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Prakrit Verses in Sanskrit Works on Poetics
335
of the figure Jāti giving the natural description of an innocent, inexperienced newly-wed girl. णहवअ (= नरवपद; also called नखक्षत, नख-व्रण) nail-marks. Note : This gāthā is cited also in SK III, (p.315, v.5) in the same context.
125. Read : Vāhittā padivaanam --- (p. 393)
Bhoja introduces this gathawith the words : "प्रतीयमानमिङ्गितलक्ष्यं यथा" - "and adds at the end : प्रतिवचनादान-परिजनप्रकोपाभ्यां, प्रदीप्यमाने नदीकच्छे इति हेतुना प्रत्याय्यमान: संकेतकुडयाङ्ग (? कुडुङ्ग-लतागृह -) दावोद्भव-वधूमनस्तापो वाक्यार्थत्वेन लक्षित इत्ययमिङ्गितलक्ष्य: प्रतीयमान: सूक्ष्मभेद:। - सरस्वती, पृ. ३३६.
वाहित्ता = व्याहृता spoken to; एकमेक्कस्स = एकैकस्य (with everyone she comes across); कज्जेण विणा = कार्येण विना without any rhyme or reason; पलिप्पमाण = प्रदीप्यमान blazing up; णईकच्छ = नदी-कक्ष lit. the bank of the river, and secondarily, the shrub or thicket or woods on the bank (her rendezvous, place of meeting with her lover by appointment).
Note: This gāthā is cited also in SK III, (p. 336, v.51) in the same context.
126. Read in the chāya श्यामायते श्यामलाया. Bhoja cites this gatha as an example of
“आकार-लक्ष्य: प्रतीयमान: सूक्ष्मभेद:". सामाइ (= सामाएँ, denom. from साम = श्याम) सामाअए - श्यामायते = becomes dark; श्यामला (= श्यामा) a young damsel having dark (yet attractive) complexion; अद्धच्छि ' - अर्धाक्षिप्रलोकनशीला casting (guilt-conscious) plances at her lover जंबू (जम्बूदल-कृत-कर्णावतंस-भ्रमणशीले) roaming or wandering about near her house with Jambu- leaves placed on his ear as an ear-ornament The idea is : the young girl failed to keep her appointment with her lover under the Jambū tree. To convey to her this fact, the lover the afonya wears Jambū-leaves as ear-ornament. The girl feels guilty and consequently her face becomes dark.
Read; अत्रार्धाक्षिप्रलोकन-मुखश्यामताभ्यामाकाराभ्यां जम्बूदलकल्पितावतंस इत्यनेन प्रत्याय्यमान: संकेतगमनभ्रंशसंभव: श्यामाया मनस्तापो लक्ष्यत इत्ययमाकारलक्ष्य: प्रतीयमान: सूक्ष्मभेद:। - सरस्वती, पृ. ३३६.
127. Bhoja cites this gāthā as an example of the figure vir (which is called the in
SK(p. 337) which he defines as 'फल्गुनिरासेन अफल्गुनिर्धारणं सारः ।' Setting aside what is trifle or trivial or worthless and specifying or determining what constitutes excellence. This figure Sara is two-fold : 1. dharma-rupah2. dharmirupah. This
