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14
Tärāyuna
-sūri's Dhar mopadeśamåla-vivaruņa. Amradeva sūri's khyānahamani koša-vștti, and some other Jain Kathā-works.
V. 165 is an Asati-gātha. It is translated as follows ; 'As the water pots of the water-fetching girls fell down due to (passionate) trembling, their pretended weeping, which (in fact) were tears of joy being shed, does not stop because they want to linger and go on seeing you'. In the Svayambhūcchandas Angāragana's verse, cited under 177(1) as an illustration of the Candavega variety of the Dandaka meire, describes a comparable situation and the two verses have a few phrases in common. Ars-en-Forfa and afas- 10, O FEEDE TOTIU &' and तुह दोह-दसण-कए, कइअव-घडिपणं कुड पाडिऊण and कप-निवडंत-कुडयाण, अलोहास-मीस रुती and हरिस-बाह कइअव-रुण्णं show enough similarity to suggest the influence of the Angārag:ana's verse over that of Bappabha!ti.7
(8) Style and Literary Merit The appeal of a large majority of the Muktakas of Häla's Saptaśati lies in the emotion suggestively conveyed. The verses depending on literary figures for poetic charm are in a minority. But in later Prakrit Muktakas (as för example those collected in the Vajjalagga) the mode of expression has become considerably ornate. The same trend is evident in Tg. Loss of intervocalic stop in Māhārāştri Prakrit produced a large number of homonyms. This lexical trait was fully exploited by the later Prakrit poets. They became adept in using Sleşa quite effectively. Bappabhatti shows admirable expertise in employing Sleşa. Besides, he has used figures like Upamā, Utpreksā, Rūpaka, Vyājastuti, Anyāpa. deśa, Vyatireka, Bhrāntimat, Atiśayokti, Virodha, Drstānta,
7. In Mammața's Kavyaprakā sa (IV, Sūtra 59, illustrations 16 a and 16 b, verse no 90, 91) Prakrit Gathās are cited in which we find the same ruse of breaking of the water-pot used by the water-fetching girl because it could give her an opportunity to go out again and meet her lover.
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