Studies in Jain Literature

SR No.: 001868
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2001
Total Pages: 114
Language: English
Classification: Book_English, Literature, & Story
File Size: 14 MB

Page 40

STUDIES IN JAIN LITERATURE
22
धाहाविए ण दम्मइ, आसो च्चिय तक्खणं चेव28 |-V. 249 (पज्जलियम्मि य भवणे, कुवतलायस्स खणणमारम्भो ।
अहिणा दट्ठस्स जए, को कालो मंतजवणंमि ||-LXXXVI. 60) (ii) ....वेज्जनरिंदाण मित्तपुरिसाणं । आहाणओ य लोए, एयाणं फुडं कहेयव्वं ||-XII. 17 (iii) किं वा तुसेसु कीरइ, तंदुलसारम्मि संगहिए ।-XII. 138 (iv) दुसहं हवइ समक्खं चिय उब्भवे जणवयस्स ।
गयवेयणं तु पच्छा, जणम्मि एसा सुई भमई ॥-XXVI. 239 (v) तो दहरहस्स नाम, पियरस्स फुडं न गेण्हामि । -LXXXVI. 9 (vi) को सयलजणस्स इहं करेइ मुहबंधणं पुरिसो । –XCIV. 70b (vii) वीरपुरिसाण भोज्जा, वसुहा कि एत्थ विद्धेहिं ।—XCVIII. 22 (viii) रयणं तु पुहइमोल्लं, दिन्नं चिय सागमुट्ठीए । — CIII. 110 (ix) असमिक्खियकारीणं पुरिसाणं एत्थ पावहिययाणं ।
सयमेव कयं कम्मं, परितावयरं हवइ पच्छा29 ॥—CX. 11 (x) सलिले मंथिज्जंते सुट्ठ वि न य होइ नवणीयं ।
सिकयाए पीलियाए, कुत्तो च्चिय जायए तेल्लं ||-CXIII. 33 (xi) वालग्गकोडिमेत्तं, दोसं पेच्छसि परस्स अइसिग्छ ।
मंदरमेत्तं पि तुमं, न य पेच्छसि अत्तणो दोसं० ।-CXIII. 40 (xii) सरिसा सरिसेसु सया, रज्जंति सुई जणे एसा । —CXII. 41b
He is very fond of paraphrasing proper names for example, Bhānukarna= Bhanu-Śravana, Ghana-vāhanaMegha-vähana, Ākhandalabhūti=Indra-bhūti, Vajrakarna=Kulisa-Sravana, etc.
He uses a very large number of Deśī words with a view to making Prakrit more readily intelligible to the common people. As the work was of a religious and propagandistic nature and meant for a large number of readers and the
masses (lokabhogya'), he did not hesitate to use the non-Prakritic forms and idioms-so-called vulgarisms from the popular speech of his days-Apabhramsa. He is very fond of onomatopoeic words too.
The figures of speech which are commonly met with in this work are Upamā and Rūpaka. Some other figures which we come across in the work are Utprekṣā, Atiśayokti, and Arthāntaranyāsa. Anuprāsa and Yamaka are found to be rarely used. Vimala, no doubt, delineates the sentiments in the narration of the principal story and in the romantic episodes that he has added. The fact, however, remains that his supreme interest lies in the development of vairāgya