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[ 3 ] Rajasthan) and the Dhola-Mārū-rā-Dūhā (the most poetic of Rājasthāni ballads.)
Virahāňka's authority and popularity was maintained for centuries as becomes evident from the Samdesrāsaka of Abdala Rahamāna (edited by me in the Singhi Jain Series, No. 22, 1945), who has moulded his Nandini, Bhramarāvali, Khadahadaka, Rāmaṇīyaka and Phullaka (i.e. Utphullaka) in accordance with the definitions and illustrations of the Vsttajātisamuccaya (vide Dr. Bhayani's introduction thereto, pp. 61, 65, 69 and 71). Hemacandra went so far as to quote twice from Virahārka: faz 3 faefa, given under Siddhahema 8,2,40 as a counterillustration of the rule of Zin and others becoming 7 (so acc etc.) in Prakrit is taken from Vrttajātisamuccaya 1.8 (though our MS. reads here वुड्ढकइ.). More significantly इअराइं जाण लहुअक्खराइं पायंतिमिल्ल afanu, given under Siddhahema 8, 3, 134 to illustrate for Prakrit the use of the genitive for the ablative, is taken from Vritajātisamuccaya 1. 13. This clearly implies that Hemacandra considered the Prakrit of Virahāňka's work authentic and respectable enough to serve for illustrating the standard grammatical use.
Incidentally we get from Virahārka's work some allusions to earlier Prakrit authors. Bhujagādhipa, Sātavāhana and Vțddhakavi are referred to as authorities on the treatment of Prakrit Dvipadis. One is here reminded of Svayambhū's reference to Sātavābana's treatment of various Dhavalas (vide Svayambhūcchandas, 8, 18, p. 97). Again, one Avalepacihna is saluted at the very outset (1.1). He is possibly the same as Abhimanacihna, whose Desi lexicon (अभिमानचिह्नसूत्र with स्वोपज्ञ वृत्ति) has been quoted five times by Hemacandra in his Desīnāmamāla (vide Pischel's edition, revised by Ramanujaswami, Introduction, p. 12). He is also likely to be identical with Ahimāṇaiddha, whose two stanzas are cited in the Svayambhūcchandas to illustrate the Sirsakas called Dvipadīkhanda and Dvibhangi (vide Svayambhūcchandas, 4, 1-2, p. 114 and 4, 2-1, p. IIS). The Commentary on I. I describes this Avalepacihna as #fage. This finds a confirmation in the fact that Uddyotanasūri has praised in his Kuvalayamālā Ahimāņāňka along with Parākramāňka and Sāhasāñka as a 9814fa and an author of a ape (vide Kuvalayamālā, ed. by Dr. A. N. Upadhye and published in 1959 as No. 4s in the Singhi Jain Series).
