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SAMDESAKASAKA
the refrain वरलोयणे - मिथलोयणे which we come across in some old Gujarati -compositions like the (A. C. 1271) and a later type सुणि सुंदरि रेगिहिलि कुणि करी रे employed by the early Guj. poets भालण, नाकर and प्रेमानंद.
96
65d. . As our text knows no other case of loc. sing. in 'अई, we may accept खंभाइत्तिहि ( A ). N ( see below ) has खंभात. 68c. Ms. N (not availed for the text-constitution) has for, which otherwise is the only form of its type in the SR. 76a. a (loc.) (gen.) does not make any sense. So we may read (C) and take the whole as a case of gen. absolute (see Grammar, § 76 (a)).
77. It is probable that कि न is किन which appears also as किण at 154d and is merely an interrogative particle. Cf. Ho. II 216 : किणो प्रश्न.
86. समाहिमोहु means मोह: ( = मूर्छा ) एव समाधिः. The first line is तव स्मरन्त्याः मम विषमः समाधिमोहः उत्थितः.
89a. पाइय and पिय refer to the husband of the नायिका who also is a प्रवासिन्
980. is strange. We expect here थीर (f.) . Ms. N (not availed for the text-constitution) reads & f.
99α. is intriguing. It cannot be as it just precedes. Perhaps it is an orthographic variant for the emphatic aft and णिद्दोसेय = निर्दोषायाम् अपि N. has निद्दोसेण which, following the comm., is to be interpreted as = दोषं विना.
990. निन्नेहह चलह goes with the next line.
1036. विरह सबसे य कय = विरहेण स्व-वशे च कृताः.
103d. ff. The instrumental appears inexplicable. A confusion of the passive and active constrcutions? See also Grammar, § 51 B. (3) and the foot-note on p. 27.
104cd. The rhyme is responsible for the gen. of the . 105d. आलसिहि is आलस्येन.
107c. To construe properly we require af (loc. sing.) or even (see Grammar, § 51. B. (2)) instead of .
116ab. The sentence is completed after . Read ससिउ सासु.
119. पिम्मे is instr. sing. cf. सुद्धगले (plur.) 710, Pk. सूर-ससिबिंबे 22, लक्खणछंदाहरणे.
122a. See p. 44.
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