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Studies in Jainology, Prakrit
then, addressing Prince Kandarpa, gives a long statement of his magical powers: iv. 90-91. Nemicandra's expression "divākaranadurtu' (93) closely resesmble that of Rajasekhara.
3. Lastly, in Rajaśckhara, Bhairavānanda asks the King what exactly he should do and then produces the Heroinc according to the desire of the King expresssed through the Jester:
Bhairavānanda: Tā bhana kim kariadu.
Rajā (Looking at Vidusaka): Vaassa bhana kahim pi apuvam dittham mahilāradanam?
Vidūsaka: Althi cttha dakkhiņāvadhu vacchebham ņāma
naaram.
Tahim mae ekkam kannāradanam ditt ham tam idha āniadu. Bhairavānanda: Aniadi. Raja: Avadáriadu punnimāharinamko dharandale. (Bhairavānanda pretends to mcditate) (There enters thc Heroine tossing the curtain. All look at
her.)?
Nemicandra has worked out this part of the episode giving it a dual form and stretching it to a coniderable length : in one, the magician, at the desire of Prince Kandarpa expressed through his friend Makaranda, shows Indra's Court : iv.96-150; in the other, he, in collaboration with the Jogini, at the desire of the Prince guessed by and expressed through the same friend, produces the Heroine without delay: iv. 155-56. It is interesting to note here that is Rājaśckhara puts the word “kannāradanam in the mouth of thc Jester, Nemicandra puts 'vanitāratnamam in the mouth of Makaranda.
Thus, all these aspects, both in content and context, stand so close to cach other as to indicate that Nemicandra has certainly based the episode of Māyābhujamga in his Kannada Campū on that of Bhairavānanda in the Prakrit play Karpūramañjart of
Rajasekhara. This statement has also a tew other points in support Jain Education International For Private & Personal Use Only
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