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DEŠINĀMAMĀLA
he states to be from Dhanapāla but none of which are found in the Pâialacchināmamāla. The passages have already been referred to, and to avoid repetition they are not given here. Elsewhere in other parts of the Commentary he gives certain words and their meanings and ascribes them to
others. Some of these are found in the Pāialacchināmamālā. It is possible that they refer to the Pāialacchināmamāla though it is not clear why Hemacandra, instead of ascribing them definitely to Dhanapāla, as he does in other passages should speak of him in that general way.
There was another Dhanapāla, the author of Bhavisayattakahā, who was a Bania and should not be confused with our lexicographer who, while he wrote the Pāialacchinamamālā, was yet a pious Brahman as he salutes Brahmā, in his work (purisuttamnabhisambhavam devam) though later he became a Jaina.
As regards Avantisundari mentioned by Hemacandra, Dr. Bühler considers her to be identical with Sundari, the sister of Dhanapāla for whose benefit the Pāialacchināmamālā was written. This conjecture is very doubtful as proper names are not broken up into parts. It is more likely that this Avantisundarī is the wife of the poet Rājasekhara at whose order the Karpuramañjarī was staged. Of course we have no proof of her literary attainments and to hazard apy conjecture in the absence of any data is always very risky.
SECTION III
ILLUSTRATIVE GĀTHĀS IN THE COMMENTARY. Pischel in the Introduction to his edition of Hemacandra's Desīnāmamālā severely criticises the illustrative găthās inserted by Hemacandra at the end of the commentary on each stanza of the 'Ekārthasabdas.' He remarks: 'It was a most disgust