaJcaro jaatH| nIrataraGgabhareNa paDalA (pADala) dalakhaNDana yA(jA)tam / anyacca, haMsaiH girisiSa(zikha)re karuNavaraM yathA ruditam // 145 // *** [avacUrikA] -- pArthAvAcchAdayati, salajatvAt , tArA-Ayatane'lakSe karoti- AcchAdayati, tamaH prasaramIpsati, kausumbhaM vastraM paridadhAti / dharA strI, meghabhartRsaGgama iti viceSTitamatra bhAvaH // [144 ] saliladrahaM tyaktvA taruzikhare bakairArUDham / tANDavaM nRtyaM kRtvA varazikhariSu-parvateSu zikhaNDibhI raTitam / salileSu sAlUraiH pu(pa)ruSasvareNa zabditam / kalakaNThIbhi:- kokilAbhibhUtazikharamAruhya kalakalazabda(bdaH) kRtaH // [15] nAgaiH phaNIndrazca dazasu dikSu nibiDaM yathA panthA ruddhaH / mahAviSaiH pAnIyairmArgo'saM. caro jAtaH / nIrataraGgabhareNa pADaladalaparikhaNDanaM jAtam / haMsaigirizikhare karuNavareNa 'u' ityavikaM ruditam //

Page #218
paca 144-147 ] sandeza rAsaka maccharabhaya' saMcaDiu~ ranni goyaMgaNihi, maNahara ramiyai nAhu raMgi goyaMgaNihi / hariyAulu dharavalau kayaMbiNa mahamahiu, kiyau bhaMgu aMgaMgi aNaMgiNa maha ahiu // 146 // visamasijavilulaMtiya" aidukkhinniyaI", aliulamAla viNaggaya sara pddibhinniyii| aNimisanayaNuvvinniya Nisi jAgaMtiyai, vatthu" gAha kiu dohau Niha" alahaMtiyai // 147 // jhaMpavi tama vaddaliNa dasaha disi chAyau aMbaru, unnaviyau ghurahurai ghoru ghaNu kisaNADaMbaru / wwwww 1B bhi| 2B sNcriu| B rNgi| 4 B mnnhru| 5A rmiiyi| 6B rNgicNgi| + patita eSaH pAdaH C aadrshe| 7 C hriyaalu| 8C kyNvinni| 9 B aNaMgihi / 10 Ahiyu| 11C vilalaMtaya / 12 C dukkhinnayai; B dAkhinnivai / 13 C bhinnayai / 14 A B degnynnoviniy| 15 A vattha; B vtthuu| 16 C kiih| 17 B niMda / 18 A jhNpivi| 19 A dahahi / 20 A unnmiyu| 21 C ghuruharai / [TippanakarUpA vyAkhyA] [146] macchara[bha]yAd gavAM bajai[:] sthale ArUDham / gopAGganAbhirmadhuraM gItaM gIyate / haritA''kulaM dharAvalayaM kadambena sugandha(dhya)ti / anaGgena mamAdhika[3] aGgabhaGgaH kRtaH // 146 // [147] rAtrau viSamasijjhA(zayyA)yAM mayA lulantyA ekAkinyA nidrA gmitaa| sarovare kamalAnAM madhye alikulamAlA saGkucitA jAtA / mayA animiSaM rAtrI jAgaraNaH kRtH| vastuka-gAthA-dodhakainidrAmalabhantyA rAtrirnirgamitA // 147 // [148] bho pathika ! zyAmabaddalaiH dazadiArza vyApya AkAza aacchaaditH| gagane unnavi(mi)to ghurahurati ghano meghaH kRSNADambaraH / AkAzamArge nabhovallI ** * [avacUrikA] -- [146] maccharabhayAd gavAM bajaiH sthale bhArUDham / gopAGganAbhirmadhuraM gItaM gIyate / haritAkulaM dharAvalayaM kadambena sugandhitam / anaGgena samadhikamaGgabhaGgAH] kRtaH // [147] viSamasahyA (zayyAyAM) vilulantyA atiduHkhAkIrNayA alikulamAlAvinirgatasvarapratimiyA animiSanayanodvimayA nizi jAgarta (gRta)yA nidrAmalabhantyA vastuko gAthA dodhakazca [14] vaIlena tamo atyartha jhampitvA-bhAkramya, dasa(za)su dikSu amvaramAkAzamAcchA. divam / dhana unamito ghoraM yathA kRSNADambaraM ghusaharati-garjati / nabhovallI-vidyut nabhomArge

Page #219
sandeza rAsaka [hatIya prakrama Nahahamaggi' Nahavalliya tarala taDayaDi vi taDakai, .. duduraraDaNu rauddu sadu kuvi sahavi Na sakkai / nivaDa niraMtara nIrahara duddhara dharadhArohabharu / kima sahau pahiya siharaTThiyai dusahau"koila rasai saru // 148 // ulhaviyaM gimhahavI dhArAnivaheNa pAuse patte / accariyaM maha" hiyae" virahaggI tavai ahiya[ya]ro" // 149 // guNaNihi jalabiMdubbhavahi", Na galatthiya lajaMti / pahiya jaM thoraMsuihi", thaNa thaDDA DajhaMti // 150 // __ 1 A Nahamaggihi; C maggiNa / 2 A degvalli trdeg| 3 B tryl| 4 C tayaDa vi. / 5A kui: B ki vi| 6 B nividd| 7CnirNtru| 8C nIru bhru| 9 B sahiu / 10 C sihyrtttthiyi| 11C dusshu| 12 C paavso| 13 A C pusoptto| 14 C miha / 15 A citte hiyae / 16 C ahiyyrN| 17 A bhavihi; Bdegbbhvnnu| 18 A paMiya jaM thora'; B pAiya jN| 19 C suyahi / 20C thaNa ghaTThA / 21 B jjhaMti / [TippanakarUpA vyAkhyA ] vidyut taDataDeti zabdaM kroti| dardurANAM raTanaM-pUtkAraM zrutvA sahyaM (soDhuM) na zakyate / bho pathika ! nibiDaM ca zabdA[d] durddharaM nIradharaM megha siSa(zikhara)sthitena tena kathaM sahitam // 148 // [149] mayA grISmA (mo) RtuH nirgmitaa(tH)| meghasamUhe varSAkAle prAte za(sa)ti maha-mama hi(ha)daye etadAzcarya tathApi adhikatarA(ro) ghirahAgnistara pati // 149 // [150] guNayuktA jalabindUdbhavA muktAhArAH kiM na ljnti(nte)| yat pathika ! stanau sthUlAzrubhirdahyete, paraM na ljjtH| yata[:] stabdhau / stabdhAnAM kaSTe'pi saja. nAnAM duHkhaM lajjA ca na bhavati // 150 // * ** [avacUrikA] ---- taralaM yathA taDatkAraM kRtvA-taDatkaroti / dardurANAM raTanaM raudraM zabda ko'pi soDhuM na zaknoti / niSiDaM nirantaraM nIradharaM me durdharadhAraudhabharaM he pathika ! kathaM sahAmi ? / anyaca, zikharasthitA AmroparisthA kokilA duHsahaM svaraM rasati // [149] he pathika ! grISmahaviH pAuse-varSAkAle prApte sati dhArAnivahena meghadhArAsamUhena vyApitam / paraM mama hRdaya etadAzcayaM virahAbhiradhikatarastapati // [150] guNayuktA jalabindUdbhavA muktAhArA[:] kiM na lajante? / yat pathika ! stanau sthUlAzrubhirdote, paraM na lannataH / yataH stabdhau / stabdhAnAM kaSTe'pi sajanAnAM duHkhaM lajjA dha na bhavati /

Page #220
padya 148-153] sandeza rAsaka dohau eu paDheviNu virahakheAlasII', __u aggaI aikhinnI mohaparAvasII / suviNaMtari ciru pavasiu jaM joiau piu, __saMjANivi kara gahivi maI" bhaNiu" ihu // 151 // kiM juttaM sukulaggayANa muttUNa jaM ca iha samae / taDataDaNativva-ghaNaghaDaNasaMkule daiya" vacaMti // 152 // NavamehamAlamAliya Nahammi suracAva rattadisi psro| ghaNachannachamma iMdoiehi piya pAvasaM dusahaM // 153 // 1 B virhikhiaa| 2 C aagi| 3 B khinniy| 4 BC degvsii| 5 C cir| 6Cpvisiyu| 7 B nAsti 'jaM'; Cj| 8Cjoiu| 9 A siMjANavi%B B sijANivi / 10 A B degghvi| 11 A tAma mi| 12 C bhnniyu| 13 B iu| 14 BC yuttaM / 15Csukalagga: B kulgg| 16 B ci| 17 BC diiy| 18A suracAya: B surcaaii| 19 A dis| 20 C degcchammaidevaehi / 21 A piu paausN| wwwwwwwwww [TippanakarUpA vyAkhyA ] [151] etaddodhakaM paThitvA, virahA''kulA jaataa| evam - amunA prakAreNa, mohaparavazA satI ciraM prasthito bhattA mayA svapne dRSTaH / iti vacanaM kathi(thayitvA karagrahaNapUrvakaM evaM pathiko bhaNitaH-evaM jJAtvA kare gRhItaH / satItvamiti sUcitam // 151 // [152] he dayita ! kiM sukulodgatAnAM idaM yuktam , yat taDataDaNatIvAyAM vidhuti ghanaghaTanameghazabdasaMkule I[6]ze [sa]maye dayitAM muktvA brajanti // 152 // [153] he priya ! prAvRTU-varSAkAlo dusshH| kaiH? meghamAlA-suracApendragopakaiH, AraktadazadigaprasAraiH- ityAdi meghAlaGkAraiH // 153 // ** * [avacUrikA] ----- [15] etaddodhakaM paThitvA virahakhedAlasayA'tikhinnayA mohaparavazayA svamAntare cirapravi. sa(vasi)taH priyo dRSTaH / upalakSya, kare gRhItvA, mayA evaM bhaNitaH // [152 ] he dayita ! kiM kulodbhavAnAmidaM yuktam , yattaDataDaNatIbAyAM vidyuti, ghanaghaTanameghazabdasaMkule IdRze samae(ye) dayitAM muktvA vrajanti / tanna yuktam // [153] he priya ! prAvRha duHsahaH / kainavameghamAlA-suracApendragopakaiH / kiMviziSTataiH ?dizi prasRtaiH / punaH kaiH 1-ghncchnncchnendubhiH||

Page #221
sandeza rAsaka [tRtIya prakrama 'rAyaruddha kaMThaggi viuddhI jaM sivaNi', kaha hauM kaha piu pattharaMgi jaM na muiya' khaNi / jaI NahuNiggau jIu pAvabaMdhihi jaDiu, __ hiyau na kiNa" kiri phuTau NaM vajihi ghaDiu // 154 Isarasari sAlUriva kuNaMtI karuNasari / ihu dohau mai paDhiyau* nisaha" pacchimapahari // 155 // jAmiNi jaM vayaNijja tua, taM tihuyaNi Nahu maaii"| dukkhihi hoi cauggaNI, jhijaI suhasaMgAI" // 156 // ___1B rj| 2 A degruddha / 3 C vibuddhii| 4 A sayaNi C sivinni| 5Cpiy| 6C ptthrggi|7 C muii| 8 C jN| 9 A gN| 10 C jiivu| 11 A kinni| 12 A kira; Ckri| 13A B saaluur| 14 A patthiu; B pddhiu| 15 Cnnisi| 16B vayaNujA C vynnj| 17 B maaiN| 18 C jhijau / 19 B C degsNgaaii| [TippanakarUpA vyAkhyA] [154] rAgaruddhakaNThAgrA svapne prabuddhya yadA pazyAmi, ka aham , ka priyaH ? tajjJAtvA yanna mRtA tanmanye prastarAGgI / yajIvo na nirgatastanmanye pApajaTitaH / yacca hi(ha)dayaM [na] sphuTitaM tanmanye vajraghaTitam // 154 // [155] ISat khareNa zAlUravat karuNaM kharaM kurvatI(tyA) eSa dodhako mayA paThitaH, rAtrau zeSavibhAge // 155 // [156] he yAmini ! yat tava vacanIyaM tat tribhuvane'pi na mAti / eSA rajanI durika(:khitA)nAM caturguNI bhavati / sukhasaGgame tat kSaNA[] vrajati // 156 // // varSAvarNanaM samAptam // ** * [avacUrikA] ---- [154] rAgaruddhakaNThAyA svame prabudhya' yadA'haM pazyAmi, ka aham , ka priyaH? (tad) jJAtvA yA mRtA, tanmanye prastarAGgI / yajIvo na nirgatastanmanye pApajaTitaH / yaca hRdayaM na sphuTitaM tanmanye vajraghaTitam // [155] Ibat svareNa zAlUravad - maNDUkavat karuNasvaraM kurvantyA nizaH pazcimAhare epa dodhako mayA paThitaH / / [156] he yAmini ! yat tava vacanIyaM tat tribhuvane'pi na mAti / duHkhe caturguNA bhavasi / sukhe [kSaNAt] tvaM kSIyase // varSAvarNanaM samAtam //

Page #222
sandeza rAsaka [ atha zaravarNanam / ] ima' bilavaMtI' kaha diNa pAiu, geu' giraMta paDhaMtaha pAiu / piyaaNurAI syaNiaM ramaNIyava', gijjai pahiya muNiya' aramaNIyava // 157 // madya 154 - 159 ] jAmiNi" gamiyai ima jaggaMtaha ", 14 pahiya piyAgami" asa" tagaMtaha" / gosuyaraMta" milhi sijjAsaNu, maNi sumaraMta" virahaNinnAsa // 158 // dakkhiNa" maggu niyaMtaha bhattihiM, 17 20 di " aitthirisiu" mai jhattihiM" / 22 muNiyau" su pAusu parigamiau, piu" paraesi rahiu hu* ramiau // 159 // 3 Bdi / 4 B geya / 5 A aNurAiya / 1 A iv| 2 B vilavata; C vilaMvaMta / 6 C rayaNi / 7 A ramaNiiva / 8 C muNiyadeg | 9 C gIyai | 10 B jAmiNI / 11 B jAgaMtahaM / 12 C piyaagm| 13 A aisa / 14 B tagatahaM | 15 C gosayaraMta / 16 A suraM / 17 B C dakSiNadeg / 18 C agatthi / 19 B risI / 20 C vittihi / 21 A muNiNu; C muNI / 22 B 'su' nAsti / 23 B nAsti 'piu' | 24 C naha / 65 [ TippanakarUpA vyAkhyA ] [ 157 ] atha zaradvarNanam - evaM vilapantyA gItaM rAgeNa gAyantyA, prAkRtaM paThantyA, varSAmAntadinaM samAptam / yasmin rajanI ramaNIkaiva gIyate sA rajanI mayA (mama) aramaNiriva - karapatrakamiva jAtA // 157 // [ 158 ] evaM priyAgamA sa ( rA ) yA jIvantyA gose = prabhAte zayyAsanaM muktavA virahanAzanaM priyaM smarantyA jAgrantyA (tyA) rAtrirgamitA // 158 // [159] patyAzritatvA [ d] dakSiNamArga bhaktyA pazyantyA agasti maharSirdvaSTaH / varSAkAlaM para (ri) gamitaM jJAtvA bharttA paradeze sthitaH paraM na ramitaH // 159 // ---- [ avacUrikA ] Cha Cha Cha Cha Cha [ 157 ] atha zarad evaM vilava (pa) ntyA gItaM rAgeNa gAyantyA, prAkRtaM paThantyA, varSAmAntadinaM prAptam / yasmin rajanI ramaNIkaiva gIyate sA rajanI mayA aramaNiriva - karapatramiva jAtA // [ 158 ] evaM priyAgamAzayA jIvantyA gose = prabhAte zayyAsanaM muktvA birahanAzanaM priyaM smarantyA jAgratyA rAtrirnirgamitA // [ 159 ] patyAzritatvAd dakSiNamArga bhaktyA pazyantyA agastimaharSirjhaTiti = zIghraM dRSTaH / zataM varSA parigamitA / paradeze sthitaH priyaH sa na ramitaH // saM0 9

Page #223
sandeza rAsaka [ratIya prakrama gaya vidaravi' valAhaya gayaNihi, maNahara rikkha paloiya rayaNihi / huyau vAsu chammayali phaNiMdaha, ___ phuriya junha nisi nimmalacaMdaha // 160 // sohai salilu sarihiM sayavattihi, vivihataraMga taraMgiNi jaMtihi / jaM haya hIya gimiNavasarayaha, __ taM puNa soha caDI Nava sarayaha // 161 // haMsihi kaMduTTihiM ghuTTivi rasu, kiyau kalayalu sumaNoharu surasu / ucchali bhuvaNa" bhariya sayavattihi~, gaya jalarilli paDilliya tithihi~ // 162 // 1A vivaravi; C vidhyurvi| 2 A piloiy| 3 C bAsa / 4 C chmmyl| 5C phuriU junhu / 6 C slil| 7 B sarahiM / 8 B gaMbhina; C gimhiNa / 9 A kaMduTTahi; C kuTiTihi / 10 A kiu / 11 C bhuvnni| 12 A rilla / [TippanakarUpA vyAkhyA ] [160] balAhakA gama(ga)nAd vidIrya gatA / rajanyAM manoharANi RkSANi pralokitAni / phaNIndrANAM pAtAle vAso yA(jA)taH / candrasya jyotsnA nirmalA jAtA // 160 // [161] zatapatraiH sarovareSu zasi(sali)lAni zobhante / taraGgiNISu gacchantastaraGgA[:] zobhante / yA ca navasarasAM grISmeNa so(zo)bhA hRtA sA zaradi caTitA // 161 // [162] haMsaiH kamalakandotkaNThitaiH teSAM rasaM pItvA manoharaH kalakala: kRtH| sa(za)tapatraiH bhuvanaM bhRtam / jalapravAhastIrthe svasthAne patitaH // 162 // ***** [avacUrikA] [160] balAhakA gaganA[d ] vidIrya gatAH / rajanyAM manohArINi RkSANi pralokitAni / phaNIndrANAM pAtAle vAso jAtaH / candrasya jyotsnA nirmalA sphuritA // [16] zatapatraiH sarovareSu salilAni zobhante / taraGgiNISu gacchantastarakAH zobhante / navasarasAM grISmeNa zobhA hRtA sA zaradi caTitA // [12] haMsaH kamalakandotkaNThitaisteSAM rasaM pItvA manoharakalakalaH kRtaH / zatapatrairbhuvanaM bhRtam / jalapravAhastIrthe svasthAne patitaH //

Page #224
paca 160-165] sandeza rAsaka dhavaliya dhavalasaMkhasaMkAsihaM, sohahi saraha tIra saMkAsihi / NimmalaNIrasarihiM pavahaMtihi~, __ taDa rehaMti vihaMgamapaMtihi~ // 163 // paDibiMba darasijjaI vimalihi, kaddamabhAru pamukkiu salilihiM / sahami Na kuMjasaddusarayAgami, marami marAlAgami" Nahu taggami // 164 // jhijjhau pahiya jalihi jhijhaMtihi, khijjau khajjoyahiM khajaMtihi / sArasa "sarasu rasahi~ kiM sArasi, maha" cira jiNNadukkhu kiM sArasi // 165 // 1A paDilleya / 2 A degsaMkAsai / 3 C tIri; B viiru| 4 B sNkaasiN| 5C rehaM vihagaM pNtihi| 6 C pddbiNb| 7 B drisiji| 8 B kddmu| 9C pmukku| 10 A degsadda / 11 B murAlAgami / 12 B taggAgami / 13 A khajjoihiM / 14 C sArasarasu; B sArasu pharasu / 15 A mai; B mm| 16 C 'dukkha; B dukkhaM jinna / mammmmmmmmmmmmmmmmmmmmmmmmmmmmm [TippanakarUpA vyAkhyA] [163] dhavalitasaMSa(zaMkha)saGkAzaiH sarasAM taTAH zobhante / nirmalanIrasarasA taTA vihaGgamapaGktibhirupavizadbhiH zobhante // 163 // [164] pratibimbodayo nirmalo dRzyate / salilaiH pAnIyaiH kardamabhArata pramukitaH (muktH)| zaradAgame kuAnAM pakSiNAM zabdo na zrUyate / tasyAgame kamalamRNAlA api gatAH // 164 // [165] sArasAH sarasaM rasanti / tadA mayoktam-he sArasi! mama cirajIrNaduHkhaM kiM sArayasi ? keSu satsu, jaleSu kSayatsu khadyoteSu dyotatsu // 165 // * [avacUrikA] KKRK [163] dhavalitadhavalazaGkasaMkAzaiH sadRkSaiH sarakAzaiH sarasAM taTAH zobhante / nirmalanIrasarasA taTA vihAmapatibhiH pravizatiH zobhante // [14] salilairvimalaiH pratibimbaM dRzyate / kardamamArazca mukH| krauJcazabda na sahAmi / marAlIgame'game ca marAmi // [15] sArasAH sarasaM rasanti / tadA mayoktaM-he sArasi ! mama jIrNadura ki bhAra. yasi / keSu sassu!-jaleSu kSayarasu sasu, sanoteSu motassu //

Page #225
sandeza rAsaka [tRtIya prakrama giTThara karuNu saddu maNamahi lava, _____ daDDhA mahila hoi gayamahilava / ima ikkikaha karuNa bhaNaMtaha, pahiya Na kui dhIravai khaNaMtaha // 166 // acchihi jiha sanniha ghara kaMtaya", __ racchihi" ramihi ti rAsu ramaMtaya" / / karivi siMgAru viviha AharaNihiM', cittavicittai taNupaMguraNihi // 167 // tilau" bhAlayali turakki tilakkivi, kuMkumi caMdaNi taNu caccaMkivi / soraMDahiM kari liyahi phiraMtihi", divvamaNoharu geu giraMtihi // 168 // - 1 A ksnnu| 2 C maha na mahiM lvu| 3 A daDhA; C dtttth| 4 B ikkakkaha, C ikkaMkaha / 5A nnu| 6 B kunnNthN| 7 B acchii; C acchy| 8 A sannihi; C sannaya / 9C pri| 10 A kNti| 11 A rcchi| 12 A rmhi| 13 A bhamaMtaya / 14 A krvi| 15 A aahrnnhi| 16 A paMguraNahi; B pNgurnni| 17 A tilu / 18 C turiki / 19 A soraDihi; C sorNddh| 20 B kiri| 21 B phirNthi| 22 B giratahi / [TippanakarUpA vyAkhyA] [166] he sArasi ! niSThuraM karuNazabdaM manomadhye lava / virahArtA strI tava zabdena gatamahola(tsa)vA bhvnti(ti)| evaM ekaM ekaM prati karuNazabdaM bhaNantyA, tathApi ko'pi na dhIrayati // 166 // [167] yAsAM strINAM saMnidhau gRhe kAntAH santi, rathyAsu rAsaM ramantyastAH ramanti / vividhanAnAprakAraiH si(za)GgAraM kRtvA ramanti / kaiH citravicitrazarIraprAvaraNaiH // 167 // *** [avacUrikA] ---- . [166] he sArasi ! niSThuraM karuNazabdaM manomadhye lava / virahArtA strI tava zabdena gatamaho. savA bhavati / evamekamekaM prati karuNazabda bhaNantyA, tathApi ko na dhIrayati // [167] yAsAM strINAM sannidhau gRhe kAntAH santi, tA rathyAsu rAsaM ramantyo bhramamti / vivi. bhAbharaNaiH jhAraM kRtvA, citravicitraistanupaGguraNairvastraizca //

Page #226
padya 166-170] sandeza rAsaka dhUva diti 'gurubhatti saittihi, ___ goAsaNihiM turaMgacalasthihi / taM joivi hau~ Niyaya uvvinniya', __Neya sahiya maha' icchA punniyaM // 169 // [yugmam ] tau pikkhiya disi ahiya vicittiya", ___NAya huAsaNi" jaNu pakkhittiya" / maNi pajjaliya viraha jhAlAvali, naMdaNi gAha bhaNiya" bhamarAvali // 170 // sakasAya Navanbhisa" suddhagale, dhayaraha-rahaMga rasaMti jle| ___1C gur| 2 C vlcchihiN| 3 A B hau / 4 B niyara; C niy| 5 C uvvinI / 6 Cnniy| 7 A hu| 8 A unniy| 9 C piyr| 10C vicitty| 11 B hutaasnni| 12 B pakhittaya / 13 B mnn| 14 AC nNdnn| 15 A gaahaa| 16 C bhaNI / 17 CNasavvisa; B Nasuvvisa / [TippanakarUpA vyAkhyA ] [168-169] gavAsane turaGgamasA(zA)lAsu nAryoM bhAlasthale tilakaM tIkSNaM kRtvA, kumacandanAbhyAM tanumarcayitvA, soraNDakaMkrIDAbhAjanaM kare kRtvA, divyaM gItaM gAyantyo gura(ru)bhaktisahitA dhUpaM dadanti / taM soraNDakaM dRSTvA udvignA jaataa| yato necchA pUrNA // 168-169 // [170] bhramarAvalyA eSA nandaNi gAthA bhaNitA / tadA adhikavicitrAM dizaM preSya(kSya) jAne ahaM hutAzane prakSiptA / kAbhiH prjvaalitmnovirhjvaalaabhiH||17|| * [avacUrikA] - . [164-169 ] gavAsane turaGgamazAlAsu nAryoM bhAlasthale tilakaM tIkSNaM kRtvA, kuhamacandanAbhyAM tanumarcayitvA, soraNDakaM =krIDAbhAjanaM [kare ] kRtvA, divyaM gItaM gAyantyo gurubhaktisahitA bhUpaM dadanti / taM soraNDakaM dRSTvA'hamudvignA jAtA / yato necchA pUrNA jAtA // [170 ] tato dizo'dhikavicitrA dRSTA, ahamevaM jAne hutAzane prakSitA / manasi birahA bAlAvaliH prajvalitA / tA nandinI gAthA bhramarAvalizca bhaNitA // "bhagaNA iha diNi chaMda dhuyaM, causahi vi mattaya saMThaviyaM / guru solasa tIsa duI lahuyaM, aThatAlisa akkhara bNdhniyN||

Page #227
sandeza rAsaka [tRtIya prakrama gayadaMti' camakkariNaM pavaraM, sarayAsari Nevara jhINasaraM // 171 // Asoe saraya mahAsarIe payakhalira veyaviyaDAe / sArasi rasiUNa saraM puNarutta ruyAviyA dukkhaM // 172 // sasijunha nisAsu susohiyayaM dhavalaM, varatuMgapayAra maNoharayaM amalaM / piyavajiya sinja lulaMta pamukkaraeM, jamakuTTa sariccha vahAragae sarae" // 173 // maana __1C gyditi| 2 A C sri| 3 A degsarIi; C siriiai| 4 C degkhaalir| 50 degviyaaddaae| 6 B ruyAviya; C ruyviyaa| 7 A sohiyayaM; C susohiyaM / 8 C pmukkhre| 9 B yama / 10 B vihaannie| 11 sure| [TippanakarUpA vyAkhyA ] 171] sakaSAyA sadvizA(1)svAdazuddhagalA dhRtarASTA rathAGgAzca jale rasanti / gati camatkArakAriNIM kurvanti / sa(za)raziyo manye nUpuraM kSINakharaM yathA vartate // 171 // nNdnnichndH| lakSaNaM yathA sagaNA iha naMdaNi chaMda dhuvaM, causaha vi matta gha saMThaviyaM / guru solasa tIsa duI lahuyaM, aThatAlisa akkhara baMdhaviyaM // [172] asva(zvi)ni mAse padaskhalitavegavikaTAsu mahAnadISu sArasena kharaM kRtvA dukhaHkhaM) yathA punaruktaM roditA // 172 // [173] zaratkAle zazijyotsnayA nisA(zA)su dhavalagRhANi varatuGgamAkArANi ca manoharANi jAtAni / tathaiva priyavarjitAyAM mayi zayyAyAM lulantyAM yamakuTTasahakSaM- antakaprahArasadRzaM yathA vihitam // 173 // __ - [avacUrikA] ------ [11] sakaSAyA navabhisya(?)svAdazuddhagalA dhRtarASTrAzca rathAGgAzca jale rasanti / gati camatkArakAriNI kurvanti / zaracchyio manye nUpuraM kSINakharaM yathA vartate // . [172] asvini (Azvine) mAse padaskhalitavena(ga)vikaTAsu mahAnadISu sArasena svara kRtvA duHkhaM yathA punaruktaM roditA // [173] zaratkAle zazijyotsnayA nizAsu dhavalagRhANi baratuaprAkArANi ca mamohasani kRtAni / tathaiva priyavarjitAyAM mavi zakhyAyAM lulitaM yamakuTTasAkSaM-mantakaprahArasahazaM yathA

Page #228
sandeza rAsaka acchihi' jiha' nArihiM nara ramirai', sohai saraha tIra' hi bhamiras | paNa 171-176 ] bAlaya' vara juvANa khillaMtaya, dIsai ghari ghari paDaha vajaMtaya // 174 // dAraya kuMDavAla taMDava kara ", bhamahi' raccha vAyaMtaya" suMdara " / 10 sohahi sijja taruNi" jaNasatthihi", ghara ghara ramaya reha palitthihi // 175 // ditiya" Nisi dIvAliya" dIvaya, Navasasirehasarisa kari lIaya" / maMDiya bhuvaNa taruNa joikkhihiM, 17 mahiliya" diti salAiya akkhihiM // 176 // 1 B atthihi; C acchai / 7 A dIsahi / 6 C bAlai / 11 A suMdari / 12 C taruNadeg 16 A divAlIya; C divAlaya | 16 [ TippanakarUpA vyAkhyA ] [ 174 ] atha kArtikavarNanam - yAsAM strINAM narA ramato (to) vartante, tAbhiH bhramantIbhiH sarasAM taTAH zobhante / kiM kurvantyaH - navayauvanAbhiH varabAlAbhiH krIDantyaH / pratigRhaM pratigRhaM paTahA vAdyamAnA dRzyante // 174 // 71 2 A B jh| 3 C ramiyai / 4 B tIra / 5 C tihi / 8 A kari / 9 C bhamihi; B bhramaha / 10 A vAyaMtA / 18B satthahi / 14 B palatthahi / 15 A diMtI / 17 A deg lIlaya; B karalIyaya / 18 A maliyali; B mahiya / / [ 175] dArakAH kuNDalaM kRtvA vAdayanta [:] rathyAsu bhramanti / taruNIjanAH sijjhA ( zayyA) yAM dvandvena so (zo) bhAM laha (bha) nte / gRhe gRhe naranAryo ramanti // 175 // Ling Ling Ling Ling Ling [ 176 ] nAryyaH dIpAn navaza zireSA (khA) sahakSAn kare gRhItvA nizi dadanti / tayotiSkaiH dIpaiH bhuvanAni maNDitAni / anyacca nAryyaH teSAM dIpAnAM kajjalaM zalAkayA kRtvA netreSu dadanti // 176 // [ avacUrikA ] Cha Cha Cha Cha [ 174 ] atha kArttika[varNanam ] - yAsAM strINAM narA ramanto vartante, tAbhirbhramantIbhiH sarasAM taTAH zobhante / bAlakA javana (yuvaka ) varAH krIDanto dRzyante / gRhe gRhe paTahA vAdyamAnA dRzyante // [ 175] dArakAH kuNDalaM kRtvA vaya (vAdaya) nto rathyAsu bhramanti / taruNIjana sArthe (baiM:) zayyA zobhate / gRhe gRhe pralipte rekhA ramyate // [ 176] nizi rAtrau dIpamAlikAyAM dIpAH pradIyante / navazazirekhAsahAdIpAH kare gRzante / taruNajyotiSairdIpairgRhaM maNDitam / iSTAJjanazalAkA akSiSu dadanti //

Page #229
72 sandeza rAsaka [tRtIya prakrama kasiNaMbarihiM vihAviha bhaMgihiM, kaDDiya kuDila aNegataraMgihiM / mayaNAhiNa mayavaTTa maNohara', __ cacciya cakkAvaTTa payohara // 177 // aMgi aMgi ghaNu ghusiNu vilattau, ___NaM kaMdappi sarihi visu khittau / sajiu "kusumabhAru sIsovari, NaM caMdava" kasiNa ghaNagovari // 178 // jhasuru kapUra bahulu muhi chuDau, NaM paJcUsihi diNapahu buddhau / rahasacchali" kIrai pAsAhaNa", vararaya kiMkiNIhiM sijjAsaNa" // 179 // 1B vihaaviy| 2 B annNge| 3 C mypttu| 4 C mnnohru| 5 B cakaviTTa / 6C pyohru| 7 A ghnn| 8 C kNdpph| 9 A sijjau / 10 BC kusm| 11 A caMduDu; C caMdatthu / 12 A kisaNa / 13 C jhsur| 14 A. kpuuru| 15 B bahalu; Cbhul| 16 C dinnph| 17 B rahasi; C rhsu| 18 C deghnnu| 19 C degsnnu| [TippanakarUpA vyAkhyA ] [177] nAnAvidhaiH kRSNAmbaraiH, tathA racitaghanavaranekavidha patravallarIbhiH triyaH so(zo)bhante / tathA mRganAbhinA cakrAvartI payodharau carcitau // 177 // [178] sarvAGge dhanaghusRNaM viliptam , manye kandarpaNa sa(za)reSu viSaM vikSa(kSi)tam / kusa(su)mabhAraH zIrSopari sajitaH, manye kRSNaghanagopure candrasyAsthAnaM jAtam // 178 // [179] nAgavallIdalAni karpUrabahulAni mukhe kSiptAni, manye pratyUSe raviH prabuddhaH / prasAdhanA raMhasocchalena kriyate / zayyAsane kiGkiNInAM vararavaH bhrUyate // 179 // * [avacUrikA] - : [177 ] nAnAvidhaiH kRSNAmbaraistathAracitadhanavaUranekavidhapatravallarIbhiH striyaH zobhante / mRganAbhinA madanapaTTa hRdayaM carcitam , tathA cakrAvattauM payodharau ca // [178] sarvAGgeSu ghanaghusaNaM liptam , manye kandarpaNa zareSu viSaM kSitam / kusumabhAraH zIrSopari sajitaH, manye kRSNaghanagopure candrasyAsthAnaM jAtam // .. [179 ] nAgavallIdalAni karpUrabahulAni mukhe kSiptAni, ahamevaM manye pratyUSe raviH prabuddhaH / prasAdhanA rahasocchalena chalyate, zayyAsane kiGkiNInAM vararavaH zrUyate //

Page #230
mA 174-182] sandeza rAsaka ima' kivi keli karahi saMpunniyaM', ___ mai puNu rayaNi gamiya uvvinniya / acchai ghari ghari gIu ravannau, ___ egu ikaTTha kaTTha maha dinnau // 18 // puNa piu samariu pahiya ! ciraggau, ___NiyamaNi jANi taha vi sUraggau / ghaNa' jalavAhu bahulla milheviNu, paDhiya aDilla mai vatthu tahevi Nu // 181 // Nisi paharaDu Neya NaMdIyaI', piyakaha jaMpirI "uNaMdIyai / raya" Nimisiddha aDu "NaM dIyai, viDI kAmatatti "NaM dIyai // 182 // 1Cimi| 2 C saMpunnihiM y| 3 C punni| 4 B nimvinniy| 5 Ciku vikaTTha / 6 C vitahaM / 7 B ghaNu jlu| 8 A bahala; C bhul| 9 C NidIvai / 10 B kahi C kh| 11C ynNdii| 12 C rii| 13-14 C nNdiiyi| wwwww www. [TippanakarUpA vyAkhyA ] [180] evaM kAzcana bhAgyavatyaH keliM kurvanti / mayA codvignayA raatrirgmitaa| gRhe gRhe zI(gI)taM pradhAnaM vartate / ekaM ca samagraM kaSTaM mama pradattam // 18 // [181] bho pathika ! bahalaM nayanAbhyAM jalapravAhaM muktvA mayA aDillabanna vastukacchando bhaNitaH / punaH punarapi taM pathikaM smRtvA nijamane(nasi) sUrodgama jJAtvA // 181 // [182] nisi(zi) praharArddhamapi na nidrIyate / priyakathAyAM jalpamAmAyAM avacUrikA] [180] evaM kAzcana bhAgyavatyaH keliM kurvanti / mayA codvignayA rAtrirgamitA| gRhe gRhe gItaM pradhAnaM vartate / ekaM ca samanaM kaSTaM mama pradattam // [181] he pathika ! punarapi cirapravasitaH priyaH smRto nijamanasi, tathaiva sUryodramaM jJAsvA dhanajalabAppAn bahUna muktvA mayA tadaiva 'nu' iti vit| aDillA vastukazca paThitaH / / [12] nizi praharArdhamapi na nidrIyate, priyakathAyAM japyamAnAyAM nA''nanyate, bhAtmA nemeSArdhamapi rataye na dIyate, kAmatamA viddhA na dIryate ? api tu vIryate // saM0 10

Page #231
74 sandeza rAsaka kiM tahi desi Nahu phuraI junha Nisi NimmalacaMdaha, aha kalarau na kuNaMti haMsa phalasevi raviMdaha / aha pAyau hu paDhai koi sulaliya puNa rAiNa, aha paMcau' hu kuNai koi kAvAliya' bhAiNa / mahamahai ahava paccUsi hu oNsasiu ghaNu" kusamabharu / aha muNiu pahiya" ! aNarasiu piu sarai samai ju na sarai gharu // 183 // ** 3 C kulau | 4A pAiu | 5 C sulalI / 1BC ki / 2 C kurahiM / 6 B rAyaNa / 7 C paMcamu / 10 A ghaNa | 8 A kAvAlIya; C kAvAliu / 9A bhAyaNa; C bhANiu / 12 C pahiu | 11 A muNau / [ TippanakarUpA vyAkhyA ] assnandyate / AtmA nimeSArddhamapi rataye na dIyate / kAmatasyA (tA) viddhA na dIryate / api tu dIryate // 182 // [ tRtIya prakrama [183 ] kiM tasmin deze jyotsnayA nirmalacandro na sphurati ?, atha kiM haMsAH aravindAn sevya kalakalAravaM na kurvanti ?, atha prAkRtakAvyaM sulalitaM sumanoharaM kazcinna paThati ?, atha kokilAH paJcamakharaM na kurvvanti ?, athavA pratyUSe ravipraphullita kusumabharo na mahamahati ? | atha mayA jJAtaM pathikena sari(zara) t-samaye 'yad gRhaM na smari (smRtaM [ta ] darasiko - rasavettA netyarthaH // 183 // // sari (zara) dvarNanaM samAptam // --- [ avacUrikA ] Cha Wei [ 183 ] he pathika ! kiM tasmin deze candrajyotsnA nizi rAtrau nirmalA kiM na sphurati ?, atha tasmin deze'ravindAnAM phalasevino rAjahaMsAH kalaravaM na kurvanti ?, athavA sulalitabhASayA prAkRtaM ko'pi na bhaNati ?, atha kApAlika ! priyabhAvena paJcamarAgaM ko'pi na karoti ?, atha pratyUSe ucchrasita-vikasvaraghanakusumabharo na parimalAyate ?, athaivam jJAtaM he pathika ! priyo nIraso yaH zaratkAle gRhasya (haM) na smarati // iti zaradvarNanam //

Page #232
padya 183-185] sandeza rAsaka [atha hemantavarNanam / ] surahigaMdhu' ramaNIu sarau ima' voliyau, pAvAsuya aidhiDhi Na khali gharu saMbhariu / ima acchau~ jaM karuNa mayaNapaDibhinnasari, ___ avaloiya dhavalahara seyatussArabhari' // 184 // jaliu pahiya savvaMgu virahaaggiNa" taDayaDavi, sara pamukta kaMdappa dappi" dhaNu kaDayaDavi / taM sijahi dukkhiji" Na Ayau cittaharu, ___paramaMDalu hiMDaMtu kavAliu khalu sabaru // 185 // taha" kaMkhiri aNiyatti NiyaMtI disi pasaru, __ lai Dhukkau kosilliM" himaMtu tusAra bharu / ___1B deggaMdhi / 2 A ravaNIu / 3 C mi| 4 B degdhitttt| 5 C vli| 6 B acchai / 7 CdegkussAbhari / 8 B pahiu / 9 C svvNgi| 10 A hvikdd| 11 B kaMdappi dappi; C kaMdappihiM / 12 C jN| 13 B sijahi; C sijaha / 14 C dudukkhij| 15 C degmNddl| 16 B khru| 17 ANaha / 18 B kaMkhira / 19 C dis| 20 C Dhakuu / 21 B kAsilli; VAAAAAAAAAAAAAAAnanne.. Ckosill| 22C tusAru / [TippanakarUpA vyAkhyA ] [184] atha hemantavarNanam -surabhigandharamaNIkA sa(zaradevaM vyatikrAntA / pathika! paraM atidhRSTena patyA gRhaM na smRtam / evaM karuNayA madanasa(za)rapratibhinnayA mayA dhavalagRhANi tuSArabharakhe(zve)tAni dRSTAni // 184 // [185] he pathika ! virahAgninA taDataDeti za(sa)zabdaM yathA sarvAGgaM prajvAlitam / kandarpaNa dhanuSA kaDakaDamiti za(sa)zabdaM yathA zarAH pramuktAH / tataH zayyAyAM duHkhArtA yAtA / yato manoharaH zabaro nirddharmaH paramaNDale bhraman kApAliko naagtH||185|| [186] tathA ca utkaNThitA anivRttaM dizipa(pra)saraM pazyantI vartate / tadaiva * [bhavacUrikA] KAKK [184] atha hemantavarNanam - surabhigandharavaNIkA(ramaNIyA) zaradevaM vyatikrAntA / pathika ! ma(a)tidhiSThe(ghaSTe)na patinA gRhaM na smRtam , evaM karuNayA madanazarapratibhinnayA dhavalagRhANi tuSArabharazvetAni dRSTAni // [185] he pathika ! virahAgninA taDataDeti zabdaM yathA sarvAGga jvAlitam / kandarpaNa dhanuSA kaDagraDa iti zabdaM yathA zarAH pramuktAH / tataH zayyAyAM duHkhArtIya nAya te (1) manoharaH sa(za)baro nirdharmaH paramaNDale bhramana kApAliko naagtH|| [186] tathA ca nAthotkaNThitA anivRttaM-nirantaraM diziprasaraM pazyantI vartate / tadaiva hemantaH

Page #233
76 sandeza rAsaka huiya' aNAyara sIyala bhuvaNihi pahiya jala', UsAriya' sattharahu sayala kaMduTTadala || 186 // seraMdhihiM ghaNasAru Na caMdaNu pIsiyai, aharakaolAlaMkaraNi' mayaNu saMmIsiyai / sIiMDihiM' vajjiyau ghusiNu taNi leviyai, " caMpaela miyaNAhiNa" sarisau seviyaI " // 187 // 10 13 hu daliyas kappUrasarisu " jAIhalaha ", dijjai kevaivAsu Na payaDau phophalaha / bhuvaNupparu" pariharavi" pasuppara jAmiNihi, 18 uyArai" pallaMgha" vicchAiya" kAmiNihi // 188 // 15 4 C degsAra / 5 A caMdaNa / 10 C lAiyaI / B 1 B huI 6 ACdeglaM kihiM | 11 B mayadeg / 12 C seviyau / 13 B kappUru sarasu / 14 C halahi / 15 A Nuppara; B | 16 A harivi / 17 A uyArahi / 18 B palaMdhi; C pllNg| 19 B vicchAiyai / 2 A jalu / 3 B osArahu sattharai / 7 A sIhaMDaha / 8 C vajiu / [ tRtIya prakrama [ TippanakarUpA vyAkhyA ] hemantaH tuSArabharaM gRhItvA kuzalena prAptaH / bhuvane anAdarasI (zI) talAni [jalAni ] jAtAni / sakalakamaladalAni zra (sra) starAdApsA (depasA) ritAni // 186 // [ 187 ] sairandhrIbhiH ghanasAraM candanaM ca na pISyate / adharakapolAlaGkaraNe madanaM saMmizrayate / zrIkhaNDavarjitaM ghusRNaM- kuGkumaM tanau lepyate / campakatailaM mRganAbhinA samaM sevyate // 187 // [188] yasmin ri (R) tau karpUradaloM dvidhA na kR (kri ) yate / sujAtya kadalyo( lyutpannatvAt / prakaTaH phophaleSu ketakI kuza (su) madalavAso na dIyate / bhu (bha) vano paristhitamAvAsaM tyajyate / tathA yAminISu - rAtriSu kAminIbhiH AcchAditasthAneSu prasupyate // 188 // [ avacUrikA ] Dong Dong Dong gurrat sada mevA DuDhauke = DhaukayAmAsa - prAptaH / bhuvane zItalAni jalAnmanAdarANi jAtAni / sakalAni kamaladalAni srastarAd dUrIkRtAni // Ge Ge Ben [ 187 ] sairandhrIbhirdhanasAraM candanaM ca ma pISyate / adharakapolAkaGkaraNe madanaM saMmizrayate / zrIkhaNDavarjitaM sRNaM kuGkumaM tanau lepyate / campakatailaM mRganAbhinA samaM sevyate // 1 [ 188] jAtIphalena samaM karpUro na lipyate / pUgIphalAnAM ketakIvAsaH prakaTaM na dIyate / bhavopari vibhAgaM parihRtya yAminISu upavarake supyate kAminIbhiH, palyakA bistAryante //

Page #234
77. patha 186-190] sandeza rAsaka dhUijjaI taha agaru ghusiNu taNi lAiyai, gADhau nivaDAliMgaNu aMgi suhAiyai / annaha divasaha sannihi aMgulamatta huya, ___ mahu ikkaha pari pahiya Nivehiya bamhajuya // 189 // vilavaMtI alahaMta niMda nisi dIharihi / paDhiya" vatthu taha paMthiya "ikkalliya parihi // 19 // dIhausAsihi dIharayaNi maha" gaiya" Nirakkhara, ___ AI" Na Niya NiMda tujha suyaraMtiya takkhara / aMgihiM tuha alahaMta ghiTTa karayalapharisu, ___ saMsosiu taNu himiNa hAma hemaha sarisu / ___ 1 A cuji| 2 B nAsti; C bhu| 3 C tnnu| 4 B gaaddhaa| 5 C aNgu| 6 B anndivs| 7 B saMnihiya suaN| 8 C aNgulimitt| 9 C alhti| 10 B dIharahi; C diihrh| 11 B pddhiu| 12 C thiN| 13 A ikallI; C ikkliy| 14 C nahu / 15 B gaIya; C gii| 16 A Cdegkkhru| 17 B aaii| 18 A suyarataya; C samaraMtaha / 19 C tkru| 20 B tuya; C tua / 21 A degpharasu / 22 C sNsou| 23 C himaNa / [TippanakarUpA vyAkhyA ] [189] agaruM dhUpyate, ghusaNaM tanau lepyate, gADhAliGganamateSu sukhAyate / anna(nya)divasapramANe[na] te divasA anggulimaatraa:-stokmaatraaH| bhamaikasyAH paraM varSANAM brahmayugma(ga)miti niviSTaM manye // 189 // 190] mayA virahe vilapantyA dIrgharAtrI nidrAM alabhantyA dIrghocchAsaiH eSA vastuH ptthitaa| bho pathika ! gRhe ekAkinI nivasati // 190 // [191] he nirakSara ! dIrghosnakhA(SNazvA)saiH dIrghA rajanyo gtaaH| he taskara ! nirdaya ! tvAM smarantyA nidrA nAgatA / he dhRSTa ! aGgeSu tava karasparza alabhantyA * [avacUrikA] ----- [ 189] agaraM dhUbhyate, ghusUrNa tanau lipyate, gADhAliGganamaGgeSu sukhAyate / atra (nya) divasapramANairete divasA aGgulimAtrA:- stokamAtrAH / mamaikasyAH paraM varSANAM brahmayugamiti niviSTaM manye // [190] he pathika ! gRha ekAkinyA vilapantyA midAmalabhantyA nizi dIrghataraM vastukaH ptthitH|| [191] he nirakSara ! dIrghoSNazvAsairdIdhI rajanyo gatAH / he taskara ! nirdaya ! tvAM smarantyA nidrA mAgatA / he sRSTa! bhaneSu taka karasparzamalabhantyA mamA haimantena dhAnnA hemasadRkSaM

Page #235
sandeza rAsaka [tRtIya prakrama hemaMti kaMta' vilavaMtiyaha', jai paluTTi nAsAsihasi / taM taiya mukkha khala pAI mai, muiya vija kiM Avihasi // 191 // [atha ziziravarNanam / / ima kaTThihiM mai gamiu' pahiya hemaMtariu, __ sisiru pahuttau dhuttu NAhu dUraMtariu / uTThiu jhakhaDu" gayaNi kharapharasu pavaNi haya, tiNi sUDiya jhaDi kari asesa tahi truy"gy||192|| chAya phulla phala rahiya aseviya" sauNiyaNa', timiraMtariya disA ya tuhiNa dhUiNa" bhariNa / ___ 1 AC kNti| 2 C vlvNti| 3 C pddilu| 4 B tiiyu| 5 C pai / 6 B muIya avi| 7 B gamiya / 8 C pahuttu / 9C dhattu / 10 B C udviya / 11 C jhakhaDA / 12 A pavaNakharapharasu; B degphrs| 13 B nAsti 'jhddi'| 14 A taha / 15 B rUya gaya; C taru gy| 16 C phullh| 17 B asesiy| 18 B C ynni| 19 AC timare / 20 B vitthriy| 21 B dhUyaNa, C dhUiNi / 22 C bhariNi / [TippanakarUpA vyAkhyA ] bhamAjhaM hemantena dhAnnA hemaza(sa)dRkSaM zoSitam / he kAnta! hemante vilapantIM mAM vyAghuTya yadi nAzvAsayasi, tarhi-tasmAt kAraNAt, he mUrkha ! bho pApin ! mayi mRtAyAM ava(Ave)dyA''gatya kiM krissyti(si)?|| 191 // hemantavarNanaM samAptam // [192] atha ziziram - jhakhaDaM-jhuMDayAlaM gagane kharaM-raudraM paruSa-viprI(parI)taM utthitaM dRSTvA pvnaahtltaavjaataa| tena jha[kha]Dena azeSa-samastaM rUpaM gatam / bho pathika! evaM mayA hemntri(k)turnirgmitaa| adhunA ziziraH-sI(zI)takAlaH praaptH| sa dhUrto nAthaH duuraantritH|| 192 // [193] ase ze)SAH-samastAH zakunAH-pakSiNo vRkSacchAyAphalAni samA* [avacUrikA] -RAKAR zoSitam / he kAnta ! evaM hemante vilapantIM mAM vyAdhuvya yadi nA''zvAsayasi tarhi - tasmAt kAraNAd he mUrkha ! khala! pApin ! mayi mRtAyAmAvi(ve)dya Agatya kiM kariSyasi ? // // hemantavarNanaM samAptam // [192] atha ziziravarNanam - he pathika ! evaM mayA hemantartuH kaSTena nirgamitA / tAvat ziziraH prAptaH / dhUrtanAtho dUrAntaritaH / kharaparuSapavanAhato gagane sakhaDo mahAvAta utthitaH / tena sUDitAH santaH azeSAstaravaH patrANi muktvA gatAH-sthitAH // [193 ] chAyApuSpaphalarahitAH kevalaM zakunigaNarahitA vRkSA jAtAH / dizastuhinena dhUmrabhareNa

Page #236
79 padya 191-195] sandeza rAsaka magga bhagga paMthiyaha Na pavasihi himaDariNa, ___ ujjANahaM DhaMkhara ia sosiya kusumavaNa // 193 // taruNihi kaMta pamukkiya Niya kelIharihi, sisira bhaiNa kiu jalaNu saraNu" aggIharihi / AvANiya kelIrasu abhitarabhuyaNa", ujjANaha dummihi vi" Na kIrai kivi" sayaNa // 19 // mattamukka saMThaviu vivahagaMdhakkarisu, pijjai addhAvaTTau rasiyahi ikkharasu / kuMdacautthi varacchaNi pINunnayathaNiya, Niyasatthari paluTaMti kevi sImaMtiNiya" // 195 // 1 B paMthiha nn| 2 A pavasehi; C pvisiyh| 3 A himajhariNa; C degkrinn| 4 B C kusm| 5 B taruNiya / 6 A pamukkIya / 7 C sasira / 8 A bhAiNau / 9 C kiyau / 10 A jaNu; B naasti| 11 CsaraNa jlnnu| 12 CuvbhuNjhi| 13 B keliihrsu| 14 C bhuvaNa / 15 B C nAsti 'vi' / 16 A kIrahi / 17 C kavi / 18 BC majamukcha / 19 B saMvariu: CsNtthviyu| 20A gaMdhakarasu; kresu| 21 A. rasiyaha: C rasiyahiya / 22 A ikkhu| 23 Bcauttha / 24B vrsthinni| 25A satthara: B patthari 26 C lolNti| 27 C saMmaMtaNiya / [TippanakarUpA vyAkhyA] zritya sthitAH / timiro'ndhakAraH, tuhinavyAptaH- vyApya sthitaH / sI(zI)tabhayena pathikA mArge na pravi(va)santi / yasmin samaye kusumavanAni zoSitAni / prathamapadaM vRkSavizeSaNam / udyAnavRkSANi DhaGkharavajAtAni // 193 // [194] kadalIgRheSu kAntAn muktvA kAntA himabhayenAgnizaraNaM zrayante / bhu(bhavanamadhye upavarake kelirasamupabhuJjante / ke'pi codyAnabhavaneSu na khapanti // 194 // [195] mAtrAmuktaH-adhiko gandhotkarSaH saMsthApito rasikairikSurasaH ardhA** [avacUrikA] KAKK ca timireNa cAntaritA jAtAH / pathikAnAM mArgA bhagnAH, himabhayAnna pracalanti / udyAneSu gatakusumA vRkSA DhalaravajAtAH // [194] kelIgRheSu kAntAn muktvA kAntA himabhayenAgniM zaraNaM zrayante / bhavanamadhye'pavarake kelirasamupabhuJjante / ke'pi codyAnadrumeSu na svapanti / [195] mAtrAmuktaH-madhiko gandhotkarSo vividhasaMsthApito rasikairikSuraso'rdhAvataH piiyte|

Page #237
80 sandeza rAsaka kevi diti' riuNAhaha utpattihi diNihi', Niyavallaha kara keli jaMti sijjAsaNihi / itthaMtari purNa pahiya sijja ikkalliyai, 10 piu' pesiu maNa' dUau pimmagahilliya " // 196 // 13 mai jANiu piu ANi " majjha saMtosihai", hu muNi khalu dhi so vi mahu milhiha " / piu NAviu " ihu" dUu gahivi tattha vi rahiu ", saccu" hiyau mahu" dukkha bhAri pUriu ahiu // 197 // 4B kari / 5 A degsiNihi / 19 10 A gahillayai / 15 A iha / 1 B daMti / 2 B C diNihiM / 3 A ballihi / 6 B puNi / 7 A pia pesia / 8 B maNu / 9 B dUhaDa; C dUyai / 11 B nAsti ' ANi ' / 12 C deg siyai | 13 C mildahai / 14 B nAiu | 16 C rAu | 17 C savvu / 18 A maha; C mau | 19 C dukhu / 1 [ TippanakarUpA vyAkhyA ] vartta [:] pIyate / kuntacaturthyAM pravaroccha (tsa) ve kAzcana sImantinyaH pInonnatastanyo nija (kha) stare lolanti // 195 // [ tRtIya prakrama [196] kAzcana ri (RtunAtha vasantotpattidine = mAghasudipaJcamyAM dadanti dAnam / nijavallabhena samaM kelyarthe zayyAyAM jA (yA) nti / asmin samaye ekAkinyA premathilA mayA manodUtaH patiM prati prahitaH // 196 // [197 ] mayA jJAtaM priyatamo (maM) santoSayisya (vya ) ti / tena dhRSTena khalu - nizcayena na jJAtaH yanmAM ujjhasyati ( ? ) / priyatamo nAgataH / eSa manodUtaH gRhItvA tatraiva sthitaH / etat satyaM mama hi (ha) dayo (yaM) dukkha (kha) pUrito (taM) jAtaH (tam // 197 // [ avacUrikA ] kundacaturthyAM varakSaNe kAzcana; vyAkhyAnAntaram - kundacaturthyAM pravaroccha (rasa) ve kAzcana sImantinyaH pInastanyo nijasrastare lolanti // Tun Ge Ge Gong [196] kAzcana rita (Rtu ) nAtha- vasantotpattidine = mAghasudipaJcamyAM dadati dAnam / nijavallabhena samaM kelyarthe zayyAyAM yAnti / asminnekAkinyA premaprathilayA [ mayA ] manodUta: patiM prati prahitaH // Dong Dong Dong Dong Dong [ 197 ] he pathika ! mayA jJAtam - eSa manodUtaH priyamAnIya mAM santoSayiSyati / mayA na jJAtameSa khalo STo manodUto mAmapi mokSyati / priyo nAgataH, enaM hR ( dU) taM gRhItvA tatraiba sthitaH / parametat satyaM mama hRdayaM duHkhabhAreNAdhikaM pUritam //

Page #238
padya 196-199 ] sandeza rAsaka Du mUlu piasaMgi lAhu icchaMtiyai, TTu NiNi pahiya jaM paDhiu' vatthu vilavaMtiyai // 198 // [ arddham ] mai ghaNuM dukkhu sahappi muNatriM maNu pesiu dUau', NAhu Na ANiu' teNa su puNu tatthava " raya" hUau / ema" bhamaMtaha" sunnahiyaya" jaM syaNi vihANiya", 12 * 18 aNirai" kIyai kammi avasu maNi pacchuttANiya" / 18 20 21 mai dinnu" hi hu pattu" piu, huI uvama ihu" kahu kavaNa " / siMgatthi gaiya" uvADayaNi, pikkha" harAviya Nia savaNa // 199 // 81 2 A ghaNa / 3A dukkha; B dukhkha / 4B muNivi / 1 A paDhiya / 5 B pesiya; C pesiyau / 6 C dUa / 7 A B Ayiu / 8 B teNi / 9AC pnnu| 10 C vi / 11 AC raI / 12 A eva / 13 C bhavaMtaha | 14 B sunnyri| 15 A bihANIya / 16 B aNarui; C aNurai / 17 B pacchittANIya; C pachotANiya / 18 A dinna / 19 A pattu B pitu| 20A hui ayi yavattha mai kahu; B huI ya uiva mai kahu / 21 B kavaNu / 22 B gaIya; C gii| 23 B pikkhaNa AharAviya / 1 [ TippanakarUpA vyAkhyA ] [198] priyasaGgamamIpsantyA mUlo naSTaH / tena etadvacaH zrutvA pathikena vilapantIM dRSTvA vastukaH paThitaH // 198 // [199] nijaghanaduHkhaM jJAtvA mano nAthaM prati prahitaH / nAthastena nAnItaM (taH) / so'pi tatraiva ratirjAtaH / evaM sU (zU) nyahRdayaM yathA bhramantyA rajanI vibhAtA / anirUpitaM kAryam / ato'vazyaM manasi pazcAttApo jAtaH / mayA hi (ha) dayaM dattaM paraM priyo na prAptaH / eSopamA kathaya kena samam ? tadAha - zRGgArtha gardabhI gatA, pazya zravaNa hAritau // 199 // ziziravarNanaM samAptam // Ben --- [ avacUrikA ] Dong Dong Dong Dong Dong [ 198 ] priyasaGgamalAbhamicchantyA mama mUlaM naSTam / he pathika ! zRNu yad vastuko vilapantyA paThitaH // [29 ] nijaghanaM duHkhaM jJAvA [mano ] nAthaM prati prahitaH / nAthastena nAnItaH, so'pi tatraiva rato yAtaH / evaM zUnyahRdayaM yathA bhramantyA rajanI vibhAtA / anirUpitaM kAryaM [ kRtam ] | rasasi manasi pazcAttApo jAtaH / mayA hRdayaM dattaM paraM priyo na prAptaH / eSopamA kathaya kena samam ? tadAha- zUjArthe gardabhI gatA, pazya zravaNau hAritau // iti ziziravarNanam // saM0 11

Page #239
82 sandeza rAsaka [ atha vasantavarNanam / ] gayau sisiru' vaNatirNa dahaMtu, mahu mAsu maNoharu ittha pattu / girimalayasamIraNu Niru saraMtu, mayaNaggi' viuyaha viSphuraMtu // 200 // 6 saM kevaI" jaNai suhaM viAsu, viasaMtu vanna daha disAsu / [ tRtIya prakrama navakusumapatta huya vivihavesi, 10 ai' rehai Navasaras" visesi // 209 // bahu viviharAi " ghaNa maNaharehi ", siyasAvarattapuSpaMvarehi / paMguraNihiM cacci taNu vicittu, 13 mili sahIyahi geu giraMti Nittu // 202 // 1 A sasiru / 2 C 'ti / 3B maiNigga / 4 C viuiya / 5 A phuraMtu / 6 B saMkovai / 7 C vi haMsaMtu / 8 B C dasa / 9A ai | 10 A saraai / 11 A viharAi; C viviharAya / 12 B hresi| 13 C caviu / 14 A giraMtu / [ TippanakarUpA vyAkhyA ] [200 ] atha vasantavarNanam - ziziro gataH, madhumAsaH prAptaH / viyoginI madanAgniM visphorayan nitarAM malayAcalasamIraNo vavaiau // 200 // [201] saMkupitajanasu (?) vikAzaH (saH) vikasvaro dazadiggabhAgasu (geSu) vasanto 'vatIrNaH / yasmin samAgamane nautana kusa (su) mapatrAH vividhanAnAprakArarUpAH / sanavarucivizeSe [Na] atyantaM bhAti // 209 // [202] sakhIbhirmilitvA nityaM gItaM gAyantIbhistana (nuM ) bahubhiH, yathA [ avacUrikA ] Dong Dong Dong Dong Dong [ 200 ] atha vasantavarNanam - ziziro gataH, madhumAsaH prAptaH / visphuran nitarAM malayAcalasamIraNo vAti // Ge Ge Tun Tai [ 201] saM= samyak ketakI zubhaM vikAsaM jaNati = utpAdayati / pAThAntaram - he pathika ! yo vasanto janasya tanuM saMkocayati, prakaTaM sukhaM janayati / dazasu dikSu ramyaH - vihasan ramyo jAtaH / navakusumAni patrANi ca vividhaveSANi jAtAni / rativizeSeNa navasarAMspatitarAM zobhante // [ 202 ] sakhIbhirmilitvA nityaM gItaM gAyantIbhiH tanurbahu yathA carcitaH (tA) / kena ? vividharAgeNa / punaH kaiH ? - zveta sarva raktapuSpAmbarairdhanamanoharaiH paGkuraNaizca // - viyoginAM madanAbhiM

Page #240
padma 200 - 204 ] sandeza rAsaka maha' hi aMgi bahu gaMdhamou, NaM taraNi pamukkau sisira sou / taM pakha mai majjhahi' sahINa', 8 laMkoDau paDhiyau' navavallI // 203 // gayau gimhu " aidusahu varisu uvvinniyai, 10 sarau gayau aikaTTi himaMtu pavanniyai / sisira phara vullINu" kahava rovaMtiyai ", 12 dukkaru gamiyai ehu NAhu sumaraMtiyai // 204 // tarhijjas navakisalayakarehiM", mahumAsa" lacchi NaM taruvarehiM" / 3 15 2 A taruNi / 3 B pamukti / 4 AB sasira / 5A majjhaha; 1 B mama / C majhihi / 6 A sahIya / 7 A C paDhiu / 8 A Navavahuya; B ballahIya / 9A giMbhu / 10 A nAsti 'a' / 11 C sisiru | 12 B villINu; C vallINu / 13 + A Adarza nopalabhyate padyamidam | 14 B karahi / 15 B mAsu / A rovaMtiyaha / 16 B takkharehiM / [ TippanakarUpA vyAkhyA ] carcitam / kena ? - vividharAgena (Na) / punaH kaizcit ? - sarvaraktapuSpAmbaraiH ghanamanoharaiH paGkuraNaizca // 202 // [203] bahu yathA gandhAmodo mahamahitaH / manye taru (ra) NinA - sUryeNa zizirazokastyaktaH / pAThatraya [ : ] pura (ru) SahitAbhiH taruNIbhiH - strIbhiH / taM prekSa(kSya) vallabhAnAM sakhInAM madhye laMkoTakaH paThitaH // 203 // [204] atidussa ho grISmo nirgamitaH / varSA ca udvignayA nirgamitA / mama kathamapi mahatA kaSTena zizirasparzaH zIturituH ('tartuH ) rova (ruda ) tyA gataH / duraka(:kha) karo nAthaM smaran eSo nirgamitaH / pativiyogatvAt // 204 // Jiao Duo [ avacUrikA ] [ 203 ] bahu yathA gandhAmodo mahamahitaH / manye taraNinA- sUryeNa zizirazokastyaktaH / pAThazrayaH / puruSahitAbhistaruNIbhiH - strIbhiH / taM prekSya, vallabhInAM sakhInAM madhye mayA laGkoDaka : paThitaH // 83 Cha Hui Ge [ 204 ] atiduHsaho grISmo nirgamitaH / varSA codvimayA nirgamitA / zaradatikaSTena gatA / hemantaH prapazaH - prAptaH / ziziraH pharasa (sparza) kaThino bolInaH / kathamapi rudantyaiSa duHkhakaro nAthaM sArakhyA gamitaH //

Page #241
84 te | sandeza rAsaka ruNajhuNa karehi vaNi bhamaru chuddha, kevayakalIhi 'rasagaMdhaluddha // 205 // vijyaMti paruppara taru lihaMti, kaMTagga' tikkha te 'hu gaNaMti / taNu dijjai rasiyaha rasaha lohi', hu pAu gaNijjai' pimmamohi // 206 // mahu pikkhivi viMbhiu' maNihi" hUu, 1 B RNu RNu / 7 C loi / pajjalaMta virahagga tivva jhAlAulaM, mayaraddhau vi gajjaMtu "lahari ghaNa bhAulaM / sahavi dusaduttara" vicarijjai" sabbhayaM ", 12 C ramaNija / duttaru / 13 suNa pahiya kahiu vaNija" rUu" // 207 // [ arddham ] * 2 B bhamara / 3B rasi / 4 A parupara / 5 C kaMTariMga / 6 A hu 8 C giNajai / 9B viMbhau / 10 B maha | 11 A. gfor 13C14A mayaraddhaNi / 15 B lahari gajjaMti ghnn| 16 B 17 A viraijjai; C vivarijai / 18 A sabbhaya / [ tRtIya prakrama 16 ha ha kavi duggu vaNijjai NibbhayaM // 208 // TippanakarUpA vyAkhyA ] [205 ] nanu vitarke - taruvarairnavakisalayakaraiH madhumAsalakSmIruhyate sma / vane vane bhramarAH ruNuruNAyate, ketakI kalikArasagandhalubdhAH // 205 // [206 ] parasparaM militaiH kaNTakairvidhyante, paraM tathApi madhuliho madhu lihanti / kaNTakAgrANi tIkSNAni na gaNayanti / rasalobhena rasikAnAM zarIraM dIyate / natu pAyaM ( pApaM na ganya (Nya) te snehamohibhiH puruSaiH // 206 // [207] etaccaritaM dRSTvA manasi vismayo babhUva / etat zrutvA pathikena ramaNIkarUpaH kathitaH // 207 // Ge Ge Ge Zi [208] makaradhvajo'pi ghanaM yathA bhA-Akulam, yathA prajvaladvirahAgnitIvra jvAlAkIrNa yathA garjan varttate / dustaraM dussahaM yathA viSahya sabhayaM yathA [ avacUrikA ] Dong Dong Dong Dong [206] ketakInAM parasparaM militaiH kaNTakairvidhyante, paraM- tathApi madhuliho madhu lihanti, kaNTakAprANi tIkSNAni [na] gaNayanti / tanU rasikebhyo rasalobhena dIyate, premamohena pApo na gaNyate // [ 207 ] madhu prekSya manasi vismayo jAtaH / he pathika ! zRNu ravanIka ( ramaNIka ) rUpaM kathitam // [208] prajvalantavirahAbhistInajvAlAkule makaradhvajo'pi garjan, laharIghananiSiDa

Page #242
patha 205 - 210 ] sandeza rAsaka kiMsuyaI' kasiNa' ghaNarattavAsa, paJcakkha palAsa' dhuya palAsa / savi dusaha hUya pahaMjaNeNa', saMjaNiu asuhu vi' suhaMjaNeNa // 209 // nivaDaMta reNu " dharapiMjarIhi, ahiyayara taviya "NavamaMjarIhi / 13 14 maru siyalu" vAi" mahi sIyalaMtu, 15 hu jaNa " sIu NaM khivai taMtu // 210 // jasu nAmu alikkau kahai lou, hu harai khaNaDu asou sou / 1 B kiMsavai; C kiMsuvai / 6 A huya / 7 A pabhaMjaNeNa / 11 B C reNa / 12 BNaya / 2 A kasaNa | 3 C palAsaya / 4 A 8 C dusahu / 9 'vi' nAsti B C 18 B sIyala / 14 C vaay| 15 [ TippanakarUpA vyAkhyA ] sthIyate mayA / paraM cintayAmi mama snehena apIDitaH, durge- stambhatIrthe nirbhayaM yathA sa matpriyaH vANijyaM karoti / athavA ramaNIkarUpacchandaH rAsakasyaiva jAtiH // 208 // [209] kiMsu (zu) kaM puSpaM kRzna (SNa ) ghanaraktavarSAsadRzaM jAtam / ato manye palAsaH (zaH) pratta (tyakSa eva palAsaH (zaH ) - rAkSasaH / sarva prabhaJjanena dussaha jAtam / suiMjanenAsukhaM janitam // 209 // Ling Ling Ling . [210] navamaJjarIbhirnipatadreNunA dharA piJjaritAbhiradhikataraM tApitA / marucchItalo mahIM sI (zI) talayan vAti / paraM sI (zI) taM na janayati / manye kiM tu tApaM kSipati // 210 // 85 dhui / 5 B dussaha / 10 C sohaMjaNeNa / B jaNaya NaM khivadeg / [ avacUrikA ] prabhAkAnyAkule duHsahe sahitvA sabhayaM yathA dustaraM vicaryate bhramyate / mama snehasya kimapi (?) durgaM nirbhayaM yathA vaNijyate vA (vyA) priyate // Dong Dong Dong Dong Dong [209 ] kiMzukaM puSpaM kRSNaghanavarSAsadRzaM jAtam / ato manye palAsaH (zaH ) pratyakSaM pathapalAzaH = rAkSasaH / sarva prabhaJjanena - pavanena duHsahaM jAtam, suhaanenAsukhaM janitam // [210 ] navamaJjarIbhirnipatadveNunA dharA piJjaritAbhiradhikataraM tApitA / marucchItalo mahIM zItala [ya] vAti paraM zItaM na janayati / manye kiM tApaM kSapati //

Page #243
86 sandeza rAsaka kaMdappa' dapi saMtaviya' aMgi, sAhArai pAhuNa sahA aMga // 211 // lahi chiddu viyaMbhiu viraha ghoru, 1 BC kaMdapi / 5 C saMgi / 10 A paMthiu / 15 A muNIya / sihi caDiu pakkhi mAyaMdasAha, suNipaMthiya" jaM mai paDhiya gAha // 212 // 11 dUijau dUiya" varahiNIhiM" kayaharisa NaTTavarahammi N / 14 gayaNe pasariyaNavaduma" ghaNabhaMtI muNiya" puNa dummaM // 213 // kari taMDa' suNiu' raDaMta moru / [ tRtIya prakrama 4 B sAhAra / 2 C saMtaviu | 3A sAhAra; C sAhAru / 8B raDaMtu / 7 C suNiyau | 9C siMha | 12 B varihiNI hiM / 13 C varihammi / 14 A dumaM / 6 B taMDavu / 11 B C duiya | [ TippanakarUpA vyAkhyA ] [211] ja ( ya )sya nAma lo [kaH ] aso ( zo) ka iti kathayati tadalIkam / to'zokaH kSaNArddhamapi mama zokaM na harati / kandarpadasaMtaptAGgIM mAM nAtha pava sAdhArayatiH na sahakAraH // 219 // [ 212] ghoro raudro virahaH chidraM labhitvA (bdhvA ) vijRmbhitaH / tANDavaM kRtvA mayUro na (ra) Tati / AmrasASA (zAkhA) yAM kokilasamUhaM ArUDhaM dRSTvA bho pathika ! yA gAthA paThitA sA tvaM zRNu // 212 // [213 ] he dUta ! nATya barhe kRtaharSAbhirvarhiNIbhiH dUye / athavA dvitIyAbhiH ha (va) rSAbhiH naSTavirahiNInAM kRtaharSAbhirdvaye / gagane prasaritanavadrume (maiH) ghanabhrAnti (ti) jJAtvA punardvaye // 293 // ** [ avacUrikA ] [ 211] yasya nAma loko'zoka iti kathayati tadalIkam / yato'zokaH kSaNArdhamapi mama zokaM na harati / kandarpadarpa saMtaptAGgIM mAM nAtha eva sAdhArayati, na sahakAraH // [212] he pathika ! chidraM labdhvA ghoro viraho vijRmbhitaH / mayUrastANDavaM kRtvA radan zrutaH / zikhI - mayUro mAkandazAkhAyAM dRSTaH / he pathika ! zRNu yA gAthA mayA paThitA // Dong Ji [ 213 ] he pathika ! nAvyabarhe kRtaharSAbhirbahiNIbhirmayUrIbhirdvaye / athavA dvitIyakAbhirSarSAbhirnaSTavirahiNInAM kRtaharSAbhirdvaye / gagane prasaritanavadrumaiH ghanabhrAntiM jJAtvA punardvaye //

Page #244
paca 211-216] sandeza rAsaka iya' gAha paDhivi uTThiya ruvaMta, __cira junna dukkha maNi saMbharaMta / virahaggijhAla pajjalia aMgi, jajariu" bANihiM taNu aNaMgi // 214 // khaNu muNiu dusahu jamakAlapAsu, __ vara"kusamihi sohiu dasa disAsu / gaya NivaDa" NiraMtara gayaNi cUya, ___NavamaMjari" tattha vasaMta hUya // 215 // tihi" sihari surattaya kasiNa kAya, uccarahi "bharahu jaNu viviha bhAya / ai maNaharu pattu maNoharIu, uccarahiM sarasu mahuyara jhuNIu // 216 // 1Bih| 2A puddhvi| 3Budvivi| 4C ruvNti| 5A ciru: C jira / 6 A junhu / 7 B dukkhu / 8 B maNa / 9 C sNbhrNti| 10 Cdegkaal| 11 B jjriyu| 12 Cnnv| 13 A sohai; sohiyu| 14 B niviDa / 15 A mNjrii| 16 B vasaMti / + A Adarza nopalabhyate padyamidam / 17 C th| 18 C kisnn| 19 C uccarihiM trhu| 20 CjhaNIu / [TippanakarUpA vyAkhyA] [214 ] imAM gAthAM paThitvA rudantI utthitA / kiM kurvantI jIrNadurakaM(duHkhaM) manasi saMbharantI / pathika ! virahAgnijvAlA aGge prajvalitA / tathA anaGgabANaistanuH jajerIbhUtaH(tA) // 214 // [215] yasmin vasante kSaNa-kSaNamAtraM yamakAlapAsa(za)sadRkSaM jJAtam / vara kusumaiH dievibhAgAH so(zo)bhitAH / gagane-AkAze AmramAryo nibiDaM gatAH / tatra vasante nUtanAmramAryo bbhuuv(vuH)||215|| [216] yasmin samaye nAnAprakArairbharatabhAvaM uccaranti tasmin suraktakavRkSasiSa(zikha)re atyantamanoharaH samayaH prAptaH / madhukarAH-bhramarAH sarasaM-sumanoharaM zabda uccaranti // 216 // [avacUrikA] ------ [214 ] he pathika ! etAM gAthAM paThitvA rudantu (rudantI) utthitaa| ciraM jIrNaduHkhaM manasi saMbhArayantI / virahAgnijvAlA aGge prajvalitA / anaGgena baannaistnurjrjritm(taa)| [215] kSaNaM jJAtaM ja(ya)makAlapAzo duHsahaH / varaiH-pradhAnaiH kusumairdazA'pi dizaH zobhante / cUtAH-AmrA nibiDAH-nirantarA gaganaM gatAH, navA mAryastatra vasante jaataaH|| AAPurwwNAAVAN

Page #245
88 sandeza rAsaka kAraMDa' karahi taha' kIra bhAi, kArunna paukkauauM taha kuNAi / a erisa mayaNaparavvasIu, kaha kahava' dharatI' kaTThi jIu // 217 // jalarahiya meha saMtavia kAi, kima koila kalarau sahaNa jAi / ramaNIyaNa ratthihi paribhamaMti, tUrAravi" tihuyaNa" bahirayaMti " // 218 // caJcarihi" geu jhuNi karivi" tAlu, naccIya auvva" vasaMtakAlu" / 15 ghaNa niviDa" hAra" parikhillarIhiM, ruNajhuNa u mehalakiMkiNIhiM" // 219 // [ tRtIya prakrama 19 1 B kAraMDu | 2 B tahiM / 3 C pamukkau | 4 A ai / 5 C kahavi / 6 A dharaMtiya / 7 C kAya / 8 C koi kalarava; B kaliravu / 9 A sahaNu / 10 A tUrAva / 11 B tihuyaNu / 12 B bahariyati; C bahiriyati / 13 B cacahi; C cacarahi / 14 C karavi | 15 C auvvu / 16 B degyAlu; C degkAla / 17 C nivara / 18 B haari| 19 A ruNujhuNu / 20 A B kaMkaNIhi / [ TippanakarUpA vyAkhyA ] [217] tatra vasante kIrAH - su (zu)kAH [kA] raNDakaM maNDalaM kurvanti / taca kAruNyaprayuktaM yathA kaNati / aha iti komalA [lA] pe, IdRze samaye madamaparavasA (zA) jIvaM kaSTena dharantIva // 297 // [218] jalarahitA meghAH sa ( rA ) rIraM santApayanti / kokilAkalaravaH kathaM sahyate / ramaNIgaNAH rathyAmArge paribhramanti / tUryaraveNa tribhuvanaM badhirayanti janAH // 218 // I - [219] eSa apUrvI vasantakAlo nRtyate / kaiH ? - cAcarikajanaiH, kiM kRtvA ? - tAla dhvaniM ca kRtvA / punaH nibiDahArapariveSTitAbhiH yuvatIbhiH / punaH zabdAyamAnakiGkiNIninAdamekhalAbhiH // 219 // Ge Ge Ben Gong [ avacUrikA ] Dong Dong Dong Dong [ 217 ] tatra vasante kIrAH - zukAH kAraNDakaM - nIraM (DaM ?) kurvanti / tatra kAruNyaprayuktaM yathA kurvanti / bhai iti komalAmantraNe, IdRze samaye madanaparavazAjjIvaM kaSTena dharantIva // [218 ] jalarahitameghaiH kAyA santApitA / kokilAnAM kalaravaH kathaM soDhuM zakyate / ramaNIgaNA rathyAmArgeSu bhramanti / tUryaraveNa tribhuvanaM badhirI kriyate // [219] caJcare - haTTamArge gItaM nRtvA, tAladhvaniM kRtvA, apUrvo vasantakAlo nRtyate / ghananiviDahArAbhiH parikhelantIbhirmekhalA kiGkiNIbhI ruNajhuNaravaH kriyate //

Page #246
padya 217-222] sandeza rAsaka gajaMti taruNi NavajuvvaNIhiM', suNi paDhiya gAha piakhirIhiM // 220 // [arddham / eArisaMmi samae ghaNadiNarahasoyaraMmi loyaMmi / accahiyaM maha hiyae kaMdappo khivai sarajAlaM // 221 // jai aNakkharu kahiu mai pahiya ! ghaNadukkhAunniyaha mayaNaaggi 'virahiNi palittihi, taM pharasau milhi tuhu viNayamaggi pabhaNijja jhattihi / tima' jaMpiya jima kuvai Nahu taM pabhaNiya jaM juttu, AsIsivi varakAmiNihi vaTTAU paDiuttu // 222 // ~~~AAAAAAAM 1 BC juvvnniiy| 2 A pddhiyi| 3 C ahiyyrN| 4 A virahaNi; B virahiNa / 5A B plttihi| 6 B milhevi tuh| 7 A tiv| 8 A jiva / 9 A degpi bhaNiya / [TippanakarUpA vyAkhyA] [220] asmin samaye navayauvanAstaruNyaH garjanti / paThitAM gAthAM zrutvA priyopari utkaNThitA jAtA // 220 // [221] etAdRze vasantasamaye divase dhanaM yathA rasotkare loke ca yAte sati, kando mama hi(ha)daye'dhikataraM zarajAlaM kSipati // 221 // atha granthamupasaMharanAha[222] yat pathika ! mayA ghanadukkhA(khA)pUrNayA madanAgninA virahena(Na) ca praliptayA, anakSaraM kathitam , tat kaThoraM parihatya vinayamArga jhagiti prabhaNe [:] / tathA kathayeH yathA [sa] na kupyati / tadbhaNeH yad yuktaM bhavati / evaM kathayitvA varakAminyA AzikhaM(paM) dattvA pathiko gamanArtha pryunyjitH||222|| * [avacUrikA] -- [220 ] navayauvanAH striyo garjanti / patikAGkhayA mayaiSA gAthA paThitA // [221] etAdRze vasantasamaye divase ghanaM yathA rahasorakare loke ca yAte sati, kandarpo mama hRdaye'dhikataraM zarajAlaM kSipati // [222 ] yat pathika ! mayA dhanaduHkhApUrNayA-madanAgninA viraheNa ca pralipsayA, bhanakSaraM kathitam , tat kaThorakaM parihRtya, vinayamArga yathA jhagiti bhaNeH / tathA kathayeH, yathA na kupyati / tagaNeH yadyuktaM bhavati / evaM kathayisvA varakAminyA bhAziSa daravA pathiko gamanAthaM prayuJjitaH // saM0 12

Page #247
90 sandeza rAsaka 'taM pahuMjivi caliya dIhacchi ai turiya,' itthaMtariya disi dakkhiNa tiNi jAma darasiya, Asanna pahAvariGa di NAhu tiNi jhatti harasiya / jema aciMtiu kajju tasu siddhu khaNaddhi mahaMtu, tema paDhaMta suNaMtayaha jayau aNAi aNaMtu // 223 // 3BC dakSaNa | 1 C paDivi taM valiya dIacchi va turiya / 4 A acaMtau; B aciMtau / 5 A siMdhuyaNadhu / 2AB turiyai / 6 C aNAyatu aMtu / [ tRtIya prakrama [ TippanakarUpA vyAkhyA ] [223] sA dIrghAkSI yAvat taM preSaya ( yi tvA ati tvaritaM calitA / asminnavasare dakSiNA dig dRSTA / tadaivAsannaM yathA panthAnaM Avarayan tayA patirdRSTaH / harSitA jhagiti jAtA / athAzIrvAdam - atha karttA bhaNati - yathA cintitaM kAryyaM tasyAH kSaNArddha madhye mahat siddham, tathA paThatAM zRNvatAM siddhyatu / anAdyanantaH paramapuruSo jayatu // 223 // // iti saMdezarAza (sa) kaTippanakaM samAptam // zrImatprAgvATavaMzAmbudhiza zisadRzo hAli (di 2 ) gasyAGgajanmA putro mAta (tu) slivAH praviditacaraNo rudrapallIyagacche / zrImaddevendra ziSyaH zarairarsa - yuga - bhUvatsare ( 1465 ) vRttimetAM lakSmIcandrazcakArA khilaguNanidhayaH sUrayaH so ( zodhayantu // 1 // vRttirnAzya (sya) hazA viloki suro (suguroH 1) pArzve na cAbhANi ca no kartu mukhatastvidaM bhuvi mayA cAzrAvi zAstraM kacit / kintu kSatriyagAhaDasya mukhato yA yA pra ( ca ?) vRtti [:] zrutA mA (sA) sAtra mayA vimUDhamatinA vArttA ni[ba]ddhA nanu // 2 // yadanyathA mayA prokto ( ktaH) kazcidarthastathA padam / tadahaM naiva jAnAmi tajjAnAtyeva gAiDaH // 3 // * // likhitaM zrI hisAra durge aSADhasudi aSTamyAM buM (bu) dhavAsare // [ avacUrikA ] ---- I [ 223] sA dIrghAkSI yAvattaM preSayitvA'ti tvaritaM calitA / asminnavasare dakSiNadizi dRSTvA, daivAsssannaM yathA panthAnamAvara [ya]n tathA patirdRSTaH / harSitA jhagiti zIghraM jAtA / athA''zIrvAda granthakartA bhaNati - yathA'cintitaM kAryaM tasyAH kSaNArdhamadhye mahat siddham, tathA paThatAM zRNvata sicyatu / anAthanantaparamapuruSo jayatu // // ityavacUriH / zrIsandezarAsakaM samAptaM / paM0 nayasamudreNa kikhitam // Ge Ge Ge Jiao Ben

Page #248
sandezarAsakagatapadyAnukramaNikA-akArAdyanukrameNa / padyAka 152 ahaNehiNa bhAsiu raimai aikuDilamAi pihuNA acchihi jiha nArihiM nara acchihi jiha sanniha aNiyasakhaNaM jalavari' aNurAiya rayaharu annaya sesa mahIruha avara kaha va NivaDambhara avara kaha va varamuddha avara kAvi suviakkhaNa avahaTTaya-sakkaya-pAiyaMmi ahavA Na ittha doso aMgi aMgi ghaNu ghusiNu Aehi pahiya kiM pucchieNa AmarUya gullara mahUya AriTriya damaNaya gida AsAjalasaMsitta viraha Asoe saraya mahAsarIe ima ikkikaha tattha rUkhu ima kaTTihiM mai gamiu ima kivi keli karahi ima taviyau bahu giMbhu ima dukkhaha taralacchi ima vilavaMtI kahava iya gAha paDhivi uTThiya ihu Domilau bhaNeviNu Isarasari sAlUriva uttarAyaNi vahihi divasa ulhaviyaM gimhavI UsAsaDau na milhavau eya vayaNa Ayannavi eyArisaMmi samae osAsaMbhamaruddhasAsa kadamalula dhavalaMga vihA' kasiNaMyari vihAviha padyA 23 kaha va ThAi sudyavaccha 32 kahavi iya gAha paMthiya 74 174 kahi Na savittharu sakkara 105 167 kAraMDa karahi taha kIra 217 84 kiMkilli kuMja kuMkuma 22 kiM juttaM sukulaggayANa 64 kiM tahi desi Nahu phurai *kiMnu payAvai aMdhalu 15) 51 kiMsuyai kasiNa ghaNaratta 209 48 kusuma sarAuha rUva 31 6 kevi diti riuNAhaha 196 8 ko AinnihiM vaMsavINa 45 178 komala muNAlaNalayaM 35 127 kaMta ju tai hiayadeg 58 *kaMtu kahivvau bhaMti (pR. 28) 62 khaNu muNiu dusahu jama 107 khaMdhau duvai suNevi 221 172 | gajati taruNi NavajuvvaNihi 220 54 gayau gimhu ai dusahu 204 192 gayau divasu thiu sesu 180 | gayau sisiru vaNatiNa 139 gayavidaravi valAhaya 124 garuau parihavu 77 157 gAhA taM nisuNeviNu 214 giriNaisamaAvattaM giMbhatAviNa khara taviya 155 guNaNihi jalabiMdubbhavahi 112 | caccarihi geujhuNi karivi 219 149 cikaNarau caMbAihiM chAya phulla phala rahiya 66 chAyaMtI kaha kahava 29 221 jai asthi NaI gaMgA jai atthi pArijAo 143 jai aNakkharu kahiu mai 177 jai aMbaru uggilai 200 41 141 222

Page #249
sandezarAsakapadyAnukramaNikA padyA 142 182 136 93 138 111 194 65 padyAGka 9 NivaDalaharighaNaaMtari 115 Nisi paharaddha Neya NadIyai 16 Nisi sayaNiha jaM khittu 15 taiyA NivaDaMta Nivesi 104 tau pikkhiya disi 11 taNu ghaNasAriNa caMdakSiNa 100 taNu dIunhasAsi sosijjA 14 taruNihi kaMtapamukkiya 128 tavaNatitthu cAuddisi 132 taha aNarai raNaraNau 218 taha kaMkhiri aNiyatti 185 taha taNao kulakamalo 69 taha pattihi saMsaggihi | tahi sihari surattaya | tA kahasu teNa kiM sumarieNa | tA kema pahiya Nisisamae 158 tANa'Nu kaINa amhA' 156 tilau bhAlayali turaki 38 tuya samaraMta samAhi 92 turiya NiyagamaNu icchaMtu 61 tuha virahapahara saMcUriAI tuhu puNu kaji hi Avalau te ya viesi phiraMtaya 186 211 jai parahuehiM raDiyaM jai pimmavioyavisaM jai bhulduddhsNmiiliyaa| jaha bharahabhAvachaMde jai mai Nathi Nehu jai mayagalu mau jharae jai vi raivirAme Na? jai saravaraMmi vimale jattha gao so suhao jama jIhaha NaM caMcala jala rahiya meha saMtavia jaliu pahiya savvaMgu jasu Niggami reNukaraDi jasu nAmu alikkau kahA jasu pavasaMta Na pavasiA jA jassa kavvasattI jAmiNi gamiyai ima jAmiNi jaM vayaNija jAlaMdharithaMbhajiyA jiNi hau virahaha kuhari jaMbIra suhaMjaNa nAyaraMga jhasuru kapUra bahulu jhijjhau pahiya jalihi jhaMpavi tama vaddaliNa ThAhi ThAhi Nimisiddha Dhalla kuMda sayavattiya NaTu mUlu piasaMgi lAhu patthi tihuaNi jaMca NayaraNAmu sAmoru NavagimhAgami pahiya NAhu NavaghaNareha viNaggaya NavamehamAlamAliya Nahu daliyai kappUrasarisu Nahu rahai buhA kukavitta NAyaNivaDa paharuddha Niakavittaha vija NiTTara karuNu saddu maNamahi Niyadaiyaha ukaMkhiriya 134 216 128 116 148 taMtIvAyaM NisayaM 27 223 taM ji pahiya pikkheviNu taM jaM mehala ThavaDa taM pahuMjivi caliya dIhacchi dakSiNamaggu NiyaMtaha dArayakuMDavAla taMDava ditiya Nisi dIvAliya 130 dIhausAsihi dIharayaNI 122 dUijau dUiya varahiNihiM dohau ehu paDheviNu 288 dhammilaha saMvaraNu na ghaNu 21 dhavaliya dhavala saMkha dhUijai taha agaru ghusiNu 19 dhUva diti gurubhatti 166 nara auvva vibhaviya 94 nAesari moDima pUgamAla 153 151 163 MOCAL . Wm

Page #250
sandezarAsa kapadyAnukramaNikA nivaDaMta reNu dharapiMjarI hiM paudaMDau pesijja jhAla para moDavi nimisiddbhu paccAsa pahUo pajjalaMta virahaggi tivva paDiuTThiya savilakkha paDibiMba darasijjai paDhavi iya gAha miya pahiya Na sijjhai kiri pahiyavayaNa Ayannivi dIhara pahiyavayaNa Ayannivi pimma' pahiu bhaNai kaNayaMgi pahiu bhaNai thiru hohi * pahiu bhaNai vivi dohA pahiu bhaNai paDiuMji pahiu bhaNai pasayaccha turiyau pahiu bhaNai pasayacchi dhIri pahiu bhaNai pahijeta pAiya piya vaDavAnalahu *pANI taNai viui pivirahAnala saMtavia piu cAvaddahi bhaNijai pippala pADala puya palAsa piyavirahaviopa puNa piu samariya pahiya puvvadisihi tamu pasariu puvaccheyANa Namo phalu virahagga pavAsi phusa loyaNa vas bagu mildavi saliladdahu bahuviviharAi ghaNa maNahare hi bhamuhajuyala sannaddhau mai jANiu piu ANi mai ghaNu dukkhu sahappi maccharabhaya saMcariu rani mattamukka saMThaviu vivaha mayaNasamIra vihuya virahA maha Na samatthima viraha sau maha mahiu aMgi bahu mahahiyayaM raNaya nihI maha pikkhiva vibhiu padyAGka 210 mAuliMga mAlUra moya 140 mANusa divya vijAharehiM 68 mukkAhaM jattha pie 3 | ramaNabhAra guru viyaDau 208 | rayaNAyaradharagiri taruvarAI 28 rayaNItamaviddavaNo 164 rAyaruddha kaMThaggi viuddhI 85 ruvi khaNalu phusavi 99 rehaMti paumarAiva 125 | lajjavi paMthiya jai 198 lahi chidu vibhiu viraha 117 lhasi aMsu uddhasiu 98 lesUDa ela laMbiya (pR. 15) loyaNajuyaM ca Najjai 91 vayaNa NisuNevi maNamattha vAhijjai nava kisalaya | vijayanayara kAvi vijjhati parUppara taru lihaMti viyasAviya raviyara hi viraha pariggaha chADa vilavaMtI alahaMta niMda | vivihaviakkhaNa satthihi 5 visamasija vilulaMtiya vaMka kaDakkhihi tikkhihi sakasAya Navabbhisa suddha salajja sireviNu payaDi 114 sijunhanisAsu susohiya sihaNA suyaNa khalA 144 | sunnAraha jima maha hiyau 202 | surahigaMdhu ramaNIu sarau 52 seraMdhihiM ghaNasAru Na caMdaNu 197 sAsita vivajjai 199 sohai salila sarihiM 146 25 saMkevai jaNai suhaM viyAsu 195 saMdesaDara savittharau para hau 110 102 109 89 (pR. 28 ) 75 133 57 95 181 117 120 35 93 79 | saMpaDiuju sikkhai 203 hariyaMdaNu sisiratthu 119 hAru kasa vidhUlAvali 207 | iMsihi kaMduTTihi ghuTTivi 93 payAka 56 2 129 50 1 33 154 67 39 71 212 87 60 34 83 205 24 206 137 78 190 43 147 123 171 40. 173 36 108 184 187 90 161 201 81 80 20 135 49 162

Page #251
sandeza rA sa ka zabda koSa / [akArAvikramAnusAra] | accha - as (gu. chu, che, i.) acchau~ 79, degu 207, acchai 67, acchihi a 113 ca (1) (degccha.) 167 ai 217 komalAlApe'vyayam [a]cchaya 133 accha aiAvalaya 113 (= ati+Akula ?) atyutsuka [a]cchi 207,223 (yathA-dIharacchi, aiunhaya 132 atyuSNa dIhacchi) akSi aikhinni 151 atikhinnA aja 109 bhadya (hiM. gu. Aja) aiha 23 atisneha aTTa 31 aSTa (hiM. gu. ATha) aitthi (ayasthi) 159 agasti [ nakSatra ] | aNadeg (yathA- aNAi, aNAyara, aNaMta, aNaMga) namartha avyaya (gu. bhaNadeg) aidugga 159 atidurga aidhiTTi 184 ativRSTA aNakiya 102 akRta aNarai 105 arati aimaNahara 216 atimanohara aimalhiraya 50 ati+malhiraH [ V malha aNarasiya 185 arasika lIlAkaraNe] atizayalIlAyukta, atimanthara. aNarui (dra0 aNirai) 199 aruci (gu. mahAlavu) aNakkhara 222 anakSara (anucitavaca nArthaka) airAvai 140 [airAvatI ] vidyut aNaMga 52 anaMga ai-sacchayai 133= atisacchAyati(?) aNaMtu 223 anaMta adhikaM zobhate aNala 120 anala auvva 219 apUrva aNAi 223 anAdi aMsu 87 aMzu= kAnti aNAyara 186 anAdara [ suya 150 azru (hiM. gu. A~su) aNi misa 147 animiSa akayattha 92 akRtArtha aNirai 199 (dra0 aNarui) bharuci arthaka [a]karisa (u) 195 utkarSa aNuaMci 130 aNu+aMc; [dra0 bhavisayatta[a]kkhara 19 akSara = varNa ___kahA- aNuaMci] anugatya akkhi 176 akSi (hiM. gu. A~kha) aNurAya 157 anurAga agara 189 agara aNurAiyadeg 22 [*anurAgika] anurAgin [a]gga 154 agra aNusariya 28 anusRta aggai151 agre= ataH param (hiM.gu. Age) aNegadeg 177 aneka [a]ggi 24 agni (hiM. gu. Aga) [a]tta 25 Arta (yathA-dukkhatta = duHkhAta) aggIhara 194 [deghara = ghara] agnigRha atthadeg 92 artha aciMtiya 223 bhaciMtita atthama 113 astamana accariya 120 Azcarya (hiM. gu. acaraja) atthamaNa 117 = astamayana aJcahiya 221 atyadhika addha 25 adhvan

Page #252
sandezarAsaka - zabdakoSa addhAvaya 195 ardhAvarta (ardhotkalita ) | avattha 105 avasthA aMga 25 aMgabhaMga 105 aMgavyathA [aM] guTu 41 aMguSTha ( gu. aMguTho ) aMgula 189 [aM] guli 66 ( gu. bhA~gaLI ) aMcala 98 ( gu. caLI) [aM] juli 130 aMjali aMta 223 avasu 199 avazam = avazyam avahAra = ava + dhArayU, avahAri 30 asa 158 (?) asu; bhAzA asaMcara 145 asamattha 80 asamartha aMtara 142 aMtarAla, 64 dairghya, 94 abhyaMtara asahaMtiya 131 asatI [aM] tariya 193 aMtarita asuha 139 asukha [aM]dhAra 139 aMdhakAra ( gu. aMdhAra, asesa 192 azeSa aMdhAe~ ) anna 189, 46 anya anaya 64 anya annai 117 [ anyat + cit ? ] ( gu. ane ) V appa = arpU ( gu. Apa ) appiyai 124 appa 95 Atman abuha 21 abudha avahattaNa 21 [ 'taNasvana] abudhatva abhitara 194 abhyantara amaMgala 109 amala 173 amiya 23 amRta amiyamayUha 137 amRtamayUkha = candra aMbara 148 = gagana, 101 = vastra aMbuhara 139 aMbudhara amhAriya 105 = asmadIya aramaNIya 157, = karapatram araviya 137 araviMda aru 25 ca = atha ca ( hiM0 aru ) anyacca aliya 138 alika alika 211 malika avara 96 apara avaloiya 184 bhavalokita avaloyaNa 94 avalokana aseviya' 193 ase nita asoya 211 azoka aha 54, 135 atha aharadeg 51 adhara ahava 183 athavA ahavA 91 ahiNaviyaai 44 ( deg viyai ) abhinUyate ahideg 135 adhi 39 ahiya 67 adhika A 'Ai 223 Adi 33 Ai 191 dra0 - Ayaya Aiyaya 41 Ayaya Ainnihi 45 dra0 AyaNNahi [A] unniya 222 ApUrNita (yathA 'aruNa 50 = aruNakha, 'alaMkaraNa 187 Aiyaya 41 = Ayayaya Ai 191 = Aya; Ayaya alaya 87 bhalaka alahaMta 18 alabhat - bhalahaMtaya 49, ala- AyaNNa ('nna) = A + karNa haMtiya 147 deg [A] ula 146 bhAkula = vyApta [A] uliya 94 bhakulita = vyAkulita 'Aha' 105 Ayudha 'Aesiyaya 65 Adezita = AdiSTa Ayaya 67 Agata (hiM. AyA ) dukhAuna) ApaNahi 85, bhAyannihi 118, Ayanni 30,98 'Ayara 186 Adara 95

Page #253
96 'Akhiri 934 [ A + /kAMkSa- ira ] AkAMkSantI sandezarAsaka - zabdakoSa ikka 100 eka ikka - i99 = ekadApi, eka + cit ? (gu. ekke) ikaliya 192 0 ika ikkikka 166 ekaika ( gu. ekeka ) ikkha' 125 ikSu ( gu. Ikha ) AkaMtiya 131 AkrAnta AkoyaNa 123, 125deg ( u ) koyaNa, [ yathA - maNAkoNi ], madanayuktaceSTA = (= madanaceSTAyukta 'Agama 53 = Agamana [A] DaMbara 148 [A]Na 24 Anayana / ANU = A + nI ( gu. ANavu ) ANi 197 AnIya; ANiya 199 AnIta AbhaMgiyai 101 abhyaGga, abhyajyate Alaya 62= nIDa AlaMkiyaya 48 [ alaMkiya ] alaMkRta Alasi 105,151 alasa (guM. ALasu ) AliMgaNa 94 AliMgana Avaya 195 (? utkalita ) 'Avariya 87, 223 ( ? AvRta ) 'Avalaya 113,88 (= Aula ) vyAkula [A]vali 26 AvANiya 194 ? V AvU [ ApU ? Avihasi 191, (A) viya 197 ] 'Asa' 85, 'AsA' 106, AzA * AsaNaya 86 Asana * AsaMga 94 Asanna 29 A + gam (gu. AcalU~) V AsA [ A + / zvAsa ] = AzvAsay 0 AsAsi 98, AsAsijjai 18, AsIs = A + / zAs AsI sivi 222, AsIsaya 44 (sii ? ) AzipA AharaNa 167 AbharaNa i ia 193 iva iya 74 imAm ikaTTha 180 ekastha ( gu. ekahu~ ) ikatti 80 ekatra = = ekasmin ikalliya 92, ikkadeg 192 ekAkinI ( gu. ekalI ) iccha= icch (gu. icchayU~ ) icchanta 82, icchantiya 198 iccha 109 icchA icchA 169 iNi 113 asmin itthaMtari 107 atrAntare iMdIvara 29 iMdo 143 indragopa ima 94 evam (gu. eNma, ima ) ihu 152 eSaH = etad Isarasari 155 ISat svara = laghuzabda u u 151 uta = pratyuta (?) 'uyaradeg 118 udara ukkaMkhiri 94 [ ud +kAMkS+ira ] utkaMThitA; dra0 ukiMkha ukkaMTha 120 utkaNThA ukkara 141 utkara = samUha [] 69 ( gu. ukaraDI ) ukkiMkha 108 utkAMkSA "3 'koNa 104 utkaukuca [dra0 AkoyaNa ] [3]ggaDa 181 udgama uggilanta 100 [ ud + gila ] UdgIran V uccar = kath uccarahi' (hiM) 216 ucccariya 44 ucchala = ut + kSip ucchali 162 ( gu. uchaLavu ) [3] chatta 120 utsikta ujjagaya 105 [ / ujjaggU < ujagira ], ujjAgara ujjala 51 ujvala ujjANa 54 udyAna uTTaMta 136 uttiSThantI

Page #254
uTTiya 192 usthita uDDIya 25 1 udIya 182 (?) na Anamyate unnastA uttari 97 uttaTThiyA 83 uttaMga 24 uttuMga uttarAyaNa 112 utAvalaya 92 utsuka, (gu. utAvaLu ) uttAvali 26 uddhasiya 87 (1) [ uddhvasta ? ] uddhaSita (?) unnayadeg 45 unnata -sandeza rAsaka - zabdakoSa unnamita unnamithaya 133 unnaviyaya 148 unhaya 132 uSNa ( gu. Uu~ ) unhata 107 uSNazva; agni utpatti 89 utpatti ff 87 phikka (gu. phIku~ ) khinna [3]bbhava 137 udbhava 'mukka 25 unmukta uyAraya 188 kakSA; upavaraka (gu. oraDo) [ uyariyA, oyariyA ( rAjasthAnI - bhovara) oara - apavaraka ] unnaya 145 } [ ud+ru+na] adhikaM ruditaM / 'uladeg 147 kula ullihara 41 [ ud + likha ] ullikhati V ulhavU = vi + dhmApay (gu. holavayU~ ) = vidhyAti ulhavai 137, udahaviya 149 urudAva-yaru 67 [ ulhav +kara ] vidhmApaka uvara 135 udara = urasa [] 198 upari uvama 199 upamA uveja 136 udvega usasaMtiyA 83 uccasantI uvADhayaNi 199 (?) gardabhI 'uvva 219deg pUrva ugvina 68 udvigna, uThivanniya 169, yA 85. usAsa 118,192 sacchrAsa saM0 13 olavayU~, U UsAriya 186 utsArita e eya 20 etad ega 180 eka ema 199 evam (gu. eNma ) parisa 217 Iza eha 91 ehu 204 eSaH, eSA o osAsa 97 (1) uclAsa osa 183 mosasiu = [ avazyAma-sitaH ] ucchrasita (gu. osa ) [oha ] 111 ogha ya ( zrutyAtmaka ) ya 103, 176,223 ca yaNa 193 gaNa 'yaNa 218 jana yara 137 [ kara ] kiraNa yala 55 tala 'yala 51 dala Shi ka 18 ka ( praznArtha sarvanAma ) ke 45 kecit 97 ko puNa 94 kaH punaH ( gu. kavaNa ) ku-vi 148 ko pi kiM-pi 68 kivi 91 ( kiM vi) kui 42 ku.vi kA vi kApi (stri. ) ko-i 52 kamapi - avarNyamityarthaH / katthi 92 kRtArthA kaiyadeg 122 kadA, kaiya-laggi 122 kadAprabhRti ( dra0 kaggi ) 'kaola 187 kapola kaya (i) vara 44 kavivara kaja 223 kArya kaTTa 180 kaSTa

Page #255
98 sandezarAsaka-zabdakoSa kaDayai-AkRSyamANakodaNDasya kaDakaDa | kalayala 144 kalakala " iti zabde, kaDayaDavi 185 | kalasa 29 kalaza kaDakkha 123 kaTAkSa | kala (gu. kaLavU) kalijahi 52 kaDDiya0 177 kaTTakRSTa (gu. kADhavu, citra- kalI 205 kaliya, kali (gu. kaLI) kADhavU ityAdharthaka) kallola 142 kaDhiNa 85 kaThina kavaNa 64 praznArtha sarvanAma kaNadeg 118 (gu. koNa, hiM. kauna) kaNaya 24 kaNayaMgikanakAGgI kavAla 86 kapAla-ziro'sthi, bhAla (gu. kaMTaa 206 kaMTaagga-kaMTakAna kapALa) kaMTha 154 kavAliya 185 kApAlika katthavi 44 kutra+api kavitta 10 kavitva kadama 143 kardama | kavola 52 kapola kaMkhiri 133, kaMkhirI 220 -kasiNa 87 kRSNa = kAlimA kAMkSantI kaMta 76 kAMta, kamtaya 167 V kahnth (gu. kaheb) kahau~ 68, kahau 91, kati 87 kAMti kahasu [katha+sva] 82, kahaha 68, kahu 91, kahiya 92, 110kahijavadeH, kaMdappa 178 kaMdarpa kaMduha 162 utpala [kaMdo nIlotpalam] katheH, kahija 88, kahijasu 74, kahisu 91, kahavi 74, kahivvau 99, kahA kapUra 179 karpUra Nija 91 kahiya 117, kahiyaya 91 kama 30 krama = pada kahi 105 (kahi Na sakau = kathitum na kamma 199 karma zakromi (gu. kahI na zaku~) kara-kR (gu. karaI) karei 104, karehi | kahaNaha 80 (kathanasya) kathanAya 205, kIrai 179, 194 (kIrahi) karahi 68, kari 109, kahaNu 81 kahaNu na jAi - kathitum na yAti karivi 88, karavi 19, kari 92, kiya 194, kIya 199, kiyaya! kaha-ka kutra 154 102, kIyaya 199 kahava 157 kathamiva kara 130 hasa kaha kaha vi 18 kathaM kathamapi kara 131 kiraNa degkaha 182 kathA karayala 142 (kalayala) kalakala kahi 41 kutra (gu. karhi) Vkarappa-kRnta (gu. karapardU) kA~i 124 (kAha) kim (gu. kA~, kA~ha) karappiyai 124 karNyate kAya 216 kAyA (gu. kAya) kAra 218 karalaya 141 (1) karala: pagadaNDakaH kAma 182 (gu. pagadaMDo-DI) caraNavIthi kAmiya 22 kAmika (gu. kAmI) karavatta 124 karapatram (gu. karavata) kAmiNi 50 degnI (gu. kAmanI) kari 46 karin | kAraMDa 217 (1) maNDalam, nIDam karuNa' 134 kAruna 217 kAruNya kala. 183 kAla 94 samaya kalayaMThi 144 kalakaMThI = kokilA . kAlaMguli 81 kaniSThAguli

Page #256
99 sandezarAsaka-zabdakoSa kAvAliya 86 kApAlika | kelIhara 194 kadalIgRha kAvAliNi 86 kApAlinI 1 degkoaNa 47 kaukuca dra0 koyaNi kAhaladeg45 kAhalA koyaMDa 52 kodaMDa ki 77 (kiM) kim koila 148 kokila kiMkiNi 26 degNI koUhala 19 kautUhala kima 69 (kiva) katham (gu. kema) koUhaliya 30 kautUhalita kimmai 128 kima+i (Page #257
gha - - sandezarAsaka-zabdakoSa gaNa-gaNa (gu. gaNadhu) gaNaMti 206, gaNijadda 206 ghaDiya 154 ghaTita (gu. ghaDavU) gaThi 27 graMthi ghaNa 106 ghana, ghaNau 52 (gu. ghaNu) gaMDa 48 degghaNadeg133 megha gaMdha 184 ghaNasAra 138 ghanasAra gaMdhakarisa 195 (gaMdhukarisa) gaMdhotkarSa ghara 167 gRha (gu. ghara) gaMdhamoa 203 gaMdhAmoda gharaNiya 103, ghari-gRhiNI (gu. gharaNI, gaMdhavahi 133 [vahina] gaMdhavaha gharuNI) gam = gacch , gamahi 102, gamiyai 142, ghalliya 92 kSipta (gu. ghAlavU) 158, gammiyai 117, gamijai 64 ghuTTivi 162 VghuTa piS gamiya, 180, gammiyau ghurahurai 139 saroSaM garjati gama 113 gamana ghusiNa 178 ghusUNa gamaNa 109, ghoradeg 139 gariTTha 31 gariSThA garubhaya 77 guru (gu. garab) garuya 139 guru caya = tyaje, caivi 27 gala 171 (gu. gahu~) cau043 catur galatthiya 150 kSipta caukaya 125 catuSka gaha-graha gahivi 151, 197 caumANI 156 caturguNA (gu. cogaNI) 'gahilliya 196 [graha+ila ] grathilA (gu.caudisi 139 caturdizaH ghelI) cauvei 43 caturvedin / gAMDhaya 189 gADha (gu. gADhuM) cakAvaTTa 177 cakrAvarta gAha 83 gAthA | Vca = carc, caJchati 138, cazciya 177 . gijai 157/gI cacaMkiya 168 [carcAlita ] arcita giMbha 139 grISma |caccari 219 carcarI gimhadeg 130, 204 grISma (gu. dhIma) caD= Aruh(gu. caDdu, caDhavU) caDai giradeg 29 girA 106 (caTati); caDAiyai 52 V gira-gR, giraMti 202, giraMta 157 (caTApyate); caDi 144; caDiya gIya 180 gIta ____144, caDI 151 'guNa 137 caMcaladeg 26 (gu. caMcaLa) guNa 97 jyA caMda 122 caMdra (gu. cA~da, cA~do) guru 169 mahat caMdaNa 137 caMdana guhira 139 [ Page #258
sandezarAsaka-zabdakoSa caliya 26 calita calaNa 25 caraNa ja 20 yad 'calattha 169 (1) turaMgavalasthihi -turaMgama ju 76 yad zAlAsu jaM 27, 222 yAvad la:catya,(gu. cAlavU)callAha 45, jaya jayau 223 calliyada 113 jai 43, 191 yadi calla 45 calacala zabda | jaivi 100 yadyapi cavaNa 94 [carSaNa] dazanakhaNDana cAi 44 tyAgin jaiya 94 (jaimA) yadA; jaiya kAlicAudisa 65 cAturdiza ___ yasmin kAle cAvai 133 cAtakI jaga 137 jagat (gu. jama) .. cikaNa 53 snigdha (gu. cIka]) jaggaMta 158 jagga= jAgR (gu. jAga9) citta 96 citra jajariya 67 jarjarita (gu. jAjarUM), citta 167 citravicitra jaDia 154 jaTita, khacita-(gu. jaDavU) citta 185 manas (gu, cIta) VjaNa = janaya, jaNai 137 (gu. jaNaq). cittavicitta 167 citravicitra jaNa 216 manuSya (gu. jaNa) cittahara 185 19, 175 bahuvacanA, samUhAthai ciMtiya 223 ciMtita degjaNaNa 136 janaka cira 114 jaNu 61, 170 (1), 216 (1) iva ciraggau 181 [ciragata ] cirapravasita / jattha 112 yatra dhubaNa 94 cuMbana VjaMpa=jalpa, jaMpau~ 30, jaMpaha 121, jaMpatI 50, jaMpirI 182, apimbara VchaDa-muc, chaDivi 75 82, jaMpiya 222, (jaMpija) degchaNa 195 [kSaNa] utsava | jamadeg 132 yama channau 143 channa (gu. chAna) chammayala 160 [chanatala (2)] =pAtAla | jamma 137 janman chaya 137 (1)kSata | Vjalajvala (gu. jaLavU) jalai 89, degchala 179 (gu. chaLa) jalaMtiya 133, jaliya 185 jala 162 nIra, 24 adhu chAya 64 chAyA chAyaMtI 29 chAdatI jAyA (gu. jAdu, jaI) jAu 91, jAi 81, jaMta 109, jati 140, chAyau 64 chAdita (gu. chAyu) jAimai 113, jAhi 10, 'chAra 120 [kSAra] rakSA (gu. rAkha; chAra) jAisi 11, jAi 114, jAibvaU "chAvaDa 78 (1) zarIra chittadeg47 kSipta jAIhala 144 jAtiphala chidda 212 chindra {jAgatiya 147 /jAgarajagga-jAgR chihaMta 25 spRzan , krAman (gu. jAgatI) VchuDa chuda [chudda], chuDavi 26 jANa-jJA, (gu. jANavU) jANiyaha 65 chuddha 179 chUTa % kSita, .. jANivi 19, jANi 181,jAniya cheara 18 [chekatara?] cheka = nipuNa kathayeH

Page #259
sandezarAsaka - zabdakoSa jAma 223 yAvat Vjhalaka jhalaka (gu.jhaLakavU) jhaMla. jAmiNi 155 yAminI kaMti 131, jhalakaMtiya 140 jhalajAlaMdhari 66, 123 kadalI kiya 106, (jAlajhalakiau) ji 26 eva (gu.ja) jhalakaMta 132 (jvalat) jiNa= ji, jiNivi 101 jhasura 179 nAgavallIdala = tAmbUla jiNaNa 122 jayana jhAladeg 120 jvAlA (gu. jhALa) jiNNa 165 jIrNa 'jhAlAvali 170 jvAlAvali jima 61,103 yathA (gu. jema) | V jhijjhakSIya, jhijjhau 165, jhiAi jiha 167 yAsAm ___ 156, jhijhaMti 103, jhijhaMta 165 / / jIya 154 jIva jhINadeg 171, sINaya 53 kSINa, sUkSma (gu. jIvajIv , (gu. jIvab) jIvau 107, jhI]) jIvaMtaya 114, VjhuNa = dhvan , jhuNaMtiya 53 jIha 132 jItA 'yuNi 134 dhvani juya 189 yuga VjhUra = V kliza (gu. sUratuM) sUrata 95, juyala 51 yugala ___ jhuraMta 123 juyalaya 52 yugalaka Vjhulla = prekhola (gu. jhulavU) jhulaMti 134 jutta 222 yukta junna 214 = jUrNa, jIrNa (gu. jUY) junha 260 jyotsnA VThA=sthA; ThAhi 30, Thiya (hiya) 75 juvANa 174 yuvan (gu. juvAna, javAna) Thava sthApaya , vaha 27, Thaviya 135 jema 223 yathA (gu. jema) ThAi 43 (gu. ThAma) [<#sthAman ] sthAne Vjoya = pazya (gu. job) joyaMtaya 54, joivi 169, joyaya (i.)25, | VDajjha= day (gu. dAjhah) DajhaMti 150 joiyaya 97 degDara 193 [dara] bhaya (gu. Dara) joyaNa 64 yojana Dasana 50 [dazana] daMta joikkha 176=jyotiSka, dIpa jhakhaDa 192 huMDayAlakanAma pavana, 132 | DhaMkhara 193 phala-patrarahita zuSkaprAya vRkSa ___ mahAvAta (hiM. jhaMkhaDa) dukkaya 186 Tuka (gu. dUkadhU) lukau = DuDhauke = DhokayAmAsa prAptaH / VjhaDazad , jhaDai 106%jhaTati jhADi 192 (jhaDI) nirantaravRSTiH Na-na zatti 89 [jhadama, iti>tti] jhattihiM | Na 78, na 77, na 159 jhaTiti | NaM 182 (1) na jhaMkhara 132 zuSkataru () (gu. jhA~khara) degNaM 29, 182, nu vita jhaMpabhAkramaya, jhaMpavi 148 (1)vyApya; Nahu 206, 222 na khalu (2) bhAkramya 'nayaNa 64 nayana jhaMpAcchAd , jhaMpaMtI 29, jhaMpiyaya 122 Nayara 41 nagara VjharakSara, saraMta 122 (gu. jharab) NakaMta 104 [1] nakrAnta = nAsikAnta jhala 13.7 malA mRgatRSNA [2] natAnta rAtriprAnta

Page #260
sandezarAsaka - zabdakoSa / Nazca nRtyU ( gu. nAcavu ) naccIyaha / Nisa 28 (1) netrapaTam (naci ) 219 Najjai 24 zAyate Niddaya 95 nirdaya Niiyara 67 nirdayatara Niddosa 99 nirdoSa TTaNiya 45 [ naTTa = naT ] nartikA 'naDa' 46 naTa jiMda 94, miM 190, 191 nidrA (gu. nIMda ) NinnAsaNa 158 [ nir+ /nAza ] nirNAzaka nine 99, nine 101 niHsneha 'Nivaddhaya 45, nideg 52 nibaddha Nibbhaya 208 nirbhaya g 100 naSTa Natthi 18 nAsti ( gu. nathI ) naMdIya (Ni) 182 nidrIyate mara 46 nalacariya 44 nalacarita nava 53, navaya 100 navIna ( gu. navuM ) Nava 27 navan (gu. nava ) NavajuvvaNI 220 navayauvanA ( gu. navajavAna ) Naha 51 nakha Naha 140 nabha revalliya 148 ( NahavallI ) vidyut NAra 111, 52 NAya 170, NAyaM 53 ivArthe NAya 143 nAga = sarpa NAyaradeg 42 nAgara 'NADara 46 nATakin NAma 64, nAdeg 211 nAma NAri 174 nArI gAva 142 (1) nau ( gu. nAva ) NAviya 197 Na + bhaviya (gu. nAvyU~ ) NAha 67 nAtha NAhi 49 nAbhi Ni 19, niya 29 nija Niattaya 30 nivRtta Niui 112 niyojita Niyaya 169 (?) niyata VNia = izU, niyaMta NiyaMtI NiyaMsaNa 28 nivasana = zirovastra Niggaya 154 nirgata 159, Niggama 69 nirgama nigdhiNa 85 nirghRNa Nizca 115 nitya NiDura 166, jiraha 69 ( degya ) niThura Ni 102 niya 'Nibbhara 120 nirbhara nirbhati 138 nirbhrAnta Nimisa 96 nimeSam misiddhu 19, 30, 182 nimeSAm Nimmala 183, ni0 160 nirmala 'Nimmaviya 31 nirmApita rikkhara 191 nirakSara niraMtariya 134 nirantara 143 niravakkhi 78 nirapekSam Niru 43, 102 nizcitam ; 68, 95 nitarAm nilaya 77 NivaDa 134 nideg 57 nibiDa NivaDanbhara 47 ('Da') nibiDoddhura nivaDaMta 210 nipatat 'nivaha 133 Nivehiya 189 nivezita; niviSTa visiyaya 130 pravasita niviDa 219 nibiDa 'Nivesiya 95 nivezita 103 nisa 155, Nisi 105 nizA (gu. niza) NisAyara 87 nizAcara Nisiyariya 87 nizAcarI NisuNa = nizRNu, NisuNi 30, NisuNehu 19, NisuNebiNu 18, 41; zisuNevi 83 NissAhAra 134 nirAdhAra ; = nissAdhAra NihU = dRz (?) hidda 24 pazyati hi 31 nidhi fuge 115 nibhRta nIra 102

Page #261
104 'nIraharadeg 148 vara V nIsara = nir+sR ( gu. nIsarahu~) nIsaraha 54 'nIsAsa 83 niHzvAsa ( gu. nIsAso ) ya 30, 99, 169, 182 naiva Neha 91 sneha Nevara 52 nUpura (gu. nevara ) ta ta 94 tad ( darzaka sarvanAma ) taM 135 tad sandezarAsaka - zabdakoSa takkhara 95 taskara V tagga = (?) taggami 164 = tad game taragata 158 V tajja = tarj, tajjai 120. taDa 163 taTa taDayaDa = dahyamAnavastunaH taDataDeti zabde, ( gu. taDataDavu ) 148, 185 taDaDavi taDataDayaDa 132 TanaTanaTad ( gu. taDataDataDa ) V taDakka - sahasA prakAze, taDakka taDatkAraM kRtvA, taDatkaroti / taDinaya 143 atyalpa (?) (saM. talina = taiya 100, 191 tadA tau 28, 135 tataH to 18 [] 29 tADaMka 46 karNAbhUSaNa tAvat (gu. to ) 'taraMga' 145 taraMgiNa 133 'NI sUkSma ) ) taNa 187, 189, taNu 67 tanu (gu. tana taNi 94 ( gu. ta, taNI ) 'tapta 182 tata tattakkhaNa 82 tarakSaNa (gu. tatakhaNa ) taMDava 144, 212 tAMDava taM tu 210 (?) taM+tu tama 117 tamas 'tamahara 96 tamohara taraNi 131 tarala 148 tarudeg 144 taruya 192 taru taruNi 175 NI tavaNatittha 65 tapanatIrtha, sUryakuNDam V tava = ta, tavaMti 131, tavirhi 137, viya 130, taviyaya 139 tavaNa' 137 tapana = sUrya taha 67 tatra taha 181 ( tahavi ) taha 104 tathA | tahi (vaha ) 64 tadA | tahevi 181 (1 taheva ) tathaiva tA 30 tadA, 79 tasmAt tAkaM 104 (1) tAkaM dezI = tarkayAmi 'tAmiccha 47 kajjala tArAhivara 24 ( tArAdhipati) caMdra tArAyaNa 143 tArAgaNa tAla 219 tAva 27 tAvat tideg 18 tri tiura 42 tripura tikkha 123 tIkSNa ( gu. tIsu~) / tiDa (?) - tiDai 132 zudhyati (?) tiNadeg 131 tRNa 148 tittha 962 tIrtha / tippa = tiSya, tippaMti 940 tima 103, 222 tathA ( gu. tema ) timiradeg 193 tiraccha 97 tiryac ( gu. tirahu~) 'tiracchiya 47 [ tiraScha+ deg iya Page #262
tuDiya 27 truTita tuMga 42 tuMbara 53 tuMbaru turakka (?) 48, 168 tIkSNa turaMgama 942 turiya 82, turiyaya 50 tvarita turiya-i 223 tvaritam +api 'tulaya 114 tulya tusAra 186, tusAra 184 tuSAra tuhiNa 193 tuhina tuhu 88, 222 tvam tUM 77 svam tUradeg 218 teya 132 tejasa sandezarAsaka - zabdakoSa tha thakkiya 142 [ Vthakka Page #263
sandezarAsaka - zabdakoSa dukkhiji 185 (1) =duHkhArtA dhukkhaMtiya 107 dhukS jvalantI dukkhiniyA 85= duHkhAkIrNA (gu. dhakhay) (gu. dukkhiNI) dhutta 192 dhUrta dugga 82 durga, 208 durgama aprApya VdhUa dhUpaya, dhUijai 189 duggacciya 18 [daurgatya+ika ] durgata dhUma 109 duggama 117 durgama 'dhUva 169 dhUpa ducciya 112 [ dvau caiva dvAvapi duttara 142 dustara pauyaNa 102 prayojana "duddharadeg 148 durdhara paukka 111, paukkaya 217 (2) prayukta dumma 124 druma paudaMDau 140 (payadaMDau) pagadaMDazcaraNadusaha 120 mArgaH (gu. pagadaMDo, pagaDaMDo) dusahau 148 duHsaha dussaha 131 pauma 117 padma pauhara 24 payo dUa 197, degdUaya 196 dUta paya 121 [ pada ] zabda dUradeg 192 deha (strIliMga) 78 (gu. deha) paya 54 pAda, pau moDaya 68 = upaviza (gu. paga mAMDavo) paya 141 payas dhayaraTTa 24,171 [dhRtarASTra] haMsa VpayaTTa-pravRt, payau 117 ghaNadeg 79 dhanaM gokulam (gu. dhaNa) payaDa 188 prakaTa dhaNu 185 dhanuS payahatthiNa 141 (1) pAdatrANahastAH dhannaya 94 dhanya V payAsa prakAzay payAsiyai 43, payAdhammilla 25 dhammila 106 sahi 121, payAsisu 117, Vdhara (gu. dharav) dharai 50, dharantI degpayAsiya 19 217, dharati 100 = adhariSyat (gu. | payohara 177 dhara dharata), dharu 102, dhari 109, dharevi pakkhittiya 170 prakSiptA 107, dharaNau 71 paJcakkha 122, 209 [pratyakSa ] sAkSAt dhara 132 dharA paccalla (?) paccillai 120 prerayati 'dharadeg 148 paJcUsa 179 pratyUSa dharatti 41 (ri) dharitrI (gu. dharatI) | pacchima 155 [ pazcima ] zeSa dhavaladeg 143 zveta (gu. dhoLu) pacchuttANiya 199 [paccha (< pazcadeg)+ dhavaliya 163 dhavalita (gu. dhobyu) uttANiya ] pazcAttApo jAtaH (gu. dhavalahara 184 [dhavalagRha ] prAsAda pasatANI, dhAradeg 148 dhArA (gu. dhAra) pajalaMta 208 prajvalat dhiTTha 139 pRSTa (gu. dhITa) V paDa= pat (gu. paDavU) paData 136, VdhIra = dhIrIbhU, dhIri 102, VdhIrava = paDi 28, paDiya 111 dhIraya (gu. dhIravadhU) dhIravai 266 | paDaha 174 degTa (gu. paDo, paDo bajaDAvavo) dhUiNa 193 (1) dhUmena paDiutta 222 [prativRtta ] prasthita, prayujita dhuya 209 dhruvaM (utprekSAyAm ) manye (prayukta)?

Page #264
sandezarAsaka-zabdakoSa 107 V paDiuMja prati+yuja , paDiuMji 91 preSaya | parigamiaya 159 [parigamita] parisamApta paDibiMbaya 164 pratibiMba degpariggaha 78 graha paDibhinna 184 [prati ] viddha parigholira' 46 [pari+V ghola+ira] paDilliya 162, paDillI 89 dezItvAdadhikam parighUrNAyamAna paDiliu 106 dviguNam paritava-pari+tap, paritavai 135 paDuttaya 124 paDutta = paDiutta [ VuMja = V paribhama pari+bhram, paribhamaMti 218, paDiuMja] pracalita, prasthita paribhamai 102 V paTuMja [prati+yuj ] preSay , pahuMjahi 110, paribhamaNa 54 bhramaNa paDujivi 223 parivaDiya 121 patita V paDha= paTh (gu. paDhavU) paDhai 183, V parivasa = pari+vasa , parivasai 134 paDhaMta 223, paDhijasu 71, paDhavi 85, parivADi 75 [paripATi] ucitamArga, paDheviNu 151, paDhivvau 20, paDhiya 83 / parivADi Na hoipratipannaM na bhavati paMDiya 21, paMDiyaya 42, paMDita parihara = pari+ha, pariharavi 188 (gu. paMDyo, paMDo) parihava 76 degbhava paMDitta 20 paMDita V parihiMsa- pari+hiMsa, parihiMsipaMDitta 19 pAMDitya yahi 137 pataMga 111 paruppara 206 paraspara pala 106 mAMsa patta 134 patra, 18 nAgavallIdala palaTTihi 117 dra0 paluTa patta 130 prApta patthara 154 prastara (gu. patthara, patharo) palAsa 209 [palAza ] (1) palAzavRkSa zana, rAkSasa paMkiya 48 [paMkita ] = paGkAGkita palitta 222 pradIpta, pralipta (?) paMkhuDiya 27 prskhlit| degpaMguraNa 167 prAvaraNa (gu. pA~garaNa) palisthihi (palasthahi) 975 pralipta (1) paMca 74 (gu. pA~ca) paMcama 53, paMcau 183 paMcamasvara / paluTa =pra+lura, paluTanti 195 paMti 134 pati (gu. pA~ta, pA~ti) V paluTTaprati+A+vRt, palaTihi 117, paMthiya 71 pathika (gu. paMthI) paluTTi 130, 191 VpabhaNapra+bhaN, pabhaNija 85, paloiya 160, paloiyaya 97 pralokita pabhaNiya 222 pallaMgha 188 (palaMgha, pallaMga) paryaGka, palyaGka pamANa 79 pramANa (gu. palaMga) pamukkiya 164 pramukta pallava 134 para 76 pavaNa 192 degna pavana 24, pavanaya 139 [prapanna ] prApta para 79,81, pari 189 paraM tu paraesa 159 degdeza pavara 53 pra paravasI 217 paravazA pavasa=pra+vas , pavasihi 193, pavasaMta degparAvasI 151 paravazA 70, pavasii 43, pavasibha 70, parikhaMDaNa 145 khaNDana pavasiyaya 94 degparikhillarI 219 [pari+khilla+ira] /pavaha pra+vah , pavahaMta 25 (saMcaran ), parikhelantI pavahaMtaya 141, pavahaMti 24

Page #265
sandezarAsaka - zabdakoSa pavAla 61 pra degpAsa 215 'za pavAsa 114 pra. pAsAhaNa 179 prasAdhanA pavAha 24 pra. piya 88 [priya ] priyatama (gu. piyu) pavittharaNa 19 [< pra+vi+V stu] pikkha = pra+iz (gu. pekhavU) pikkha 199, pravistAraka pavisa-pra+viza (gu. pesaI) pikkhai 96, pikkheviNu 26,31, pikhivi pavisaMta 46 203, pikkhivi 54, pikkhi 78, pasaMga 41 pra pikkhiya 170 V pasarapra+sa (gu. pasaravU) pasari 58, pikkhaNaya 53 prekSaNa (gu. pekhaNa) pasariya 117 'pijai 195 [V pIya = pib (gu. pIvU)] pasara 66 pra. pIyate pasija = [prasIdya] pra+sad (sId ) da (sIda) pimma 115 preman pasiji 30 piMga 53 pasiddhaya 65 prasiddha piMjarI 210 pasuppai 188 prasupyate pINa 45 degna paha 23 degtha pIsiyai 187 /pIsa-piSya degpahaya 103 mahata (gu. pIsavu) piNyate pahaMjaNa 132 prabhaMjana pukkhara 141 [ puSkara ] megha degpahara 155 pra0 pukkhari 141 puSkarI nadI paharAviya 78 praharita | Vpuccha-pRccha (gu. pUchardU) pucchau 121 pahallira 133 [pra+halla = calU+ira ] puNa 67, . (gu. halavU, hAlavU) puNu 44, puNi 101 / punaH (gu. paNa) pahiya 26 pathika puNa puNa vi 107 punaH punarapi pahu 24 [prabhu] pati puNannavaya 110 punarNava pahutta 110, pahuttaya 192, pahuttiya 29 = punarutta 109 [punarukta] punaH punaH prApta (gu. pahoMtI) puMchiya 98 [V puMcha = mRj ] pAi 191 pApin ___ pramArjita (hiM. poMchanA, ma. pUsaNe) pAiya 157 prAkRta pAiya 157 [pra+Ap] prApta (hiM. pAyA) | puMja 118 (gu. pUja, pU~jo) pAiya 89 [pAdika ] padacArin punniya 169 pUrNa pAusa 139 prAvRS [hiM. pAvasa, marAThI degpuppha 202 rupa purau 20 purataH pAusa] puvva 112 pUrva pAyaya 43,183 prAkRta pUriya 197 pUrita (gu. pUrI) pAyAra 42 prAkA pesiya 196 pesiyaya 65 preSita pAmara 19 pAlI 79 [pAlikA] gopAlikA Vpesa% [V peha athavA / pAsa (?)] dRza __ pesai 141, pesijai 140, pesiya 95 pAva 154, pAu 206 pApam porisa' 77 pauruSa (gu. porasa) pAva%pra+Ap, pAvahi 94 pAvayaNadeg 28(= pAvaNaya = prApanaka) prApana pAvAsa 118 pra phaNiMda 145 phaNIndra pAvAsuya 102,142 pravAsin VphaMsaspRza, phaMsahi 98 pramArjaya

Page #266
sandezarAsaka - zabdakoSa pharasa 192, pharasaya 18, 222, pharasiya | vivAhari 113 deg dharI 144 paruSa (gu. pharasu~ ) pharasa 94, pharisa 191 sparza phari siu 132 spRSTvA 'phala' 193 ( gu. phaLa ) phalasevi 183 'vin phalahAra 133 bhAra phira = pari + vRt, prati + A + vRt, gam, phiraMta 168, phiraMtaya 103 bhramantaH (hiM. phiranA, gu. phara ) phuTTa 154 sphuTita ( gu. phUTyU~ ) V phuDa = sphoTayU, phuDavi 28 phuDa 121 sphuTa V / phura = = sphura phurai 122, phuranta 120, phuriya 160 'phuliMga' 120 sphuliMga 'phula' 193 puSpa (gu. phUla ) phusa [ spRz ] = mRj, phusai 25, ( utphuMsati ) phusaMta 95, phuse viNu 107, phusavi 67 phophala 188 pUgaphala, pUgIphala ( gu. phophaLa ) ba baga 140 baka ( gu. bagalu ) baMdha 154 baMdha, 18 kAvyaprabaMdha bamhaju 189 brahmayuga V bala = jvala (gu. baLavu ) balai 113 bala 99 ( gu. baLa ) bahirayati 218 badhI" bahu 139 ( gu. bahu ) bahurUpi 43 deg pina ( gu. bahurUpiyo ) citravicitra vezadhArin bahula 179, bahula 181 bahula bAlaya 174 ka bAha 51 bAhA = bAhu ( gu. bA, bAMya) bADi 81 bAhA, bAhu bAhiri 54 bahiH ( gu. bahAra ) 'biMdu 150 viruDa 24 ( varaDa ) varaTA ( biruDalaka: bhramarI madhyamadhyA) buddhaya 179 prabuddha buha 21 buhayaNa 19 budhajana 'buhata 21 budhatva be 80 dvau, (gu. be ) bola = vyatikram, bolevi 113 bolayitvA = nirgamayitvA V vola = nirmajayU, boliyeto 100 amrakSyat bolAviya 49 vAcAlitaH ( gu. bolAvyo, bolAviyo ) bha bhayadeg 140 bhagga 193 bhagna (hiM. bhAgA ) bhari 98 [ V bhaja ( bhaJja ) + ira ] bhajyamAna = bhanna bhakti 159 degkti bhaMga 146 vyathA bhaMga 177 109 bhaNa (gu. bhavu bhaNai 85, bhaNe 95, bhaNa 80, bhaNeviNu 96, bhaNivi 137, bhaNiya 31 / bhaMja = bhaJj ( gu. bhA~javu ) bhaMji 117 'bhama = bhram (gu. bhamavu ) bhramahiM 46, " hi 175; bhamaMta 199, bhamira 174 = bhamaMta bhramadeg 97 bhrama bhamara 205 bhramara ( gu. bhamaro ) bhamuhadeg 52 bhrU (hiM. bhauM, gu. bhavu ) Vbhara = Ta, bharu 102, bharavi 100, bhariya 162 bhara 47 bharaha 216 [ bharata ] sAbhinayagAna bhAiyai 52 [ Page #267
110 bhAula 208 [ bhA+Akula ] kAntyAkula bhAraha 44 [ bhArata ] mahAbhArata bhAla 48 bhAlayala 168 'tala V bhAsa = bhASa, bhAsiyai 43, bhAsiya 23, bhAsiya 19 sandezarAsaka - zabdakoSa bhaTTa (gu. bheTa), bhiTTiyai 101 prApyate maMDiya 176, maMDiyaya 42 maMDita bhitti 96 ( gu. bhA~ta ) bhisa 171 bisa matta 189 mAtra bhIDa 62 saMmarda (gu. bhIDa ) bhuaMga 137 bhujaMga 'bhuNa 130, 194, bhuvaNa 117 bhavana (gu. bhuvana ) bhuvaNa 162 bhuvana bhuvaNuppara 188 [ bhavanopari ] bhuvanoparitanabhAga 'bheya 20 bheda 'bhesiya 140 bheSikA ma ma 109 mA ( gu.mA, ma ) mai 23 mati mairaddhaya 22 makaradhvaja mayadeg 46 mada mayau 83 mRgavyu ma 187 [ madana ] siktham, ( gu. mINa) mayaNaaggi 222 madanAni mayaNamana 22 madanamanas mayaNavaTTa 48 [ madanapaTTa ] kucasthala mayaraddhaya 208 makaradhvaja maNa 47 manas ( gu. mana ) maNamattha 83 manmatha mayavaTTa 177 [ madapaTTa ] hRdaya mayUha 137 mayUkha maga 49 mArga ( gu. mAga ) maccharadeg 946 = mazaka ( gu. macchara ) majjha 47, 104 [ madhya ] kaTi majjhayAra 21 [*madhyakAra ] madhyama, madhyastha madhujam maNahara 146 manohara | maNujaNa 19 [ manujana ] manuSyAH | manoharaya 173, maNoharI 216 manohara maMDala 185 ( yathA paramaNDala) (1) yogavartula ( 2 ) paramaMDala = paradeza maMDaliya 49 ta mattamukta 195 mAtrAmukta, adhika maMgala 110 maMgalam ( gu. maMgaLa ) maMjari 215, maMjarI 210 maJjarI maMthara 26 mannAya ( mannAva ) = anu+nI ( gu. manAva hu~) mannAi 71, mannAevi 74 mara = mR ( gu. makha~ ) marami 164, marau 107 | maraNAahiu 76 = maraNAdhika marAladeg 164 maru 210 marut 'mala 173 ( gu. maLa ) 'mahiraya 50 dra0 aimalhiraya mahaMta 145 mahat V mahamaha = gandhaprasaraNe ( gu. maghamaghavu ) mahamahai 63, 183, mahamahiya 146 mahAvisa 145 [ mahAviSa] atizaya jala (?) mahi 210 hI mahiyala 65 tala mahila 166, mahiliya 176 mahilA | mahilava 166 (1) gayamahilava = gatamaholavAH = gatamahotsavAH mahIruha 63 mahuyara 296 madhukara mahumAsa 200 [ madhu' ] caitramAsa mahurayara 43 madhuratara V mA ( gu. mA) mAi 155 mAti, mAvadda 141 'mAla 135 deglA (gu. mALa ) 'mAhappa 19 mAhAtmya

Page #268
sandezarAsaka-zabdakoSa 111 miaNAhi 48 [ mRganAbhi ] kasturI rayahara 22 (rai.) ratigRha miyacchi 65 mRgAkSI raccha 175, racchi 167 rathyA miyanayaNa 85 mRganayanA raDarada (dardurasya mayUrasya vA zabde); V mila (gu. maLavU) mili 202 / (gu. raDavU) raDaMta 212, raDiya V milha = muc , = ujjha (gu. melaq), 144, raDaNa 148 milha u 86, miliyai 113 (gu. melIe), raNaraNaya 131 asukha (autsukya ?) milhihai 191, milheviNu 181, milhavi ratta 202 [ rakta ] lohita (gu. rAtu) 144, milhi 158, 222, milihaya 92 rattaya 99 anurakta muya = muc, muyai 135 ratthi 218 rathyA, da. racchi muia 70,degya 154 mRta (gu. muI) | raMga 100 anurAga mukkha 18, 191 mUrkha raMga 146 AnaMdAtireka (gu. raMga, yathA raMge muccha = mUrcha , mucchijahi 46 ramadhU) VmuNa= [mnA] jJA, muNai 64, muNahi 20, raMga-rajy (gu. raMgab) raMjiyai 101 muNaMtI 100 ajJAsyam ; muNavi rayate 199, muNiya 183, muNiaya 197 raMjiyaya 121 raJjita muttiya 118 mauktika (gu. motI) ranna 146 (1) araNya; sthala muddha 25 mugdhA Vrama = ram (gu. ramaI) ramihi 167, muMdha 87, muMdhi 82 mugdhA ramaMtaya 167, ramiyai 146, muraya 45 muraja ramiaya 159, ramira 174 = ramamANa muha 179 degkha (gu. mhe') mUla 198 mUladhana ramaNadeg 26, 50 nitaMba ramaNi 24, ramaNIdeg 218degNI mUlatthANa 65 mUlasthAna nagara (multAna) ramaNIyaNa 218 gaNa mUMdaDau 81 mudrA (gu. muMdaDI) ramaNIya 184, 157 218 megha (gu. meha, rAja. mha) mehala 27degkhalA ravanaya 180 ramaNIya (hiM. ravannaka, raunaka) V moDa = moTay (marAThI, moDaNe), moDai ravi 110 raviMda 183 araviMda 25, moDavi 68 mora 212 mayUra (gu. mora) V rasa = ras , rasai 148, rasaMti 171, rasiya 144 moha 151 rasa 22 rasaNA 26 degzanA rai 23 rati rasiya 22degka rai 85 (raya) ratam Vraha = vas , sthA (hiM. rahanA, gu. rahedUM) raiya 106, raiyaya 19 racita rahau~ 72, rahahi 113, rahai 118, raudda 148 raudra sthAsyati (gu. rahe) rahahi 113, 'raya 199 rata, rahiya 159, raya 179 (1), rau 45, rava 218 rava= rahaMga 171 thAGga zabda rahasadeg 179 rabhasa rayaNadeg 46 rana rahasacchala 179 raMhasocchalena 'rayaNi 95, rayaNi 157 rajanI (gu. reya) rahiya 193, rahiyaya 91 rahita

Page #269
112 sandezarAsaka-zabdakoSa __malipta (?) rAa 100, rAya 101 [ rAga] anurAga laliyahINa 18[ lalitahIna] lAlityahIna rAIva 137 rAjIva Vlavalap (gu. lavadhU), lava 166 rAyamarAla 41 rAjahaMsa Vlaha = labhU (gu. lahevU) lahaMta 18, rAya 183 saMgItasya rAgaH ___ lahaMtaya 89, deglahaMtiya 147, lahi 212 rAmAyaNa 44 lahari0208 rI rAsa 167 rAsa = nRtya (gu. rAsa, yathArAse | Vlahalaha = taralazikhAyuktajvalane ramavu, rAsa ramavU) lahalahai 182 rAsau 43 rAsakaH (gu. rAso) VlAya% lAgay, lAiyai 189 rAha 24 rAhu lAha 198 lAbha riu 192 ripu V liha = likha , lihai 23 (jAnAti), riuNAha 196 [RtunAtha ] vasanta lihivi 88, lihiya 96 rikkha 160 [RkSa ] nakSatra V liha = liha, lihaMti 206 'rilla 162 jalapravAha (gu. rela) lIlaMtiya 53 lIlAM kurvantI degrisiya 159 RSi degluddha 205 lubdha rUa0 79 ruta 'lula 143 lipta (?) yathA kardamalula = kardaruNajhuNa 205 bhramaraguJjane ruNajhuNau 65 (mekhalAzabde) raNajhaNatkAraH lala luT , lulai 49, lulaMta 173 ruddha 145 Vle-lA (gu. levu) leviNu 71, laivi runnu 109 ruditam 98, lai 98, 94 (?), laya (2) runnaya 68 rodana 86, liya 168, lIaya 176 (hiM. Vruva rud, ruvai 25, ruvaMta 214, ruivi liyA) 67, ruyaviruyavi 109 Vleva = lepay , leviyai 187, leviyaya rovarod (gu. rovu) rovaMtiya rUva 54 rUpa leha 88 [ lekha] likhitasaMdeza reNu 210 lehaya 65 lekhaka = lekhavAhaka V reha-rAja, rehai 140, rehai 48, rehati loDa 211 [lokaH ] janAH 'loyaNa 25 locana reha 140 rekhA loha 92 lobha lhasiya 87 sasta (gu. lasavu) gata, jhasita lai 23, 134, 186 vAkyAlaMkAre (gu. le. marAThI, lai) 'laya 27 latA va 29, 123 iva 'lakka 24 kaTi (gu. laoNka, laMka) vayaNa 83cana (ga. vaiNa) lakkhaNa 23 lakSaNa vayaNa 98degdana lacchi 205 [ lakSmI ] zobhA vayaNijja 155 vacanIya Vlaja = lajja (gu. lAjavU) lajaMti vaMsa 45 [vaMza] veNu (gu. vA~saLI) 150, lajijau 70, lajivi 71 vakkhara 95 [uvakkharaPage #270
sandezarAsaka - zabdakoSa [ cakkhANa = vyAkhyAna ] | 'vahiya 105 bAdhita ( vyathita ? ) prazasyate (gu. vakhANavuM ) vahAragae 173 yathA vihitaM (?) Var ( gu. vAvu ), vAi 210 vAuliya 94 vyAkulita vAyaMtaya 175 vAdayat 'vADaya 46 pATaka ( gu. vADo ) vakhANi 65 Vvazva = jU, vavau~ 65, vacca 75 vaja 154 vajra vajaMtaya 174 vAdyamAna ( gu. vAjatu ) 'vajaya 173, vajjiyaya 187 varjita vajjara = kathU, vajjarahi 110, vajjariya 67 | vAmadeg 86 dakSiNetara V vaTTa = vRt, vaTTahi 123, vaTTiyai 101 vaTTa 222 vartman (gu. vATa ) 'vaTTiya 83 AcchAdita, vyApta vaDavAnala 89 vAha 181 pravAha vahu=varth, vaDae 120, vaDahi, vaDDhi hi vi 18, 80 api vaddala 148 megha (gu. vAdaLa ) vaMkadeg 123 vakra (gu. vA~ku~) 112 vaNa' 131 vana yate vaNijai 208 (?) vANijyaM karoti, vyAmi viaDa' 18, viDaya 50 [ vikaTa] nibiDa viaDabaMdha 18 [ vikaTabandha ] suprathita viaDDa 23 vidagdha viasa=vi+kasa, vibhasaMta 201, viyaseviNu 104, viyasAviya 137 visa 209 vikAsa 'vaNNa' 45 varNa = akSara varadeg 144 zreSTha 'varacchaNa 195 [ vara kSaNa ] vara mahotsava varasari 142 sarit varasaMtiya 83 varSantI ( gu. varasa ) varisa 204 [ varSa ] varSAkAla V vala = vala ( gu. vaLavu ), valai 102, valivi 130 'valaya 146 = vartula vAsa 160 'vAsa 188 sugaMdha vAsiya 23 vAsita vijaya 200 viyogin viddhI 154 vibuddhA varakkiya 98 (?) paTI = vastra (gu. varaka, viuNaya 136 dviguNa degkha ? ) viesa 103 videza valAya 160 balAhaka valiyaDaya 80 valaya 'vallaha 196, vallahI 203 vallabha ( gu. vahAlo, vahAlI) vavvIhiya 140 cAtaka ( gu. bapaiyo ) vammahadeg 97 manmatha 'vasa 95 vaza vasaMta 215 (gu. vasaMta ) vahU = vahU (gu. vahevuM ), vahaha 132 ( vAyuH ), vahantaya 102 ( jalaM ), vAhijjai 205 ( udyate ) saM0 15 viakkhaNa 23 vicakSaNa 113 vioya 70 viyoga 'vioiriya 118 [ vi + yuj+ira (?) ] ciyuktA viyaMbhiya 143, viyaMbhiyaya 115 vijRmbhita vigviNa 85 [ vibhin ] vighnakAraka / vicara = vi + car, vicarija 208 'vicitta 167 vicitra vicittiya 170 vicitrita vicchAiya 188 [ vicchAdita ] vistArita (hiM. bichAnA, gu. bichAvava~ ) vijja 191 (1) viditvA ; Avedya, Avidya vija' 19 vidyA vijaMbha = vi+jRmbhU, vijaMbhai 25 | vijjhati 206 vidhyaM te

Page #271
sandezarAsaka - zabdakoSa V viDaMba = vi+Damb , viDaMbai 76, visaMtula 130, visuMThalaya (visaMtulaya) viDaMbiaya 24 115 vihvala, vihalaMghala viNaya 222 vinaya visAla 63 vizAla viNaggaya 122 (viNi ) vinirgata visuddhaya 22 vizuddha degviNoa 44 vinoda visesa 201 vizeSa vitta 99 vRtta= chandas vihaMgama 163 V vidara%3Dvi+ha (dAra), vidaravi 160 vihala 130 vihvala vidIrya vihalaMghala 105 vihvala vidumadeg 118 vidruma vihasaMtI 48 viddhI 182 viddhA vihANiya 199 vibhAtA (gu. vahA] = vinni 85 dvau (gu. bane) prabhAtam ) vipphuraMta 200 [visphurat ] visphorayat vihAviha 143, 167 (vihAviya = vibhAvibuha 20 vibudha vita) vidhavidha vimala 164 vihideg 31 vidhi vibhiu 47, 207 [ vismitam ] Azcaryam | vINadeg 45 degNA vibhaviya 46 vismApita vibhala 46 vihvala VvIsara=vi+smR, vIsarai 54 viratta 100, virattaya 99 virakta vullINa 204 gata, bolIna veya 43 veda viraha 24 veyaNa 99 vedanA virahaggi 24 virahAgni vesi 201 vezin virahAyaNa 112 virahakAla vesA 46 vezyA virahaNi 22 (hiNi) virahiNI virAma 100 vesAvADaya 46 vezyApATaka (gu. vezyAV vilagga = vi+lagya, vilaggivi 27, vADo) vilaggiya 28 'vomayala 132 vyomatala vilattaya 178 (vili) vilipta Vvola = vyati+kram , voliyaya 184 vilavaMti 79 vilavaMtiya 135, volaMta 95= abravIt vilavaMtI 190 vilapantI vilasiyaya 77 vilasita saitti 169 muditA vilAsa 29 saivattI 18 (saya ) zatapatrI Vvilula = vi+lura , vilulaMtiya 147, sau 79,99, 74 samam, sArdham viluliya 87 sauNi 62 zakuni sauNiyaNa 193 zakunigaNa vivarIya 87 viparIta saunna 24, 98 saMpUrNa [sa+pUrNa ? ] vivalasiya 28 dUrIbhUta (2) saya 62 zata vivaha 195 (viviha) vividha sayaNa 194zayana viviha 135 vividha sayala 42 sakala visa 137 viSa sayavatta 161 [ zatapatra ] kamala 'visa 145 = jala (2) saM 201 samyak (?) visama 86 viSama saMvaccharadeg 114 saMvatsara vivaradeg 49

Page #272
sandezarAsaka - zabdakoSa 115 / saMvara = saM+, saMvari 102, saMvarivi 27, | satthara 186 [ srastara ] zayyA ( gu. sAtharo ) sattharaNa 136 [ srastaraNa ] zayyA saMvari 28 saMvaraNa 106 saMsagga 134 saMsarga saMsa = zaMsa, saMsiyahi 137 'saMsitta 107 saMsakta saMsosiya 199 saMzoSita sakasAtha 171 kaSAya 'sakuliya 23 zaSkulikA [ yathA, karNazaSkulikA ] sakomala 123 komala V sakka = zakU ( gu. zakayU~ ), sakkau 88, 105, sakkai 148 sagaggira 29 gadgada 'saMkAsa 163 saMkAza 'saMkha 163 zaMkha saMkheva 64 saMkSepa saMga 23 saMgama 94 V saMgaha = [ saMgraha ] grahaNe, saMgahavi 20 saccu 197 satyam sacaviya 96 [ satyApita ] sAkSAtkRta saccha 28 svaccha jaya 178 [jita ] prasAdhanArthe racitaH ( gu. saja ba~) sajiya 53 sajjita saMjIvayara 22 [ saMjIvakara ] punarujjIvaka saMjhasiya 28 [ saMdhvasita ? ] saMbhramita, saMjhasita saha 19 sneha ( gu. saneha ) saMThaviya 195 saMsthApita "sattha 43 [ sArtha ] saha ( gu. sAtha ) 'sattha 175 sArtha = samUha sadda 148 zabda saMtaviya 25 saMtApita 'saMtA 76 saMtApaH / saMtosa = sam + toSaya, saMtosihai 197 saMdesaya 68 saMdeza saMdesaya 69 saMdeza sannaddhaya 52 saMnaddha | sanniha 167 saMnidhi sappurisa 76 satpuruSa sabara 185 zabara sabbhaya 208, sabhaya 117, sabhaya sama 47 saha sajjhara 143 (?) saMcaDiya 146 [ sam + caDa ] ArUDha 'saMcara 145 saMcariya 27 saMcalita saMpuna 42 saMpUrNa saMpunniya 180 = bhAgyavatI saMjANa = [ = sam + jJA, saMjANivi 151 upalakSya | saMbharaMta 214 saMsmarat ( gu. sA~bharavu ) saMjaNiya 209 saMjanita saMbhariya 184 saMsmRta 'samattha 80, 20 samartha samasthima 79 sAmarthya samaraMta 86 smarat samariya 181 smRta V samA= sam + mA ( gu. samAe~ ), samAi 81, samANa 80 samAhideg 86 samAdhi samIra' 66 samIraNa 131 samuTThiya 137 sthita 'samUha 130 saMpaDiya 20 [ saMpratita ? ] labdha sAMpaDavu saMmANiya 78 [ samAna ] saha, yathA- tua saMmANia = tvayukta saMmIsa = sam + mizra, saMmIsiyai 187 'saradeg 53 zarad sara 144 svara degsadeg 27 (gu. sara, sera ) degsara 23 sarasa ( gu.

Page #273
116 'sara' 83 zara V sara = sR, sarai 183, saraMta 200 V sara = smR, saravi 97, sArasi 165 smArayasi sarayadeg 122 zarad 'saraya 161 saras sarayAsari 171 zarat+zrI saraNa 95 zaraNa sarala 61 sahiya 169 sakhI (?) sahAra 211 sahakAra saralAi vi 26, saralayavi 123 saralayitvA sahIya 202 ( sahiya ) sakhI ( gu. sahI ) sA 27 sarasa 140 'sari 142 sarit 'sari 171 zrI 'sariccha 133 sarakSa 'sarisa 176 sahaza sarisa 188, 179, sarisaya 187 saha (gu. sarasu~) sarIra 136 zarIra saroruha 42, 64, 120 sarosaya 139 saroSa sandezarAsaka - zabdakoSa salajjara 143, salajjira 27, salajiriya 98 ( lajjira = / lajja+ira) salajja salAiya 176 zalAkA ( gu. saLI ) salila' 133 salilabbhava 66 [ salilodbhava ] kamala savaNa 23 zravaNa 'savaNa 109 sravaNa savaseya 103 [ sva + vazya ? ] vazIkRta savi 209 sarva ( gu. sau, sarakhe ) savittharaya 80 savistara savilakkha 28 vilakSa = hIyukta savilAsa 29 savva 185 sarva savvai 64 sarva + api savvavAra 21 sarvavAra V sasa = zvas, sasai 25, sasivi 66, sasi 118 'sasi 98 zazin saviyaNi 64 zazivadanA sasihara 42, 91 ( zazadhara ? ) caMdra ( gu. zaziyara ) V saha = sahU, (gu. sahevu ) sahami 164, sahau 77, 148, sahadda 118, 132, 'sahaMtiya 131, sahappi 199, sahavi 148 sAiya 95 svAmin, (hiM. sAMi ) sAmalima 24 zyAmatA 'sAmi 79 svAmin sArasa 53, sArasa 165 'sAriccha 50 sahakSa sAlUra 144, sAlUri 155 zAlUra, dardura 'sAva' 202 sarva (gu. sAva ) sAsa 66 zvAsa ( gu. sAsa ) V sAha [ zAs ] = kath, sAhei 82, sAhi 104 'sAha 25 zAkhA sAhAradeg 134 = avalaMbana, sahAya (hiM. sahArA ) siyadeg 28deg siyala 210 zItala V sikkha = zikSa (gu. zIkhavu ) sikkhai 20 siMgatthi 199 zRGgArthA siMgAra 167 zRGgAra (hiM. siMgAra ) sijja 136 zaiyA (gu. seja ) V sija - siy, sijjai 111 zuSyate sijjha = sidhy ( gu. sIjhavu ), sijjhai 99, sijjha 109 siMcei 208 siMca = sic ( sic ), (gu. sA~ca siNeha 100 sneha sittaya 89 sikta siddha 223

Page #274
sandezarAsaka-zabdakoSa 117 siMdhubhava 66 [siMdhUdbhava ] caMdra / surasa 162 siva 105 sarva (1) surahideg 184 surabhi sivaNa 154 (siviNa) svapna sulaliya 183 sulalita sisira 192 zizirartu suviyakkhaNa 82 suvicakSaNa sisirattha 135 [zizirArtha ] zaityArtha suviNa 94, 151 svapna sihaNa 28, 135 (sihiNa) stana susaMta 25 (Vsusa = zuSa ) zuSyat sihaMDi 144 [zikhaMDin ] mayUra suha 137 sukha sihara 49, 143 zikhara suha 133, 201 zubha sihari 144 [zikharin ] parvata suhaya 100, 124 subhaga sIu 210 zItam suhAiyai 189 sukhApyate sIyala 186 zItala (gu. zILu) sUDiya 192 nijhaTita, pAtita (gu. sUDavU) sIyalaMta 210 zItalayat sUraggau 181 sUrodgamam sImaMtiNiya 195 sImaMtinI seya 184 zveta sIsovari 178 zIrSopari seraMdhi 187 sairaMdhrI = dAsI sIhaMDa 187 zrIkhaMDa V seva= sev (gu. sevaq), seviyai 187, su 30 saH seviyaya 135 sui 118 zuci 'sesa 110, 113 zeSa suya 18 zruta | degsoa 95 (1) sUcaka suyaNadeg 95 (suiNa) svapna soya 103 zoka suyaraMta 158 suyaraMtiya 191 ( suyara%3D soraMDa 168 krIDAbhAjana sara) sarat sosa zoSaya, sosijai 111, suNa =zru (gu. suNA), suNahu 22, sosaMtiya 123 suNataya 223, suNavi 82, suNi| Vsoha- zobh (gu. soharbu), sohaha 161, 212, 220, suNiya 99, 212 61, sohahi 163, sohiya 215 suthira 30 susthira soha 161 zobhA degsuddhadeg 171 zuddha sohAlaya 51 [ soha+Ala, matvarthIya] suMdara 175 zobhAvya suMdari 102 suMdarI sunna 199 zUnya hau 80, 134, hau~ 65, 117 aham sunnAra 108 suvarNakAra (gu. sonAra) sumaraMta 103 ( sumara = smar ) smarat haya 78 hata (gu. samarardU) haMsa 123 summA 83 zrUyate hattha 80 hasta (gu. hAtha) sura' 53 hara-ha (gu. haravU), haraha 21, surayadeg 94 surata hari 95 suraha 23 surati "hara 22 (Page #275
118 hariyaMdaNa 135 haricaMdana hariyAula 146 [ haritAkula ] ( gu. hariyALu ) hariNi 43 NI (gu. haraNI ) harisa 41 (1) harisuya 124 [ harisuta ] kaMdarpa 'havi 130 agni (?) yathA virahahavi = virahAni sandezarAsaka - zabdakoSa V hava (1), havedda 104 jvAlayati hasaMtiya 51 hasantI hAma 191 (1) dhAma hAra 137 'hAra 133 bhAra hAralaya 135 hArakatA hArija 101 hAryate hiyaya 71 hRdaya hibhavalau 88 (1) = kAryAkula: sazAdvala * hiMData 185 = bhramat (gu. hA~Davu, ha~Davu ) hima 191 himaMta 186 hemanta hiva 41, 110 [prA. hevaM] adhunA, ataH param (gu. hiva, have ) hI 161 (?) hRta hIra' 50 hIraka huya 143, 189, 87 huaya 114, hUbhaya 199, huiya 87, 135,96, huI 199, 135 bhUta 'huyaNa 18 bhuvana 'huyAsa 106 hutAza huAsaNa 170 hutAzana hema 199 ( 1 ) = hemaMta V ho = bhU ( gu. hovu ), hoi 75, huMtaya 65, hohi 98, hou 109, hoiyaya 112

Page #276
sandezarAsakAntargata prAkRtazabda sUci / deg kuTTi 39 = khaNDa (?) kema 116 = katham ( apa0 ) a airAvai 11 = airAvata, airAvaNa ari 221 Azcarya aNiyatI 128 anivRtti [a] Nu 7 = pazcAt amiyajharaNa 33 amRta-kSaraNa amha 128= asmAkam ( gu. ama ) amhArisa 7 asmAdRza avahaTTaya 6 [ apabhraSTaka ] apabhraMza alajira 17 [ a + / lajj+dUra ] mAna Aradda 3 = tantuvAya V AsAsa = AzvAsay, ( apa0 ) Asoa 172 azvayuja i iMdoibha 153 indragopaka ihiM 93 = idAnIm iva 36 ( draSTavya - viya ) AsAsahi 16 ubvina 39 udbhana [ udvigna ? ] alajja 36 ka 119 karSita (gu. kADhayU~ ) kattAra 2 kartR karakarA (kAkazabde ), karakarAyantu 9 karabi 10 vAdya vizeSa kAya 9 kAka kiri 10 kila ( prAcIna gu. kiri ) kisaNattaNa 32 kRSNazva kukkasa 16 (kukusa ) tuSa V kala = kala ( gu. kaLavu, kaLAvu ) kalijjanti 34 = dRzyante 'kaladeg 72 kalya = zvaH ( gu. kAla ) kha khaNaddhamatta 127 kSaNArdhamAtra 'khaliradeg 172 skhala + ira] svachat V khiva = kSipU, khivai 221 khIrI 16 = payasthA ( gu. khIra ) 'jalaNa 84 jvalana jAladeg 127 jvAlA u ullala = ud+pat (gu. ulaLavu ), ullalai jAlaMdhari 38 kadalI ga gahillI 15 grathilA (gu. ghelI) gandha 12 gandhADhya |gAma - gahillI 15 = grAmINa-vadhU guhira 37= gabhIra caMgimA 15 = cArutA cuja 116 = zrAzvarya chamma 153 chadman *ya 5 nipuNa ca cha ja joikkha 8 [ jyotiSka ] dvIpa joijjai 8 dyotyate joija 37 dRzyate (gu. jovu ) jha V jhara = kSa (gu. jhavu ), jharae 11 ta tAMti 72 tiSThanti ( vyAkhyA ) ( gu. Tagavu, ku~ ? ) taDataDaNadeg 152 taddiha 128 = = tad +- dIrgha (?) taMtIvAya 10 taMtrIvAdya taMdulA 16 taMDulaka (gu. tAMduLa ) taha 3 = tatra tA 8 = tahi

Page #277
120 tiloya 5 [ *trika + loka ] triloka tIya ( = tIe ) 40 tasyAH tha thaDa 36 stabdha da daDabvaDau 16 = zabdaM karotu diyaha 126, 127 divasa divasa 128 deg divvadeg 2 [ divya ] = deva dIunhaya 90 dIrghoSNaka dIhara 34 dupiccha 11 [ duSprekSa ] bhAvya dummaM 213 = dUye dusaha 153 dussaha dUiya 213 [ * dUtika ] dUta dUsai 40 dUSayati dohAi 35 dvidhAkRta Na jayare 2 nAgarikAH ( vyAkhyA) i 34, 35 [ jJAyate ] utprekSAyAm NaTTavaraha 213 nATya - barha gidda 116 nidrA niddi 5 nirdiSTa NicchaDa 128 nizcitam nivai 116 nivRti Nisi 8 nizA Nisuya 10 nizruta sandezarAsaka - zabdakoSa (vyAkhyA) pariva 126 pratipaTTa parahuA 9 parabhRta pasayacchI 90 prasRtAkSI "pahara 72 prahAra pahUa 3 [ prabhUta ] pradhAna pAiyadeg 4 prAkRta pAvasa 153 prAvRS ( ma. pAvasa ) piMDIradeg 34 dADimI * pihUNa 32 pradhAna ( vyAkhyA) puNarutta 40, 172 [ punarukta ] punaH punastadeva pesAiya 6 [ paizAcika ] paizAcI bhASA pha ma 11 mA ( gu. ma ma ) mayagala 11 [ madakala ]] hastin ( gu. megaLa ) macaMtu 11 mAdyantu dha bhUma iNa 90 dhruvaM na ( avacUrikA ) dhUmeNa maddala 10 [ mardala ] mRdaGga (hi. maMdala ) ( vyAkhyA) phalihadeg 39 sphaTika phullai 12 = vikasati [ gu. phUlavu ] ya bAha 90 bASpa bha bhaNiya 17 bhaNita ( ma. mhaNaNeM ) bhuaNa 8 bhavana bhuvaNa 9 bhavana rAila 34 [ * rAgila ] rAgADhya pa rAma 10 rAmA paccAesa 3 [ pratyag + deza] = pazcima dizU | rAsaya 4 rAsaka ( gu. rAso ) yAviya 172 rodita ma mA 9 | mAi 32, 33 mAtrA ( vyAkhyA) mANusa 2 [ mAnuSya ] manuSya ( gu. mANasa ) miya 37 iva (draSTavya-sva ) micchadesa 3 mleccha deza ra rambaDiyA 16 = yavAgU ( gu. rAbaDI ) ramaNa 10 krIDA raviMda 34 araviMda rasiUNa 172 rasitvA, svaraM kRtvA | rehaMti 32 zobhante va vAi 13 vrajati varahiNI 213 barhiNI variNa 84 varSaNa vADa 14 vRtti ( vyAkhyA) (gu. vADa )

Page #278
__121 sandezarAsaka-zabdakoSa vAsaraNAha [vAsaranAtha] caMdra | saMnehayadeg 4 saMdezaka vibhasima 11 vikasita sapuNNa 33 sampUrNa viya 84%iva (draSTavya = miya) samuha 13 saMmukha viccheyadeg 127 [ viccheda ] viyoga saMmIliya 16 [saMmIlita] saMmizrita viddavaNa 33 vidrAvaka saravara 14 sarovara (gu. saravara) virahaNI 116 virahiNI degsariccha 36 sadRkSa vivajjai 90 vipadyate sasahara 8 zazadhara vihaDaMti 72 vighaTante siriya 1=sRSTa vva 32 iva sireviNu 40 sRSTvA sihaNa 36 stana sayalaja (sailajja) 4. zailajA suyaNadeg 36 svajana (vyAkhyA) sakkaya 6 saMskRta sukaitta 6 sukavitva sabasasthadeg 5 zabdazAstra summau 10 zrUyatAm saM.16

Page #279
sandezarAsakAntargata vanaspatinAma sUci / a ayara 56 [ akarA ] ayaruya 61 agaru ( gu. agara ) abhaya 58 [ abhayA ] harItakI ambiliya 57 amlikA ( gu. bhAmbalI ) asoya 60 azoka A AmarUya 58 (hiM. amarUda ? ) Amali 58 ( gu. AmalakI ) AriTTiya 61 ariSTakA ( gu. arIThI ) ArU 56 Aru I 'IkhoDa 56 akSoTa (gu. akhoDa ) ela 60 elA (gu. elacI ) ka kaira 60 karIra ( gu. kera-Do ) kayamba 60 kadamba kaNayacandraNa 57 kanakacandana kaNayAra 60 karNikAra ( gu. kaNera ) kanduhya 55 kandoha ( kaMdoI nIlotpalam kaMduhaM = kavola 59 1 = utpalam ) kaMkilli 59 kaMkelli kiMtha 209 kiMzuka ( gu. kesu- Do) kuMkuma 59 kunda 55 kurabaya 60 ka kevai 55 ketakI (gu. keva-Do ) kha khayara 56 ( khaira) khadira (gu. khera) khajjUri 62 kharjUrI (gu. khajUrI ) khaTTaNa 55 1 khataMga 60 1 gidda 62 ? ga gulara 58 (hiM. gUlara ) gha ghaNasAra 57 ghanadeg cambA 55 1 cinAra 59 cIDa 62 cUya 57 cUta coya 60 coca chamma 63 ? tammAla 56 tamAla tAla 56 tuja 57 1 ca jambIra 61 jambu 60 jambU ( jA~bu ) jUhI 55 yUthikA ( jUi ) Da DavaNa 62 ( draSTavya-damaNaya ) cha ja Dhakka 57 (hiM. DhAka. gu. khAkharo ) Dhalla 55 1 dhaya 57 dhava Dha tumbara 56 tumbaraka | tulasI 62 ( gu. taLazI ) da ta dakkha 56 drAkSA damaNaya 62 naka dADima 51 ( gu. dADama ) devadAra 59 ru ( gu. devadAra ) dha na nandaNa 61 na nAesari 63 nAgezvarI

Page #280
nAyaraMga 61 [ nAgaraMga ] nAraGga ( gu. nAraMgI ) nAyaveli 58 nAgavallI (gu. nAga-ra-velI ) nA liera 57 deg kera (gu. nAkiera ) nimba 57 ( gu. lIMba- Do) nimbU 59 ( gu. lIMbu ) nimboya 57 ? niviMjiya 57 nimbabIja ? pa palAsa 57 za pADala 57 pATala pippala 57 ( gu. pIpaLo ) puya 57 ? pUgadeg 63 beri 62 badarI bohe 62 ? baula 55 bakula jiuriya 55 bIja pUrikA ( gu. bijorI ) bibhIya 60 bibhItaka bhambha 56 ? bhAhaNa 62 ? bhuja 57 bhUrja ba mAyanda 56 mAkanda mAlai 55 degtI mAliya 55 mAlikA saMdezarAsaka - zabdakoSa | mAlUra 56 bha p maMji 58 maJjiSThA ( gu. majITha ) maruai 63 maruta ( gu. maravI ) mahU 58 madhUka (gu. mahu-Do ) mAuliMga 56 mAtuliGga mura 56 moya 56 [ modA ] ajamodA (gu. ajamo ) | moDima 63 = moTA ? ra rattaMjaNa 60 raktAJjana rattabala 55 raktabalA rattasAla 61 zALa lavaMga 60 lesUDa 60 ? la va vaDa 67 vaTa ( gu. vaDa ) vaMsa 57 vaMza vAyamba 59 ? vAlU 55 elavAlu ? sa sayavattiya 55 zatapatrikA sarala 59 saMjiya 56 = sarja ? saha 59 kI sAya 59 zAka ( gu. sAga ) siyara 56 1 simi 59 zamI sirIsa 56 zirISa ( gu. sarasa- Do) sIsama 56 ziMzapA ( gu. sIsama ) surayAra 59 [ suradAru 1 ] devadAru suhaMjaNa 61 [ zubhAana ] zizu ha hiranna 57 [ hiraNya ] dhatUra 123

Page #281
sandeza rAsakAntargata vizeSanAma sUci / a addahamANadeg 4 abdula rahamAna (?) ( vyAkhyA ) kha khaMbhAitta 55, 67 = stambhatIrtha ( gu. khaMbhAta ) ta tavaNatistha 65 [ tapanatIrtha ] = sUryakuNDa ( vyAkhyA) na nalacariya 44 nalacarita bha bharaha 15 [ bharata ] = bharata nATyazAstra bhAraha 44 bhArata micchadesa 3 mlecchadeza maDila 104, 181 soe khaDahaDau 113 khandhau 118, 121 a Rau A kha sandezarAsakAntargata chandonAma sUci / ga gAha 31,41,71,74,83,85,88, 92, 113, 125, 147, 170, 212,214, 220 ca caupaya 85 cUDilau 110, cUDillau 113 Da Domilau 92, 96 mIraseNa 3 mIrasena mUlasthANa 65 [ mUlasthAna ] mUlatAna ra da rAmAyaNa 44 va vijayanayara 24 deg nagara = vikramapura ( vyAkhyA ) sa saMneharAsaya 19, saMnehaya rAsaya rAsaka sAmora 42 [ zAmbapura ] = mUlasthAna sudayavaccha 44 sadayavatsa kathA ( vyAkhyA ) ( gu. sadevaMtanI vArtA ) na nandaNi 170 (ndi ) pha bhamarAvali 170 maDila 110 mAliNi-visu 99 ravaNijja-rUu 207 kaMkoDa 203 va duvai 118, 121 dohA 88,74, dohau 136, 147, 151, 155 vatthu 92, 136, 147, 181, 190, 198 phullau 107 bha ma 4 saMdeza la

Page #282
y te I E