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the charm of her face in the moon. The charm or lustre of the face of a beautiful woman being similar to that of the moon, the Sage, ignorant of the charm of the face of a beautiful woman, is asked by Sambara to recolleot it on the basis of his knowledge of the charm of the moon. केशान् शिखिना बहभारेषु - the tresses in the plumages of peacooks. The qualities like massiveness, tenderness eto. of the tresses of a beautiful woman being similar to those of the plumages of peacooks, familiar to the Sage, staying and moving in forests, Sambara asks the Sage to remeber the tresses of a beautiful woman on the ground of bis knowledge of the plumages of poacocks. plaat - of the peacocks. ' ATTI afem ari 1370D 7541 lararas: foret
I ATA1Eigetafa' FATHT: 1 achiig – in the plamages. TEINE मयूरपिच्छाना भाराः कलापाः बहभाराः । तेषु । 'बह मयूरपिच्छेऽपि दलेऽपि falajara' fà. According to Sambara, meditation means nothing else but remembrance and remembrance is possible only when the object remembered exists in a material form. The object, meditated apon by the Sage, does not seem to exist in a material form. So, according Sambara, the Sage should give up meditating upon abstract things. Sambara means to say that though the Sage is ignorant of physical frame, glances, the charm or lustre of face, and plumago-like tresses of a beautiful young lady, He should know these things on the ground of his knowledge of the Syāma-creepar, fickleness of the eyes of a frightened doe, the charm of the moon and the plumages of peacocks respectively and should give response to the request of the young ladies. Though the word FAT, the second person singular of the root €7, is used only once in this stanza, there being a number of objects with which this form is to be construed, it is necessary to construe this form with every object for the completion of sense and so the rulega ar 1977|' becomes applicable here. Under these circumstances, it is necessary to add to the stanza the the group of words ata sa razlè.
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