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82
सुनिराजकृताया]
মুনা ragar-laseaza(5 ? )at ya: 1 तत्काव्यान्यथ हर्षेण, प्राशंसत तं चमत्कृतः॥" इति प्रमावकचरित्रे श्रीमहेन्द्रसूरिप्रबन्धे ३१९ तमे पद्ये । अपरश्च महामहोपाध्यायश्रीयशोविजयगणिपादैः शोभनस्तुतेः प्रतिकृतिरूपा ऐन्द्रस्तुतिनिरमायि । अनेनापि सूच्यते श्रीशोमनमुनिपुङ्गवानां पाण्डित्यम् ।
fost gat gertat TITTA Zeit der Deutschen Morgenländischen Gesellschaft ( Zwei und dreissigster Band )नाम्नि जर्मनग्रन्थे डॉक्टर हर्मण यकोची (Dr. Hermann Jacobi )HEITT:
Ausser den Cobh. st. ist mir kein anderes Werk desselben Autors bekannt, aber dieselben genügen, um ihm für immer den Ruf eines grossen Verskünstlers zu sichern.............
Der Stoff ist also wenig poëtisch, daher hat der Dichter, wenn er diesen Namen verdient, seine ganze Kunst auf die Forin gerichtet. ......Ueberall hört man des Klappen des anuprâsa durch ; jedoch das Hauptkunststück, welches dem Dichter wirklich gut gelungen ist, sind die pâdayamaka des zweiten und vierten pâda, die akshara für akshara identisch sind. Einmal 53-56 ruht das yamaka auf dem ersten und vierten pada, und ein andermal 49-52, also gerade den Beginn der zweiten Hälfte markirend ist pâda 1=3 und 2 = 4. Endlich bestehen 13-16 (17-20) and 89-92 ganz aus padayamaka. Diese Kunststücke welche bei längern Versen geradezu staunenswerth sind, hat der Dichter ausgeführt, ohne einerseits zu häufig sich desselben Kunst
१ आङ्ग्लभाषायामनुवादो यथा--.
Besides these S'obhana-stutis I do not know of any other work of the same author, but these hymns are sufficient to secure for him for ever the camo of a great versifier.............
The subject matter is hardly poetical, therefore the poet, if he deservos this name, has devoted his sole attention to the form...... In every place the rattling of alliteration is heard, but the chief trick in which the poet has really succeeded is the Påda-yamakas where the second foot is identical with the fourth, letter by letter. In one place (stanzas 53-56) Pada-yamaka is localized in the 1st and the 3rd feet; in another place (stanzas 49-52) the beginning of the second half just being marked. pâda 1-3 and 2=4 whereas stanzas 13-16 (17-20) and 89-92 completely consist of Pada-yamakas.
All these tricks which are really astonishing in the longer verses have been executed by the post without making too frequent use of the same artifice in the
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