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appear to have been composed under the influence Padmavatyaṣṭaka. Aṣṭaka is merely an adaptation of Sardaṣṭaka' contained in Sarasvatikalpa of Arhaddāsa. The latter contains only eight verses while the former contains twelve verses. Only the last four verses appear to be newly composed by the writer adapting Sardaṣṭaka. The Mantras at the end of the Dandaka are probaly from another Mantrakalpa. The language of Pratyekapuja and Jayamālā at many places borders on Sankritized Hindi and at other places it is ungrammatical Sanskrit.
Referring to Padmavati Pațala we can say that some one has composed it in close imitation of the famous Padmavatyaṣṭaka We may refer to a similar hymn viz. Śrī Cakreśvaryaṣṭaka contained in Appendix 23. The unknown authors had perhaps the same model of Sri Padmāvatyaṣṭaka before them and might be identical. Aṣṭaka, Pratyekapūjā and Jayamālā are probably by some Digambara Jain writers.
We would note here that Bhaskararãi the famous author of Bhāṣya on Lalitāsahasranama cites while commenting on the words q faqa' in v. 36 a passage* from Rudrayāmala which gives names of some well-known Shaktis. Both Padmavati as well as Tarā are included therein. As noted by us in the footnote at p. 295 ante Padmavati is identified with various deities including Tara. If one is rash enough to infer from such identification that Padmavati was not independently worshipped and that Padmavati is only another name of Tara the above passage from Rudrayamala would be an
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