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- प्राकृतसर्वस्वम् ।
भेदप्रभिन्ना लिपिसंप्रदायानादिश्यमानेषु नृपात्मजेषु । atidant aufhat asrat me aferfahre#1587 11 DVM, III. 37 स्वयं हि लक्ष्मीर्जनकेन्द्रनन्दिनी विभूषिता यौवनसंपदा ततः। að saatelfeadadam 521 7 arada queat Ibid VIII. 26
The use of a +rabh in the sense of composing a work deserves notice in both the works :
रघूद्वहस्तोत्रकथां विहाय ये काव्यमन्यत्र समारभन्ते ।
मार्कण्डेयकवीन्द्रः प्राकृतसर्वस्वमारभते । The close resemblance in the language and mode of expression between the two verses cited above, one occurring in DVM and the other in PS is clearly discernible. Comparing them we find that both of them are the invocations of goddess Sarasvati and both of them begin with the word ' yat'. In both the verses the word 'vāk' in the sense of the goddess Sarasvati is used. As the beginning starts with a marked similarity, so also the end, i, e., madiye hrdi samnidhehi and să mayi samnidhattām. . Lastly, the verses are set in the same metre Upajāti just as the concluding verses in both the works are set in Sārdūlavikridita metre as we have seen above.
Incidentally, it may also be said that the poet had special choice to use some particular words in his works such as, hrdi, ārabh, vāg-devata etc. as noted above. That the poet was an ardent devotee of Rāmacandra is clearly marked from both the works. His DVM is nothing but a poem depicting the glory of Rāma and he feels proud of doing it as his verse I. 3 clearly suggests. He invokes goddess Sarasvati to
* Curiously enongh, this last line of the verge coincides with the last line of the first verse of Sahrdayānanda,
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