·कवि-अब्दुल रहमान-कृत
सन्देश रा स क
[संस्कृत-रिप्पनक अघचूरिकादिसमेत अपभ्रंश मूलमन्ध तथा
आंग्लभापानुवाद-विस्तृत प्रस्तावना-टिप्पणी-शब्दकोयादि समन्धित]
संपादक
श्री जिन विजय मुनि
(सम्मान्य नियामक-भारतीय विद्या भवन)
तथा
प्रो० हरि वल्लभ भा याणी, एम्. ए.
(प्राध्यापक-प्राकृत, संस्कृत एवं प्राचीन गुजराती भादि सुलनात्मक भाषाशास्त्र)
1
प्रकाशक
श्री जयन्तकृष्ण है० देवे, एम् ए., एल्एल. बी.,
ऑनररि रहिवार
भारतीय विद्या भवन
बंबई
विप्रमान्द २०..]
*
प्रयमा वृति, ५ च शत प्रीि *
[१९४५. बिस्वान्द
के के मूल्य ७०७-८-०] 88 के

·SINGHI JAIN SERIES A COLLECTION OF CRITICAL EDITIONS OF IMPORTANT JAIN CANONIGAL, PHILO- SOPHICAL HISTORICAL LITERARY ITARRATIVE AND OTHER WORKS IN PRÄKRIT SANSKRIT APABHRAMSA AND OLD RĀJASTHANI GUJARATI LANGUAGES AND OF NEW STUDIES BY COMPETENT RESEARCH SCHOLARS ESTABLISHED IN THE SACRED MEMORY OF THE SAINT LIKE LATE SETE SRI DALCHANDJI SINGAI OF CALCUTTA RY HIS LATE DEVOTED SON DANASILA-SAHITYARASIKA-SANSKRITIPRIYA SRIMAN BAHADUR SINGHJI SINGHI DIRECTOR AND GENERAL EDITOR ŚRI JINA VIJAYA MUNI (HOK DIRECTOR - BEARATIYA VIDYA BHATAN - BOMBAY) SOLELY PATRONIZED AND CONDUCTED BY SRI RAJENDRA SINGH SINGHI AND SRI NARENDRA SINGH SINGHI PUBLISHED BY BHARATIYA VIDYA BHAVAN BOMBAY

·THE
SAMDESA RASAKA
OF
ABDUL RAHAMAN
(A um.quo work of a Muslim Post in Apabhramsa Language)
*
CRITICALLY EDITED WITH SANSKRIT TIPPANAKA&AVACURIKA,
ENGLISH TRANSLATION, EXIJAUSTIVE INTRODUCTION,
NOTES, APPENDIX, INDICES ETC
BY
ŚRI JINA VIJAYA MUNI
(Hon. Director Bharatiya Vidya Bharan)
AND
Prof. HARIVALLABH BHAYANI, M. A.
(Professor of Prakritic and Sanskntic Languages, Old dujarati
and Comparative Philology)
65
PUBLISHED BY
J H. DAVE, MA, LL, B, Hon. Registrar
BHARATIYA VIDYA BHAVAN
BOMBAY
V. E 20013 st Eddio. Fue Hundred Copes. [1945 A D
* * (Price Rs. 7-8-0] Son San

·१ २ ३ ४ ५ ६ . ८ . ९ १७ -- १२ १४ । सिंघीजैनग्रन्थमालासंस्थापकमशस्तिः ।। BR- सियाभिधे देव मुनासिदा मनोरमा । मुर्शिदाद इत्याच्या पुरी बैभवशालिनी । बहधो निवसन्यत्र जना उकेवाबाजाः । धनाम्या भूपसम्मान्या धर्मकर्मपरायणाः ॥ श्रीबालचन्द इत्यासीत् तेप्वेको बहुमाग्यवान् । साधुरत् सच्चरियो यः सिंघीकुरप्रमाका! बाल्य एवागतो यश्च का ब्यापारपिस्तृतिम् । कलिकातामहापुपां कृवधर्मार्थनिश्चमः । कुशाग्रीयस्वबुद्ध्यैव सद्या च मुनिष्ठया । उपाय रिपुरा लक्ष्मी कोट्यधिपोजनिष्ट सः ।। तस्य मनुकुमारीति सबारीकुलमण्डना। अभूत् पतिमता पनी शीलसौभाग्यभूषणा॥ श्रीबहादुरसिंहाख्यो गुणवस्तिन्यस्तयो. । अभवत् मुकूनी दानी धर्मप्रिया धीनिविः । प्राप्ता पुण्यश्वा सेन पती विलकमुन्दरी । पस्या सौभाग्यचन्द्रेण भामितं तन्कुलाम्यरम् ॥ श्रीमान राजेन्द्रसिंहोऽस्य ज्येष्टपुत्र मुशिक्षितः । यः सर्पकार्यदक्षत्वात् पितुर्दक्षिणबाहुवत् । नरेनसिंह इत्याख्यस्तेजस्वी मध्यमः सुतः । सुनुवन्द्रिसिंहश्च कनिष्टः सौम्पदर्शनः ।। समियोऽपि सापुत्रा प्राप्तमतिपरायणाः । विनीता- सरला भन्याः पितुर्मागांनुगामिनः । अन्वेऽपि यहाससामवन् स्वसादिवान्धवा, 1 धननः समृद्धः सन् स राजे राजत ॥ धन्यच- सरवायां सदासको शूचा समीप्रियोऽप्ययम् । तथाप्यासीन् सदाचारी चविन बिदुपा खनु॥ नाईकारो न भावो न पिलासो न दुष्ययः । इष्ट. कदापि तद्गेहे सतां वद् विसपारपदम् । भको गुरुजनानां स विनीतः सामान पति । यन्धुजनेऽनुरकोऽभूत् प्रीतः पोष्यगणेष्वपि । देश-काकस्थितिज्ञोऽसौ विद्या विज्ञानपूजक । इतिहासादि-साहित्य-संस्कृति-सत्कलाप्रियः । समुन्नत्यै समाजस्य धर्मस्योरकपहेतपे । प्रचाराय च शिक्षाया दत्तं तेन धनं धनम् ॥ गत्वा सभा समित्यादी भूवाऽध्यक्षपदान्वित. 1 दवा दानं यथायोग्य प्रोत्साहितात्र कर्मटाः ।। एवं धनेन देन ज्ञानेन शुभनिष्ठया । मकरोत् स यथाशक्ति सकर्माणि सदाशयः ।। अथान्यदा प्रसन स्वपित स्मृनिहेतवे । कतुं फिजिद् विशिष्टं स कार्य मनस्यचिन्तयत् ।। पूज्यः पिता सदेवाप्सीत् सम्यग्-शानरचि स्वयम् । तसात् सज्ञानवृद्धार्थ यतमीयं मयाऽयरम् ॥ २॥ विचार्य स्वय चिने पुन प्राप्य मुसम्मनिम् । श्रद्धास्पदस्वमियां विदुषा चापि तादृशाम् ।। सैनवानरसारण्य स्थाने शान्ति नि के त ने । सिंघीपदाङ्किवं जैन ज्ञानपीठ मतीहिपत् ।। २३ श्रीजिनविजया प्राज्ञो मुनिमाता च विश्रुतः । स्वीकतुं प्रार्थितन तस्वाधिष्ठायक पदम् ॥ २५ तस्य सौजन्य-सौहार्द-खयाँ दायर्यादिसद्गुणैः । वशीभूय मुदा येन स्वीकृतं तरपदं वरम् ।। २५ कवीन्द्रेण रवीन्द्रग स्वीपापनपाणिना । रस-नागार पन्द्रादेवप्रतिष्ठा ध्यधीयत । प्रारब्धं मुनिना चापि कार्य तदुपयोगिकम् । पाटनं ज्ञान लिप्सूनां तथैव अन्यगुम्फगम् ॥ सस्यैव प्रेरणां प्राप्य श्रीसिंघीपुर केतुना । स्वपितृधेयसे पा प्रारब्धा मन्थमालिका । उदारचेतसा नेन धर्मशीलेन दानिना । व्ययित पुष्कल दव्यं तत्ताकार्यमुसिद्धये ॥ छावाणा वृत्तिदानेन नैदेषां विदुषां तथा । ज्ञानाम्यासाय निष्कामसाहाय्यं स प्रदत्तवान् । जलवातादिकानां तु प्रातिथल्यादसौ मुनि । कार्य विवार्षिकं तत्र समाप्माम्यत्र मास्थितः ॥ नापि सततं सर्व साहाय्य तेन यच्छता । मन्थमाराप्रकाशाय महोसाइः प्रदर्शितः ॥ मन्द निप्ये पन्द्रगोन्दे जाता पुन मुयोजना । ग्रन्थावल्याः स्थिरत्वाय विस्वराय नूतना ततः सुहत्परामशात् सिंधीवंशनभस्वता ।भा बिथा भ प ना येथे ग्रन्थमाला समर्पिता ॥ मासीत्तस्य मनोवामापूर्वी ग्रन्थमकाराने । तय ग्ययितं तेन रक्षावधि हि रूप्यकम् ॥ दुर्षिलासाद् विधेईन्त पौभग्याचारमबन्धूनाम् । स्वरुपैनेवाय कालेन म्यां स सुकृती ययौ । इन्दु-स-शून्य गन्दे गासे भापादसम्झके । कलिपातारथपुर्यास पासवान् परमां गतिम् । पितृभा तरः प्रेयसे पितुरात्मनः। तथैव प्रपिनु, स्मृत्यै प्रकायतेऽधुना पुनः ।। इयं मन्यावकि श्रेष्ठा प्रेष्टा प्रज्ञावता प्रथा। भुयाद् भूत्य सतो सिंघीकुलकीर्तिप्रकाशिका । विद्वजनताहादा सचिदानन्ददा सदा । विरं मन्दग्वियं रोके श्रीसपी मन्थपद्धति.॥ १८ १२ २६ २७ २८ २९ ३७ १ .

·२ है ५ ३ ८ ९ तभाच- १४ ६५ ६६ १७ १८ । सिंघीजैनग्नन्थमालासंपादकाशस्तिः ॥ खति श्रीमदपाटाख्यो देशो भारतविधुतः । रूपाद्देलीति सन्नानी पुरिका तन सुस्थिता ॥ सदाचार-विचारायां प्राचीनपतेः सागः । श्रीमद्यपुरसिंहोऽन्न राोहान्वयभूमिपः ।। तत्र श्रीवृद्धिसिंहोऽभू राजपुचा प्रसिदिगा । क्षात्रधर्माधनो यश्च परमारकुलामणीः । मुअ-मोजमुसा भूपा आता बसिन् महाकुले कि वापते छीनवं बालाजन्मनः ।। पनी राजकुमारीति तस्याभूद गुणसंहिता । चातुर्य-रूप लावण्य मुगारसौजन्यभूपिता ॥ क्षनियाणीमभापूर्ण सायादीसमुखाकृतिम् । यो दैव जनो मेने राजन्यकुलमा बसौ ॥ पुत्रः किसनसिंहाख्यो जातसयोरतिनियः । रणामल इति चान्यद् यशाम जननीकृतम् ।। श्रीदेवीसनामा राजपूज्यो यतीश्वरः । ज्योतिभैपज्यविद्यानां पारगामी जनप्रियः ।। भागतो मरुदेशाद् यो नमन जनपदान सहन् । जातः शीवृद्धिसिंहस्थ प्रीनि-प्रदास्पदं परम् ।। तैनाथाप्रतिमप्रेम्णा स तामनुः स्वसविधौ । रक्षियः, शिक्षियः सम्यम्, कसो जगमवानुगः ॥ दौभाग्यात् तच्छियोयोल्ये गुरुवाती दिवंगतौ । विमूढः स्वगृहार सोऽथ याच्या विनिर्गतः ।। भान्दया नेकेषु देशेषु सेशिका र बहून् नरान् । दीक्षिा मुण्डितो भूला जावो जैनमुनिश्रतः ।। शातान्यनेकशास्त्रास्य नानाधर्ममतानि च । मभ्यस्त्रयसिना तेन सस्वावलगवेपिणा ।। १३ अपीवा विविधा भाषा भारतीया दुरोपजाः । भनेका लिपयोऽन्येवं प्रस-नूतनकालिकाः ।। तेन मकाशिता के प्रन्या पिद्वामीसिताः । लिखिता वहपो लेखा ऐतिहासथ्यगुम्फिताः ।। स बहुभिः सुविद्वनिमाण्डलेच सस्कृतः । जिनविजयनाशाइसौ स्यानोऽभवद् सनीपिपु ॥ तस at विश्रुति ज्ञावा श्रीमद्गान्धीमहात्मना । आहूतः सादरं पुण्यपत्तनाल स्वयमन्यदा ।। परे चादमदावादे राष्ट्रीयशिक्षणालया। विद्या पीट इति ख्यातः मतिष्टितो यदाऽभवत् ।। शाचार्यत्येन तत्रोचनियुक्तः स महात्मना । स युनि-निधीन्दन्द पुरा तथा ख्य मन्दिरे ॥ वर्षाणामष्टक यावत् सम्भूप्य र पदं बवः । गला जर्मन राष्ट्रे स तसंस्कृतिमधीतवान् । सस भागत्य सहनो राष्ट्रकाय व सक्रियम् । कारावासोऽपि सम्मासो र स्वराज्यपर्वयि ॥ अमात् ततो विनिता स्थितः शान्तिनिकेतने । विश्ववन्तपीन्दीरवीन्द्धनाथ भूपिते । सिं घी पदयुवं जैन ज्ञा न पीठं तदाश्रितम् । स्थापित तन सिंघीश्रीडालचन्दस्य सूनुना ।। भीयहादुरसिंहेन दानवीरेण धीमता । स्मृत्यर्थ निजतारास्य जैनज्ञानप्रसारकम् ॥ प्रतिष्ठितश्च सस्थासौ पदेऽधिष्ठातृसके । अध्यापयन् परान् शिप्यान् ग्रन्धयन जैनवासायम् ॥ वस्वैव मेरणां प्राप्य श्रीसिघीकुलकेतुना । स्वपितृश्रेयसे होपा प्रारब्धा ग्रन्थमालिका ॥ भथै विगतं तस्य वर्षाणामष्टकं पुनः । मधमालाविकासाय प्रवृत्तिषु प्रयस्थतः ॥ थाणे रन-नयेन्द्रन्दे मुंबाईनगरीस्थितः । मुंशीति विरहस्यातः कन्हैयालाळधीसखः ।। प्रवृत्चो भारतीयानां विद्यानां पीडनिर्मिती । कानियस्य ससाभूत मयतः सफलोऽचिराव ॥ विदुषां श्रीमती योगात् संस्था जाणा प्रतिष्ठिता । झा र ती य पदोपेत मि या भ व न सज्ञया ॥ ३. आहूतः सहकाराय मुहदा स गुतिः कृतौ । ततः प्रभृति तथापि सहयोग प्रदत्तवार । तपनेऽन्यदा तस्य सेवाऽधिकर प्रपेक्षिता स्वीकृता नयभावेन साऽम्याचार्यपदाधिता ।। मन्दनिय चन्द्राब्दे वैशामे विहिता पुनः । एतद्ग्रन्यायलीयकृत रोन नव्ययोजना ॥ परामर्शत सत्तस्तस्य श्रीसिंधीकुलभास्वता । मा विद्या भवना येयं ग्रन्थमाला समर्पिता ।। प्रदचा दशसाहस्री पुनस्तस्योपदेशतः । स्वपिसुस्मृतिमन्दिरकरणाप सुकीर्सिना ॥ देवादरूपे गते काले सिंघीययों दिवंगतः । यस्तस्त्र ज्ञानसेवायां साहाय्यमकरोत् महन् । ३६ पितृकार्यधगत्य यमशीलेसदारमजैः । राजेन्द्रसिंहगुस्यैश्च सस्कृतं तद्वचस्ततः । पुण्यश्लोकपितुर्नाम्ना ग्रन्यागारकृते पुनः । बन्धुज्येठो गुण श्रेष्ठो हकक्ष मदत्तवान् ॥ भन्यमालापसिद्धार्थ पितृवत्तस्य कांक्षितम् । श्रीसिंधीमन्धुभिः सर्व पदगिराऽनुविधीयते ॥ विजनतादादा सचिदानन्ददा सदा । चिरं नन्दविर्य लोके जिनविजयभारती ॥ २० २१ २२ २४ २५ २७ ३८ ·सिंघी जैन ग्रन्थमाला . ० अद्यावधि मुद्रित ग्रन्थनामावलि १ मैनुज्ञाचार्यरचित प्रय धचि तामणि मूलप्रथ २ पुरातनप्रबधंसह ३राजशेसरसूरिचित प्रबधकोश ४ निनप्रभसूरिक्त विविधतीर्थक प ५ भेघविजयोपाध्यायविरचित देवान दमहाकाव्य ६ यशोविनयोपाभ्यायकृत जनतर्कभाषा ७ हेमच द्राचार्यकृत प्रमाणमीमामा ८ भाकर देवक्त अका अन्यत्रयी ९ प्रय(चन्तामणि-हिदी भाषा तर १० प्रभाच द्रमरिरचित प्रभावकचरित 11 Life of Hemachandracharya By DrG Buhler १२ सिद्धिचन्द्रोपध्यायरचित मानुचन्द्र गणिचरित १३ यशोविजयोपाध्यायविरचित ज्ञाननि दुप्रकरण १४ हरिषेणाचार्यकृत वृहत् कयाकोन १५ नैनपुस्तकप्रशस्तिसग्नह प्रथम भाग १६ हरिभद्रसूरिविरचित धूर्ताख्यान १७ दुगदेवकृत रेष्टसमुचय १८२वि अब्दुल रहमानत पदेशरासक on संप्रति मुद्यमाण ग्रन्थनामावलि १ सरतगमगुर्वावलि २ कुमारपाचरिनरामह ३ विविधगधीयपदावनिपग्रह ४ जैनपुस्खक- प्रशासि सग्रह, भाय २ ५ विकृतिलेखसंग्रह ६ रद्दपोतनरिकृत कुवलयमालक्या ७-८ उदयप्रभ सूरिकृत धर्माभ्युदयमहामव्य तथा कीर्तिकौमुदी भादि अन्याय अनेक प्रशस्यादि अत्रिसग्रह ९ मिनेघर- गरिकृत फयाकोपप्रकरण १० मेपवित्रयोपाध्यायस्त दिग्विनयमहाकाव्य १ जान्याचार्यकृत न्यायावतारवातिपत्ति १२ महामुनि गुणापा विरचित नचरिम (प्राक्त) १३ नयपाहुडनाम निमिध शान १४ ओऊहलविरचित डीलावती क्या (माकृत) १५ गुणवविराचत मानीकर्मचन्दवनप्रवध १६ नमबद्रविरचित हम्मीरमहाकाव्य इत्यादि इलादि मुद्रणार्थ निर्धारित एवं सजीकृत ग्रन्थनामावलि १भानुचन्दगणित विवेकविलासटीका २ पुरातन रास-भासादिमुग्रह ३ प्रीण वाध्यय प्रकाश ४ भद्रबाहुसूरिकृत भबाहुसहिता ५ सिद्धिचन्द्रोपाप्यायविरचित वासवदा टीका ६ जयसिंहमूरिकत धर्मोपदेशमाला ७ देवचन्दयूरिकत मूलशुद्धिप्रकरणत्ति ८ रनप्रभाचार्यकृत उपदेशमाला टीका ९ यशोविजयोपाध्यायकृत अनेका तव्यवस्था १० जिने वराचार्यस्त प्रमालक्षण ११ महानिशीथसूत्र १२ तरुणप्रमाचार्यकृत आवश्यरबालावबोध १३ राठोड वगावलि १४ उपदेशपाच्छाप्रबध १५ सिद्धि बद्रकृत काव्य प्रकाशखण्डव १६ वर्द्धमानाचार्यकृत गणरत्नमहोदधि १७ प्रतिष्ठासोमान्त सोमसोभाग्य बाय १८ नैमिचन्द्रकृत यष्टीशतक (पृथक् पृथव् ३ वालावरोध युक) १९ शीलानाचार्य विरचित महापुरुप चरित्र (प्राकृत महाप्रय) २० चदपहचरिय (प्राकृत) २१ नम्मयासुदरीकथा (प्रकृत) २२ नेमिनाह चारेन (अपना महाप्रथ) २३ उपदेश पट्टीका (वर्द्धमानाचार्यकृत) २४ निर्वाणीलावती राम (स काय मय) २५ सम्मारिन (सला पाय प्रथ) २६ असायम पाल भोडचरित २७ प्रमोदमाणिक्यकृत वाग्मटालवाररति २८ सोमदेवादिकन विदग्धमुखमण्डनधि २९ समयदरादित धृतरनाकरति ३० पाणिग्यदर्पण ३१ पुगतनप्रबधसप्रह-हिन्दी भाषातर. ३२ भुपनभानुचरिन घालवबोध २३ भुवनमु दरी चरित (प्राकृत कथा) इत्यादि इत्यादि ·2-7 CONTENTS Abbreviationg (3-4) Babu Shri Bahadur Singhji Singhi (1-14) Preface one-sixteen Introduction seventeen A Critical Study of the Guammar and Metres of the Samilosarasala 1-75 Introductory 1 I Gremmar 2-18 1 Orthography Nasalisation 3 Interchange between Kand , etc 5-7 II Sound-changos 7-20 Prosodic Alterations 7 Yowol changes 8 Consonant changes 13-16 a) Single Consonants 13 b) Conjuncts 15 Law of Shorteoing of the linals, etc 18 I Vorphology 20-10 Stom formation. Affixes 20 Nominal Flexion 25-35 Somo Cases of Special Morphological Interest 23 Masculino and Neuter A-stems 27 l'eminin A-stema 30 Blasculine I-and U-stems 31 Ironoung 33 Numorals 35 Verbal Cloon 35-39 Present 33 lmperative 30 Optativo B0 l'ulurt 7 Iretont l'articiple, ofc 37 I'nme l'opositions 15 Ibicchiandles Xy, 31.

·( % ) 41-42 42-46 46–48 48-75 48 50-71 50 62 05 66 09-71 71 71-74 IV Compounds V Soma Syntactical Remarks VI Concltahon Dialect of the ST, II Metres General A Matragittas I() Pour lined Metre Aby mo ab cd (b) Betres of the Dohn type (c) Metres with the Rhymo type ab, cd of (d) Stroplie letres LI Metres of the Gatha type B Varnayrttas Metrical Emendations Table Showing the Metre of All the Stanzas III Form and Structure IV Summary of the Contents otos Appendix I Appendix II Additions and Corrections Carga Text with Sanskrit z cut and araqitat पद्यानुनमणिका शब्दकोश भारतशम्दसूचि बनस्पतिनामसूचि विशेपनामसूचि छन्दोनामसूचि 75 76-78 78-94 95-99 100-101 102 103-106 1-5° $8-116 ११८-१९१ ·A, B, C. abi, abs ace. AM ABBREVIATIONS The three Mss used for constituting tho text of the SR. ablative. absolutive. accusative. Apabhramsa Metres' by II. D. VÆLANKAR (JUB, II. ni, Nov. 1939. pp. 52-54; V. iii, Nov. 1936 pp. 41-71) Apabhraṁsa. Apabhramsa-Studien by L. ALSDORF, Leipzig, 1987. Bhavisattalaha von Dhanayāla ed, H. JACOBI, Munchen, 1918. Ap. As. BL, Bloon Ch. 1 CK. DAVE 1 Des. f. fem. fut. gon, GL. Chando'nuścisana of Homacandra (pub. Dov. karan Mulchand Shoth, Bombay. 1912) Chandahloša of Ratnasekhara (= Appendix I to AM. I, JUB II ïïi Nov. 1933, pp. 54-61). Gujarīti Language by T. N. Dave, London, 1935, Desinámamilt of Hemacandra (BSS. XVII). feminino future genitive Gathalaksana of Nanditadhya (ed. H. D. VALANKAR ABORI, XIV. i-li, 1933; pp. 1-38). Gujarati Howycandra's Prakrit Grammar - VH17 che. pter of the Siddhahemı) ed. P. L. VAIDYA, 1928. Ilarivamsapurare ed. L. ALSDORF ( Hamburg, 1936) impcratirc. instrumental Karularpanım cd. IL.D. VELANEAN (ABORI XVI -i, 1035 pp. 41-89; pp. 37-60). Guj Hr. imper. instr ko.

·۹۱ KP. loc. Mar. m. masc. "Ms(a): 11. nov. nom, OWR. part. PISCILEZ 1 Pk. plur. Pr. A prcs. pret. San. Der Kumrapalapretibodha by L. AJDORP Hamburg, 1928. locative Marwari masculine manuscript(s). Deuter. nominative Old Western Rajasthāni participle. Grammatik der Prolri-Sprachen by R. PISCHED, Strassburg, 1900. Prakrta plural I'räkriter-Paingalam ed. C. M. Ghosu (Bibliotheca Indica, 1902) (The roferences are to the section on the an unless this indicated otherwise) present preterit Sanotkumeiracariton ed. H. JACOBI, München, 1921. Stayanubhaechandos of Svayambhū ed. H. D. VILANKAR (JUB. V. iii, Nov. 1986, pp. 72-98). Les Chanis Mystiques de Kanha el de Saraha: ed. II. SHAHIDULLAH, Paris, 1928. singular Samskrta Sarulesarisala Ramacaritamanasa of Tulsidas Gujarati Phonology' by R. L. Tersza (JRAS. 1921) Noles on the Grammar of the Old Western Rajasthani Language by L. P, TESSITORI (I. A.) Vyttajātisamuccaya of Virahāöka ed. 8. D. FARLANKA 1 TBPhas, ....,'8. 211 y, pp. vocative Parraratnālurt of Jyotirīšvara-Ravisekharda cărye, ed. S. K. CHATTERJI and Babua Mraka, Calcutta 1940. So. SHAHIDULLAH: sing. Sk. Sr. Tulsidas TURNER TESSITORI Toc, ·KP, loc. Mār. m, 1850. -Ms(8). D. now. MODI. OWR part. PISCHEL plur. Pp. Der Kumarapdlapralibodha by L. ALFDORP Hamburg, 1928 locative Marwari masculine manuscript(s) neuter, nominative Old Western Rājasthani participle. Grammatıl der Prakr-Sprachen by R. Pischets Strassburg, 1900. Prákrta plural Pralrita-Pangalam ed. C. M. Guosh (Bibliotheca Indica, 1902) (The references are to the section on the #277 unless this indicated otherwise) present preterit Surathumcircucritam ed E. JACOBI, Munchen, 1991. Surayambhāechanulas of Svayambhū ed. H. D. VELANKAR (JUB. V. ii, Nov, 1936, pp. 72–93). Les Chants Mystiques de Känha es de Suraha: ed. M. SHAHIDULLAH, Paris, 1928, singular Sarnskrta Sandcsarāsaka Namacaritamanasa of Tulsidas "Gujarati Phonology' by R. L. TURXER (JRAS. 1 pros. pret. Sap. So. SHABIDOLLAR sing Sk. SR. Tulsidas TURNER 1921 ) TESSITORI Via. Noles on the Grammar of the Old Western Rajasthani Language by L. P. TESSITORI (I. A.) Vritajdlısamuccaya of Virahánka ed. H. D. VELLNKAR (JBBRAS, 1. 9., V. i-ii 1929, PP. vocative Varnnratnálarz of Jyotir vara-Kavisekharacārya. ed. S. K. CHATTERJI and Babua MEISRA, Calcutta 1940. Voc. VE.

·स्वर्गवासी साधुचरित श्रीमान् डालचन्दजी सिंघी
चाय श्रीवहादुर सिंहजी सिंधी पुण्यशोक पिता
जन्म-वि सं १९९१, माग मदि। स्वर्गपास-वि सं १९८४ पोप मुदि ।

·दानशील-साहित्यरसिक-संस्कृतिप्रिय
स्व. श्रीवाबू बहादुरसिंहजी सिंघी
अजीमगंज-कलकत्ता
सन्म ता. २८-11८८५]
(मायुका -७-१९५४

·Babu Shri Bahadur Singhji Singhi My dear, sincere, and noble friend, Babu Shri BAHADIR SINGE:2 SINORI, who, under my special inspiration, had founded this Singer JAIN Series in 1931, in sacred memory of his saintly Father, Babu Shri DALCHANDJI Singer and realizing whoso uncommon des otion to the cause of learning as well as his ideal munificence, I also dedicated with my beart the dynamic and the precious portion of my remaining life to the Scrics, seeing whose fairly satisfactory and prompting progress in course of last twelve yoars who had, to find it in more advancing and compreliensive form in fature, cherished an intense desire which resulted in associating the Series with the BEARATIYA VIDYA BHAVAN, according to a scheme outlined me in the latest wyorks published last year in it, is now no more to see the publication of this work! Full one year ligg now passed sincs the ssd demise of that noble man. This is the first pork of the Series, that is being published after he departed from amongst us. In his revered memory, I am penning few lines here. " ON THE 7TH OF JULY, last year (1944) Babu Shri BAHADUR SINGAJI Singu left luis mortal coils at the comparatively early age of fiftynine. His loss has heen widely felt. His aged mother Teceived this rude shock so ill that she did not long outlive him. His worthy sons have lost an affectionate and noble father, the industrialists and businessmen of the country one of their pioneers, the large number of his employees a benevolent master, scholar. ship one of its best patrons and the poor people of his native district a most generous donor. To me bis loss is personal. My contact with him was a turning point in my lile. Whatever I have been able, during the past fifteen yeurs, to achieve in the field of scholarship is due directly to liin. The financial assistance with which he backed up my activities was the least of his contributions. But for his love of scholarship with which he inspired me, this chapter of my life would have been entirely diferent. u.

·Babu Slır Bahadur SINGHJI SINGIII was born in Azim. ganj Mursludabad in Vikram Samvat 1941, in the ancient family of the Singhis, who were of old the treasurers of the Mughal cmperors The family had passed through many C16 tudes of fortune and in the 17th century it migrated from Rajputana ta Bengal but thanks to the energy and enterprise of Sloghiji s father, Babu Shri DalcHANDJI SINGII, the family firm became a very flourishing concern Baba Dalchandji Singht, as born in Azimganj Marsindabaci) in the Vihrama Samiat 1921 (1865 AD), and died in Calcutta on the 30th December, 1927 Owing to financial difficulties Dalchandji Singh had abruptly to cut short his educational career and join the family business at the carly age of 14 The family had been carrying on business 19 the name of Messrs Hurisingh Nehalchand for a long time though, in those days it was not at all a prominent firm But haying taken the reios of the firm in his own hands Babu Dalchandjı developed it on a very large scale, and it was mainly through his business acumen industry perseverance and honesty that this comparatively unknown ärm of 'Harising Nehalchand came to be rechoned as the foremost jute concern with branches in almost all the important jote centres of Bengal The fruits of Dalchandji Singin s toils were immense, and the reputation of the firm in commercial circles was indeed, unique Having thus brought his jute business to the most flouri sbing condition Babu Dalchandji Suoghi diverted his attention to the mineral resources of India and spent many lacs of rupees in prospecting the coal fields of Korea State (CP), limestone deposits of Sakti State and Akaltars and the bauxite deposits of Belgaum and Sarrantwadı and Ichalkaranji States His scheme for the Hiraayakeshi Hydro Electric Project and manufacture of alumigium from bauute ores the first of its kind in lodia, 1s yet to be developed His mining firm Messrs Dalchand Bahadur Singh is reputed to be one of the foremost collery proprietors 10 ladia While so engaged manifold business, he also acquired and possessed vast Zamındari cstates spreading over the districts of 24 Pergadas Rangpur, Purnea Maldab etc But the fame of Babu Dalchandji Singh was not confined to bis finique pos tion in commercial circles He was equally ·well.known for his liberality and large-heartedness, though he always fought shy of publicity attached to charitable acts and often remained anonymous while feeding the needy and patronizing the poor. A few instances of his liberality are given below. When Mahatma Gandhi personally visited his place in 1926, for a contribution to the Chittaranjan Seva Sadan, Babu Dalchandji Singhi gladly handed over to him a purse of Rs. 10,000 His War contribution in the first world-war consisted in his purchasing War Bonds to the value of Rs. 3,00,000; and his contribution at the Red Cross Sales, lield in March 1917, under the patronage of H. E. Lord Carmichael on Government House grounds, Calcutta, amounted to approximately Rs. 21,000, in which he paid Rs. 10,000 for one bale of jute which he bad himself contributed. His anonymous donations are stated to have amounted to many lacs. In his private life Babu Dalchandji Siaghi was a man of extremely simple and unostentatious habits. Plain living and high thinking was his ideal. Although he had been denied a long academic career, his knowledge, erudition and intellectual endowments were of a very high order, indeed. His private studies were past and constant. His attitude towards life and the world was intensely religious, and yet he held very liberal views and had made a synthetic study of the teachings of all Teligions. He was also well-versed in the Yoga-darśana. During the latter part of his life he spent his days mostly in pilgrimage and meditation. Noted throughout the district and outside for his devoitness, kiadness and piety, he is remembered even now as a pride of the Jaina community. During the last days of his life, Babu Dalchandji Singhi cherished a strong desire to do something towards encouraging Tescarcb io important branches of Jaina literature and publishing their editions scientifically and critically prepared by eminent scholars. But fate had decreed otherwise; and before this Purpose of his could become a reality, be expired. However, Baru Bahadur SINGHJI SINGHI, Worthy son of tbe worthy father, in order to ful6l the noble fish of the late ·Dalchandji Singhi, continued to belp institutions fike the Jaina Pustaka Pracăraka Mandala, Agra; the Jaida Gurukula, Palitana; the Jaina Vidyabhavana, Udaipur, etc.; and also patronized many individual scholars engaged in the publication of Jaini literature. Besides, with a view to establishing an independent menorial foundation to perpetuate the memory of bis father, he consulted our common friend, Pandit Sri Sukhlalji, (formerly a Professor of Jainism in the Bcnares Hindo University), 20 unrivalled scholar of Jaina Philosophy, who had also come in close contact with the late Babu Dalchandji Singhi, and whom the latter had always held in very high esteem. In the meanwhile, Babu Bahadur Singhji Singhi incidentally met the latc Poct, Rabindranath Tagore, and learnt of his desire to get a chair of Taina studies established in the Viſva Bharati, Shantiniketan. Out of his respect for the Poet, 'Babu S'ri Bahadur Singhji readily agreed to found the chair (provisionally for three years) in Tevered memory of his dear father, and pressingly and cordially invited me to organize and conduct the same. I accepted the task very willingly, and felt thankful lor the opportuoity of spending even a few years in the cultural and inspiring atmosphere of Viấya.Bharati, the grand creation of the great Poet, Rabindranath, During the period of 10 years of my principalship of the GUJARAT PURATATTVA MANDIR, Ahmedabad, and even before that period, I had begun collecting materials of historical and philological importance, and of folk-lorc etc., which had been 'lying bidden in the great Jaina Bhandars of Patac, Ahmedabad, Baroda, Cambay, etc. I induced my noble friend Babu Bahadur Singhji Singhi, also to start a Series which would publish works dealing with the vast naterials in my possession, and also with other allied important Jaina texts and studies prepared on the most modern scientific mctbods. Hence the inauguration of the present Singhi Jaing Series. At an early age Babu Bahadur Singhji joined the family business and by pushing ahead with his father's enterprises, succeeded in making the firm the foremost in the mining industry of Bengal and Central India. Besides he also acquired vast zamundaries and had interests in many industrial and banking concerns. This early prcoccupation vb. bosiness affairs prevented his having a college education. But Singhiji 135 ·studious and introspective by nature. He devoted all his spare time to study and cultural development. He acquired an excellent-command over several languages. Art and literature were the subjects of his choice. He was very fond of collecting rare and invaluable specimens of ancient sculpture, paintings, coios, copperplates and inscriptions. His manuscript collection contained a large number of mare works of historical and cultural importance, among which mention must be made of a unique manuscript of the Koran which was handed down from Babor to Aurangzeb and bears the autographs of all of them. His numismatic collection, especially of Kushan and Gupta coins, is considered the third best in the world. He also had a good and large collection of works of art and historical importance. Singhiji was a Fellow of the Royal Society of Arts (London), a' member of the Royal Asiatic Society of Bengal, the Bangiya Sahitya Parishad, the Indian Research Institute and a Founder-Member of the Bharatiya Vidya Bhavan. He was also the President of the Jain Swetambara Conference held in Bombay in 1926. Though he bad nade no special study of law he was well up in legal inatters. On one occasion in the Calcutta High Court when he found that even his distinguished lawyers were not properly representing his case he himself pleaded out the case successfully, much to the surprisc of the opposite party who was a manager of a big European firm. Though a highly religious and leading figure in the Jain Community he had an outlook wbich was far from sectarian. More than three-fourths of the six lakhs and over of his donations were for non-Jain causes. More often than not he preferred to give us assistance anonymousiy and he did not keep a list of his donations even when they were made in his name. To the Hindu Academy, Daulatpur, Rs. 15,000/. to the Taraqi-Urdu Rangala 5000). to the Hindi Sahitya Parishad 12,500). to the Vishuddhanand Sarasvati Marwari Hospital 10,000). to several maternity homes 2,500). to the Benares Hindu University 2,500l. to the Jiaganj High School 5,000). to the Jiagauj London Misson Hospital 6000/. to the Jain Temples at Calcutta and Murshidabad 11,000+ ·(6) to the Jain Dharma Pracharak Sabha, Blanbhutn 5,000/- to the Jain Bhavan, Calcutta, 15,000/ to the Jain Pustak Prachar Mandal, Agra, 7,5001 to the Agra Jain Temple 3 500) to the Amhala Jain High School, 2,100/ for the Prakrit Kosh 2 500) to the Bharatiya Vidya Bhavan 10,000/ At the Singhi Park Mela held in Decembar, 1941, at his Ballyganj residence in which Viscount Wavell then Commander in Chief and Lord John Herbert, Governor of Bengal and Lady Herbert participated he donated Rs 41,000/ for the Red Cross Fund He was very Really spealmg, he did not in the least hanker after name and fame even though he was a multi millionaire and 2 big Zamındar, and even though he was a man of superior intellect and energy He was by nature taciturn and a lover of solitude Art and literature were the pursuits of his choice fond of seeing and collectiog rare and invaluable specimens of ancient sculpture painting coins copperplates inscriptions, matuscripts etc He spent all his spare time in seeing and examining the rarities which he had collected in his room as well as in reading He was seldom seen outside and he rarely mixed with society and Inendly circles Wealthy persons like himself usually have a number of fads and hobbies such as seeing the games and races visiting clubs, undertalang pleasure trips etc, and they spend enormously over them, but Slaghui had note of these habits Instead of wasting money on sack things he spent large sums on collecting ancient things and Yalaable cunos and on the preservation and publication of important literature Donations to institutions and charities to individuals were, for the most part given by him anonymously I know it from my own experience that these gifts donations and charities reach a very high figure at the end of every year But he was so modest that on his being requested so often by me he did not shot the Icast inclination to part with the names and whereabouts of the individuals and institutions that were the recipients of such financial and from him By chance I came to hnow of a very recent cxample, just now, iodicative of this cbaracteaste of bus nature In the year 1941 he shifted, ·like other innumerable inhabitants of Calcutta, his headquarters to Azimganj (Dist. Murshidabad) when the fear of the Japanese inyasion was looming large, and decided to stay there with his wiole family during rar time. Tabing into consideration the present grievous condition of the country as well as the excessive scarcity of the grains in Bengal, he had stacked grains in large quantities with a view to distributing them gratis according to his capacity. Thereafter the problem of food became rather more serious and the prices had risen inconceivably high. Babu Bahadur Singhji Singhi conld have earned four to five lacs of rupees if he had, like many other miserly merchants, sold off the boarded lot of grains, taking ondue advantage of the prepailuug conditions. But le resisted the temptations, and had been daily distributing freely the grains among thousands of poor people who showered blessings on him; and he enjoyed a deep self-satisfaction. This is the most recent example that puts us in adequate knowledge of his silenc munificence. Rcally lie was a very silent and solid syorker and he had no desire to take active part in any controversies, social or political, though he had sufficient fitness and energy to do so. Still however he was shilful enough to do what was proper at the particular time. The following incident will best illustrato this statement. It was in the fitness of things that a wealthy multimillionaire like him shonld give an appropriate contribution in the war funds. With this vier he arranged in the second week of December, 1941, an attractive show, styled Singhi Park Mela in the garden of his residential place at Calcutta in which all the local people and officers of name and fame, including the Governor of Bengal, Sir John Arthur 'Herbert and lady Herbert as well as the Commanderin-chief (now the Governor General) Viscount Wavell, had also taken part with enthusiasm. This show fetched thousands of rupees which were considered substantial financial help to the war funds. * As mentioned above, the series was started, in 1931 A. D. when I worked as a Founder-Director of the Singhi Jain Chair in Visvabzirati at Shantiniketan, at Singhiji's request. It stas, then, our aspiration to put the SINGHI JAIN CHAIR and the SINGHI JAIR SERIES ou a permanent basis and create o centre at ·I also feel the same amount of joy and interest at the Bhavan's progress as Sri Munshiji, its Founder-President and therefore I have been always offering my humble services in its various undertakings and activities. On the other hand, the Singhi Jain Series is the principal aim of my remaining life and the results of my thinking, meditation, researches and writings have all been devoted to the development of the Series. As life passes on, the time of activity is also naturally shortened and therefore it is quite appropriate, now, for me to chalk out lines of its future programme and permanence. As Babu Bahadur Singhji Singhi, tile noble founder and the solo patron of the Series, had placed the whole responsibility of the Series on me from its inception, he had also the right to expect that more and more works may more speedily and splendidly be published. I have neither seen nor come across any other gentleman who can inatch with him as regards geacrosity and unbounded zcal for the revival of ancient literature. On the works of the Series he had spent through me more than 75,000 rupees during liis life.time. But he had not even once asked me, during this long period of a dozen years, as to low and for what works the amount was spent. Whenever the account was submitted to him, lie did not ask for evca che least information and sanctioned it casting merely a formal Glance on the account sheets. But he discussed very minutely the details regarding things such as the paper, types, printing, dinding, get-up, etc. as well as internal subjects like Prcráce and others, and occasionally gave very useful suggestions thercon with decp interest. His only desire being to see the publication of as many works as possible in his life-time, he was always ready to spend as touch, after it, as required. He did not labour under a dclusion that the things should be done in this ar that way when he was no morc. As these wero his ideas and desires concerning the Serics and as every day that passed left me all the more convinced of the fickleness of my advanced life too, it was imperative for us to draw out a scheme for its future programe and management. just at this tinc a desire dawned in the heart of Sri #T.

·( 10 ) Munshiji, to the effect that if the Singh Jain Series he associated with the Bharatiya Vidya Bhavaa, both the institutions would not only be admirably progressing but the Series would get permanence and the Bhavan, uniquc honour and fame by its hereby becoming an important centre for the studies of Jaun culture and the publication of Jain literature. This well. intentioned desire of Munshij was much liked by mc and I conveyed it in a proper form to Singliji who was, besides being a Founder Member of the Bhavan, also an intimate friend of Munshiji since long Eventually he welcomed this idea I also came to a final decision of associating the Series with the Bhavan, having consulted my most sincere friend, life-long companion and Co-worker, Pt Sukhlalji, who is a well-wisher and an active Inspirer of the Scries, and who is also an esteemed friend of Babu Bahadur Singhui Luckily to all four met in Bombay mi the bright half of Vaisakh (V. S 1999) and on one auspicious day we all sat together and unanimously resolved, at the residence of Munshiji, to entrust the Series to the Bhavan According to that resolution, the publication of the Series thereafter began under the management of the Bharatiya Vidya Bhavan under my sole supervision and direction. * In addition to transferring all sorts of copyright of the Series, Singhuji also donated a liberal sum of Rs 10,000 which will be spent on erecting a hall, to be named after bio, in a prominent place in the Bhavan. In apprcciation of this generous donation of Singhujl, the Bhayag has also resolved to style permanently the Department of Jain Studies as the "Sosyal Jan Sastra Silsaptcha' In the mean time se considered to purchase for the Bhuvan a well equipped library of a retired professor ligtas in Calcutta and consequently I was entrusted with the work of making a proper move in the matter. I then went to Calcutta for this very purpose and started negotiations through Slagbil with the professor whose demand was somewhere aboot Rs 50000/- Singhiji zsled me just casually as to what arrangement had been made for meeting with the costs. ! promptly replied that there with no cause for worry so long ·( 11 ) as donors like himself were there. He smiled at it with a suppressed sense of satisfaction and also remarked that he had to assume the role of a negotiator for a buyer who he himself was eventually to be. Ite considered seriously my caodid utterance and made up his mind from that moment, lucky of course for tlie Bhavan, to donate the Library to the Bhavan, He invited the professor concerned to his residence and talked' in" my presence about the approximate cost of the whole collection which appearing rather more to liim and to me, the bargain could not be struck. He himself thereafter suggested to me to go in for the Nahar collection and promised with his usual preparedness to make complete arrangements in die course of time for the same, As was natural with him, lie disallosed me at the same time from making knownı his intentions to any one. From close association with him I very well knew this aspect of his sobre mind. This taciturnity of his mind was so much developed that even his sons who are equally able and forthy did not get a clue to his intentions till they were put into practice. But to our great mishiap bc did not live long enough to present this literary treasure to the Bhavan himself; but his eldest son and my beloved friend, Babu Shri Rajendra Singh has fulfilled his father's wish though he was totally ignorant of it and has got this unique collection for the Bhayan and spent Rs. 50,000/- for tlic purpose. * Singhiji began to take keen interest in the progress and development of the Bharatiya Vidya Bhavan, seeing that it had at last become tõe centre of researcă and literary activities of Shri Munshiji and mine. In his last visit to Bombay he had also expressed to me his sincere desire to come and stay occasionally with us in the building of the Bhayan at Andheri when It is made over to nis after the war. At this time he also expressed with great enthusiasm his generous desire in clcar termos us to low increasing progress of the Series can be achieved and how mora torks can be brought out with added speed. He also told me to make an arrangement, as I wished, regarding as much publication as possible of the works in the Series till I and he were alive, wbishing me not to worry at all concerning the expenses. He mentioned tbat ·( 12 ) he would not feel satısfied even if the present rate of the publication which is three to four works annually be raised to tiyo works per month What a noble zeal and a domineering passion for the advancement of learning and literature! Having beeu fully reinvigorated by this unequalled enthusiasm and liberality I came to Bombay and was immersed in making plans of a large scale production of the works in the Series and its extension in pursuance of his eager desire By the end of 1943 his health began to decline In the first week of January, 1944 when I went to him at Calcutta in connection with the work of the Bharatiya Itihasa Samiti I fonnd In extremely unwell Notwithstanding his all health he talled to me for more than a couple of hours on the day of my arrival there The first thing he did in the course of this lengtby, though very street tall, was to give me a mild reproof for undertaking the long and tedious journeys to Calcutta, Benares and Cawopore in spite of my 1]l health He discussed with absorbing interest the details of the Samitis proposed History of India, a subject of great interest to hidi. I could see that he was at that time quite forgetful of his physical ailments Our talks then drifted to the subject of the History of Jainism in which connection also he expressed luis opinion about the material to be utilised for such a work. At the termination of our talks, which this time lasted for over three hours, I found him much exhausted and trooping in spirits On the 7th January his health took a turn for the worse On rith January I went to take leave of him, which he, full of emotions, garc xith a heavy beart, exclaimlag "Who knois whether we shall meet again or not? I requested him to tabe licart and remuu buoyant and assured him that he would be soon restored to normal health But while I was stepping out of his room my eyes were full of tears and his last words began to eat into my heart Ill lucl prevented our second mecting That loſty and generous soul finally left its mortal habitat at mid dry on 7th July 1944 May his soul rest in peace!

·( 13 ) Singhiji's worthy sons Though the heavy loss caused by his sad demise is irreparable for me and the Jain community at large, still it is, indeed, a matter of real consolation that he bas left behind him cqually illustrious and worthy sons. His sons, Babu Rajendra Singhji, Babu Narendra Singhji and Babu Virendra Singhji are treading in the foot-steps of their revered father. It gives me a great pleasure to record here that during the past year on the Series alone they have spent about Rs.20,000/-. They also handed over a some of Rs. 5000/- to the Indian Research Institnte of Calcutta for the publication of the Jain works in Bengali language. In last January these Singhii brothers spent in the sacred memory of their late father and their grandmother who had passed away soon after ler son, a big sum of about two lacs for social purposes and for helping the poor with food, clothes, etc. I have already mentioned how Babu Rajendra Singhji made a generous donation of Rs. 50000/- for the purchase of the famous Nahar Collection of Indological works which now forms a most precious part of the Bhavan's library. Babu Narendra Singhy has donated Rs. 3000/- for the foundation of a Jain Bhavan at Calcutta for which Babu Bahadur Singhji had already contributed Rs. 15000/-. He libcrally gave Rs. 5000 at the ocasion of the celebration of the Virasasana Mahotsava' in November 1944, vyhich was held by the Digambar Jain Samaj. Further bo has shouldered the responsibility of continuing now under his patronage to help the work of social and religious upliftmeat among the Sarak tribe of Bengal which was started by his illustrious father and for which the latter had spent thausands of Rupees. Babu Rajendra Singliji and Babu Narendra Singhji have also very generously promised to continue to meet all the expenses of thc Singhi Jain Sorios and requested me to bring out as many works as possible, At ubatever cost so that this unique Series founded and cherislied by their late lamented fathers may contiope to bring to light the invaluable treasures of lain terature and culture.

·(1)
In recognition
of his
unique assistance the Bharatiya
Vidya Bhavan has decided to perpetuate Sungky s memory by
DIDIOg its undological library as Babu Bahadur Swghji Sunghi
Library Further, one of ts man halls will bear his name as
Babu Babadır Singhji Singki Hall The Pharan's Jain
Department will also be known as the Sight Jain shastra
Shikshapith
9 AUGUST 1945
BHARAstra Vipya Buawan, JINA VIJAYA MUNI
BOMBAY
*

·PREFACE WHEN for the first time in 1912-13.A. I began to examine the Jain Bhandars at Patan, my primary bbjcct then was to find out with a view to research the literary works composed in the Early Vernaculars. At that time i had yet little aquaintance with Sanskrit and Prakrit, but with Old Gajarāti (or the Old Western Rajasthani, as it is known among the scholnts) I had cultivated a considerable familiarity. Of course I was as yet only a fresh student of it. My perusal and study of the research articles dealing with Gujarāti languago end literature that were being published in the early Reports of the Gujarāti Sähitya Parişad and also in the early numbers of the periodicals like the Gujarati' had created in me a desire to Inow more and undertake investigation into these subjects. I had already come in close touch with the Rāsā compositions by tho Jdin monks of which there was soch s prolusion, and iny visit to the Bhandars of various places had given me some idea as to what a big number of such works had been preserved in the Jain Mss. collections. The Bhandårs at Pítan wore since long vory famous for being the oldest and richest Ms. collections pertaining to this subject and so, when I got an opportunity to live in Patan near Pajyapāda Pravartaha Shri Kantivijayaji Maharaj whom I considered as my highly rercred Guru, I began to prepare a list of thio Old Rāsis found in those Bhandars in order to satisfy my curiosity and to have a general idea of how grcat an amount of such sort of retnacular literature was lying buried there. In this list the information was boing gathered under tho heads liko title of the work, name of the author, dato of composition, date of copying, ortent of the work in Grantlıdgreus, nunber of follos, condition of the MS, otc. During these years a controversy was raging in Gajarat Among the scholars of Old Gujarāts as to who was the earliest poet in Old Gajaržu, and the nou Jain scholars almost vuanimously had assigued tlat placo to Narasinha Balotai. But there wero ono Or to Jain scholars who had declared their .

·two) MEZACE objection to such & view and who, on the ground of some pre Narasınha Jain works that were within their knowledge, were trying to assign the honour of being the first poet of Old Gujaratı to Vinayaprabha Upadhyaya, who had composed Luis Gaulamasıxmirusa at Khambhat (Cambay) in 1412 V. $ I too got interested in that controverag and accordingly I began to search carefully for oldor Gujarati poetical works In one of the Bhandars I found & Ms copied in 1357-58 V.S, the years during which the Ilindu rule in Gujarat was nearing its end and Independent Gujarat was yenishing for ever between the jays of Timo The As contained a collection of many small works in Sanskrit, Prakrit, Apabhramsa and Old Gujaratı Among these was found a poetical work called Neminathacalnespalila of Vinayacandra which appeared to be a charming and typical representative of Old Gujarati works There was no doubt about its being some 75 or 100 years older than the Gautama. stanirusa and hence I prepared a complete copy of it and sent at to be published in the Paryuşapa special umber of the monthly Jain Syetambar Confercnco Herald' of tha At that time I had no specialized study of that subject so that I could supply an explanatory review, notes etc on it, but my eagernes to continue ny research in that subject and to search for and esamiac morc litcrary works of that type was increased to a degree and from that point of view I continued my efforts Year 1913 It was about that period that I found a Ne of the Samdesarusala 20 the same Blandar * This Patan M84 contained the bare text of the poem without any thing lhe the Sanskrit Atacr mi or Teppana On a superficial examinato, ils language appeared to me to be of a different sort frot the language found in other Rasas and it was not properly intellıgible to me, since I Lnew yet practically nothing of the Apabhramsa grammar But my contmuous reading and study of Old Gujarati works had indirectly acquainted me somewhat with that language and consequently I could grasp the cssence of the contents of the Rasaka read many times the Prthuraja-Rusar before and I could J. It was in this vary Bhandar that I dIoovered Puthuycandaeorura the oldest and brliest extedito prose work in Old Gojorats I had ·PREFAOK (threc make out that the language of the present Rasaka was to bome extent of that sort which was found in the Prthvīrūja- Räsau, though the fouin appeared quite different, I became eager to study the Rásaka and I copied it completely with my own hand. I also hoped to possibly find in the Bhandars some other Ms. of this poem containing some Tabbā (Gujarātī gloss) or Balāvabodha on it, so that it can facilitate the understanding of the poem. For I had already come across in those Bhandārs somo Mss. of the works like the Bhuvanäsandhi written in the same sort of lenguage and containing a Gujarati gloss. 1 !! After this some five to seven years elapsed. During this, I was progressing in my study of the Prikrit grammar. Tho study of Heroscandra's granmar helped me to peep into the exact uature of Prikrit, Apabhramsa etc. In 1918 A. C. when in Poona I was enganged in examining the Jain scetion of the Government Manuscript collection brought to thao Bhandarkar Oriental Research Institute, I came across another Ms. of this Rāsaka there, and I was very glad to find that that hew Ms. contained, as I had anticipated, a chaya-like Sanskrit Avacúrikū on the text of the Rāsaka. I had then a mind to get prepared a transcript of that Ms. After this when I joined the Gujarat Vidyapith and undertook to organize thic activities of the Gujarat Purătattva Mandir, I thought of publishing the Rāsaka in the Purītattva Granthārali that ivas to be started by that Institution. I acquired tho Ms. from Pátad as also frap Pons and started to pote dow tho variant readings, eto. gradually. But much progress could not be made in that owing to my being occupied with othor undertakings. In the meanwhile I received lotter from that grcat indologist und Germua suvent Prof. Hermana Jacopt. Ho had asked from mnc Somo information regarding the Works of Apabhrarsa literature that could bo fonnd in the Patan Bhandara, For it ras Prof. JACOnt who had started a now era in Apabhiramsa studies by publishing the Apabhramda texts Blarisattalaha of Dhanapīla and the Shuthumvirvarila of Haribhadra and had begun to search diligently for the literary treasures of that language. I sent him particulars regarding the Texahalkhart-Ifahuparinn of Paspadanta together with 1 T.

·four) PRETACE & transcript of the lanzimeapuruna contained therein, which I had got previously prepared Afterwards I informed him of this Samdesarusala also In the meanwhile, when I decided to go to Germany, he wrote to me when you come, please bring with you the Ms of the Scamulerarusala oi a transcript thereof I am very eager to see that work' etc Accordingly I took with me the transcript that I had prepared with my own hand and when in the summer of 1924 I say that revered and aged Professor in Hamburg, I handed over to him that transcript He was very much thankful to me for the transcript and said that when he returned to his bome at Bonn, he would, at leisure, go through the transcript and write to mo his opinion etc regarding the work in detail And he kept the transcript with him But anfortunately he could not do or write anything in connection with this matter Jaring my stay in Germany, being engaged as he was in some moro pressing work I returned from Germany and remained wholly occupied in establishing the Singhi Jain Chair at ShantınıLetan, in planning the Singhi Jaun Series and other such works Whett the Bharatiya Vidya Bhayah was established in 1988 and the Bharatiya Vidya Series was started, I earnestly desired to publish this Semdesatusnirs which was occupying my attention since so many years And Bo acquiring again the Miss at Poona and Patan, I got a fresh press-copy prepared from them After collating variants, I thought of publishing the Work serially in the Bharatiya Vidya (the Hindi Gujarati quarterly) In the mean time I came to know of a thud Ms of the Samdesarasala which Tas in the Jpanabhandar of Acharya Shri Jinaharisugaji at Lohuvat in Marwar. I acquired that Ms also from the Acharya Besides the text, that Ms also contained a Tıppana-like short Sanskrit commentary by some different writer Hence I decided to print that commentary also Thuc ultimately the printing of the text of the prosent work with the variants from the thren Mss and the Sanskrit commentaries from the Poona and Loharat. Mes was begun in 1941 In the beginning wy intention was to publish merely the text with the Sanskrit commentaries and a few prefatory 1 ·PRETACE (five linesby way of introduotion. And accordingly I got the whole thing printed. But then some friends suggested that if the work is published with the indication of the critical apparatns and a critical introduction, it would add to tile utility of that line work for those interested in Apablırariša. So I cntrtsted that' task to my dear pupil and ontbusiastic co-worker Prof. H, C. Bhayani, M. A., who, since last three or four years is deoply engaged in the study of Apabhramsa language and literaturo and who has acquired a sobstantial knowledge of that subject. As the resalt, the present work with its moro substantial form is placed in the hands of the learned. That Prof. Blayani bas spalcd no pains in studying his subject with requisite minuteness will be clear to all the discerning readers who will go through the pages of tho Critical Study.' Ho has carcfully investigated and recorded in å systematic manner the rich variety of grammatical forms and different types of metres that are evidenced in this poem. He has also treated the form and structure of the poem, has given an extensivc summary of the contents and some informative notes from exegetical or metrical point of view, and lias prefaced all this with a brict introduction intended to point out the specially interesting features of the poem. Thus Prof, Bhayani has increased the importance and utility of this publication for which I offor him sincere congratulations. Following is the description of the three Mss. Which I hara utilized in editing the presant test and the commontaries: Ny. A It is a Ns. from the Jain Section of the Gorornment Algs, collection wiich is in charge of the Blaudarkar Oricntal Rescarch Institute, Poont and bears the number 181 of 1881-82. It contains 12 leaves. The date of copying is not giren but looking to the condition of tlie Ms., it appears to have been yrittcu about 300 years ago. It is written in the Jain Devanagari script. The test of the Risala is in a slightly bigger hand. Every side containg 11 to 12 line of the Rāsaka tort and above cach line is written, in a fiacc hand, something like a Sanskrit translation of thic tort which is styled Lucanka, The copyist of tliis Aracinli appears to be different from the scribe who had copied the text, for there is difference in the style of the characters. It seems that sowelody inust hare - ·PREPACE the poem catered this Sanskrit Atacirild for his own gaidanco in the Ms. in his possession that was containing only the text. Tho name of the scribe is giren thus at the end of the W8. : : i faoni TATA .agri. But from this it cannot bo mado out whother this Nayasamudra is himself the author of this Aracūrila or he has merely copied it. It is certain that he was a Jain monk. There have been many Jain monks bearing the name Nagasamudra nnd some of them have also some works in Old Gujarati, etc, to their credit. But as the present scribo has given neitſier his spiritual lineage and preceptor, por his date, there is no means to know anything about his time or his identification, The scribe who has copied the text in this NLs, has not bestowed sufficient care on his task and conscquently he has included as a part of the text those stanzas also wbidlı give the definition of some quarticular metre employer in a staza of For esample, the 18th stanza of the text is composed in Hndda metre In the Ms, which must hapo served as the prototype to our No., somebods must have marginally entered the stanza defining Raddā metre from metrical treatise of an author called Nandaddha. The scribe of our Aſs., considering this definition stanza as a part of the text, copied it runningly with other stanzas of the test. Similarly because the 21st stanze ia in Paddhadi metro, a stanza giving the defiuition of this metre has been included in the text as its part. The stanzas of the poem also have been numbered erroneously so that the last stanz, instead of being numbered 222 or 223, bears the number 216. Ms B - This Ms was acquired fiom the JManabhandar of Acharya Shri Jinaharisāgerji at Lolidvat in Marwar. It contains 28 leaves in all. The name of the copyist is not given. But doubtlessly he was a Jain Though the name is not given bé bas mentioned the place and the day, from which we 2001 that writing of this Ms, was completed at Hisäradurga (i. c. Hier kort is the Payeb) the SA day of the bright ball Aşadha, Wednesday. If some more trouble had been taken to put down the number indicating the year also, we would have got at least the exact date of the Ms. But as that thing is not done, it is not easy for us to say in what century the copy was prepared. Though if any scholar wishes to exactly find out some ·PREFACE I (sevat this date with the help of the ephemeris, he can do igo becauses given the month, the fortnight, the Tithi and the day of the week, the corresponding year can be calculated. Having at present little time at my disposal, I could not undertake'it. I wish some expert would try. This Ms. contains, along with the text, short Tippaun-lıke Sanskrit commcntary, which gives just shghtly more renderings of the original text than those given in the Avacūrkā in the MSA. The scribe of this Ms appears to have very little familiarity with Sunshrit and so he has committed wany blunders of a giammaticnl or othuglæphic nature in cupying the commentary on each stanza. There are two stanzas at the end of this Tippana-like commentury, which give us some infolination regaiding its author, eto, The author of this commentary was a Jain monk Gamed Laksmicandra, who was a disciple of Devendiasūri of the Rudrapalıya Gaccha. He has also mentioned the names of his fathor and mother and his family, which is seldom done by any Jain monh. Acoording to this he belonged to the Prāgvāta family (i. e, the Porwād caste of the Banjas). His father's name was Hāliga and mother's Tilaklıū. He had composed this commentary in 1465 V. S.** The second stanza indicates in what manner he propared this commentary. The stanza is defective and its text Appears in places corrupt, so the exact meaning cannot be made out. Ho says that lie has not seen with his eyes Any commentary of this poom, nor has lie studied this poem before a toacher, nor has be listened to this Sastra on the carth directly from the mouth of its author (?) But what osplanations of this poem he heard from the mouth of the Ksatriya namrd Gīhaua, lie wiote them out in the forma of Thors Ma. of the Dharmübhyudayakarya ia Jua Bhupdate at Paten written by the same Inlemicandrs, at the ond of which be bas giten (416 V, S. as the dalo of copyiog Thoro has been giton the saine stanna ubleh li found in the commentary on tho Saxtdelarijola with slight Farfation. It is as follows: भीमाप्रापाटयशवपिकनिहारिगसागरमा पुशे मानसिकता परिचरणों मपीसगाई। सीदगियाम मुसमा पापरे नापनेन Puery ENT 154: N1 ·eight) I'ATPACE this tārta (tärtała?) In this if anything that was not proper was unguardedly written by him it was not be, but, Gabada who was to be held answerable for that Thus it appears that Lalsrucandra learned the purport of the poom from some Ksatriya named Gabada We do not know any thing else regarding this Gahada From this commentary of Labsin.candia we can see that he was not a good student of Sanskrit He must have only s working Inorledge of that language In spite of his defective knowledge of Sanskrit and his sunalure study he has enthus tastically tried to explain the purport of the Rasaha by writing 10 bis broken style a commentary in the form of this rarita', and today it has certainly proved of commerable helf in understanding the poem It is probable that the curia which is found in the Poona MI: (A) was prepared by some student on the basis of the substance of this commentary of Laksm.candra Tromshat is said by Laksmicandia we can also surm130 that possibly there was nothing like & Sanskrit commentary on the Samdesarusala before one written by Laksmieandra himself So in course of time this Apabhramsa poom of Abdala Rabamına being felt difficult to understand, Iakmicandra, wlio found the poet very attractive and worthy of study, learnt it from some Kshatriya called Gahada who Inevita language and purport tolerably well, and composed thus urth or turula in bis oiyn words. Since, the text of the Risala as found this Ms and the one web forms the basis for the conventary ale ip sone places al variance with each other, it is to be concluded that either the text and the commentaty were copied from two diferent Afss or the prototype of this M. wust have been copied in the sand manner. Ms C - This is from a Bhandar at Patan The number of the leaves 19 17, and the scnpt 15 Jain Devanagari The copyist is Bunı Minasigara, who was a chisciple of Upadhyaga Devasigara Some Bhattarala — the name has been scored off by Bonehody -- gat this cony prepared by Num Manasugatx Here also the date of copying is not given So we cannot say what must be the exact date, but looking to the condition of the Dís it appears to have been written during 1700-1750 V S This Vs contains merely the text of the Samdexaresala The copyist has not put down the numbers to the stanzas, but ·TREFACES (nine somo spice'is left empty at the cud of cacli stanze. This possibly means that as in other Mss., here olso, tho copyist intended to write the numbers with red ink or permilion, but due to some reason it was left undone. To give, some idea of the size, characters eto, of these threc Mss., vel hajf-tono, block of one page of each Ms. is given berewitli. I have songht to record at the base of the text of the Rasnba the variant readings that are found in thoso threo Miss Onc. who examines theso variants will see that the text of the Rāsaka, bas come down to us with plenty of variants, The spelling and pronunciation in a spoken peçascular is subject to continual change dependent upon its currency in different places at different times and among different peoples: The' work, which becomes more popular and current, gathers still richer crop of variants. It is difficult to decide which one of the Miss.oloring quinerous variants is moro correot and faithful to tho original. If thc uuthor's date is definitely known, we can say that the Ns. Which is writtani nearce to this date is more reliable. But when the author's date is indefinite, wo_ cannot tako it as a never-fniling criterion that the earliest Aſs. is the most'tolinile 'one' For a'later lis. can provo moto authentic than' un cardior one, if the former is copied from a prototype which is chrlier than the latter. In such circumstances it is a very dificult task to constituto an authentic text of a work whichi abounds in variants,' "To illutrate this 'lat nis 'sapposc thers are two Mss..of atornacular fork composed" in " 11th oculary. One of thogo is written in tho 15th century and prosents that forin of langnago which, after successivo transformations was current in thnt century. On the other hind tlio other Ms. is written in the 16th century, büt as it is an cract roproduction of its prototype which belonged to tho 13th century, wc slionld consider this lattor 35, moro authortic When we want to study the language of that work. I havo many n tino como across such cases during my rescarchie's. But Thien wo laro no definito idea is to the timo of tho author, nor ein ur find any surc ground to fix the tradition of the BIss, the obsiously toust objectionable course would be to Accept the majority reading in the constilated tort and record ·ton) PETTACE the remaining ones below. "And in cases when all the Miss. disagree on a particular reading, grammar, metre and general style of the authar should be tho criteria of selecting the reading This is normally the method wbich I have followed in oditing the present text, On examining the text one will find that the three above-described Mss. of this work presat abundant variants, What is more, the text of the Rasaka &3 given in B. and the words of the text which aro found interspersed with Iaşmicandra's commentary contained in the sanne Ms. differ at places from cach other. As all tho the three Mss. aro undated, there is no svidencs to consider any of them as older and more authentic than the rest. Hence generally I baye accepted two criterions for the selection of the reading. The first is to accept that reading in the constituted toxt which is corroot and found in the two Mss, the reading of the remaining Ms. being recorded below The second is, when the three les mutually disagree, to select that reading which appeared to me superior to others from a metrical, contextual, of stylistic viewpoint, the other two readings being given below. There is no sort of consistency in the variants in each of the three Mlse No upiformity is to be found in any one of the Mss, regarding grammatical forms or orthography. In all the M3s, a substantive of the A-stem is found now in lected, Dow uninllected In the case of vorbal forms also sometimes we find a fuller form, while at other times it is found in a nutilated condition. And if one carefully examines the poem, one would discern that at times the author bumself was responsiblo for employing such varying forms. The same sort of inconsistency is observable in the indication of the glide that appears in the place of the elıded intervocalio consonants ID some places only a is found, while no others it is preceded by y. Thus as iuuch lawlessness was found in the variants offered by the Mee, I had to adopt the above described method of selecting the readings I am aware that such a method is not absolutely scientific or satisfactory, but under the circumstances I could not find any less objectionable alternative. From the information that I have, I think there can be found still many wore Diss, of this work from the Jain ·PERFACE (eleven Bhandars. Thero is also the possibility of finding out allother Sanskrit commentary or gloss on the text. For example, when the printing of the present text was finislied, Shri Agarchand Nauta of Bikanor sont to me an incomplete Ms. of this work from his private colleotion. There were sevon leaves only, containing the first 109 stazzas of the text. The Ms. contained the Sanskrit Värtiha also, which was mostly identical with the Avecārıkı given here, but it was by a different author. Its first stanza was word for word the same as the first stanza of Lakşmicandra's commentary, excepting the fourth păda, which instead of reading age. as in Lakşmicandra, reads af:. Accordingly we come to know that some Labdhisundare was the author of this commentary. The Ms. being incompletc, we have no means to know whether the author bad said at the end anything regarding himself, luis Guru, etc. Can this Labdhiswidara be in any way connected with that Nagasundara who is mentioned at the end of the Poona Ms.? Most of the readings of this Bikaner Ms. (N) are the same as thosc found in B, but there are places where the two Nss, differ and hence it appears that the Bihnner Ms. also lias different Ms. tradition fron; that of the three Mss previously described. From this, it will be seen that to preparo a really critical edition and present the text in a puer form, tre should acquira as many Mss. of the work as is possible to get, and work on them with sufficient diligence, As Prof. Bhegani has, in his 'Critical Stady' çxhausti. valy treated most of tho specially interesting and novel features of this work, it is not necessary for me to touch those aspect's and I confine myself to saying a few words regarding tho date of the author. I liare not como across any definito external evidence which would fix our author's date. No referenco to the Samdesaniscla is found in any other vorh. We have to mako a probablc guess regarding the author's time and hero our first definito ground, which supplies at the same time tho (Crezuis aul greem for the date of the poem, is Lakşmicandra's commentary that is pablished here along with the text. Tho conuentary is composed in 1465 V. S. (1409 A, C.). Therefore, it is obvious that the author of the Sundesanisala lourished carlier to this date. Bat to say how much earlice ·trolyc) PREP.OR * would be a matter of mere speculation Still considering the form of its language and the nature of the information given in the text regarding the geographical places, I havo 1easons to belicro that Abdala Rabamīna* the author of the present Rasaka was born in some place situated on the western borders of India before the period of --though not inuch earlier to the rise of Sultan Muhammad alias Shihabu-d din Ghori who ostablished the Bovereignty of Muslim rule on the throne of Delhi. From the description given in the Rasaka, it is clear that at that time the city of Nultan in the Punjab was famous as the greatest of the holy places of the Hindus in the farthest pricincts of the north-western India The temple of Sun god and Suryah unda that were there were famous all over India and it was a prosperous centre of Hindu culturc. From this description we also gather that Multan was a flourishing city We can, therefore conclude that in the times of the author of the Sandegardischa the ominous shadow of foreign invasion had not yet engulfed the city, and the Hindu cultural atmosphere held there its continuous and unrivalled stay After Shihabu-d din's invasion that glory of Multan disappeared never to get established again The mention of Khambhāt (Cambay), moreover, along with Multan in the Punjab and Vijayanagar ot Vikramapura (today in the Jeguliere State) in the Marusthalt is also noteworthy The husband of the lady from Vijayanagara, who, suffering long separation sonds the message to him, had gone to Cambay to earn riches and there being no end to luis ambition, he does not learc Cambag for years. The message-carrier also is going on his way to Khambhat with a written message to some simlar enterpriser from Multan who has gone to Cambay with the same purpose. From this we can gather that the poem was composed about a period during which Cambay was a great centre of trade and commerce tempting cnough to draw businessmen and enterpriser, from far off countries like Site, the Panjab ete If ye look into the history of Cambay wo see that it was during the reigns of the Calukyan kings + The text of the So gives tho name of the author an Adlaharana, whick is rendered by the commentaries us Abdala Aghamruna Ba thu form of tho asmo is adopted by us, though current Buslim dan is probably Abdal, and not Abdala ·PREFACE (thirteen Siddharāja and Kumarapala that Cambay had reached this height of fame ase flourishing trade contie. Soon after the death of Kumārapāla, the royal sway of Anahillapura vas Veakened and the political chaos consequent upon this brought down the decline of Cambag. When, through the shrewdness and skill of Vastupāla, Viradhavala took in his hands the administration of Canbay, it was almost in the state of a deserted oity. It was during the reigns of Siddhaluja and Kumārapāla that the north western boundary of the kingdon of Gujarat had reached right up to the banks of the Indys and hence it was natural that the scroliants from that frontier would run their business firms in Cambay which then occupied the position of being the foremost port of the kingdom of Gujarat. From all these I infar that the Samdeserūsan must have been composed during the reign of Siddhalāja on Kumārapåla i e, in the latter half of the 13th century or at the latest, the first half of the 13th century of the Vikrama era From the point of view of langnage also, the above suggested dute appeurs to fit well. The particular form of language in which the poem is written gives us an impression that it must have been living and understandable by all At that time. The poet's aim was to make his work charming and attractive to the average man of his times and he can succeed in his aim then and then only, when he composes the poem in casy language and a plain style. The poet Abdali Rahamana being an inhabitant of some place in the western part of India and different from the Hindus in religion w catae, tarnet maileg arquite with the language that he cmploys in the Risala light from his birth. His mother-tongue or his fanguage of conmon day-to-day intercourse must have been different, So he must have mastered this language fiom some seat of Hindu culture (perhaps it was Multan). From his statement we understand that he was rell-verscd in Sanskrit, Prakrit and Apabhrama. That he had acquired proficienoy in Prakrit is directly cvidenced by the present Risaha. For, le bas given in the Rasake some fine Prakrit Gathis also and in introducing himself, he tells, in explicit words, of the notable reputation he las acquired in the field of Prabrit poetry and Prakrit songs (see stanza 4 in the toxt). For one possessing such a sonnd knowledge of ·fourteen) TREFACE Prakrit and Apabbrańśa, not to be knowing Sangkrit appeared next to impossible in those times. Thus this much we can say on good grounds that Abdala Rabamāna was very learned. He had composed many pooms, songs etc. ip chasto Prakrit. The cultured and the elite of that period considered Prakrit as a language of the yesterday which was a valuable source of literary enjoyment by virtuc of its literature of tenderness and beauty. But only those could properly understand that language who had studied well its grammar and literature aud tylo vele othertrisc also Tellred. For the aperagely-edacated and uninitiated, Prakait had become somewhat difficult to grasp. Consequently to cater to the contemporary literay demand, the authors had to write their works in Apabhramúa also which was the litera dialect of the time accessible to the common people. Actuated by some such motive Abdale Rahemāna geoms to base composed his poem in the popularly current dialect of Apabbiamsa. Hence he expresses his apprehension that the highly learned the well-educated vould not touct his work considering it to be mediocre or worthless, while those who are quite illiterate would not understand this and so thoy also cannot be expected to eagerly welcome this. But those who are neither ignorant, nor very learned, will certainly read this poem frequently. By this time Apabhramba also had acquired such a statug in the literary world 29 could place it side by side with Sanskrit, Pralzit and Paikācī which possessed rich literatures. There were two styles of Ağabhramsa then current the 'classical style' and! the 'popular style', called Grimyr Aproblemyerisa by lIemacandra in bis Krīvydinu-sara The former style was, like Prakrit, characterisch by well-defined and rigid grammatical rules and in it were composed in a tone of elegence great cpics and voluminous narratives. The other style was like the tinsophisticated people, direct, antural, uncomplicated and characterised by flexible grammar. We can placo Samdesarsala in this second category of the works in the popular style. Its langusge and sentiments earmark it as meant for the common people, Fortunately now we have come to possess a good number of Apabhramka works written in the classical style, but we have not been so far similarly lucky in coming across works in the popular style which are rery important and usefal in the study ·PREFACE (fifteen of the development of our moder vernaculars. From this view the present mork should receive a good welcome. The language of the Sandesarcisakra is, as I suggested just above, not eoclased in a rigid grammatical frame, but has a considerable flexibility of form. This fact suggests that the work was composed when Apabhraňsa was passing through its last stage of decay and the New Vernaculars like its daughters were leaving behind their childhood stage. This period was, as already stated, the second half of the 19th century or the first half of the 13th century of the Vikrama era. In other words, this was exactly the period which covered op the whole life, from childhood to death, of Acirya Kenacandra, the last grammarian to treat the fully developed form of Apabhramsa. Henācārya died in 1230 V. S, Cambay had reached its height of progress and prosperity during his life-time. Soon after him the power of the kingdom of Gujarat waned and Cambay also fell to cvil days. Within fifteen or twenty years after Hetacandra's death are started the series of invasions by Shihabuddin Ghori on the Punjab and the northern India, the Hindu kingdoms of Anungapila of the Punjab, Càliamīna Prthvīrija of Delhi and Räştrakūta Jayacanda of Konauj are destroyed, Multan which was like a stronghold of Hindu culture is ravaged and the trade relations established between Gujarat and north-western India become disconnected. The glimpses of the lost glory of these places are preserved in this pocu. As we do not find such prosperous state of these cities restored to theul at any time afterwards, I come to the plausible coaclusion that our Rásaka was composed before-but not much earlier to--the rise of Sultan Muharruad Glori. + - This work of Abal Rahamīna attractively handles ntheme that is very simple and popular. In his doseriptions nowhere do we find exaggeration to achieve effect or depiction of unreal sentiments. It gives a vivid picture of most natural emotions in direct words. The description of various seasons reflects the common experience. It is the climate which we find in Rajasthana i, e, in Marusthala, Sind and the borders of the Punjab' that is pointedly described here. The poet calls the lot wind blowing in summer by the name Jhalhaçi ·sixteen) TRETACT and it is known in Marnsthala eren todas by the same name (Jhankhar) The Aracerbu notes Dondurālala i c Dundalo as its another name Again, in the description of Autumn there is a reference to putting of the Tulaka mark of sandal paste on the head of borses and cows Most probably it is indicative of the occasion of the Navaritia and Vijayadasamu festival In Rajasthan today also it is a custom to perform the worship ping ceremony in the horse 8 stable and the cowstall during the Dašera festival, and it is considered a specially festive occasion avong the Rajput families Among the Muslim poets who have composed an Indian vernaculars Amir Klusaros (died in 13.5 A C) name comes first and after bit comes the famous poet Malil Mohammad Jayesi (C 1540 A C) who composed fus Padan MYO in the Aradhi language But until now we had not come across any work of a lluslim author written in the earlier and more widely employed cultural languages of India, Prakrit and Apabhransa As such the present Apabhrama poem interspersed math Pralnt can be considered 18 & very important work Its date also 18 earlier to those of the above named two poets and its subject matter too 13 very attractive Accordingly, Abdals Raham.na appropriates the honour of being the first Blaslım poet to assitailate Hindu culture and to master the Hindu literary style prevalent in his times Let us hope that following Abdala Rahaman, who hering drank deep at the fount of Hindu colture and inspired by noble sentiments composed bus iuraluable work in the then compon literary language of India our Muslim brethren of today also becoming inspired by similar sentiments mll make their best contribution to the Indtan literary treasures by composing works of value in our national literary language I conclude this preface in the words of Abdala Rahamans bumself प्रेम अचिन्तित कनु तमु मिटु वद्धि महन । तेम पढत-मुणताइ जयउ अभाई अपनु । 9th Auguet, JINA VIJAI 4 MONI 1946 ·INTRODUCTION The two striking traits of the Apabhramsa literature unearthed so far are its predominantly Jaiu chalacter* and the purpose of religious edification inspiring its cultivation, Most of it is covered up by the Jain Dharmalatha and the epic-Parāvic typo of worka continued from the Prakrit literaturo and includes Caritas, Plūgas and Kathākośas. These together with some religious-didactic, maystical and subkāsita works and a few treatises' on metre cxhaust all that could be found in the Apabhramsa literature known to us. This would go to create some doubt, in our mind as to the existence of pure literary works as such in Apabhranía. But if the wealth of varied nitations in the metrical treatises of Svayambhú and Hemacandra (not to mention the names of some Apabhramsa epics cited by the latter) are any index, we must believe, what is otherwiso ulso quite natural, that in belles-lettres too Apabbransa continued and further developed the Prakrit literary types and traditions. Moreover, Viralānka and Svayambhū specifically defina an Apabhramón literary genre called Kasaa, Riisi (Sk. Řasaka). Their description of this poetic form as employing a variety of choice Apabhramśa metres would point to a type of compositions of modest range as compared with the more ambitious epia --something corresponding to the Khandakīvya of the Sanskrit literature. So far no such Rāsaka had come to light. The Sendesartisale is the first published text to give as a concrete idea of the Rāsaka type of works, Besides this speciality of the foril, the present piece arouses our interest from another point of view uso. The author of the Sandesandsahu was a wearer of the Muslim community maru hd Pahranik, ser vi Viruunsafe the frons Mlecche country in the West'. Bat if the author himself had not imparted this information, we could not have probably guessed that the poem was composed by a non-Hindu writer. Of courso, the mangala vorse in the beginning paying homage to the author of all this varied universo, and the conclusion of the poam proclaiming, victory to one without beginning, without end' arc certainly peculiar, but it is only when wo come to bow of the Muslimi authorship of this work that this opening and end become invested with a definita significance Otherwise, in the facile handling of numerous We do pow of low Huddlust Apahbramca vorbs also and thoro are Indications that the Hindus too did not quite noglect this mediam of literary expression. These facts do not allow us to asoribe a coctarisa character to Apabhrase. for us.

·eighteen) metres, in the chaiming manner in which the figures of speecli are employed, in the easy Bow of language or in the mastery of poetic craftmanship in general there is not a trace that can hint at the band of a non-Hindu poet. And this presupposes on the part of the author a sound literary training on traditional lines and a close tamiliarity with Sanskrit, Prakrit and Apablıramsa masterpieces. The author's claim fot these distinctions made in the introductory portion of the poem is thus anything but hollow. Parallcls (from Prakrit, Apabhrama or Vernacular literatures) to the expressions and ideas contained in certain passages of the Sundesartisalat have been pointed out in Appendix 1 at the end, and this also emphasizes Abdala Rahamīna's well-versedness in the classical and contemporary literatures. . ?! Rut this has no adverse implication as to the originality of the author. Though a Samdesakāvya, tho Sandesarīsala is far above the common rda of such type of compositions, the lifeless or mediocrc imitations of the Doghocīta, some of them claiming our attention by their only virtue of being tours-deforce. This one fact of being able to produce something refreshing even from a theme that is overexploited speaks much farourably regarding the poetię powers-of Abdala Rahamāna. As to his scnse of form, descriptive powers, melodious diction etc., let the reader himself be a judge. Lastly the languago and metres of the poom arc of no small intorest. The author has not composed in the classical Apabhraméo which by his times was long 'dead'. He has adopted the living' literary medium of Late Apabhtuma which has strong admixture of Old Western Rājasthāni (especially its northerly idiom) with a touch of tho early form of one (Braj?) of the Western Hindi group of dialects. Most of the metres employed in the Sardesarsala were currently used for early Veruacular poetic compositions also. One occupying himself with the study of the linguistic, metrical, structural or literary aspect of the Apabhramsa and Early Vernacnlar literatures cannot afford to neglect this fino literary piece from Abdala Rshamīna's pen. I am grateful to my revered Guru Acharya Shri Jingvijayaji for the opportunity and encouragement he gave me in my present studies in the Sundesarāsaka. I cxpress my 3on30 of gratitude towards Prof. Dr. Sanitikuunar CHATTERJI and Prof. Mahendra PANDIA for kindly taking the trouble of going through the Critical Introduction and Sunmary' respectively and making some valuable suggestions. HARIYALLABO C. BELAYANI,

·सिंघी जैन ग्रन्थमाला]
[सन्देशरासक
A.
NA
in.samne
प्राविश्विामिलिसहीयलिगमगिरेगमदमविगविलगंधमार्ण तपिपराकासिरिसा
साशिर निश्मदमरायालाकाsmaarयण्गसनुसजरिलतियशसरगयाद
पासिलिमपन्नियशपशफारमलाएकवारजतिगमीयानामगरतिरदिने
तपस्मरतलातास्टगतिरकोजागहिनावासियहरमहलािजपाचगणनयमामाही)
मनागरिक विधिसिम वादियकहि
स्तविश्वनिलिवलासागलमय
दविगतदारयणनाउमामहविदमनारपिम्स
स्यमवरणाहनकि विश्वणिमणिमाकि
ध्यकसमाधापरतवामा
पलसवालासमिबिडमेदज्यपाणिनियमनविण्य
परिणराशिअस्यियसावयगडाहामसियनवास सीबलबकास
पिसागुमा प्रतिकारासादिपर्ववियोगामासारण
सकारागालाविया विरहावासाकसि यसरहामा सिलिचामावरिकमाय
मोहिमपायाभरावाहिक्यवारमाहवरह मिमांगवालयमा
4.4m
A सशक आदर्श प्रतिकृति

·A CRITICAL STUDY OF THE GRAMMAR and METRES of the SAMDESA RASAKA By H. C. BHAYANI, MA INTRODUCTORY As one of the femr texts of late, vernacular-coloured Apabhramśa, as a metrical work composed in a score of metres most of them of considerable interest from the view.point of the Middle Indian prosody, as a valuable Specimen of the Apabhramba ve-literature and as probably the only non-religious literary Apabhramſa work published so far, the fingerpres proves unique enough to make itself a focus of studious attention. In addition to this, the fact that it is from a Muslim author's per is of na small interest. Hence, at the instruction of Acharya Shri Jinavijayaji, who bas brought out for the first time this critical edition, I have dealt below with the grammatical and metrical aspects and the literary form of the earthat, as also have supplied a stanzavise summary in English to facilitate reference.

·SAMDESARĀSAKA GRAMMAR I ORTHOGRAPHY $ 1 A conflicting and confused orthogi aply it quite characteristic of the Ap Miss The spelling of grammatical forns and words con in the same de presents bewildering tariation One fort nos cxhibits an x, now an Another form lias at one tirno one of its vowels nasalized, whule a second time it appears without the Anunısıha Sularly in the writing of a or, in the introduction of the 'or in the choico of - OL much consistency is not to be found There are two or three facts wluch can be advanced to explain this remarkable orthographic variation of the Ap Mss Ono explanation which obviously suggests itself 19 to assume that in the specch of the aullior tliero actually obtained an oplioul of pronunciation in the case of the forms or words concerned, the orthographic diversity being but a reflex of these optional pronunciations But this sort of assumption works in a limited number of cases only As regards the others, there is enough evidence, brought forth by Alaponr (and JACOBE) through a statistical analysis of the form and word variants occuring in some Ap Miss, to prove that ether confusion of phone tically similar forms or druergent scribal practices lie at the basis of thug variation. Further it seems quite probable that some types of variants indicatire of a stage of language more advanced than one represented by the text bear influence of the spoken irliom of the scribes and as such, are to be considered modernisms from a relative view point These are the chief agencies responsible fol the inconsi stencies and divergences in the Ar orthography It is to be noted that even after taking everything into consideiation, there would still remain 49 15 amply borno out by the treatment helow, a number of cases where it is considerably difficult to achieve sobie measure of certainty as to bether particular form is really reflective of an actual alteration in pronunciation already developed in an authors tune or at 19 merely a "scribal' Fariant 1 As regards the method of troatosent I hate tollowed ACSTORE RO Jar as it was su table The gock ops on grammar in his HP Ad Ep hate been throughout kept before you and at aeteral places drawn upon JACOBIN works are also consulted ·(RISELT 8 in 11 3 17 In dealing with thio orthograply of the St., the following Cases coine for consideration : Nasalisation § 2. As remarkod at the outset, ono and the same case-ending is at times nasalised, at timog tria Amnisika is wantiny. Only the statistical mothod oan help to bring older juto this stalo and to decide tho dominant or preforrod tanioncy. The question of nasalisation arisos in comexion with thia following forms: (1) Locatives and instrumentals, The figures foc the pasalised and unuasalised cases are'. in oma loc plui, 13 instr. 31 50 loc, sing 15 instr. 11 11 A few of these cases can perhaps be transferred from the singular to the plural or vice versa, because their context is not helpful in deciding one way or the other, $ 3. In bringing out the significance of the figures given above, some special nenurks are called forth. The state of atlairs regarding the orthograplıy of the Miss, of the Sa. is in a way quite different from that of thic Mss, of the Ily. In the case of the latter text the Mes. disagree among themselves regarding the spelling of a form at its each particular nourcnec in the text, thongh, taken by itself each particular Mb, is for the most part consistent in spelling that form. Thus, for example, in one BIs. of the Hr, styled A, the ending of the gen. And the sing. of the feminine e-stems and of all the sand y-stems is mostly Fritten 'e, while the Diss, styled B and Chape almost always instead. Now in contrast to this the Mss, of the SR, sliow, bariing insignificant exceptions, complete agreement in spelling a forn at its one particular occurrence. Thus, for a form occurring at a particular place in the text, 1 Nere as elsewhere below, the "figures giving the number of times a particular type of forma 1: attested in the Sr ars to be taken approximately, fince at Beveral places the test was loupd obscure or npcartała of tnterjrstation, ·4 84310P RASAK* either all the three Nss, of the Sa. laro " or all of thon havo oftThey scarcely differ ainong themselves. Hence, the principle of determining the probably original spelling by the substantial majority of one sort of variants over those of the other soits, though fully valid for the Mss. like thase of the Hp., does not serre to solve the orthographical tangle of the Miss, of our test and conscquently we have to fall back upon the alternative of assuming in the case of the endings like those considered above A Farging fronunciation as the or The proportion of the nasalised and unulasalised cases (2:3) indicates that the tendency to pronounce the foal Fovel of this ending unnasalısed was comparatively stronger. These remarks are in substance applicable to other cases of nasalization considered belor. $ 4. (2) Genitives. As we shall see under $ 51 A, the Apabhramsa presented by our text too, like the Svetāmbaza (or Gurjala) Apabhramda of the San, has the 'assimilated' genitives. And since in the San, the gen plar. differs from the sing. only in having the final vowel of the ending nasalized, we can naturally expect to find a parallel state in our tert. But the genitivo plural forms of the feminine stems only come up to this expectation. They take in the singular, and in the plural. For the rest such a distinction does not exist. The gen plur. ending of the astens is completely identical with the sing ending except possibly in one case až 1930 (plural?) in the constituted text and in random cases in mostly one Ms., e. 6. Al-TER 510,), but such cases are too seants to deserve more consideration. It is instructive to note that there occur about four gert sing forms (TAE 50€, ** 1041, A 1314, *TIACE 1310) with their ending nasalised. AS TORE points out, their nasalisation is but the result of confusion with the plural ending and as such unjustified, Can it suggest that in the case of the gen, plur. ending of the 3-stems too, thc nasalisation was optionally present? $ 5. (3) Nom, and Acc. plur. forms of neuter ysteme. In our test there is no trace of the neuter forms in 1, excepting three cases which can be shown ns occurring under spccifio conditions (8 59. Nemarls). The case-ending of the two out of these throp is written best and of the remaining que, *37. In the Prakrit passages ro come act o93 onc or ·GEATIVAR two cases laring their onding unnasalised. Terc does not occur a single case of 'enlarged' nom. sing. form of neuter e-stems witl the ending Pejë. $ 6. (4) Pres, indic, 1. sing. In 17 coses all the tiree Ass, read the cndling as ºat, only once they agreo in reading 18. Individually, onco two Miss, lava 2, and thrice only one (C). Thus liere also the tendency to drop the Anunūsika is overwhelming. $ 7. (5) Pros, indic, 3. plur. The following 'figures indicate the comparative strcngth of different variants for the endings: 6 0 19 11 Quite casually some one lís. reads were for deres or confusing the third person singular forms in with the plural forms in * naselizes theezi. B has somio 19 cases of pres. 3. sing. in arz. $ 8. (6) Individuel words, Once (1541) ull the Mss. read zš, once (1170) two and twice (650, 1690) only one, while thrice (80a, 92, 134d) they agrec in reading F. So also the second person singular pronoun appears as as at all its occucretices, while oulce (770) we liave the modern form (B7). The pronominal forms 97 7/1, 768, 12ta, # 8K* etc. (more than a dozen occurrences) tos appent without their final Powel nasalized. Further are ta be mentioned 770, 1836 eto. (in combination with other partieles: f4-7 1214, PR (B) 916); FR (CR) 124a; the locative adrerhs af 102c, Fat 410 (CE. Ho. II 161); #5 740, 790, 99a. Such forms without the nasal mark are frequent in the Ap. texts composed in Eastern India as can be seen from the Doha-Kosas. There also ve come across, etc. See SHAZIIDUZTAT, p. 5; JACOBI; San, p. XXVIII unid. Interchange between rand $ 9. Writing for or rice rereg is not encommon for the orthograplıy of the Jain Mss. in general. But in the Diss. of the St. such cases aro numerous and what is specifically noteworthy, all the throc Mss, show a roinarkable agreement in haring u or at a particnlar place. This latter faot would suggest the probability of having in fact phonetically ·S431DESARĀSAKA developed into ? That it was nctually so in some cases at least is clearly demonstratoil by (1) 447 rhymug with faqat and वयवरिहिं rhyming with दयवरिहि, and thy (u) विउयह (विउ = विन = fagleft) with the gemtue ending instead of Such mterchange of 7, < 18 seen also in the language of the Doka Kosres and in Old Bengal: l'ou the development of medialuto a under limted conditions in Owr see TESSITORI, $4 (5) On the other hand 111 como other cases the outliograpluto origin of 9 13 Styrested by a glance at the saints Cfalsely cads 7 follu times, B 7 tunes anul A 4 times $ 10 is iend for medial or terminal () in the stem (=15= 3ft) 220, T4 (=^=na) 266, 105d etc, 449% (= 777-TÊTT) 442, 7743 ( =3139=3f) 148a, A3 (==== eriti) 2004, rethups also oth (or as if') 55d, ut (TE * as it') 1700, 177 (15=1574) 18311, 424 (=27=) 2051, PLLC# ( == **T) 40a (b) in the ending for 'zu in tlie 'cnla ged' instru mentals tus 68c ATT 91c, 177 910 $ 11. Conversely < 1% read fol me in 7567 (TTK3= A4 ) 220, HITATE = 319 31 1 e 2497451-7) 450, i = 39140 अपति) 1590, सत्ति (= यत्ति 1 e प्रदिना) 169n The fact that o wrongly leads for q in 17 cisar, B in 13 cases and A in 9 cases suggests that most of the above considered cases may be simply orthographic $ 12. Yasiut: In our test the conditions regulating the appearance of the ash can be foumulated thus yh 19 obligatory between 1 and 31 forbidden before y or 5 and facilalıve 10 other caseg exception 3 (only in B) 1370 19 not quite contain as the particula tert where it occurs lius considerably suffered in transmission S 13. pand. Initially both ot or appear, Non initially, when single, w alone is permitted, when double or compounded with mostly it 13 written 2017 and quite casually 1 The language of the TE GAd ag of 1110 SR is considerably influenced by Apabbrams Coco at Goveral placas tho allustrations from those Gathas too have been included in this treatment On the other land, donbtful or abucuro cane have not beon touclied upon izgle The sotary ·_GRÁA¢ALACE 7 and . $ 14. ' and•,' Many Ap. Alss. do not distinguish Thcy write always 7 for botlı, Unlike these, tlo MIss of the Sr. write and fairly correctly. Only in Sundty cases they are conlilsed with cach other, as: faz ( -fmata) 478 etc., f373 (4303=&Uu7) 19GU, 767 ( = 77164=47167) 160a, E1 ( ==219) 956 and 1095, aaa (= i, e. 272) 950, gamit (=T&TT gaat) 2020, Pk. TSTEWAT ( = यरहिणी = बर्हिगी) and वरह (= यरह = मई) 2134; बलियडय (= वलियटय) 80b, बाउलिय (= बाउलिय - प्याउलिता) 94b. For aya, Ask and clision of an interrocalic a eco $ $ 30, 33. II Sound-Changes § 15. Apabhransa phonology is non-existent as an inde. pendent ontity. It is fundamentally identical with the Pk. phonology. Only a fow alterations are peculiar to Ap. or figure in it with a strikingly greater prominence and as such tlley merit special consideration. Some of these bave been alrendy anticipated in tho section on Orthography. In tlic following treatment' chauges that liare been caused under the stress of unclre are dealt with first under a separate caption, Prosodic Alterations 16. A light syllable is inade heary (a) lg lengthening: anittaa (aist enlarged) 48d, TATJA (=97" from #+ FET) 109c, 181a, res (=q° = 1473) 1180, SETT (-7'-) 1941d, men (=9** = wa) 170c, or (-6 i.c.via) 156h (nt the end of a Doha-pidla), gom (=171=Tmfa) 2171 (at the cut of a Poddhalipadn); T4 (47=17) Olé, TT (Ai, C. 1977) 1760, 6747 (onlarged) 19011, emit (- - BAZE) 194); (1) lis gemination of a simple coronant (i) cither in the sean of compounds: Títol (=aafine -fam) 171«, frana (RTTITY) 1811, 4* (*777) 2050, (9194 TFT) Plac, Pk, zain ($0 to lo rend wuctri causa, for the eztual 67en) 11a. (ii) or in the body of the word (coalised mostly to continuants like nosals, sibilants, liquids ): () 50c, rf: (-**) Gufo (or) 110/; 1957 () Girl. 1 "Itec l'salillised as of the SL 601!), la Vulvital and il. c tecllcc. solled min (EL33-(3) kutlacojiitalis lett old cossideration ·SAXDESARISARA संमाणियं (समा 18. रामम्) 780, रिम्म-इ (= किम-इ, e. क्यमपि) 1180, दुग्म (= दुमदुम) 101d; तुरगार (= सुमार- नुसार) 18Id, बुद्मण (= बोलीण = व्यवलीन i.e. व्यतिक्रान्त) 204c. विजाइ (= विज़म्मते) 250 is probably regular us being based on a pronunciation *विभते; (c) by the preservation or addition of an Anuswira: मुई (the Pr. acc. sing. - शुभम् ), णायं (= णाई 'agif") 53d, PE. अमियझरणो (= अमिय-शरण - अमृतक्षरण) 98a It may be remnarhed en passant that later on, tho tendency to consonantal gemination for metrical reasons noted abore l’ecomes stronger and stronger so much so that it comes to form a strihing characteristic of the language of the Dingala (or Old Mārmari) poetic literatue cultivated by the bards of Rajapatīnā, $ 17. A heavy syllable is made light (a) by shortening a long romel: गंधमोय (- गंपामोय = गंधामोद) 203a, पल' (इल = ज्वाला) 137f: सियल ( सीयल = शीतल) 2100, दहिरयति (= यहीं = बधीरयन्ति) 218dBहुप (एय- भूत) 87betc. कदालिय 185d is not कापालिक but कपालिन् enlarged with " क साथै ". PF. पहर 72a is according to Hemacandra (I 68) shortened from start, but really speaking it is froshly formed from the reib पहर ( ef. 346, iii); (b) by gimplification of a geminnted consonant in the seam of compounds . उमुह (= उद्+ *मुक्त 1. मुत) 250, उरन (= उद् + *रुन i, e, रदित) 97a, उछित्त (- उशित) 1200, उसाग (-उद्धास) 191a, उससंलिय (म उद्+श्वमती enlarged) 83c, उवेय (= उद्+वेग) 186b, उणदीयइ (उदानंयते) 1820, दुमह 120b, ete (7 times), निभंति (1.e. निर+धान्तम् ) 138d ; सत्त (= सम् पूर्ण) 242, 980, सिमा = छम्+ /मा ns in समाइ 81b and समाणा 80bB Pk. समुह (= मम्+मुस) 136, रापुण (= सम्पूर्ण) 18a (cf.s31 end), (c) by the weakening of the अनु खार to अनुनासिक in सिंगार {so to be read metii cansa) for सिगार ( - गृहारम् ) 1670, Vowel-Changes (1) Change in the quantity of the Towel. $ 18. The causative suffir are becomes a when applied to tho roots citber ending in a long towel or having a heavy roote syllable: रवइ 270, ठविय 135c and सठविय 1950 (all from /ठा), गिम्मपिय (from गिम्मा) 31a; विविय 4Ga, चन्हवर 1371, 1380, धीरवइ 116d. मावइ 1 Deis "मृगतृष्णा", "व्य रणा" 1 different Dar word is preserred in mingul. Bes Telt Krisan Narkomani-r1, 1406.

·GRALDIAR (meaning माइ) 1410 appears to be an exception and बोलावियउ (= बोहावियउ from /मोह) a fresh analogical formation (of. Guj. बोलान्मो). (2) Change in the quality of the vowel. $ 19. Pope bocomes (mostly in the closed syllable): गिमिसिद्ध (= णिमिम = निगिपार्द्धम्) 19d, 30a, GBT, 1820, रातिहर' (= ससहर - शशभर) 420, 91a, ईलोड (= इक्खोड == अक्खोड = पक्षोट)56b, घलियड्य (= पलयय = वलय + 5 enlarged) 80b, असि (= उहंस = उत्काहा) 1080 (of also the ruriants for "उखिरिय Ha), कोसिल (= कोसाल = वौशल्य) 1860, गरि (गगर i. e. गगद ) 290,660. It is of orthographical interest to note that in the variants, A reads 19 times for 1, B 13 times and C 30 times. For this tendency under special condition in Owr, see TESSITORE F2 (1). 20. '_becomes 3 in अंजलि' (= अजलि) 130b, पउडड (= य = पददण्डकः ) 140cs and °परहर (= पर्य* = पदधरा) 240. In the variants J is rcad for at 4 times by A, 5 times by B and 9 times by C., sal. " Uscomes win विरणि (= विरहिणी) 220 (Pr. 116b), लिहण ( = सिहिण *शिखिनी i.0, रानी) 28d, 1350, धरति (= धरिति = धरित्री) 410, दयवर (=दि = द्विजवर) 44c, घिर (= णिविद == निमिड) 473, 64e, ete. (9 times; in all cascs cscept two, Breads förfara), Fortaita ( गिर विक्सि ie, निरपेक्षम् ) 78a, पराण (= वक्षिण = पशेण} 95c, भरिख (मजिरिय) 98c, मलजरिय (सलजि) 98rd, आभगिया (अगि from अभ्या) 1010, परणिय (= परिणिय र गृहिणी enlarged) 1030, विणगय (- विणि - पिनिर्गत) 112x, 142b, सिषण (= सिमिण = स्वप्न) 151, नंदणी (=दि = नंदिनी) 170l, दंति (रिति ?) 171c, "सरि (= सिरि - श्री) 171d, विलतउ (= विलि = विलिस enlargel) 178n, गंदीय (=णि = निद्रीयते) 1828, रिवह (= विपिह-विविध) 105, परिसिहरी (= परिखिल्लिरी) 2100; cf. also the variants for किंकिणी 2d, ed. $ 22. As regards the cases noted aboro certain phonetic limits allow theriscles to bo clearly distinguished. Firstly, exeepting दयवर, पराग and इंति which may be the result of serial carelossncss, in all the cases becomes y only when it is 1 ससिदर oceurnalio in tho THE Kriran Rukmanitidat.गियर लिया (-नियर) in Dhoka-Marara Duid. | tour alvo la tho Liucuritaninata I, 191, Ta. SANIRELEAIn Connect with Et. If (et. PICTIEL, $40 bat Ili derivation from tk. Thy Anugtels ppeats leat ohjectionable ·10 SANIDES ARASIKA followed or preceded by another in the adjoining syllable. Secondly, out of the two is thus occturing in juxtaposed syllables, onc that stands in the initial or final syllable of the word is preserved; the other becomes 2. But when botli the 's occur medially or if the word is dyssyllabic, it is the final ºf that is preserved. In 1947 the second is essential for the indıviduality of the form and also it is long. So the preceding though initial baş to change. Thus the process of dissiunilation plays here an active iole. In the variants a is read for 25 times iu A, 16 times in B, 30 times in C. For the general tendency of >>> in O17, seo TESSITORI $ 4(1) $ 23. 'zº becomes . (a) In individual words F147 (47° = enlaiged) 18C, 1446, 2220, mica (=Biſa) 1176, CA (= gen) 245, poput (=wy i. e. O) 1560, H (F) 183f, 1994, Pk. ya (=) 16 6. In the last four cases the second of the two g'a in the consecutive syllables is dropped. The cases forest (-णिबड्डु i. e. निविडोद्गुर) 47a, सलिलम्भव (= सलिलु = सलिलोद्भव G6b, 1973 (-*=res) 179€, 73 (-4°T) 1818, THERE ( = 19* Trata) 1950, 9370711 (=978*- "TATA) 1529 may have an orthographic origin. Among the Mss, C oxbibits a stronger tendency than cither A or B to divp tlies look. A drops it 5 time, B 5 times, but C 18 times. The figures exclude the cases of nominativo singular foring without the sluok. For the tendency of er>s in Owe, see Texstori, $ 5 (1). (b) The ending of the nominatıro sing of the masculine #stoms is diopped sometimes when it is followed by an enclitic: (-***) 9M, 8* (28*=*=277) 1176, go-& ( -A.-) 137/, ctc. (c) 5. prefixed to adjectival words as an emphatic eleinent becomes a. For the examples see $ 48, i, $24. The cases of < appcaring as 4 and the appealing ng hare been preriously dealt with under $10, 11. Further, e becomes in fact=290) 271, 171d, rza (-373°- 8715 enlarged) 1134, 7 (-1715e) 176d; PL. 9777 (979 STEU) 1537. For the same tendency in Gujarati seo Temaer: "Gujarati t'honology (IRAS. 1921), $ 20.

·ORAVAR 11 825. ए becomest. (a) always, when in a closed syllable: पिक्सइ (=पराइ- प्रेक्षते) 96e and other forms and derivatives fromVपिक्स, मिद्धत (fromy मेड) 800 and other forms of Vमिद, इक (=== एक) 100d anti its other derivatives, सिन्ज ( = रोज्जा = माया) 173c, etc. etc. (b) casnally, in an open syllable : इम( = एम) 54G, निम( = तेम) 10sd, जिम (= जेम) 103d, रिग (= फेम) 690, इहु (= ए = एप.) 151d, हिमंत (- हेमन्त) 16, 2018. ef. TASSITORT,87(1). 826. “ओं° becomes'उ (2) always, when in a closed syllablo: aiu ( == *दोर्गलिक) 18rt, मुतिय (= मो = मौकिक) 118d, जुन्ह (=जो = कोल्हा = ज्योत्सा) 160d, फंदर (पंदो) 102, न (पॉन-मोघ) 1016, गजुम्पी ( पवनो म गययोवना) 220a. (b) casually, in an open syllable: पिउदय (-णिभों = नियोजित) Inा, विश्य (=पिओइ = योगी) 200d, मुसंतिय (= = शोपयन्दी enlarged.) 1230. cf. TessitoNT, S B. $ 22. Vorel oontraction. (a) In individual ords: भया >मा in मुहार (= गुमार = स्वर्णकार) 1080, शहार (= राहार राहया) 134d, similarly सहाराd, अंधार (= अंधभार = अपार) 13903; ईt in तीयय (= तिईयय - रातीयक); 'अ'>यो in Tो (नः) 18, 29, सामोर (= सम्मउर - संपर- पाम्पर) 420, मोर (-मर-मयूर) 2121, Pk. आगोय (=भामउथ - भवन enlargedji7Pa, ef.also इंदौम (-दोष - इन्दगोप)143d, शाल (पपता- पत)Lorder relerant esses from PresITONE SEA, H; 'भyin fein' (= प्रतियR cf. Pili अकि 'contrary': पचडि ll comparison of the inlected forms of one areemenof Ap.likothal represented by uy, to Takdpuriraat reepadanta with those at Eolber specimen liko opo represented by opt text es. losle, ulog In 'S7 or 47: that in 'n fastr. pierloor oft: thet in 't. loctla. ': that in ukta. logain't that In tire abhin storr thallotteam tirg.irthstine, abhain. In Tht In 's etc.) naturally coor' ono to laclado tbs trolputoaal olemonte atter in the zonetic Treatreet. Dastake torren Frerature an art, olzn latelyre bored throcological and dialir'ok sical Frobise: relation la Aralstahl 5. Karat Heslo sateitallga tolpalkrade Llenter'-711 Kurritatistrict herir.Jan-II 2016!. ३ समkination MORE.VIII 351.

·12 840DFSAR SAKA JIC. IV, 420) 89!, 100d, 1061, 1992—cf. Ardha-ligadli परिशीय-प्रति+अनीक > in voga (=ita i. c. sfa+v97) 1100, 2230--besido Vafoss at 91a, 9744 (=913394 afzo enlarged) 1912-boside 1721 2:20. For tho loss of the final of of (aa) in a compound when followed by a dissimilar roncl see Pischet, $ 163, whore it is said to be Dostly confined to Ardha-Jagadhi. $ 28. (b) Besides the above-considerod cascs, there is a series of contractions which possesses a morpliological interest': firstly, lepa is contracted to w at tlte end (i) of the enlarged misc/neu af stoms: 7 ( -i. . 7 cnlarged with "7") in yor 218d and Pk, agarza (= agora i, e qug enlarged) in agerretti 164; (ii) of the nion. acc. plur foring of unse/nen s-stems. B., becomes a IGGU (seo $ 41} seconlly, 7 is contracted to at the end of tho enlaiged Eom. w-stems. Thus Sk. -& appears in Ap as if in accordance with the Law of Shortening of the Finals (sec $ 41). When enlarged with "कः खार्थे", it becomes मंगरिय Tinally मंजरिय is 'contracted to åt (2100) and consequently it consciges with the tatsama arth. For other steh cases in our text see § 41 (d); the dly, following the analogy of such enlarged feminines in 4, final su of whatever oligin 19 in some cases contracted to & pret. part. aide becomes 7f 16id and probably he becomes a 780, 4A1 (=qk4?) becomes # 796, ff (162 d) becomes YIA 898; Anally, for the instrumentals in <<39 see $ 50. This tendeney has fully worked out itself in Gujarāti, See TURVER, $ 27 (3), (4), DATE, P G. $ 29. Loss of initial rovel. a (=stat=3477?)95 d, TT = - [7) 1460, (+371) 1834, Pk, 31«. cf. TESSITORI $ $ ? (4), 5(3), $ 30. Lile the ya suti, vafruti too appears in stay cases (between 3 and a following vowel, as also betreen any two towels) to bridge up tlic liiatus created by the elisiou of 1 See IP p. 154, $ 25; As p. 1 ff 9 This raised a strong progumption in favour of thore being that those places where ALDORP would rather bars See IIr. Po 159 footnote.

·GRASYAR 18 an interrocalio stop: **() 25a etc. (tlıricc), Jan (=597) 135, $45 (T) 53d etc. (thrice), 49 (=aF#) 139a, cf. TESSTTORI, S 34. $31. Apus sāra and Anunūsika. For the Anunāsika see $ $ 2-8. l'inal Anusvāra is present in * 270, 820 cto., 1 280, 41a etc., f 91c (AF 82c), - 960, 97d oto; besides these, in 53d, at 1664 and 2010 (the last two, Pk, accusatives used adverbially) it owes its presence to metre. It is a quite possible alternative to assume that 1198, and 1413 (sec $ 17(0)) represcnt respectively in, eto, througlı ? woakening of the nasal in समुह (= समुस), etc. With सवण्ण end. संपुण्ण ef. कि-वि and किपि. Consonant-Changes a) SIALE CONSONANTS $32. Voicing. The struy cases of voicing that are met with in the Sr., to wit, in (=) 1770, 57 (+7) 180d, 97 ( =**) 140d (besides one case of the presentation of a voiced consonant in (=311)1370) are quito familiar to the Prakrit. ** 1896 retains the 4. a (= a) 164c and perlaps 9817 188d-reading uncertuin-{=78) present lare cases of voicing a voiceless stop in the grour (nasaltstop)- trait of the Sindhi-Panjabi-Laundi group. $33. Changes of tanda A., Interrocalic # (through ) becomes which according to C. below is occasionally elided. 97 (=TH) G2d, saliti (=wina enlarged) 1481, 43 ( =*****) 1804, 2015, calitat (=hoita) 207d; us ( - loc. ging, from*77 = 1# = FT) 43c, eto., E (=R ) 741, 790, 99%, 15%. (=25?) 111c, 2171, सरगर (= *सूरनगर्नु = सूरोगमम्) 1810, पंचउ (=पंचवं = पञ्चमम्) 183d, सुयरेतिय (=*ai*=54exa enlarged) 1916, ys (= mana ?) 1936. Elsewhere in the text, the is retained in the words that are identical with or allied to the abovo-treated cases, e. 6. 58c, *3 1836, ete. In ( =FAT) 977), 1033 (gnite common in Pk.), though initial, F has become a through dissimilation. B. Conversely nasalised (i, e) becomes in 540, fata 1031, Pan 103d, FA G90 respectively from #<, cte. 1 Thug and similar facts indicate that in the mized language of the Saforms belonging to an earlier phonetic stogoond those bolooging to a later stago stand side by side with each other, ·SWDESAPASAKA . C Inteirocalio a original or secondary, (1 e iesultang from an original, 901) 19 elided in a considerable number of cases (a) befole the mitial of 5 of an ending on a sufix, (1) in the final syllable सरलाइपि ( - राराविवि, abs from /सरलाप = *सरापय् ) 06b, मनाएवि (= मनायवे) 74a, भाइयइ (= मावि 1 0 भाव्यते) 52a, चाइयइ (= चडावि from /चव) 52b, राइयइ (= वि from //लाव 1 6 लागय) 1894, मुहाइयर (- गुहावि - गुखाप्यते) 1894 धूइजह (-- धृधि from/घून = धूपय) 189a राव (मविवि, abs from / स्व) 673, मनाइ (= मनावि, &bs from V मनाव) भादण (-माविण = मावेग) 900, 183d, धूद्रण (= *धूविष = धूभेन) 1930, भाइ (= भावि। मानेन) 19c, ठाई (=*यावि-समि from वामन्) 43e, ote पाइ = "पावि -पापिन) 101, पाश्य (= पापिय from Vवाद प्राप) 1141, (1) in the body of the word क्यवर (कई = कवि ) 44d (b) beforo (mostly) the terminationals and medial 3 ol 8ft रउ (रपुरस) 45d, ote (firo times), सताउ (= सतावु = सताप ) 7G1, जीउ (= जीवु= नीव ) 1510, 217d, पाउ (= पावु = पापम् ) 206d, तडउ (= तब्बु : ताण्डवम्) 2120, सउ, सूरग्गड, पचर (see A above) मयड (= *मयबु = मृगट्यु) 836, राजन (= *सम - सपूर्ण) 240, निउर (= *तिबुर -निपुर)12b, अब्द (= *अबुब्व = अपूर्व) 40a, प (see 8,93). विउद्धी (= विवुद्धिय 1 । वियुद्धी enlarged) 154a, कोल (क्योल = कपोल) 187b (e) before अ तिहुयण (= त्रिभुवन ) 18a, ete (thrice), भुषण (= भुनन) 130d, etc (thrice), मुरंगिय (ser A abore), सकोयल (A B,- सकोमलम्) 123c, धुय (=धुवम्) 2006, शिअत्तय (= णिवत्तय = निवृत्त enlarged) 30d, P अणिया ( = अणिवा = अनिवृत्त) 84a and अणियती (अणिवत्ति = अनिवात्त) 1286, इश (-इव) 1930: पेय (-नैव) 30d, 990, 111bete , गोरगण (-गोवगण गोपाइना) 1460 In many a caso the alternative form with the preserved also occurs in the text Tlus tendency to drop interrocal 13 discerniblo in the Midland dialects Braj, Kharı Boll, etc. For Early Blatul ef yr $18 534 Niscellaneous A *° becomes k m' सनेह' (= सदैस = सदेश) 190, Ph. Ab, दह 1 Dogal bas ya la accordance with this tendono Io the light of other casos from the tost bollooted here (cf PICAKL 320 also $ 30 (ni) below) there would remain no diffiendly in the war ot connecting that with PT #Against ETE which othor wie soggasts itself anthes originalaf सनेह (Sto LITREAMuslim contribution to Apabhransta Literature-Tha Kareatalalitatorreat Perrore Jam - Jaly 1937 p 16) The derivation is also tapported by the com, and the iubject matter of the poem Induinenees thot in thagea aing in the future and infrot the pres 2 slog derived from an original, ·GRAVAR 15 (=H=TR) 586, 1450, PTE (= 494) 123 1, Pk. 126a, 1271, foi (= matery=maa) 1894, Pk. afect (=altmate Tiv) 840 and VAT 'tell'( = 24, Dot FTU) as in me B2b, w 104h. B. Loss of Only four genuina cases of the elision of an intervocalic are offered by our toxt: pres. 3. plnr, forms in 's (800 & 62), 4 (770) from oš, the pronominal form 73 (IT) 780, 86d, oto, and probably zais (*124169= 2+at+34) 222e, (Ecu) 83) etc. is haplological (see $ 40. iii). The other cases are eithior only apparent or doubtful: HE 710, etc. is quito satisfactorily clerivable from रामम (sco $ 33. A.) and lience we nced not look for it to E (E). TEE 1696 is not afectat: 29 taken by the coin, (=#46) ia altogether a different worl, cf. Deś, VIII 5; vecai. For this tendency in the langungo of the Dohti-Kosas, see SHAHIDULLAH, p. 34. For Owe, see Tessitont, $ 37. b) CONJUNCTS 35. i. Oma of tho passive appears as om in Vf69=1237 (from VA): faila 103, PATH3 1650, saa 1859. The alternativo forro also occurs: fett 156b. cf. Mārkandeya, Prakytasaracerva, 11. 63; 7, 20. ií. of 547 optioually becomes 7 or T. 1 1810, sto. (four times), ** 1316, kita 140x and time 1061 (all frou ver- #*, &cc 8 46. i.); 4a$ 1130. Fouis with 3 () niso occur; sifaru 1310, y 1700. iii Geminated becomes aspirated in the forme of VAE (from #R): RTJ 80c, etc. (refer to thio Tat under fire). For this chango in Early Maithili sco VI. $ 22. of Tessitoni, $ 42. Old Bengāli also has song from it. Tlio group (sibilant+stop) appeors as double stop (a) in the seam of compounds: FM ( = $78) 1904, Pk. 1490, चउकम (- चनुक enlarget) 1250 (contrast जोइबख 80 ज्योतिष्क), दुतर ( ) 142*, get (=) P044, Pk. grau () 1160; (b) in other casts : "सकलिय ( = राडालिय = शकुलिका) 23b, Pr. अनहदय (= अपनष्ट cnlarged) 6a, 1. The group (nasal+ilon nasal stop) is assimilated to doublo nasal in (44 =) 196, Pk. ATGT de, ef. G (A) 804 (otherwise agus 680, oto.), ETC (= *TTF7133 = TEFECIT = zegt) 42&. In Early Maithili this tendonoy to assimilate a post-pasal ·. 16 SSADESARASAK. stop has already set in. Seo VE. $ 13, end. For Gujarati cf, TORNER, 'Gujarati Phonology' (JRAS, 1921), 578. vi. Nasaltconsonant instead of doublo consonant is found in मुंदडा (from मुद्रा।'s enlarged) 810 (of. Early Avadhi मद), निंद (= निदा) 1000, 1916, पदीगर (निदीयते) 18206, मु (= अशु) 896, 1180, (alteady in Pk.), फग fron स्पर्श in फंगहि 985; पंखडिय (- पपडिय) ad, मुंध (- मुग्धा) God, मुंधि 8, etc. (fire times), रिंभल (= विम्भल = विहल) 4603; भासासंगम (= उरयास भ्रग) 978, संगाश (= साश) 1030. § 36. rii, Simplification of a double consonant. This New Indo-Aryan tendency is attested by several words: (a) rethout compensatory lengthening in सलिय ( स = शलिका) 230, कणयार (= पण्यिार = कर्णिकार) GOU, वडाणियइ (- यासा fiom व्याख्यान) G5a, वपूर (न्य वर) 798, इनि (इन from एकन) 800, इल्लिय (= इक* fiam ए+ enlarged) 92b, इवट ( इय- एक्थ) 180ck-all of these are words with their first two syllables heavy in the original; डिल (= चूधिर = चूठा दाल enlaaged) 110d (ef टिळ उ 113/y and झलकन (flomVशलक) 181c, 1400-~-both with a heaxy suiix , मयउ (= मयबु = मृगन्यु) 83b, आलस (= आलस) 105d, पनि (ef. पलह 1300) 195d, सवि (-सुले गर्ने) 2090, °स (= स्म) of the pronorminal gen. ang. as in तमु 81, 94e.f, जमु 70a, क्स 49a and °स (= *स्म) of the future us in कहिमु 91c, पयागिद्य 1175. (U) red compensatoig lengthening in वेसा (= वेल्मा = वेश्या) AGb, ऊमास (= उत्सास - उत्रनाम ) 976, ऊसारिय (= उमारिय - उन्मारिन) 180d, नीसास (= निम्सा = नि धास) 830, 850, नीसरइ (= निस्स* = निस्सरति) 54c, वीमरह (- विस्म = विस्मदति) 51c, दौसहि (from दिरा = दृश्य) 68d, सीस' (= मिस्स - शीर्थन् ) 178c, पीलिया (from पिस्त = पिप्य ) 1876, समीसिया (Hon समिस्स - सम्+मिथ) 1870, PL. दूमद ( from दुस्म = दुष) 40b and भागोय ( = *अस्मउय = अश्वयुञ् enlarged) 1r2a, in the the gon. ending in जामु 70a and पियासु 706-all those cases inrolve simplification of "ग', बोलाविया (योग fromVबोल) 41c, वोलंत (= बोहंत} DIG, फोफल (= फोप्पल = पूगफ्ल) 188b, सामौर (= सम्मडर = सम्बर - शाम्बपुर) 420, देखोः (= खोउ = अनोट) 56b, हा (= तक fromVit) 1040, जागनिय (= जाi• fiom *जाग्र ie. जार') 1470, परावति (= परस्पति - परवशा) 151d, साथ ( सप = सर्व ) 2020, भाभंगिया (= अन्भ• from अभ्या, Creads अभिगियर) 1011) $ 37. vili. Simplification of a consonant-group following a long syllable, with once more ieduction of the consonant resulting from this simplification is seen in af (=#1-84) 250, वाह 950 or वाह (= *वाफ = पाप) 109b etc , ह (= *जीभा = जोहा) 1320 Pk. 7 माई (- माय = *माना = मात्रा) 32s and तमीवाय (नंत्रीत्राय) iom. Most ·ORAMAR 17 cases of these are already known to Pk. (especially to Ardha-Magadhi)'. In Pardº ( =*114 = fecit = ) 180d, in the postposition afa in मगोमहि( = मनोमध्ये ; contrast मज्झहिं 2030) 16Ga and probably in अरविय (=21) 1370 this sort of doublo roduction (or "double shift") is seen even thoagh the preceding vowel is short. $ 88. Adaptyvis?. (a) Some notable cases in general: m (=) 19d, 886 and faitę 1006 (otherwise ute 23«); anta (from 1972) 86a, fy 1818 and auta 103h eto. ( otherwise trla 977, ar 1654); PR ( =**) 17ld, वरसतिय (from वर्ष)183d, दरसिय (from दर्श) 2235, दरसिजइ 1.64a, pakta (from ) 223c, Pk. Tref (wit) 2130, 92€ (=) 213a—all these on the one hand and afa(=91) 201«, site (=m*) 1910, etc., (at)fta (=377) 1956, Pk. aftew (= *v}84com all these on the other; this collocation shows the newly-developed tendency of using * as the "parting' towel side by side with the old 5. Further we live to add glat (=) 940, eto, da (9) 1770; 417479 ( =***) 834 and cota (= TMT) 820 (both metri causa); afti. e, gryfa ) 28a; cf. Tessitori, $ (G) a, (b) Cortain form-types based on anaptykis. The absolutives in ºf ($ 68) like fama have evolved from the pro. totypes like fat by the dissolution of the consonant-group in the final syllable. Saine is the case with the passives in a ($71). Forms like Sk, ad would give *4T and after the substitution of the active for the middle endings, f4; difference in accent would develop this further into Freak (PISCHEL $91), And finally the gerundives in . ( $70). here also the Sk, gerundives like a would give me and fee in accordance with the difference in accent, the twofold developinent being Dxactly parallel to that of the passive ending. cf. also the two isolated instrumentals stan and YT (S 44) $39. Gemination. It relates to the intervocalio stops which otherwise are elided in tho Middle Indo-Aryan. It 1 ct, STANIIDULLAII, p. 37-38. 2 It is to be borse in mind that the cases noted in this as well as the next articlo mostly concern vords that aro semi-tatsana or modified borrowings from Banskrit. S.

·18 RAIDESARASAKA appoara in cim (4) 206, 29()834, ankt (1 BBW, qfar cf. qfeft: 1064, scc $27)162d, fel (from Farat e fams)16Ba, =34enlarged)211a, Pk. (as' I) 407. Threo nose cascs based on assimilation are im (=9450) 194, P (AST)2020 (bosido for 1151) and 7(+57) 218) (beside # 1752). $ 40. Other casual phenomena, i. Consonantulassimilation is found in 197(-14 **) 1896. cf. also 46c (BC) tips-f. Note also vocalic assimilation in Rrz (for fordu) 154a from gaman (*). Besides these cases of regressiic assimilation, we have in fata (5 35, i }for fi a case of progressite assimilation, ii. Motathosis explaing 9747* (=97774) 28e, and विमुंटलय 115a for विसंालय Both may be simply orthographic. jäi, Loss of a syllable for a consonant) (a)haplological in 67 (-OF-F) 836, 111a, Pk 900, rufe (= GERA) 41d, दुक्तिनिया (- दुसससिन्निया-दुरासिना) 850, 1470, similarly दुनिजि 115c to be somehow derised from ga+27 (?) (cf. PK feast - fax): हेअर (= छेयबर = हेक्तर) 18td, पहियण (= पहिययण = पधिक जन) 318, गियर (-7448point) 67d; (b) relating to a medial followed by a conjunct in कंटग (म्यग - बटवाम ) 2066 ix. Contamination appears responsiblc for Vinface 950, h 1407 )= V0 VT If ylt (49c, Pk. 37a) cannot be satisfactorily explained as made up of It'o (participial sufis, sce § 46 11 ), we have to assume that it has resulted from Fax (ft) being contaminated with pet or E cf, SHADIDELLANT, p. md. Lew of Shortening of the Finals $ 41. Following ALSDORP (see As. p. 7) *c can thus express the law the most outstanding change that characterises the An. linguistic stuff as contrasted with the Pk. one is the shortening of the final vowel of all the mono- or poly-syllabic words. In other words, wll the purely Ap. conis (including the feminae basca) cleays enel " a short cod. This powerful tendency is intersected by (1) Prakritisms and (2) lengthening due to secondary contraction. The latter counter-tendency gaing much ground later on and becomes a normal feature of the New Indian phonology.

·GRADER 19 In several of the exceptions to the above law in our texty the length of the final vowel is protected by a following enclitic. Thus we have a 416, 47, 48a; F 195d, 1960 (ffe also occurs ), Hola 1970; a-fa 800; 1946 1830, d; #99 94f, 103a, fè 97- 1935. Contraction explains (a) nom, and acc. plurals (see § 28. ii.) TS 31, 1741 316, str 5512, a 77), FHM 806, 1500, TET 1660; ta 7-16, azt 820, ve 41a; (b) acc. sing. dat (masc.) 887; (c) fem, liom. singulars in 27" : carte 700, 92a and frien 92b (each of the three ending a 9€); ef. He 1138; (d) enlarged fem, -stems appearing with 's: eritit 29a, sit 290, fari 48a, 144 500, fara G8d, fi 70b, faced 1180, vidit 155a, forziat 186a, viti 2170 ; TE 78a, i 199, f1540, Tamu 1560, 161d, 182d0; 060-guita 2160,r), Tatts 217c; aqui 220x, statin 2200; FF 205d1; filosofif 179c1, 219., harf 2190; fshire 210, TR 2106, da 151a, arc metrically unsupportable. (e) mase, in my appearing with : 79), afskt 891; (f) enlarged G-stems appearing with °: (fa) 59c, BTE (=2754) 566 ; (8):1776 (in a Dolin) quite familiar to the New Indian. There are prosodic grounds for सो 111b (in a अगक) and दिसामु 2016 ( at the end of a trochaically closing 918). The rest are the feminines 27c, ar 550, FEDT 169d; pronominul plurals # 450, 94C, 2066; the indeclinable 4 91). $ 42. Light and Leary ondings. Most of the dyssyllabic flexion-endings in Ap, appear in a double form, as light (-) or heary (--). Thus the absolutives end in for a This double set of endings has arisen either due to the endsyllable of the stem being anceps or due to the employment of the Pk. endings besides the corresponding usual Ap. ones. As in the San, and Kr., here also in every ease the forms with the light endings far exceed those with the heary ending. Thus Lago, 37-stems: instr, sing. in aur () 26 times in part timeg; 1 Those six words except any occar in the Dohi-portion of the text ose langungo appears fa certain rospects a bit more advanced in development than that of the rost of the text. 2 Peru. farms in 'Tor & Deurring in Prakritized stanza havo boer Ocluded from this consideration.

·20 SANDFSARASAKA instr. plur. in ºpere about G0 times in x 8 times; gen. sing. in Park almost always in were once, in an (in a Dohā) twice; present indicative: 9. sing in or almost always in ' 4 times; 3. plur. in /'fe or 34 times in 31A 22 times, in an once. optativo: 2. sing. in 7 times in thrice. absolative. in "/aft 61 times in oft 5 times In most of these casos (excepting the pres, 3 plur, forms) the cause of the employaient of the forms with the heavy ending 18 tbe trochaic rhyme (of the go or do) Regarding the vowel harmony in the case of the fi-endings of the genitive, scc $ 51 A $43. Sandhi In a compound in many cases the initial yowel of the second member is joined with the final vowel of the first, but frequently also the two members are merely justaposed without such vocalıc coalescence, this being quite usual in the Pk &andhi So we lave forta 130a, and E-BIT 536, fata 49c and guar 1420, 45€ 66b and 44-384 450, oto. माउल 208018 भा-आकुलम् Specially to be noted are the four casca of sentence-sandhi: Frenteft (=a 37°) 1916, vla ( = 17 27°) 1970, Pk. ang (=BRY) 7at, and perhaps fa haft (799) 86a. Initial conjunct in the seat of compounds is represented by a single (e R MIC-FAT 24a) or conjunct (e g. -f543 Bob) consonant accord to metrical convenience. II MORPHOLOGY STEM-FORMATION: AFFLUES $ 44. Ve come across a Atray remnants of the old consonant declension It is the datave Anao (fiom for in the sense 1 For the Pk saadhilaw goperning these cabe te HE'S (9) (od JACOBI), introdaction, PP ZAFI-IXL - 3 feüt (-Afrat) 851 and Raf (com - YENEET) 140c are pot clear to mo ·GRANULAT 21 of fard) 85c. It appears in the final position in a quim each one of whose quarters closes with a Ttu. The semi-tatsama fem. instr, fornis yakaan (=) 83c and परसंतिया (= वर्षन्त्या) Bad also occur in an identical metrical position. $ 46. Normalization of the stems. i. Stems in ',' or are transferred to the standard Pax-declension (a) either by the addition of the stem-enlarging sofix ®z(="#: ali”) as in sty:34 (Britta) 220, FIFTY (77) 22a, 194 () 60u; Afen () 159b; *194 (ar) 50), 8267 €) 610, 09 () 1920; and the feminines in a like makina 45c1, ctc. (see § 41, (d)); or direotly as in Pue (instr. sing. from we) 24a, sakt (instr. sing, from 196) 53d, afo (instr. sing. fion acion) 2030, 3* (= 375) 16B7, afte (=oft) 107a, 1890, aft (loc. sing. At=92) 187c, 1893, 9 () 1950. Cf. Dingal locatives like a (from ), af (from 76). ii. Under the inigence of masc, a declension, the fem. q- and -stens take also to form instr, sing. (see $$ 54, 56). $ 46. Stemforming suflixes. i. The verbal determinative signifying momentary and rapid action in a general way is represented in a few Words: **** 501, Vom (from FT) in a 106d, etc., 19 (from pur) 1420, T5* 1480, itsa (from) 1888, ii. Tlie sufis ex forms adjectives in the sense of the present participle. We have fat 26a, 94er, arfars 1940, #raft 133a etc. (thrice), le 28a etc. (four times), aftaltet 46a, afeca 500, Parasta 118a, TETT 1330; RT 980, affartt 2190 (sce $ 22). iii. Action nouns in "a (or). 4 526, me 105c, T 1134, 93779 1136, 'qz 1731, TA (f.) 45d, *** (f.) 620. iy, 14 forming agent (and action) nouns appears casually. STARTTU 191, CM 1310, F1 136C, FEU 158d, f, fora 45d. T. A fresh mode of forming agentivos with the addition of पर (= "कर) has made its appearance : दीवयर 22b, संजीवयर 22d, उल्हापसा, G7c, of, 796 Ho, IV 412. These when enlarged become the precursors of the Hindi agentives in ost (c. g., au). Here are con scan the beginning of that analylival mode of breaking up the unitary basic idea of a verbal-root into two distinct clements: an nction noon and the general verb signifying ·20 SA HIDEGARĀSAKA instr, plur. in Petaler about 60 times in " 8 times; gen sing. in are almost always in any once, in se (in a Doha) twice; present indicative. 3. sing in almost always in ' 4 times ; 3. plurin "art/stic or P 34 times in afa 22 times, in once. optative: 2. sing in 77 times in thrice. absolutive. in af 61 tires 11 एचि 5 times In most of these nases (excepting the pres 3 plur. forms) the cause of the cmployment of the forns with the heavy ending is the trochaic rhyme (of the पददी or दोहा) Regarding the vowel harmony in the case of the h endings of the genitive, see $ 51 A $43. Sandhi In compound in many cases the initial vowel of the second member is joined with the final vowel of the first, but frequently also the two members are merely justaposed without such Yocalıc coalescence, this being quito usual in the Pk Aandhi So we have गिम्हागम 130a, and सर-आगम 53b, fratare 49c and qu-xat 1420, H 666 and #39 45c, etc. भाउल 2085 18 भा-आकुलम् Specially to be noted are the four cases of sentence sandhi: -PREN (***) 191e, maz ( = 09 877) 1976, Pk a (-alw ay) 7a, and perhaps विसमुद्वियउ (= विसमु उद्विरस) 86. Initial conjunct in the seam of compounds is represented by a single (e g sir 240) or conjudet (e g. **-f847 866) consonant according to actrical convenience III MORPHOLOGY STEM-FORMATION: AFFIXES § 44. Ye come across a stray remnant of the old conso nant declension It is the dative fifight (from fafia in the sense 1 For the Pk sodhi law govarnog these cox see 'S UTTERT (ed Jucos), introduction, PP LxYuI-IILE . ! Poft (-Aint) 85d and real (COM - 7WT) 140c sro Det olear to mo ·HRAMAC 21 of fayari) 850, It appears in the final position in a pite each and of whose quarters closes with a poput The semi-tatsama fem. instr. forms shRAT (= 3784-21) 880 and reftat (= *) 83d also occur in an identical metrical position. $45. Normalization of the stems. i. Stems in ", or " arc transferred to the standard Paredeclension (a) either by the addition of the stem-enlarging suffix 1 (= "*:*") as in 14 (ergia) 22a, 79 (197) 222, siga (sa) God; that (fa) 1595; siga (eta) 500, €1471 (mt) Gil, Ft 69 (ar) 192d; and the feminines in 'like mfaz 45cl, etc. (see $ 41, (d)); or directly ag in 'rfa (insti', sing, from ve) 240, sait (instr, sing. from gaa) 53d, acfm (instr. sing. from arf) 2030, afa ( = *) 1580, aft (= tfu) 107a, 1890, afor (loc. sing. 99TE) 187c, 1890, 9" (=) 1950. Cf. Dingal locatives like af (from a), ak (from a). ö. Under the infuence of maso. -declension, the fom, and Estoms take also to form instr. sing. (see $$ 54, 56). $ 46. Stem-forming sufixos. i. The verbal determinative signifying momentary and rapid action in a general way is represented in a few Words: 93 500, Vame (from Jam) in ye 106d, etc., 4 (from P.) 142c, c# 1480, (from ?) 1890. ii. The suffix ® forms adjoctives in the sense of the present participle. We have le 26a, 94t, arifeln 134a, frelt 133a oto. (tlırice), mart 28a etc. (fonr times), atafise 46a, #Fakta 500, alfa 118a, TET 188d; T 980, ufifart 219c (sce $ 22). iii. Action nouns in 234 (ore). THE 520, fette 1050, 115 1180, 34 1180, 'gz 1794, " (E.) 45d, *** (f.) 626. iv. av forming Agent (and notion) pouns appears casually. fra 196, 1910, o 136a, frente 158d, f. efort 45d, T. A fresh mode of forming agantifes with the addition of (°42) has made its appearance: +47 223, 719 22d, 3-649 67c. cf. *991 Hc, IV 412. These when enlarged becomo the precursors of the Hindi agentives in (e. g. u, hào). Here we can scan the beginning of that analytical mode of breaking up the unitary basic idea of a rerbal-root into two distinct clemonte: an action noun and the general verb signifying ·22 SANDESARĀSAKA 'to do'. With the NIA, languages it has become a normal feature. Thus for example, to express the concept 'to rejoice', Guj, uses two clements are trait (lit 'to make joy') instead of a single word आनंद The rame mode of expression lies at the basis of Ap. ia-TT, *1-17; Hindi du: Guj. (=*), TR72-(=tR+20) etc. as contrasted with Sk, isfit, ahi, I, E, Tetc. If we ale to follow the com, there occurg u quite modeia case at 1940 out where we would have an explession exactly equivalent to Guj. Ta rin ta lie dow'. But for an objection against aecepting this sense sce notes on 1912, vi. "(-a) in after 198 and 3h 107a, 54 (f.) in alle Ata, ani-7 79a and Pk IT 150 and roy in TETTU 216 are the suffixes fording stract nouns of quality in the following cases an adjective seems to be employed to signify its quality: not (ie koch) 180, ** (i e ) 50d, foo (i e. gun) 87c, ATT (1 e farfa) 1356. Cf. & 48, in 111. Only one word tales the possessive suffix *37(enlarged): सोहालय 510. $ 47. Stemenlarging suflix es. i. pat (from " aia) is not merely a suffix. It has got definito morphological significance, for which see $ 53. In ar 56, 134, 7 lias been attached to the numeral, while in (from 95) 770, it appears twice ii < (enlarged), the only other plcoustic guflix that we meet with in the SR, 19 contined to the language of the Dohas. 95 690, 706, 80a, 8ia, A SOL, (or ") 814, E 816 und if 69a exhaust the list. The stanze 81 has no less than tireo fornis in 1 $ 48. Prefixes i, at forms negatives from adjectival words. Refer to the Tits for the Turds with us ii. **(?) as an emphatio element is prefired to the adjectival words as in fc (apfart) 286, 29a, 411, 941, 190c, enfire (= गरिंगर)290, सविलक्स (- विलास )28a, सलोर (लोल)590, सकोमल (= कोमल) 123c and सकमाय (साय )17la. of सक्ति in the Paicathyanaka (1199 A. C.), p. 70,1 3 (HOS, rol. 11), *(estaura) in the Samarüiccakaha (ed. JACOBI), p. 14, 1. 7; () ·GRALAR 23 Päiüsaddamahannavo. This type of words aro casually oncountered in some modern vernaculars also. Cf. for example Pingal सकुसळ, ससत ( = सत्य) etc., Gujarati समोमळ, राधन (= धन), Hindi HTT, Bengali gak, Awadhifta, Marathi and (Sk. *). $ 49. Formation of the feminine bases. Ap. has evolved its own laws of forming the feminino bases. Although there prevails u considerablc option in the employment of particular sulfixes, the chief tendencies allow themselves to bo distinguished fairly clearly. To start with, we have to take two basic facts into consideration. Tirstly, the sullis °59 appears to be established in the language of our text as the feminine counterpart of the enlargement in . Thus to a masc, utas corresponds the fem. afar. Secondly, a nov tendency has been developed in accordance with which the adjectival or participial (especially the present purt.) 21-stens keep their base unchanged in the taso. as well as tho fem, declensioni. Kceping these two facts in view we can explain the formation of the feminine buses in our text with considerable clarity. i. Presont participle. Tliere are four types of feminines formed from the pres. part.: (a) corresponding to a mase, Fta, we have the før. Fra (Sk, fen, inft); (b) corresponding to the enlarged maso. mias, we have the fans. करतिय'. This करतिय fiurthor appears as वरती througlı contraction; (c) te without any addition of change serves as a maso, as well 08 a fem, base; (d) this formal identity of the nago, and the fem. base is extended to the enlarged cases also, so that a parallelism has come to be established between the bases in ift and afy on the one hand and an and site on the other. One case of this type of the fem, pres. part, in the Sr, is at 1676. The numerical strength of these various types as represented in the Sk, is as follows: 10 in Saife, 17 in aida (two or three of these, interpretable either way, as in 17 or ati) and 10 inºsiti 14 in Pata, 1 in star. Thus those in staa/Heft score the highest figure, ii. Preterit participle. 1 Wlso metro roqures, To Lave also that with the onshortened fipal.

·84 SALDESARĀSAKA In the case of the regular' (5 57) participles in *4the fem, is regularly formed by "a (Ⓡa); that is, the masc. and the fem, bases are identical in form. Thosc participles that ropresent the inherited stuff i. e. those that are fag or 'irregular' (mostly the participles from Sk. ste roots) take a optionally in the fem., e. 8., 154,674, sfera eto, besides 14,99 etc. But ag suggested at the outset, one can legitimately look upon these bases in 'as counterparts to the enlarged masc, bases in 33 (0. S. 1797 eto) Further, on the analogy of the "regular" pret. participles, some 'irregular' ones also bare taken up the *** in the maso. (e. 8.61 186, 147 1610) and as a result they too have identical waso, and fern, bases. iii. Adjectival compounds. As regards the formation of the feminine from the adjectival compounds, it is to be observed that there prevails a free choice between y, and 's. Basog in * (more than a dozen) are fewer in number when compared with those in s (about 3 dozen). Besides these there are about a dozen bases in '79. Simple adjectives also show & preference for "4. On the whole there appears in our test a strong tendency to reduce the other types of the fem, bases to one in " cf, Tessitori's observations ( $ 57 (2)) on the feminines in OTR. $ 50. Gender, Hemacandra (Hc. IV 445) informs as that in Ap getider-confusion prevails to a remarkable degree. This observation is supported by Japon in his account of the language of the San, wherein the noun./acc. peuter plur. ending out is taken by the masculines also, while conversely, there are some nom./ acc, ueu, plus, follas ending in ®. The change that has set in in the language of the San. has fully worked out itself by the time of the Sr. IIere, excepting three cases (see $ 52, Remarks.) two of which ale metrically conditioned, the nom.acc. plur, forms in *** are totally absent. And the second characteristic peuter form, Tiz., the nasalised nom /acc. sing. in art also being quite unknown, almost all traces of the ncuter hare ranished from the morphology. There is not the slightest distinction between the masc. and the 104, declensioni. In this connection we hare to note the fact that all the New Indo-Aryan vernaculars, except Gujarati, Marathi and Konkani have lost the ncuter. Other cases of change in gender are af f. (**) 1316, 216d ·GRANLAR 25 (tho rent as also the app gives the fein, gender oven to ita Sk. repdoring :), f. 780 and at masc. (**) 202c, 214d. It is probable that the epithets #HTET and in 31a are fem., as rondered by the com. (Whatrgu). In the Ramacaritch mīnasc too we come across such apitkets taking the feminine gender of the substantive thoy qualify. NOMINAL FLEXION $ 61. Some cases of special morphological interest. A, Assimilated l-ondings of the genitive. As in tho Sretambara Ap. (see San. p. 2, Kp. p. 55, $ 15.) bere too we find assimilated genitives. The ending of the genitive is not detersined primarily by the gender but by the type of the ston. Thus ex-sters, whether masc, or fem, have up in the gen., -stems, whether musc. or fem. lave te. No genitive form of the 3-stems is attested in the Sr. It will be noted that hand-in-hand with this correspondence of the ending with the stem, there prevails the principle of vowel harmony, tha vowel of the ending being determined by the stem-final. So the ar-stems have the alfis , the s-stoms, . It sbould be marked that in bringing about this state of affairs phonetio forces have also played some part, as it is by following the general tendency to change to that the fam. ending has become per B. Three notable form-categories of the e-stom. (1). "Endingless' genitives. According to Hc. IV 345, the ending of the genitiro is occasionally dropped in Ap.; that is, tlo bare stem can function as a genitive form. That the rule has for its basis some genuine Ap. grammatical tradition is indicated by tho Valmiki-Sutras III, 4, 16 which too teach the same thing. ALSDORF ( 18. 5G 1.) raises objections against this rule and after an exarization of the alleged examples of such genitives advanced by Hemacandra and Picnet, he attompts to establish that in the availablo Ap. linguistio material one does not come aoross a single form which can be genuinely regarded as an endingless' genitive. All the alleged cuads of sitch forms can be justly looked upon as previous meubers of regular or loogely-formed compounds. It is, ALSDORF thínks, from these looge compounds (cf. $ 75 below) that such a rulc must have come to be abstracted, but in a scientific troatment of Ap. grammar it cannot claim a place.

·26 SAMDESARĀSASA Now, thoagh it is true that in the stanza cited by Hemacandrs or elsewhere in the Ap. literature come to light so far, there is nothing to indicate that Ap. employed bare stenis as genitives, still if one glances at later linguistic developments, there is much there to create a strong presorption in favour of a factual basis for the rule given by the ancient Ap. grammarians. Thus, for example, in Dingal or Old Mārvări literature cases of genitively used bare stems occur apace. There they are not anything like casual but make up a regular category of forms. And the language of the Se. which bears unmistakable influence of some early vernaculars offers us soveral clear cases of such 'endingless' genitives. Further, these together with the 'endingless' ingts lloc. (see ( 2 ), below) and dom./arc. (see 52, Remarks ) foring point out that in the case of the whole of the Ex-declecsion at least, the baro stem without any flexion-ending could appear in the singular ( as yet rarely in the plur.) of almost all cases. Add to this the formal confusion and the consequent impression of #codinglessness' that could be caused by the homophony (1) of the instr.flac forms in *s of the fern t-stems and the nom acc. forms in 's of the fem. 3-stemg (5 54, Remarks.), as also (2) of the insts. gen. forms in 'n of the 's-stems and the nom./acc. forms in 'of the enlarged fem. o-stems (5 56, Remarks). All these facta are strongly indicative of the active process of disintegration of the old morpliological system, the final result whereof is een in the languages like, &. g.Dingal wbich in consequence of so to sng the total loss of the flexion-endings at times use in both the numbers and all the cases the bare aten without any addition or modification whatsoever, Below are collected the cases of the genitively used paked stems attested in the Str. They relate to the masc, as well as the fem. af-stemn. जमु पसंत (= पवसंतह) 703, तुर सुपरत 86a, जंत...मह 1090, गिरंत yga 1576, Erta...losita 158d-159a, kita.. aga 1914, U15 47a, 51a, d, cu fata 51a, 1 (with so,VTE ctc.) 1014, 680, 710, 806, 886, 92d, FTET (with #v) 950. (2). Employment of tho bare atem in the instr.floc, (sing). As in the genitive, so in the instr./loc. too the bare stem vithout any ending appears occasionally. Of course phoncti- ·GRADAE 27 cally the form is got by the reduction of the final of the old ending. As the unenlarged present participle has lost gender-distinctions to a certain extent, we find 'endingless' forms in the case of the feminine 32-stems also. Casually we get a variant in 's for the forms considered here. Instr. sing.: T 1000, ATĘ 103b, 109d, safar 1830, CETT 1860, forama 1966, h (plur.) 218a, perhaps yr (plur.) 2160; f, a, 62 136c, HT 1906. Loc. sing.: T (plur.) 27d, 728d, yet 52c, 950, ***? 105d, am 1125, 92119 1150, 67 184c, TFT, 167a, 56 175a, fra 179d, a 2150; f. Me 196c. Early. Awadhi, Karly Maithili and Early Mūrwärī freely use sucli forms, (3) Nom. plur, in ". At a few places it appears quite plausible to suggest that he Also is employed as a nom, plır. сnding. Thus, GETT MYCE VE पवेसि (215) -- अबुधवेन, अबुधा (मत्काव्ये) न सल श्वेशिन '. पयहथिण किय पहिय पहि (V. 1. पहिहि) पवहंतयह (1410)= पयसि (or पथि) प्रवहन्त (= संचरन्त ) पथिका' पादनाणदस्ताः कृता:. Fem. सुसतियहं and लीलतियह (128e, d) also are nom. plurals. Possibly 103d presents a similar case of the nom. plur. in मह. The line reads जिम तुम्हिहि शिम भुमि पहिस झिज्झति गिर. Here it is difficult to construe the instr. I. Obriously the line means हे मुग्धे यथा यूयम् तथा पथिका अपि अतिशयम् क्षीयन्ते. Now B. offers A variant Tire for litere. If this is accepted, we can take it as an honorific form of Tr. This nom, plur. ending is nowhore attested so far in the extent Apabhraíša texts. Only Early Maithili uses this commonly. "In the Early Maithili of the VR. an afix tha features commonly for the plural in the adjectires and passive partiole (210) (past) forms" (VE, $ 26). CHATTERJI'S suggestion tlıat this art is the same as the Ap. gen. sing. and plac, ending is most probable. $ 52. Masculine and Noutor 3-stems. The following paradigm of the endings can be prepared from tho text. The figurce give the number of times a form with A particnlar ending occurs in the text. 1 Allornatirely wo hayo to note that A TURYEN doriyey Maralby 1. Te from PE, ET TUR (RSOS, FITIL, p 203), Focha lake hair of Sn. 1031# a nominatively used lastrumental.

·28 SAMDESARĀSAKA Sing. Nom. Acc. ; '. Instr. 350; 20, 9; ®fe/z9; . Gen. 89, Abl. SE 4. Loc. ' 93, T12; 97 12. 88; Voc. Plur, Nom. Acc. p. Instr. "इहि/ इहि 47, अहि/आदि 8, 'पहि/एहि 8, 2. Gen. Part Abi 277 1. Loc. /14, 21 Voo Remarks. For some general observations consult § 51 B. end -Non. Ace, sing. Even after ruling out (i) the indeclinables, (ii) the cases (more than 50) which can be obviously coustrued as words forming a compound with the preceding or the following word rather than ag nominatively or accusatively inflected forms and (iii) the cases (about 30 ) for which there is an acceptable variant in 's 11 any one Ms., there atill remains a substantial number of words (roughly 25 ) for which there is no other altornative but to assume that in these cases the bare gtem is used as & nom, or acc. sing. form. For suchendinglesa' forms of other cases see $ 51. B. The Dohākos'as also use the baro stem in the nom, acc, sing. of the eystems, See SHAHIDULLAN, P 38; San, p. XXVIII.-In Prakritised passages ont appears in the nomlaco sing instead of 63. The only a form that 886 occurs in & T-Instr. sing. In a Prakritised stanza occurs 110c with the o of the ending lengthened metri causa to s. Out of the 9 forms in om, six (79 69 and formavo formes 77 at the end of the Dohi pädag and €114-2 209 closing the Paddhadı pādas) are metrically conditioned. The remaining are Apy 746, Argur 1386 (both occurring in Dobis ) and force 86c. The forms in 'tort are fe 49d, af 50a, 117f, 192a ( in F&), at 50d, rafale 105d, of 10GC, A 1544 and ARE 1876, The Dohakos'as also employ ole in the sing, of the instr. and loc. See SHAHIDULIJ H, . 38; San , p. XXVIII mid. cf. TESSITORI $ 59 end -Gen sing. An isolated form in Cape, viz., A4 700, occurs at the end of a Dohi rhyming with the pronominal e, whilo fat occurs in a atit (85b). There does not occur a single form in .All. sing. The forms are #6445 21a, trening ·GRAMAR 29 898,5446 1416 and wine 186d. cf. Tessttori S 61 cnd. - 100. sing. It is to be noted that Early Maithili also had theso three forms for the loc. sing.: pure stem without any affix, forps in ', forma in 'R (See V2. $ 95). In Prakritized passages ºp is found for 's. A 998 and 1036 ove their g to the influence of the following 4. Twice dzia is nised, in 19b and 115d. - Nam. plur. For the forms in a see $ 51 B. (3). The only representatives of the neuter plur. forms are als–Juridis G20, d and T 1740. The first two of theso occur in the section listing trees and at the end of the Paddhaờiki-pāda. The remaining a qualifies the anase. plur. #6 CE. JACOBIS observations in the San, on the tendency to use indisoriminately the mase, and neu. forms in the nom, plar. -- Instr. plur. Trochaic rhyme explains the occurrence of six (18 d and e, 202 a und 2, 205 « and b) out of the cight forms in op The stanza 115 in which सरेहि ocours is a वर्णहत्त. There remains only चलणेईि 25d. Gen. plur. Once we is attested in a Prakritised stanza: SPUNE 280. - Abl. plur. The solitary case is 27 1020. The Dohāloigs have sta for both the singular as well as the plural. $53. The enlarged declension of the ex-stems. For SWT'S Apabhramsa ALSDORT has glown that there tho phenomenon of onlargement (by the addition of ºqi. . "#: ait") in the caso of the 37-4tonus is conditioned by word-rytlun, firstly because in a substantial majority of the cases, the enlergement takes place after a loavy syllable and secondly becausc tbe enlarged stemu Appears mostly before th030 case-endings which consist of one mora, the normal stem appearing before those consisting of two moras. This latter fact means that the onlargement is mostly confined to threo casos: nom./aco. sing., vodo. acc. plur. and loc. sing. These observations are applicable also to the language of the Sr. The only difference is that here the enlarged stem is most prominent in tho nom.(acc. sing. and plur., Fbilo elecwhere it gives tho impression of a pbenomonon tending to yonish. This is clearly shora by tbo statistics of various cnlarged forms attested in our text: Dom/acc. sing. in 3 (14 pres. part., 50 regular' pret. part, 100 the rest.) 164 cases I fustaud T5 209, bare doabllol, ·30 SAMDNARISAKA 0 sing in 37 4 instr ging in* (3) and 15 (3) cages joc 0 Dom /acc plar in 24 (8) and Part (8) 16 gen pluran estee (3) and Ⓡere ( 1 ) 4 Liemarks Instr sing OT 78( occurs in a Doba and probably has got the one suffix which appears in the instr sing in the enlarged form as a rule are 1560, metri causa fureurs, stands at tho end of a Doha pada Forget 69b also occurs in a Doha The other three instrumental forms ( 68c rhyming Titl 727, and 1470-2727 91 od) actually end in (see $ 10 (b)) Thuge are quita peculiar forms All the throe ere inflected from the enlarged pret part Loc sing बलियड 805 in a Doha bag the suffis 39 In the case of # 102d, 1994 and free 102d the enlarged form appears probably to aroid the vocalic grour' (cf $ 22), which otherwise would be the result In M 53d, foot has developed a Semantic shade slightly different from that offer pain and ag such it has come to be a different independent word The rest is glamz 941 - Ger sing The three cases in 848 viz, E-TTGAE 540, 1 and gurtne 223e are all from the enlarged pres part It is to be noted that only the onlarged pres part has come to stay in Guy, Hındı etc The only forn in 18 to 256 Thus, really speaking nom 19 the only case seriously conceming itself with the enlarged steta In the nom plur out of the eight fornus (against 3 in the HP) 1D ", four are pres parts Note the fact that like the pres part, it is the enlarged form of the pret part that has been later on generalized in Gu $ 54 Feminine stems Sing Nom Acc 't Iastr "भर,, अहि/आई, म Gen 3, *37 Ablety Loc , Plur Nom Acc Instr अहि Gen are Remarks For the endinglese instr, gon and loc forms sce $51 B - Nom Acc sing For forms 11 ay see $ 41 Inst siring All the fornis (117,1,««, 1960, <, 1986, 4, 201a, b, c, d,) an att ·GRAMMAR 3 are formed from the enlarged stem in and all these forms occur at the end of a pāda. 1x 113f is the only form in ETE. Inst. sing. in ', 120d, is doubtlessly formed from 563+5. But besides this there are seven forms, to wit, Osturafot 290, कणयंगि 410, तिरन्छि and तरलच्छि 970, उत्तद्वि and कुरंगि 97d, दीहरच्छि 107d, all to be construed as instr. sing., for which it is difficult to decide whether we have to take them as formed from the fem, stenis like turen, farem cto. or to explain them as bare stems employed to serve as instrumentals without any ending. For, the former alternative forecs us to assumo fem, ar-stems like furti, fram, HW (fore in the case of the loc. for 967) oto, for which there is no evidence, while as to the lutter, though supported by the developments in tho case of o-stems ( sec $ 51 B. (2)) and in Pingal, we hesitate to subscribe to it in the light of the loc. sing. forms in viz., an (II. c. for are?) 816, fa 142c, ffer 1966, 147c, etc. (8 times in all), ttu 1750, TOR 183e which can be well considered as inflected from fa, fan, eto. Still instr. 7aftg 970, perlaps loc. cila 27a and above all the gen. instr. and loc. forms considered under 5 51 B.(1), (2) make it tenable at least in some cases of the forms in ºs that the tendency to employ the endingless stem in the feru. Pzdeclension also liad already made beginning, Cf. arfot (from a masc. g-stem) 55, Remarks. It is obvious that the forms in s, if any, are the result of the influence of the masc. #declension, consequences of the convergonce of the nom/acc. (Fonta), instr. (F) and loc. (a) forins in the fem. declensions are quite patent. Similarly it is the masc. dcclension that is responsible for the opo probable instr. sing. foru in sf (stafetare required by the context for the textual आउभियह 24203.दपवर and सग respectively for f497, 4 * $ 03). Cf, also the insti”, sing. In or of the fem. Estems (5 56).-FT 1360, is the only ul. form. -- Toc. sing in PH : 117& IGId; in af 1850. Many of ile loc. sing. forms with the aflis " detailcd under $ 56, Remarks, can be with equal justification regarded as formed from the fem. #steins with the affixe. Locplur, in : Fare 586, 148a; in cu : fata 173a, fut 2010, 9151. 55. Masculine - and 3-3 tons. Sing. Noin. Acc. Instr. 24 to RO 1108, 10 $76. The 3 ·32 BANDESANĀSAKA TE 93 Gen. Loc. Voc. Plur, Nom, Acc. Instr, felt Loc. Remarks Non sing. If a 15BV is a, then the normalization has affected the nom. acc. also. Instr. in 77: 1850, BUFET 48c, 187d. For instr. and loc sing, in the result of the infuence of sp.declension, see § 45(b). Is a 2035 an endingless instrumental? The only gen. sing. form is Acetima 890. Loc. plur. FAERE 144b. 56. Feminine zatema. Sing. Nom. Acc. Instr. Gen. Loc. Voc Plur. Nom. Acc. Instr. / Gen, Loo Renurls. For forms in i generally, see $ 41 (d) In the Hr, in such cases the stands, with negligible exceptions, after a heavy syllable. This restriction does not apply to the language of our text. - Instr. sing. in *** Parrafes and quartz (so to be read m. c.) 151a, b.; n°4 440, CT-ALA 380, d, Aita 1180, famattu 1356, fast4 147a, stafira 147C, 1800 (rhyme-secure), 99 1900, in (see $28) 18e, elast (Bel) 1916, quid 155c, & 1827, Amadt 1904; 11 / 10 forms occurring at 101a,, 125, 5, 186c, d, 121, 150a, 2200, 222). For the probable endinglesa instrumentals and homophony of certain feminine forms see $ 54, Renarls. -- Gen. sing. of 50c, falta 105d, Atemte 134d, 196a, Rif 205d. fif has ita nasalization probably from the plural Gen sing. in / (sec HIC. III 29; cf, Dhürtälhyāna (Singhi Jaina Series No. 19), P. 52, note 12". Ra26c, gaf 51a, midt 53a, ia 53c, VAR 1180, 4914 176a, Taty 1915; a 50c, fet 1570. Note that such instr. and gen. forms in 'n arc homophonous with the enlarged fem, stens in @zulho fan, tefte etc, and 1 In the light of these forms, 10lar explapation for the OwR fem gan. in' (T898170R1, $ 62) seems more probable than those given by TERITORI, ·GRALAE 93 2. person consequently they succeed in creating the impression that they are endingless gen. forms. - Loc, sing,: parfait 1050, PETITE 117€, cafore 160h, gatule 1791, #aki 1908. - Nom./Aco. plur. Only 3 forms in all of them occarriug at the end of the Paddhaçikā pāda: Hitects and gofta 2160, d, 44ts 217c. - Gen. plur. 'affa and परहतिहि 1580, नारिहिं 1744, किंकिणीहि 179d and perhaps परिखिल्लरीहि and life 2196, d. et and get 208c, d ocour at the end of the Paddbadikä-pada Loc. plur. oli 141, graff 141b, galite 142a, a142a, POR 145a, sa 276d. It is not necessary to take creare as plur, with the com, No fem, 3-stem is attested in the SR, Pronouna $ 57. Personal. 1, person Şing. Nom. (8) 1,(?) 778 Acc. * 1911 Instr. 109b, 1174 etc. (about 14 times) ( 1242 Loc. Gen. HE 99a, 127d etc. (12 times); 4(14), K(?), KG 91B, 1890, 1976, d: 1037 120d, 1917 104, 1976 Plur, Nom. Insts. ficle 1146 SET 186, 117a Gen, Remarks. For the question of nasalisation in Tarious forms Sec $ 8.45 1970, 1970 as also a 1911 are used accusatively. i has variants i and 2 Only in 940 and 222c, 109c shes no variants, Elsenhero ( 412: A C80, 88a: CE, 92c: A C#, 222c: B) it alternates with Ty or ny occurs & times (114a, 8a etc). Besides this, we have to accept r (C) at 76a to make the construction grammatically faultless. The existence of an in our text is rendered somewhat doubtfal because at tro out of thrce places of its occurrence (109c: A 14, 110. AT BI, 1910: A F# B 5) it is attested in only one Vs. mokiita 1050 is tbe only possessive pronoun. Cf. TESSITORI, $$ 83-84, 86, 87. $ 68. Demonstratirc and rclatire. 5 d. t. 104a 93770 R 1200 ·34 SAMDEGARĀTIKA A. Demonstrative, a) **- masc neat. fem, Sing. Nom. 13, 4, 8 (1) 156a 27 C Acc. 8 260, 27a etc. Instr. 1920, 223c, # 1996 Paft 25e,2235; dfor 107C Gen. 73 206, 850, 7 990, 122c तस्स980 na 26c, qy 2230 Loc 1834 Plur, Nam. à 776, 103a, 2066, fa (-a) 270 & 94c, fa 135d, 1676 Acc. 041a Instr, fals? (C) 1740 Gen. fare 200, 210 Remarls occurs at 304, 916, 1996 en is wetrically conditi. oped at 111b (sce $ 41 end) Another occurrence (as n ) is 810, in a Dohi. The third is at 159c, where metre requires et. The last is e A 1976, where the length is protected by the enclitic. b) The following forms occur Nom. Acc. sing. T 8 (f, at 1994, n. at 161d), 204d, (f.) 91d, E 200, 151a, # (f. acc ) 740, 83d, 85a, 1055, plur. 30c, 66a, loc sing to 113c. B Relatire. masc acut. Sing. Nom. 9 5,811, (n) 19e eto. Acc 31, 30b etc, (f) 161c Tostr, जिण ( A. जिणि)91d, जिणि (A निण) 92a Gen সন্ত ৪, সান্ত ? Plur, Nom. 21c, 64a, 1880 Instr. Fafe 776 Gen fare 610, 626, (f.) 167a, 174a. Remarks. The places where I occurs are 20a, 23d, 76a, 1180, 183d. At 769 it appears to be used conjunctively. $69. Interrogative and indefinite. A. Interrogative Sing. Nom. a 18c, 25e, 6 y 94,99 640, 41(f) 1990 Acc. A 966 Gen. 9 95d ·GRIR $5 F410 1240 Abi Loc. B. Indefinite Sing. Nom. R 4,#72; f- (n.) 915;*(f.) 504, 91-f# (f.) 3. Acc. (1.) 1100, RR, 121d Instr. 97 470,- 137f. Gen. (.) कह-व 3, कस्स-दि 2, कस्स- 2, कस-वि । Plur. Nom. 3, $ 450 (f.) 46e, #944, 180a, sala 195d, 1960 $ 60. Numerals. * 100 and 180, (0a) 80 (Rapatan double' 136, A 85 for 112 both'), R 18 (44 112 third'), * 43 troft 156 'four.fold', 76 125 a tetrad'), ter 74, RE 31, 27, 65 64 and 58, 162. VERBAL FLEXION $ 61. Tliere is only onc regulor conjugation in Ap., viz., the x-conjugation. The forms with 5-stems appear quite sporadically. The Se, has the following such forms; pres. ind. 3. sing. #tf-fas 108 ~, , TE 825, de 2010; 3. plur. x 2050 and the forms in the ($ 62); imper. 2. plar, porate 19d. Almost all of thesc except those in tedes appear under metrical stress. The same is the ground for the employment of pres. I. sing. ** 956 and 3. sing. and a 120c, d, the only middle forms. There is no pres. part. in Am. Tho following 'root-Ferb's are attested: 41, 2, 77, 71, 9; , ; #: T(?). For their various forms ace tho index 8, 19, Forms of Vet: effet (3. plur.) 64a, TT (3. sing, negative) 190, 101c. Of tbo finitc excro we have here:1. The Present Indicatiro; 2. Tho Imperative, 2. and 3. person; 3. Tho Optative, 1. and 2. sing.; 4. Tho future. of the infinite zerb te baro: 1. Tho Present Participle (also tscd as Preterit and Conditional); 2. The Preterit Participle; 3. The Gerundivo; 4. The Absolutirc; 5. The Infinitive. $ 62. Proscat. Sing 1, *** (***) 23, **A 3 Plur. 3. *** (**) 17+ (pass.) 2. * 3,1 (17 *5 10 *A 20+ * (pas.)

·36 SANDESARTSAKA Remarks. For the pacalization of the endings see $6.-1. sing. 03 301 and stezi (B's) 799. --A 1640, and the art 164d have been employed simply to effect alliteration. s 91a has a variant (C). In a Prakritised stanza occurs 24 () 104a, Of. 2136. See Hc. III 141 com 2. sing. FREE 165c is used to bring about the yanaka. For the 3. plur. forms in essee TESSITORI, $ 117, Remarls. The present part. fait is used with 3 (pres. 1. sing. from Var) at 79a to singnify continuity of a present action (cf. TESSITORI, & 125). $ 63. Imperative 2. sing. 16, 10, 1; 38, * 3 "असु कम 82e, मह. कहह 68c. 3, sing. 4 (0:2, 27, 543). 2. plur. *2 (5us, forgörg ) $ plur. Okty 1 (10) Remars Once of the 2. sing, is lengthened to 'g for metre's sake 0 9572 $ 64. Present Participle It always ends in a (enlarged 014). For its feminine see $ 49. i It is used at two or three places to denoto a state in past. Thus ki a te sfidat ATM (1006) "O dear one, the dge of love that used to overflow on that occasion," ATT DET (956) " Vader loss of discrimination (sle) sard". Perhaps forect 186a, la, faryta 200c, d, eta 217d also denote thc habitual past, For gas 650 sec $ 73, 3. Further, IIc, III 180 teaches that the present participle can be tiged to denote conditional also. Our text offers three exemples of such a uso, all in one stanza; godt 100a, utat 1000, ama 1000. Both these uses of the present participle are still quite living in the modern Gujarātı. The upenlarged form sorrcs for the conditional, the calarged one for the preterit. For other NIA. vernaculars sea Ruch: L'endo-Aryer, pp. 261–265. $ 65. Optatire. 1, sing. (e) 2. sing." (#9, ay) Remarks. Cf. TESSITORI, $ 120.

·! GRADU 1 $66. Future. e-future E-fature sing. 1. 'E 2 2. I इहसि 3. Remarks. 1. mie 910, aut 1176. 2. i 41d; TATUERIT 1910, आविहसि 1911. 3. संतोसिहइ 1976, मिल्हिहइ 1976. § 67. Preterit Participle. The sufix *a ( enlarged 42 ) forms the pret. part. Besides the regular class of the pret. part. so formed, there is another which represents the direct phonetic development of the Sk. pret. part. But the number of such irregular part, is on decline and the tendency to normalize them by adding to them also the suffis eu (e. g. 1860 for 5A) has already made its appearance (Soe 49 ii ). Another tendency that is to be specially noted is the contraction of the suffix* to" in seyeral cases in the fem. of the pres. part., e..., , Royal, Til (see $ 28). This is a 'modern' trait, characterising the New Indo-Aryan reimacnlars like Hindi and Gujarati, The following are to be noted IF 830, JE 255, 1987 2035, 4545 2176 (all from * i. e. 5), E 781, E 130€, a 1540, #3 1866, 9573 1926, gyaku 2040, 34 (i. e. ma) 86c, besides ettere 176b, Fan 80(in a Dohā) is of special interest as in Old Guj. this type of pret. passire part, in atto is quite familiar to us. $ 68. Absolutive. The numerical strength of the various types of absolatives 28 represented in our text is as follors. 294, *** 27, 5; gray 11; 28; '64 2,8 1,9 1 Those in (sec 538 h.) are Attery, aftry 95c, foruny 188d and Pk. gira 913m; in 'e, wi 1328; in vit, TE 1999. Besides these therc occurs fra 1916 (cf, cpic fay) and an interesting case of compound' absolutire #it 1086, s'ich is a precursor of the Modern Hindi योल पर, इस पर etc. $ 89. Infinitise. In : FR 80x ; in 113: 973 71; in aeg0812; in ' 15 2161.

·38 SANIDESARASAKA Of these, only the form in 'is known to the Dohakosar. Cf, also TESSITORI, S 134 end, $70 Gerundive. In (Sk. 74): € 200, 21d, if 43 820, aku 82d, ESET 99d; in een and a (Sk. ®s es in 427, 12 etc): (5 times), sifara, पणिय ; पणिण (twice), कहिज; in Perfona (Sk. *eita ): Ma. With yea ef. the passive endings 43/* ($ 71). $71. Passive, The three types are represented thus: passives in 04: 33, in ****: 13, in (metri causa): 3. Besides these there are some 20 irregular' passives which represent the forther phonetic development of the corresponding Sk, forms: fare, पिजइ, गिजइ, पब, सिग्द, दीसइ, कीरह, पेसह, मुम्मद, पपुषह घुम्मति, इति frown the causative: चडाइयइ, मुहाइयइ. Note also जाइअइ, लाइयइ. For the origin of 43/me see § 38 (b) Cf. Tessitoet, $ 136 (both the types). The fact that so many passives in '7' are attested in our text supports the derivation of the affix 'z' from SŁºz of the Passive against TESSITORI, upless it is proved that they have been borrowed from a synchronous vernacular. $72. Causative and Denominative. A. *317, is the general causative sulli, which in certain cases becomes shortened to arz in accordance with $ 19. Further, in declension the of this are 19 occasionally dropped according to $95. Hras (from V) 1416 and amid 261 (cf. arcala 123d) are used as simplex. It is by a rare chance that one comes across the "irregular' forms like azha 165d representing the direct phonetic continuation of the SŁ, forms. B. The instances of the nouns, etc, used as verbal bases are: (a)(in x) amire 65a from apena, f 168a from fes, atrana 208d from afats, en 210c from there, afectira 218d from पीर, (b) (in भन/श्राव • )मरलादवि 268 and मरलयबि 123d from सरल, सरविय 96d from सत्र and सुहाइयर 189b from मुख. POSTPOSITIONS $ 73. Thanks to the working of the phonetic forces, the nld system of the case-endings crentually became completely frorn out by the time of the New Indo-Aryan stage and one ·GRAVAN 89 of its direct results was that the postpositions, which had hed only a complementary or supplementary status in the late Middle Indo-Aryan (or Apabhramsa) stage, now began to function importantly as unaided indicators of various case-reletions and the analytical stage was completely achieved. The language of our text knows of several such postpositions. 1. We find here some four instrumental postpositions having the general sense with'. itaft (=loc, sing. of 44 = ap? '*company') means 'with; in the company of': ARTE Artu-PE caldur ( 488 ) 'If a stroli is undertaken in the company of various vidagdhas --'; NTER fra de Xul-afele The beds appear charming with (or by the presence of) young damgeis'. This postposition is sean commonly used in Guj, in the form uit. The Jain romance is (mid-fifteenth cent.) uses get in the same sense as noted here, CE. TEASITORI, $ 70 (8). (=) is found in 77-ft & ARTH( 470) "Some lady just laughs with someone". सठ is a variant of सम : गुरुविधएण सज 74b, AREA? 790, EITHE 99a. Cf. Owr. Pri (TESSITORI, $ 71), Early Maithili ai, ū (VR., S36). Once ituse ( = 79 f.) is found: 0 fory" with thee". ne (7 enlarged) 'together with' is used thrice: AUTEM TTT (1874) 'together with musk', sits PIECE (1886) 'together with nutmegs,' T4 THE wts (1914)? has corresponds to the Guj. uti 'close with in usages like udati close with chest'. 2. The ablative postposition are gas, , fo, afim. 17 will the lx, adrerbs of placa denotes 'rur' & in the az G5c from that place'See Ho. IV 355. It is fairy common in Old IVestera Rajasthan. See TestTOKI, S 72 (10). Looking to its origin, saa is the enlarged pres. part. of VE (=+1) used in a preterit sense. The whole phrase te literally meang baring been at that place, (he came here ) and this sense has eventually reered round to from that plece'. (See As. pp. 22-24). * 43 (aan enlarged) is another such postposition. HC. IV 489, 4 bas fexu.f3 from tho Licart'. Níodern Guj. is closely allied with this fr. See Alsporr, As. pp. 21-26. The one case in our text is at U TE Furg T - SGL "And the forhead (also skull) is not colored from the left hand eren for a ·40 3431DESARĀSAKA moment'. Cf. the com.: TFT ETTATO ITACIT 7aa. Can the problematic fa59 148d be brought in line with the above? For OwE. cf. TESSITORI, $ 72 (3), (C). fe is employed to signify the causal relation due to', because of', 'on acocunt of'Thus fa- 210 - arata tai i. e. Far Ordinarily to ig & arch. See He. IV 425, Haribhadra's 77-7,4 19, 40 (QAR). pfad -abs of VAT) with the adverhs of tine denotes tempus & quo'i, e. It has the sense since' as in 1997 122d=75) since bow long'. Cf, TESSITORI, $ 72 (a) Where , i sre noted in both the senses 'ap to', from 3. The genitive postposition a (fem. of ans, see Hc. IV 499, 20) quite obviously cannot govern any other case except the genitive. Accordingly s afor (91 f.) appears to be a spect, standing perhaps for an original - afor my'. Cf. TessitoRI, $ 73 (-4), DAR, P 38 4. #fe is a locative postposition. Aurate means in the mind'. It is loc. sing. from 9a, which is connected by BLock with *54 allied to S... cr. Tessitori, $ 74 (7), Dave, Index s. 7, māh. 74. Indeclinables. Adrerbs appear in the SE, in any one of the three forms with the 's of the nom.aco., with the 's of the instr./loc o altogether without any affis, We llare At, Fort, ME, पशु, गिगिरिदु etc., तुरिय, पुनरत्त सव्य वार, णिमिस, खर etc.; शिरपक्ति, निति, अणियत्ति, इत्यंतरि etc Note सणु 19d, खण 80c and खणि 860; खणदु Gra and WR 2234; fatte 148€ and for after Gud, cf. also 96c etc. (5 times), su 67a etc (6 times) and for 101a, 117d, a75b and af 189d. Following is the list of other indeclinables arranged in semantically allied groups 47,5 (thrice), 47-5, , de, ? (6 times); ** (****), ! (-7 at 41d and in 7 ctc.?); And a (29a, 123c), AR, aq (tbrice), 4 (trice), times; at 1328=2), E (twice, 97, ), 9 (-7R), 57,974 (43, हाय वि), तरथ (सत्य प. सत्य वि); इम 6nd एम and एव, किम, किम्मद' and केम (Pk, 116), fa and af, hi and ;#47,774, azt; FT (cquiralent to रूपम् , फुत्र, युक्त (416)) (यह घ, वह पि, पहाड च, कहकह पि), तह (त; तह म, तर fat)s , a. (5,#) and f (A) and tik, 1, 1994, (twice), (5 times ). * (TPA) and eva (1016), tand ;974, TH and ar and a, ut or 7, *** ( 26 times; afa), o (4 times), 8; ATO, FT; * (), gu (9. st); 5; (twice). I CLOW R$ wrongly derived by TessITOA (92 (1)), trom, ·GRAUMAR 41 $ 75. Compounds'. Alroady in Prakrits, the strictness of the Sk. laws of nominel composition has been considerably tempered Cf. PISAL, $ 603. The same tendency more strengthened prevails in Ap. We can roughly distinguish three types of such loseness of composition as gathered from the Ap. material of the text. Firstly, there are several cases of 'permissible' looseness sanctioned by the Sk, scholiasts with the words "sto THEATRE #r:". Accordingly, we huve fory- Part 91-769-feu-hieu 194 for fo4- zit-fete etc.; ET TEUER 510 for Heal-RW ; 797 मेहल रुणझुणउ 52d for रयणनिबद्धय-मेहल-रुणझुणजपियह सुणिय-सहु 1220 for पिय-जाणय-सुह, केवयकलोहि रसगंधद्ध 205cd for केवयस्ली-रसगंध-उद्ध. Secondly, within a compound the order of various members has no regard to mutual grammatical or logical relations. We oan almost say that any member can precede or suceeed any other member to suit metre and rhyme. This fact is recognised by the grammarians as समासे पूर्वनिपातानियमः. The examples are : धम्मिल-उमुक्कामद 25 = उमुव-धम्मिल-मुह, णेवरचरण 27d - चरण-णेवर = चरण-(गत) नपुरयोः; अणर-द्वार- उछित्तु 1200 = उछिस-अगरह-गर, कट्टियडिल-अमेग-तरंगिदि 1770 = कट्टिय-अणेग-वृद्धिल- तरगिदि मयण-पडिभिन्न गरि 1840 = मयण-सर-परिमितिः असेविय-सणियण 1986- सवणियण-असेविय: पल-मिरहरिग 114= विरटिंग-फल सिहरि-मुरतय 2160 = सुरत्तय-सिहरि. Among these special attention is to be drawn to the last two instances of the compounds with the order of the members trang posed for luctrical convenience. Apart from a few genuine cases of 'ondingless' forus, it is such cases that indst lave substantially contributed to mako current the riov that Ap. uses the bare stem also in the genitive. For in the case of tho words in such expressions held together by the strength of context but otherwise appearing hanging in the air without any granuatical element connecting thein inter se, one can easily 885 that horo the bare stem (Argit, *19) functions as a genitive foru'. But tho cages attested biere, as also lots of 1 T1010 compounds which, though printed in the copiiloted fout with their corpostats repurated, co k eally made out from the context hata boen loft ont of contideration. They also bantah AliDoxr's doubts (45. 61) _slatiu (II. 39%, 3c) belaga transporod Kuroidbiraya squirteat to #CHT. Ionet also thoro f no tiood to hirm, that in the sald case the genitir. ending in to be supplied to tron tho sanedlog word.. GUI.

·+2 JANDESAMTAARA similar cascs in Dingal works and in the Ramacarilameinasa make it abundantly cloar that we have to look upon them as froe constructions--as a looso typa of compounds. रथा-साहिरि परिचालिरमणि 4Gd for परिपॉलिए नयणनाकरावागि offers a case of the fusion of the above types. Lastly, the catrome cases of this tendency to loose composition are offerred by a fer insteaces of imenis, xhich at the same time pointedly show how much the poet cared for inette and rliyme at the cost of everything else and how at times he left the reader (or the bearer) to gather the intended sense entirely froin tlie context. Ilus we have, गियन्दइय-सोय असहन्त मर 103c= णिय ददय-सीय-भक असहन्त निम्मल- फुरा नर= निम्मल (पन्द's epithet) प्रह शवपण- जति तलि 130d = अवषयतालि नि Here we get a peep into that process as a final outcome of sbich the power of unrestricted word-composition has peterred out in the New Indo-Aryan vernaculors. For the instances of some verbal compounds see $ 76. end. $76. Some syntactical remarks. Supply of the ending from the adjacent tord in accord. At certain places the prior of the two adjacent words either the substantive or the attribute-appears without the requisite case-ending which is to be supplied to it from the immediately gucceeding word. There are some foui such caseg पहिय पदइनयह 540- पहियह पर्व भयमेसिय अइरावद...विवंतिया 1406 - भयभेसियद अइरावर...वि तरंगिणि जतिहि 1618 तरंगिणिहि जंतिदि Pk. कयहरिस वरहिणीदि 213a = कयहरिमहि घर' मपरिग पिरदिणि (i. e. )2220 = मयणअगिण विरहिण Notable case usages. Genitive has developed a very wide scope. (a) Genitive absolute. Besides the usual type geen in पसंत (- पसनद), ण पारिया 70a; मुव (instead of तइ AB) हिअयढियह, बिलु विडवद काउ 76c and perhaps मुह बिलदंतियह 25d, there is a series of cases wherein the genitive of the present participle is employed in an absolute phrase to signify continuity of an action while another Action is performed. The construction can be rendered into English by while.....,-ing'. Thus तुर मुयरत (मुयरतह), समाहिमोहु विरामुहिउ 86a. " While cherishing your memory........"

·ORAR 43 'गेउ गिरत (=गिरतह) पाइस पदंतह, इम विलवंती (= "तिय) दिण पाहउ 157ab "While singing songs and reciting the Prakrit (gāthīs), (I) who was thus bewailing, reached thc (final) day of the rainy season)" (पिय) सुमरेत ( सुमरेतह)......इम जग्गंतह...अस तगंतह, जामिण गमिया 158 **The night is passed keeping a wake, cherishing the memory of the lored-onc and carrying on to live somehot". formare priete, FR SERIES R 159ab "While watching the road in the south, I 821 the sago A gasti (Canopus)". एम मुन्नहियय भमंतह, रमणि विहाणिय 1990. "While wandering thus ahsent-mindedly, the night darned". The usage is quito living in Guj. Cf. TESSITORI, $ 124; Dave,p. 51. (b) Genitive for tho acousative. Besides the numorous examples of # and a governing genitive of the person tobe-communicated to, the following cases of the genitive of the object are to be noted: तुअ हियद्वियह एडिषि 756 (i.e. लाम् हृदयस्थितम् मुस्त्वा) तुम सुपरत 860, तसु अशुनि 130, इम करुण भणंतत् इविवाह पद धीरवाइ 166cd, बिलवंतियह आसासिहसि 191१, मज्झ संतोसिहह 197a, महु मिलिहद्दइ 1978. Advorbially genitive is used instead of accusative twice: a 104c, d. (.) Genitivo with the word of comparison: WIERTA 106a and THRICE * (i. 4. Anser) 132n. As instr. postpositions, tantra anda ( $73, 2) should govern instr. But originally being worels of comparison, tlog take the gen, also. So besides Panuntat ofir 1870, wo bare afa TIGUE 1880 and 7 T 785. Guj. Tegularly uses gonitiro with the partice of comparison, Locativo. Locative Absolule. Ons tro cases are met with: अगरिया थियह पजरगि 102d and पर पोरिसनिलाएग (i. c. पद पौरिसनिल) 7ma. Tho latter of these two cases also supplies an examplo of instrumental boing usod for locatiro. निपभुवान पत 130d and तमिहारहि चाटेउ 1440r, सह निहरि गी 144d illustrate the locative of goal. Sorcral times singularis used for plural: #77775-477 450, (C. ACTUEL) 7 610, <...Tis 14a, 146c, stift 146, A 148m, fimmtantaginti 1670, ff * 1746, 177 205C, Pk. ...परिणत पयामदेिन 1200, रामिको कामन्दारा Gh. Flipuis. Tho aulhor seems to be rebiashably fond of ellipsis At several places the sense of the sentence romains incomplela ·SADESARTSAKA and at times cren the immediate context is in no Tay helpful in surgesting the words kept understood. Com, supply the necessary Fords in most of the cases. The following cases hare come to my note: 46: supply her after that. 21ab: supply agit pre in the beginnias. 76a: supply on naa aa after a. 95d: supply Mix before arat. 10Bab: attr is the anderstood object in 1. 183cd: tha description refers to the aut. 141d: refers to fagy 15%8: दश is वर्षान्तदिन, 189c.दिवप्त is to be understooubafter अंगुलमत्त. 193d: supply an after TAM 1964, sappls er after PA, 196d: re hare to understand . 2022. fors are understood. 21&d: suppls oce 21925 supply **. Tmesu. We have already dealt with sereral cases of thesis (175). To thoso add one more $$15347 2016 2015 2016 Anaphoric contruction. Lastly, a fos casos romiin to bo mentioned therein the substantire being attended with a detailed description is felt incapablo of directly conrering its relation with the subsequent tords in the sentence and consequently an anaphorie pronoun is used which expresses the relation of the sabstantiro with other words. For parallels in other Early Vernaculars see T'.., 5 38. पर पविणगय निम्मलकर सरयरममि-पातु मियभा र पुरातार का बिग पियह नियम मुह विरह मिमि पायलीग मंपियन 122 "Since hor long is notered with the smoke of separation-fire (Four) face which brings liappiness to (your) lorer and which has the object of conquering the moon which becoming manifest on an atttuma night, coming out of the row of fresh clouds and shedding its burden of Dectar rhines serenc-rayed", yetu * Nr 777- PET (TE) IT feft*** o 133e/_134ab. "Tho me treo, berit domn with the weight of (its) fruits, dangling dae to Finltike elephant's ears: in itt leaves resides the rot of parrots". PL. मग-प-विकासा गरिन भरगनियो भाई मोमग १ "hy human leings fallo and Vidyadlasras, lg tlic splat and lunar orb in the hearenls path ly nll these, Who je ineed doirn in" Tin nee of the infinitisa with for an interrogativo particle) and if to denote imposibility of prorfurining an action Inciner nfits extremo nutne isporularly Ipathramhen. WYr find this constructing ill, c. 5. llentira's illustratie ftanza, in the farm payiru of Joindu. Tlc idiom is current ·GRAMLAR even in the Modern languages. The three cases occurring in the Sk, ars: 7 5 9 710, 9 ATE 810 and 34 F 218b. There appears a decided bias in favour of using the pret. part. in impersonal construction. Note 719xx TEUS 782, U 109d, FREE TO 142b, fapt ca 1445, a Tez 1440, tot उराउ 145d, गोयं गणिहि संचरिउ 146, फुमिहि सोहिड 2150, cte. It is also to be noted that excepting the first case (in a Doha), all the other cases have the instr. in Here we can say that two steps intervene between the type of usage attested here and the one in the modern vernaculars which has shed the passive sense and serves to copress the past directly. Thus, frstly if for expressions like say T by the goose was climabed' 'the climbing was done by the goose', those like (instr.) afts (cf. W TERI) get current and then secoodly, if as a result of the phonetio development of it into a (i. e. endingless instr, see $ 51 B. ii) by the reduction of the final sour expression takes tho form (instr.) 1978 (80 common in Dingal, cto.), thon the natural confusion of tho (instr.) with the homophonous nom./aco. gu would give us without any difficulty the modera active expression the goose climbed' "the goose did tho climbing Thus, in the end the old passive was lost from the pret. And erontually it met the same fate in the present, where it developed * potential (and later on mild imperative [cf. Tessitoni, $ 187]) sense. Somo indications as to this are supplied by statght totus the cloth can be dyed again', aigua 'the body can be annointed', fag Tu friches can bo won back and for at "hor (it) can be turned', all occurring in 101. An important result of this tendency tras the derclopment of a nos pogsire (cf. Tessitors, $ 120(2); DATE, p. 47) which probably made the first beginning by the pret. passire part, in 0774, the successor of tho old pret. part. In our text (in a passage whoso language appears comparatively morc adranced) is allested **07 180 () from Vrh and perhaps () According to T134ITORI (who follow in the matter HOERTUS: 491) originally this was a potential pauiro (doveloped from the asslive) wbled in coerno of tirun Lanta ordinsey fun for $ 110), while the erlich 1. in Ilvanected by hu ith time is. **TTIR SE.

·46 SAUDESATASAKA 1994 from Voegw-Vegas ( = 90'+3mrzt). Tessitori notes that they are found in Jain Vahārastrī, in Sindhi and Avadhi. Lastly, the attention remains to be drawn to three cases of compound verbs so current in the modern vernaculars wherein a second verb used auruliarily in conjunotion with the absolutive of the main verb serres to express an aspect or state of the action denoted by the main Terb. Thus Guj. to eat', art to finish by eating', 'to eat up'; 'to see", stati to look on'. Similarly here funny E 180 «Who would listen on-listen completely--patiently?' (Cf Guj. sino che, et ut etc.; cf. KELLOTO Hindi Grammar $ 449,751d ); $275 Eft T3 95d The thief stolo away the belongings' and ads 104 af? of 179 1920. All the trees completely shed (their) leaves'. cf. the com.: भशेषास्तरव पत्राणि गुत्वा गताः-स्थिताः! Note also कहि न सका 1056 I cannot tell'. Cf. TESSITOKI, $132. $ 77. Conclusion The dialect of the Sr. The linguistic material analysed and classified in tha foregoing articles allows us to draw some broad conclusions regarding the proper affiliation of the dialeat used in the SR, But before we take it up, it is necessary to draw attention to one important point. JACOBI has brought forth and discussed suficient eridence to prove that Apabhramsa properly so called was a mired language in so far as it borrowed most of its vocabulary from the litorary Prakrits and its grainmatical constructious from the EUHTTS (or the popular dialects). And it is thus explained the TT1999 being considered sulgar as compared to the literary Prakrit, they could not make their appearanco in literaturo in their pure, unmized form. Hence they penetrated literatura just like popular cross threads in the gencral basio texture of the literary Prakrit, and the result was Apabhramsa. This means that, the standardized classical Apabhraunso apart, the form of Apabhramsa at snecessire chronological stages can vary in accordance with tho advance in the derelopment of the popular dialects that lie at the basis and, according to the lateness of Ap. we an expect a greater degree of admixture of the popular dialects, till that process in due course loads to.a form of language like one represcated in the Prültiwpangela. Thus sad the following low atalements have been worded after bst is obscrrod by Jacobi al Bh. p. 65 ·GRASMAR The Si, presents to 118 an Apabhramsa,' which is in this manner considerably mixed with the traits of popular dialects synchronous with the Author's time. A reference to the parallels and correspondences with the developments in various New Indo-Aryan vornaculars is pointed out previously at relevant places and particularly at $8 36 (a), (b), 46.9. Remarks, p. 26 (second paragraph), SS 78,75 (end) and 76 (end portion) will make this point clear. Yet, doubtless, it is still to be called Apabhransu, as its phonology (mostly ansitoplified conjunots) and its system of infleotiona show. Besides some traits of the Classical Apabhramsa (that which is treated by Hemacandra in his Prakrit grammar), viz., () (S 93 A.), imperatives in t, R, J and a (868), absolutives in fa, a, a, phy, , syfta (868) and the 3-future as well as the h-futura ($ 66), To gan pick up several other traits which have been shown to be peculiar to the SFR or gas stia. These are. (a) use of the bare stem in the nom. of the masc. 37-stems, (b) instr, sitg. forms of the masc. *-stems in and fe, (c) assimilated h-endings of the genitives, (d) provominal instrumentals fsh, famin, stor, (e) present 3. plur. forms in . All these makc it plain that the dialect of our text possesses all the chief characteristics of the array or går . It is to be noted that the features like the absence of nasal in forms elsewhere found nasalized (I S 2-8), assimilation of a post-natal stop ($ 35, V), nominatives in 31 side by side with those in s, instr. sing, forms it, bare stem in the instr. and the loo, of zx-sters normnalization of the , g-stems ($ 15i), increasing use of postpositions, looseness in composition, new words like ylt, atyre eto, are not special to any particular localised form of Apabhra- Taśa but are commoniy indioative of the lateness of Apabhramša. But we can go still further: (a) total absence of the e-forms in nom. sing. of the masc. Estems; (b) most of the postpositions collected under $ 73; (m) change of op to 1° seen in tuli (G. saft as against I. kat) and 4673 (G. 43), (d) fem. genitives in a ($ 56, Remarks), pret. passive participle in Bremen ? Or aratas at one place the author of the SR calls at But this to different from one, representod by the language of the Pl. On this Apaburamsa tradition 19 Nov Iodo-Aryan cl. CaatteeJ1, Indo-Aryan and Hindu, p. 99. San. pp. XXII-XXIV; EP. pp. 65-66. Note that tho Acther of the SR, fallo. Easterz Grammazia23 in the 21721200 of Isuguage: lato r7, 44, 463 And 414 (8E. 6) ·48 SANDESARĀSURA ($ 67,76 end); (f) genitive constructions like a Hoite (5 76, p. 43), (g) words like इम, जिम, निम, किम, सवि, मे, मनिहर, अन्नइ, हिव, चही, तुट्टी-these features characteristically belong to the Old Western Rājasthani, while (a) development of epo into *** (831); (b) loss of neuter ($ 50); (c) use of the bare stem in all cases (51 B. 1. end); (d) k-absolutires; (e) words with the pleonastically prefized ($ 48. ii), as also the words , #, *-these features are peculiar, to the northerly section of the One., as one can judge from their occurrence in Dingal or Early literary Dārwärī. Lastly there are a few facts which clearly indicate the influence af the then dialects of the Midland (Early Braj, Hindi, ctc.) ovor the language of the Sr Thus (a) loss of an intervocal ($ 33 C.): (b) agentives like 2017, saya as compared with Hindi लुटेरा, चितेरा etc.; (e) the compound_ubsolutive दहेवि कार (in a Doha) point to such Alidland influence. · As suggested at relevant places (e. g.y 19, wote 1) the language of the Dohás of the SA, differs in several points from that of the main portion of the text and it is closely allied to (though more advanced than) the language of the Dohās of Hemacandra. II METRES $1. Before we proceed to treat the motres of the Sr., a general note on the differing Ap, metrical traditions is called forth. Besides the two well-known works, Hemacandra's balsger and the 3*, we have now five other large or small treatises-all published by Prof. H. D. VELANKAR- dealing with Pk, and Ap. metres, They are the wife of Virabanka, the WHITENER of Srayambha, the raw of Nandi. yaddba, the anonymous plant and the car ata of Ratnasekhara'. Among these the work of Virebanke (as also of Nandiyaddha, if at all) treats a very small number of Ap. metres properly so called. Though dealing with the same shiest, the shore-namat works widely differ from one another in their range and province and on the strength of certain provisional criteris such as, the definition and nomenclature of the commonly occurring metres 1 W. Scuongiva's odition of the last montioned ork (200 Beitrdge eur indischen Ferrkund, 2 D, B1, 75, p. 97 6 ) 1 bot accouble to us.

·CRATAR 49 517 (10) and its sub-types, of 11194 or are and its sub-types, of zistil, etc., the preferential treatment of certain metres and the exclusion of others, the quantitative value of the final mora, the characteristic system of the termini technici and some special features of the method of treatment in general-on the strength of these criteris we can hazard to roughly distinguish at lcust two considerably divergent inetrical traditions: the one, which for convenience's sake may be called the Classical Tradition, occupies itself mainly--but in no way exclusively—ith the prosoly of the Apabhramsa epic poetry, while the chief-but again not the only concern of the other, which inay be called the Barilio Traclition, is the motres that are cıployed in the Ap. narrative und lyric poetry as of the 37814 compositions and other forms aubstantially caltivated by the popular bards (the 3r143), Due to its popular character the latter tradition was obviously moro open to continuous revision and reinforcement, The Torks of Srayambhu and Hemicandra on the one hand and the fa for on the other represent the Classical Tradition; the air (which is little more than a compilation from the upcient works of Arjuna or Alha and Gosala or Gulba) and the sease (which also appears to have a highly composite character) represent tho Bardic Tradition, Tliese facts bring forth one important result. In the proper identification of the metres employed in the epics like tho 47 of Puspedanta or the Haath of Dhazapāla one should be guided mllimately by the metrical works of the Clasgical Tradition. The other sort of motrical works can at best render only a secondary help and as the common metres are at times difer. gently tronted by the two sorts of ioctrical treatises, it will not be surprising if their undescerning use prores a source of confusion. Tho saine words apply to the value of the works on epic metres for the study of the metres of non-epical poetry. $ 2. Adopting Ausnorr's classification (see.As. p. 46) we can deal vitin the metres of the Sn. under the following heads; RT (113 1. (a) Four-lined motres with the rhyme at, cd. 1 JACODIS (and fallowing lim Auspoat's) Adoption of the aume wfm Innload of for the commonly occurring opic mare with the tcha. 6+++++? 11 * lllustration to point. # u.

·10 SAVIDE AT SAKA (b) Metres of the Dolūtype: two rhyming lines divided in two unequal पादs (as पता : tho अन्तरसमा बनुप्पी type). (©) Netres with the rhyme-type a ,cd,ef. (d) Strophio metres. 11. Metres of the Gatha-type, B. पगंत A. मानावृत्त I, (a) Four-lined metres: rhyme ab,cd, $ 3. 1. aferr. Occurrenco: 104, 182, 157-170, 174-181. We have conflicting statements of different metricians on this welre. But most of the authorities agree, by definition And illustration, in considering end-Yamaka 19 one of the differentae of the af. And st. 104 and 182 of var text which are expressly called for strictly bcar out this point. Further, with slight difference all grant that the metre has 16 morne per line, the last two noiae being invariably short. But the agreement does not reach beyond these points. For the ienaining, there 18 a considerable measure of divergence among the various authorities Firstly as to the number of the whis. According to some (Ca. 41a, Vus. IV 33, 34, the form of the definition stanga 127 in the PP., cf. the introductory repark to Sc. IV 32 and Ch. 37a last lines) there should be one * for all the four lines. And if instead of one, there are two FS, one for ab another for o d, the metre receives the name aša. The author of the Se. follows this tradition, Others (Ko. II 216, Ch. p. 37b/2 recording 4 different view) hold that it is the other ray round. According to them the Alepy must have one ## and the 31st two." Secondly as to the scheme. Amoug the "Bardic' group, all ale silent on this point, except Pp. which only says that the final two morae are to be short and the su is forbidden, One of the commentator of the Pp. cires Guitative as tlie scheme. On the other lapd the Classical group detines fa 29 a sub-type of the metre 17h, which latter is quite 1 The name appoats tanously as afF, #, sfere eto.. 2 Cx. 49 TangDisos a third parloty with a different Yamaka (1) for eacha of the tour lines and calls it f47a.

·GRABAR 51 unknown to the Bardic' n101]. 9774 is defined (Sc. IV 20, Ch. 37a/15, KD. II 21) as 6+44444 and when it bes 7945 it is called feet or mal. No specific prescription is found for the form of the final two-moraicam, but the practice is mostly in favour of two shorts. Now apart from the two above-mentioned stanzas 104 and 182 which satisfy all the roquirements of un afear, there are 22 other stanzas (157 to 170; 174 to 181) in the Sr. whose structure is doubtlessly that of an afst, but whioli fail to satisfy the important condition that all the lines should have the 4*. It does not seem justified to call the metre of these status at because, as noted above, that name is quite unknown to the Bardio" tradition, while the motres of the SR, have no particular concern with the "Clussica!" trudition. On tie strength of some evidence, the fact can be liistorically explained. There is an ancient tradition (See Vs. IV 32, CK. 41) to the effect that in a stanza made up of equal or unequal lines of any good metre, if the arfe (i. e, 489) language and the ** are employed, the stanza is called mea. Vis. IV 34 gives an illustration of "isTI TEST #ga" i. e. an aften in the form of a na stanza in smith with the employed in it. But just below the above-cited definition of the crepi, another given at Vjs. IV 33. Unfortunately the text of this definition stanza is not quite clear, but the form of the stanza 18 64v-+--Aww, with due for all the loue ligos. These facts make it probable that formerly aim was a technical device rather than the name of any specific matre and accordingly any common meta e could be turned into sícet hy composing it in By and using the 4*, But tho mctre with the foren 6+4+ 4+w. was employed with special preferonce for this purpose and the result was, et ceased to be a general name and came to be specially attached to that particular metre. And later on, the distinctiou between the the ('a recurring group of syllables identical in sounds but different in sepse') and the ag 779 ('lbyne') being lost (cf the uses of the tein hat in the sepse of zag in the CK, und even in the Su., See also the illustration stanza for afspr at Pe, 128), a 16-inoraic metre of the above typo, even withont the 47% vano to bo called T. Hinally it also took up the rhymo a b c dl. It is to be noted that the tem 359 appears tu buvo an exactly pisallel bistory. See ok. 31, 38, colata, on l's. 118, Cb, 433/13-19, Onc ·52 SAMDESARĀSAKA - 8 Among the stanzas of the St in question, the strictly so called is found in at 157 (a b haring one od another), 161 (only od), 163 (only a b) 165 (only cd), 166 (ab baving & pure one ed un impure one) and 181 (u b and c d both having an impure one ) An analysis of the 2013 May stanzas occurring in the SR gives the the following statistics for the various forms of the constituent 17 (the figures for the two afferma at st 104 and 182 and one for at st 111 are given separately in the brackets) The forms of the 1 of 6 morae ara www- 20 (6) VW 20 19 (4) 7 2(1) These results show that 1 w of our em built up altogether differently from that of the af- of tho Hr, as the latter has generally the form — or with the trocharc rhyme (Seo HP p 191 mid ) while here it is the least preferred and qmte exceptional form In our case there is a strong tendency to two-morate grouping and hence a long for the 2 and 3 as also for the 4 and 5 mora is mostly avarded The forms of the 2 of 4 morae are www 39 ( 23 v 11 (10) AY 4 Thus the wis permissible in the 2 w and in the case of the thi and APT appears to be the only form of this the Note that out of t 14 cases of the to not less 6 Occur in those stanzas which have got the The fornis of the 3 of 4 morae are 23 (1) ww 121 This makes it clear that the $74 13 avoided in the 3 Tot Mark the anapaest tendency of tl 18 tu 1 167/as . real erception crossfhly an apparent one because in the latter Cate 11 Tot i tako praserted (c) 19 to be prelerred to a 46 (1) 4 ·ORALAR 59 Thc 4.74 is invariably made up of two short norde. 1626 (wwwwwwfuwwwww/w) is thic only casc of Gana-fitsion, S 4. 9. A. Occurrence: 111. Different views on tho cxact nature of this metre have been already noted in our discussion on the metre afl. The Tyayering apparent in the Mes, of our text at 1104 (B CHET, A xia) and in the commentaries (the text of both reads aft, though the zile names the metre of Sk, 111 ay REMUT: and quotes Cs. 41 cd to defino it) also suggests diyorsity of traditions on this point. As the difference between the two metres fri and after amounts to a negligible point, the vicw adopted in the Ch. which considers both these as merely two varieties of 079 single metre appears quite reasonable. $5. 3. TTET (TEK) or TIETOTTT (ITE). Occurrence : 26-80, 41-57, 58 (ab), 64–68,74 («b), 91-92, 96-99, 101-103, 104 (« b), 105-106, 109-110, 113 (6 lines), 117 (6 lincs), 118 ( 6 lines), 121-124, 125 (b), 130-136, 139-147, 151, 154, 155 (b), 184-189, 190 (nb), 192–197, 198 (ab); 86-87; 204. Total 328+12 lines. This is the principal' metre employed in building up the frame of the Sn. About ouc third of the Sr. is composed in this metre. As it was in the edge of the after, bere too we liave to make a way through the conflioting and scanty accounts of the progodista, CK. 17 defines 30193 as metre of 21 morae. The final nudra should be always short and a 5-moraic an is to be avoided. The commentary on Cr. 17 ( See Notes on Cx. 17) says that the tradition requires final three morae to be all short and this is comfirined by the Sr, stuozas. Thus the OK, makes 110 provision for the constitution of the individual tos, nor says anything regarding the caestra. Still the definition stanza bag a definite caesara after the 12. mora.' Further, this 1 According to Kannadisvasa as quoted and inlerproled by JACOBI at Bh. p. 71* That is the chiat motre of the Nigora Apabhrauto. 3 Tho TTT metre well in the body of the at Bh. vir 19 Bus tho ASIYA ofter the 12. mota Soe Bh., 48, 7, ·54 SAMDESARISANA Ck 17 18 quoted in the 22167 OU SI G with tho varying fourth lino zecordug un an alternative name of the Ta The 21671 in its explanation of the definution adds on its own account that 6+4+4+4+3 is the 77 scherno This is borne out by our stinzas but with certain important oservations as the analysis giren below shouls If we refer to the group of 44 45 and the shtrin for some guidance ou clarification on this point there also we arc freed with disappointment Sc VIII 50 defines one metro wluch is preferentially cioployed in the ri coni positions It should have 21 morae, with final three morat short and caesuia after the 14 mora On the other hand Ch 37 a/9 and KD Il 5 defino um4 as a metre of 21 morao dvided as 6+4 +6+ As this infringes the explicat bas on the cat pot by the Ci one would think this thing to be essentially different frou the 77108 of the CK But the facts that the definition and illustration stanzas all without fau ead in thiee shorts and that the illustration stanzı in the Ch has a caesu a after tho 12 mora (ef ALSDORT observation As p 47) do not allow any doubts regarding the basic identity of these two metres The fact appears that originally a 21 noruic stanza with the final thrae morae sbort must have been in common use for the TFI 43 and in accordance with the varying practices and traditions it camo to have different Gana-divisions and positions of the caesura Only thus can be explained thc basic agreement but the divergence in details in the various actour ty of this metre The true stanzas of tho Sr hayo the caosura optionally after the 11 or 12 mora' We saw above that the praclice of some (CK 17, Ch 37 a/10 11) supports tho 12 moraic caosura On the other hand ile 11 ora caesura finds a stronger support in CK 29 There while defining the strophet (mark the name) it is prescribed for the frst pact--which though unnamed 19 completely dentical in form with tho ar eicept of couse in the position of the caesura--that its lines ore made up of 11+10 mola Tlo general form of the m in tho SR 18 (the superior 1 baino 18 ta vare ith the trans found in lho (16,4aning of the 19th cent A C) of ARITHI (SOC X'un gos XXVII) ·ARAHAR 55 quantities less common): --+*+/+5 www or alteroatively . همه دسته سه + + 4 مته my + V The individual this are represented as under the two 72971 stanzas 80, 87 and the one 3713 stanza V04 are included in the calculations); 1. (morae 1.-2.) las tro fortns : 206 134 2. 57 (morae 3.-6.) has five forms: wwww 104 W-56 80 18 -w 72 This shows that the 99 is permitted in this one. 3. (morae 9.-10.) has four forme: 179 w G2 71 - 23 Here the this forbidden. 4. (mora 21., or iorae 11.-12.) is made up of one or tiro short syllables according as thc caesura falls after the 11. or tho 12. mora, The proportion of the two is 190 (56%) 144 (43 %). Exceptions :m-501, 576, JBC (all the three occurring in the section listing trec-names), 1306 and 1510 have tho caesura nfler tho 14. ora. Cf. the mit of tlic 11-mornic crcsura trented at So. VIII 50 and CH. V . For 47c, 1876, and 188d seo 1 A word of osplanation noon nieconary for Lług sprog out of the five (6+$+5+4+3) Tgiron by the 4 lata soton. Tlio txo implica tions of the polacipal of 7 diriilor in goooral ars that firstly the closing more of a precoding 77000 tho oreping most of the following I cannot be replaced by theaty ishlable 1. c. tho reparalo Indiridazlity of each of tło two morse is to lo grosorrod (cl.A.N 19.) and secopdis, the common paltors of the Tarlons coastitaent 57 montioned in alt Ars to be indlentira of the general rhythm of the metro it any. In the taso of the ti slanias in the Sn. the formal ndalyal abows that it tondeco ta fitcision and facility to aptit on the lint and the third m7 of the neck into two and as the can be dont without any detriment to the onorlyin; pencipal, *To pie arm te np. ter proendoncou C, 1'31 10701 3: (cf. llr. 19) Ad 1100.f's tresl. meat of the si{** 3 27 below) Med pointed 17 VY ·5f SWIDTÁARĀRAKA = 66 58 Dietrical Emendations. The licavg syllable standing in the place of morae 11.-12. in 29) (star) and 556 (ata) is resoluble into two shorts in accordance with Grammar s 28 (cf. $ 41f). For 1510 as also for the question of Game-fusion in 140 see Netrical Cmandations. 5. Tot (morale 12.-14. or 13.-14. in accordance with the fall of the caesura) has three forms in the first instance, to in the second. w OG - 56 77 w 71 G. 79 (morae 15.-18.) has four forms: W 131 89 - 59 Like the 3. To this also avoids the ty, 7. 77 (morae 19.-21.) has only one form www. Exceptions --92ab oftet, Aa (i. e. - instead of w) are only apparent ciceptions, since they are contraction-forms developed from घलियय, मिस्यिय See Grammar $ 41 (c). T'or 151 , b seo Metrical Emendations. $ 6. 4. 734T4 (6) St. 85 calls the two stanzas nest to itself 95954. But their scansiun shons their structmc to be in no way different from that of a stanza. So they have been treated here as Fl). It may be noted that after defining the metre verri Honacandra remarks (Ch. 37a): # agora atat a. The various metreg with the name 7977 found in the metrical treatises are altogether different from tho metre of SR. 86-37. $ 7. 5. लंकोडय (लदोटक). Sr.204 is expressly named its by 2031. No metre with this name is known to the cxtent trcatiscs on Pk, and Ap. metres. On the other hand the metre of 204 is found to differ in no particulars from an ordinary ft. But the desigaation implies some characteristic peculiarities, which bowever are pot clear to us. Accordingly 201 also is treated here as a 0741. S 8. C. पद्धडिया. Occurrence: 20-01, 59-62, 69 (av), 200-203, 205-206, 207 (ab), 09-213, 211-219, 220(ab). Total 94 mes.

·ORAMALAR 57 Being the standard inetre of the Ap. epic, it is one of the commonest of Ap. metres and as such it is treated by almost all metricians with varying details, A qišaline is made up of four in 1978; www, is obligatory in the last mi, faoultative in the 2., forbidden in the 1. and the 3.. Regarding this metre Alsdorf observes (Kr. 73): "The Paddhadika is a motre of anapaestic (i. a. - -) basic character, which though variously violated, is still to be clearly recognised. The freedom of construction is greatest in the opening portion of the 91; toward the end the regulation becomes stricter and the basic type of the respective 79 stands out more clearly. Tho 3, 4 is built op similarly to the 1. and the 1, similarly to the 2., and between 1./3. Fus on one hand and 2./4. 75 on the other exists & certain contrast, so that a regular variation is set cp in the stanza which is indeed often giran up—especially in favour of a continued anapa est rhythm". Gana 4. is most strictly regulated. In the Sr. stanzas it has the form --- without exception. In other texts the form www is also attested. Tho forms of tho 2. mare represonted as ilodør: (o) wa 39 ( 41 %) (b) 25 (27 %) 14 (15%) --- 16 (17%) 58 (50%) 41 (44%) The corresponding percentage for the caf7419 occurring in the Kr.is 53 and 46. But Kr. has 1% of cases which are either dactyl ( - ) or spondeo (--). They are totally absent in our specimen. In the case of the 1. and the 3, 12 liero (as in tuc Kr- ), ou is the most frequent and 1797-which disturbs the anapoest ristim inost-the most seldom verso-foot as the following figures show, 1.17 31 (33 %) 20 (28%) 23 (21 %) 14 (15%) 3. tpop 40 (43 %) 37 (39 %) 1 (4%) 13 (11%) As-www has originated from the annpacst (cf. Gana 2.), o en sum up the first two Sgures in the case of cach of the 110 112 anil this gives is the result that "ic annpaest basic tcodeney is still more strongly impressed on the 3. 7 than it is on the 1." (Kr.). 8 u l- ·58 SLIDESARTSAKA $ 9, 7. कव्य (काव्य) or पत्युय (घस्तुक). Occurrence: (independently) 107; (as the first four lines of the strophe 9572) 148, 188, 191 (only a b), 199, 137 (?). There are 24 morae to each . The scheme given by the Pe. (109) is 6+4 + - +4+6. M is forbidden in the 2. and the 4, 7 and the last two morac are to be short. Ch. and othors define this metre under the name rin and their scherne differs in this that they say nothing regarding the caesura after the 11. mora After oxatnining one hundred and odd 451997 stanzas fiom different sources, A CSDORF ( KP. PP 74-75) comes to the conclu. sion that the main caesura falls after the 3. i.e. after the 11. mora), while later ou a second oaesura has developed after the 11. mora, which, in the stanzas examined by him appears regularly, but not quite without exceptions This second caesura is considered by the Pr, as the main caesura. In the case of the St. all the 4973 bave both of the caesura. The last w is w-w(15) or -- (3) without excep tion. The material is too scanty to permit statements with any positiveness regarding the form of the other pas. In the 3. m the cases are divided exactly half to half between amphibrachys (---) and ploceleusmatism (ww.). In the point of preference of forms in the 2. and the 4. Tu our text supplements ALSDORY'S data to some extent امه فيه AVU 6 1 3 2. W 10 6 vo is strictly uvoided in both these qus. ALSDORF has comparatively higher Egures for the last two formas. Nothing is remarkable regarding the forms of the 1. TT, SR. 137 hus an uncertain text and consequently it is not here taken into consideration For its discussion see $18. $ 10 8 फामिणीमोहण (कामिनीमोहन). Occurrence: 82, 83, 85, All other authoritics cxccpt thc Ck. (10, 33, 33), tho Gu. (78) and the wykur on the S&, treat this metre under the name at. Gencrally it is defined as made up of four lines, each line liaving four qaray. No restriction is put as to the form of tho 78. Only Cm, 10 says that all tlic four yras sbould ·CRAXDIAR 59 be us. But this appears to be an overstatement, since in the Or, itself two Ens--one forming a part of the strophe ATT (Cx. 32) and another in the allied strophe talent (Ck. 39) ,--do not abide by that rulc. They have amphimacer (CT) is the 4. apu only. And to this point ou stanzas also subscribo. They regularly and in an amphimacer. The other three pos have various forms, but the forms w-wand www are studiedly -Dyoided. This means that the middlemost mora of every is invariubly short, which fact results in giving an amphimacer rhythm to the metre. The defining or illustrating stanza in FIRI given by the So., GL. and Kd, also bear out these results. Only the stanza in the Ch. neither regularly ends in - -, nox can it be said to have an amphimacer rhythm. It is obvious that in this case the Ck. presents one extreme, the Ch. the other. With this varying treament of at one place as 4 मात्ररत्त, at another as a वर्ग वृत्त, ef. a similar treatment of gfast (see S 16), Tho #91641 on St. 82 names the metre as mp4 for which CK, 92 ( with some variants) is quoted. Now, it is the metre defined and called Men at Ck. 10 that is identical with the motre of Sr. 89, etc., thile CK. 32 deals not with FIAHAT bat voith a strophe mado up of naar followed by & TAH177. But SR. 82, 83, 85 are not strophes. So they aught to havo been called, not satan, but there and accordingly instead of Ck. 32, Ok. 10 ought to lave been quoted. Against this it can be urged that though the constituted text of the Ck. 32 cannot be made to support the ries that calls Sr. 82 44, still the text of Ck. 32 as quoted by the LTET bas a variant for the first of tho second line (fm 43 for TIRO 97°) which obriously means that a Ana with or without being headed by a ter can be called 17147. However, this cannot be tlic original reading, as it is not attested in any of the thrce good' Ass. used by Telukar for his cdition of thic Ck. and bosides, it strikes at the very root of the method of nomericlature in the Ck., in accordance with whiclı when plikta is prefixed 1 Pr. II 127 delno sto baylag four 7 to each lloc. Dat it is named that are • En, 81 kst, bat it does not form not with the following ICT from the view rolot of salar or 16pse vad hence It fail to make up Astrophe.

·60 SAUDESARASAEA with to 1 791, the strophes so furined received the distinct names eren and are in turn and similarly the strophes la+48 (CE 31 ) and ma+T? (Ck 38) are named respectively kn and Felt Thus it would seem that Sit. 82 ought not to have been called चदायण This is quite reasonable Yet there is also a defimte point or two to show that at least in some quarters the name IT was in use instead of the For, in the later days of populer Apabhramsa poetry there appears to hare developed a loose practice of applying the name that by rights belonys to the whole strophc, to some one of its parts also CF $ 19 for some such instances In the case of the Tom" strophe also the same seems to have happened, since GL 78 (probably an interpolation according to VELANKAR) defines the tiranten under the name चायण (alternatively मदनावतार) S 11 9 दुपई (द्रिपदी) Occurrence 120 All our metricians except fler bare treated this metre It! general scheme 1$ 6++4+4+4+*+- (Ch IV 14, 10 the section) By a statistical investigation of 100 73 of the 7793 occurring as the opening stanza in the Ap epic, ALSDOR! obtains (see HP p 195 ) the following results Trochaic rhythin 13 foibiduon in the IT whose most frequent furm is The ? and the chiave the form -, less frequently Thiese forms are forbidden for the other 4 moraic TS There 19 A caesura after the 16 mora in a few cases, however, it is laching The caesura 18 preceded, almost as a rule by two shorts and is followed by a long in majority of the casos Our gat stanza differs from the description in certain details. The first has the form wwww-in abc, wwwww ind Only a and chare & caesura after the 16 mora Similarly the दुई given at Gu 81 13 Fanling twice in the caesura, that at Sca VIII 37 and Ch 32 a/15, ODCO On the ground of the caesura after the 16 mora ALSPORT recasts the above-giyen scheme for the gr thus G ++/C+wa One serious objection can be advanced against this regrou ping of the morae The principle Delund the ta 15, 19 observed previously, this that the last mora of a preceding 7 ·GRAHAT 61 cannot be fuscd together with the opening nora of the succeeding to form a heavy syllable. Expressed differently, 4 heavy syllable cannot appear for the two contiguous morae belonging to two different sus. So in a gas, according to the traditional definition, a heavy syllable cannot be substituted for the 14, and the 15. mora or for the 18. and tho 19. mora taken together. This fact is indicated by the representation 6+-+4+4+4+, while in the form given by AUSDORF it is obscured, since 6 stands for all the ten forins (including ww-) possible for the 194717 17. A few words on tlie nauci. Autor finds it strange that in the face of the name of (=f498), the Ch. (and now so can also add the So., the Gl., the Cr. and the Ku.) defines it as a motre of four rey. In bis codi, on Pp. 151, 14 discusses for a different reason, whether sai is a two-lined metro or it is four-lined. PALANKAN has fnlly disongsad this point at AM. II $ 49. V8. III enumerates and defines no less than 57 such fonr-lined Evis aud Hemacandra also knows all of them by their names (see Ch. p. 320/18). But strangely enough, the sort of the treated bere docs not figire in those 57. Oor type hus the to-lined form then it is used as the opening stanza of a Sandhi in the Ar. opie. But in lyrical compositions it appears to kavo tlio four-lized form as a rule, Cl. a similar distinction of employinent in the case of 92, 7719. etc. 12. 10. रवणिज (रमणीयक). Ocourrenco: 208. freos is the solo nuthority to dofine this metro. VA. IV 26 gires 5+5+4+4+v- as the m-schome of the thirax. Our stanzi confirms its A sido-point is raised hy Yus. III 27 and IV 89 whichi respectirely define the tro metros called () and TEXT miest (ifrarorat)' both with the 77-sciemo" 8+1+ 4+4+v- Thich is identical with the schemo of the ra, and that is more strange, while deGning tho Afrim it is 1 Daly te llastraliro Rae (155) la the PN contaar two ? Probably this li identical with the fm (5+8+1+1+3, illatratton oadingla - ol C.IV 1 in the lection, ·62 SAMDESARĀSAKA espressly stated that this metro 19 similar to the Tahs and Tittari No wher, however, it is made clear what is the exact difference between these three Perhaps it may be that the metre with the scheme 5+5+4+4+-- when it functions technically as a four lined Perret, it receives the name that, while as an independent metre it is called Thila, which belonged to the general clasg Cf Cb 31 b/8 and KD II 23 com , इह हि गा पादण्डकादिवर्ग सर्वच्छन्दास यमनितानीणि सामा येन गलितकानि From the single stanza at our disposal scarcely anything can be made out regarding the preferred and forbidden forms of the individual to The 4 TT appears to have a tendency to prefer the form -- and end in a long as a rule The 14 18 permissible in the 1 phone The aim on Sa 208 says that possibly the the metre 19 a variety of the *** metre The external sonlarıty of having 21 worae has proved here mislcading (b) Metres of the Dohā type $ 13 Il gigi (free) Occurrence (independantly) 31, 69-71, 75–81, 88–89, 198, 150, 156 (as the latter part of E) 18, 19 24, 25, 222-223 This 19 the most ourrent metre of the Ap goomic didactio postry and its position can be well described by calling it the Apabhramós counterpart to the Prakrit menu It is made up of two equal hemistichs each of 24 morae, with the caesura after the 13 mora The scheme 13 6+4+3/6+4+1' Following are the details of the forms of the indıydual T13 (Results obtamed by Jacob aml AESDOEF through an analysis of the Dohas occurring in other Ap tests are also reproduced here from KP, p 72 for comparison Hem stands for the Dohas in the Ap portion of Hemacandra & Praknt grammal) Faims of the six-moralo Tet - 1 I The form 5 (V. &c ) confrm the derivation of tho Riola front f1936, against SELEIDULLAD p 6" Thu is according to the tradition followed by the CE, FP and Ku Un the other hand the V8 , Sc Gu. And Ch considor the nel syllable of 92 Fays to be long and hence they gır. 14+12 the neware of the TCH UP pp 188-189 ·GEALDELAR 69 (a) the middle always ww Hem. San. KP, SA, Wuuuu 62% 67% 62% 52% بعدهالحياه (b) the middle always - 37% 28% 51% 48% (c) only one of the middle two w 1% 7% 0 يداع ما المداوم The figures show that the percentage of the Sk. for the (b) group is the highest, that for the (a) group, the lowest, while the abnormal forms of the (c) group are here totally absent. The preferred forms in the Sr. are (the figures indicate percents) SR, Hem. San кг. 20 13 13 11 16 16 17 13 30 12 11 12 Hortus of the four-morais - () in the even :: 31 (70%) 13 (30%) The propoi tion is thus 7.3. Tlo San, has 6:2 and the KP., 7:2. (b) in the odds: 21 11 8 22 8 10 16 Yuv 7(5%) SR. 27 (61%) 9 (22%) Hem. 27% Snu, 39% 1 (2%) 5% 10% 18% ·64; A DESARASAKA The tbree-woraio 17 is throughout www esccpt twice:' 704 Tafety and 1560 733714—both contraction-forms (see Gramnar $$ 41 (C), 281), The last mora is short without fail. In a general way the practice of the eters in the Sr. is more alin to that of Hem, though we must hasten to state therewithe that the SR, has no case of T-fusion as contrasted with Hem. which bag teu such cases. Out of the two possible cases of the fusion in the SE., 81d (at and the i. e. Il-'-- ) is ouly apparent as gronmar requires the form is. The remaining 80c (fot Antal az i. e. wwwwwwwxfs//) is doubtful as the text at that place is a bit uncertain. $ 14, • 12. u (asta).' Occurrence: 112, 114. Pp. 167 says that the 23 18 made by the addition of fra horae to cach half of agr. Tlie form of these five morae must be www. Accordingly the measuco of the 114 would be 6+44 www/G+4+w-w. The Ck. and Kp. do uot put any restriction on the form of this additional 419, but tho illustration in the Kn. quite follows the prescription given by the Pr.: and the coin, on CK, 26 inakes it cxplicit that the additional 9444 míst be, according to the contention (Para), either a FTT (---)or ---- An examination of the form of the definition-- illustration stanza Cr. 26 makes it probable that the form --- has developed from --w through the contraction of the Anal two shorts into e long, Our specimens lave always www, except once (114) ATE 109 i. e. wwwww. In the total at Hc, 419, 6 both the lines end in -r and not in www. This is explicable, as ALSDORP Dotes (As. p. 52), on the ground that a long lias got substituted for two shorts. Besides this 's an has another poterorthy feature. As a rule w is forbidden in all the 73 of the star and teams 1 The con ou Ep. Il 17 gives tho doziration of the name uis vboroby the other names are also explalood. Because in this metre the data ondoned with a crest (F) op 10 eppopdage () in the form of the additional fro more, it u called the "orosiod' (a). V or ***+any of tho Tossessiva sufiter **T or () givet for দৃসিত ·JUETTE 65 being nothing but an extended to 'crested' atel, it is naturally expected to abide by this restriction. But there illustration has one 12, This appears to be a further development in the practice regarding the Tros. Our stangas do not take this freedom. Their Dohū part is quite regular. $ 15. 13. u (49*). Occurrence: 108. St. 107 calls the next stanza yes. None of the metrical treatises to our band know any metre of that name, Only V.s. IV 63 treats a two-lined metre uzu (agent) with the scheme 4+4+4+4+4+--which, in spite of some difference in name appears to be identical with the mactre of our stanza. Vs, IV 27 deines a metre 3 19 4+4+4+-+4+4+--- Though the *-scheme is different from that of an ordinary dia, the structure of the stanza shows it to be a giat beyond any doubt. Following the tradition of treating the ar-ending syllable always long, we have here the measure of 14+12 instead of the usual 13+11. But the measures of the giet and a when rendered in accordance with the 'Bardid' tradition (which does not count the F-ending syllable as ncccssarily long) would be 4+4+4+-+4+ 4+- and 4+4+4+4+4+. This can mean that an slide is just a stat line with one mora less in the prior , Conscquently an ch is liable to be confused with a दोहा. Precisely this appears to have been the resalt in the case of St. 108. The constituted text of Sx. 108 presents it as a regular start with 13+11 morae per 'line. If we want to make out 80 ya from it, we must reduce each hemistich oy a mora. Possibly by reading हिउ' for हियउ and दहाव or दहिवि for दवि this can be achieved. Of course, it is to be assumed that the naraes 4* (St.) and Japan (Vss.) relate to the sanc metre, But obviously, for the exact definition of this metre ve sball have to wait for explicitly informative sources. (c) Metres with the Rhyme-type ab, de, cf. & 16. 14. डोमिलय. Oecurronco: 22-23, 95. The state or life is known to the metricians of tho Bardia' I ffa is altasted la the Dokákolas nad savotioned by Hc. 1 959. 9 8. 11.

·SLIDESARISARA group only. It is treated as a simet (Cr. 16, PP. II 208) 18 also as a RHIIT (Pr. I 196–198). As a quita it is made up of & #749, with the first caesura after the 8. syllable and the second after the 16 This distribution the caesulae has à rhytlunic significance as it changes the unapaest rhythm of the middle portion to a dactylio one. This fact is indicated by the scheme of the greatest of the 41-4127 type. It is 6+1/4+1/6+4+4. The difference between the chet of the city type and that of the Acara type is that the two shorts and one long in the non final How of the former are replaceable in the latter respectively by onc long and two shorts In other words all other forms of a pain are permissible except the e But, as the two specimens from the Sc short, in practice there is a strong tendency to preservo the rhythm of the qum-type i. e. tlie opening and the close anapaestic, the middle dactylıe. In the case of one of our mais the fact that separate stanzanumbers (Se 22,23) are given for each lulf raises one issuc. Ck 43 defines a metre called y as a four-lined w pietre with the scheme 18 (odd), 13(even) The rhyme in the lines of Ck. 40 indicates that a caesura is to be recognised after the 10. mora, so that 10+8 (odd), 13(eren) is the scheme. Further Pe. 99 defines this very u as a two lived metre inade up of 7 aqui7x and 3 shorts, with the caesarne after the 10 aql the 18. mora. Now granting the liberty of considering the final syllable anceps, Se 99 or 23 (or ang 1 storey for that) is quito a good ya. Perhaps it makes for a greater degies of precision to name the metro of Sn 2 and 23 ant. But following the comm here it is considered as a state, wrongly divided into two. (a) Strophic Metres. $ 17. Astrophic metre results from the combination of two stanzag in two or more) different metres to form a unit. In the Se, we havo three strophic metres: , 9 (three varietics), सहरमा 15. t. Occurrence. 18, 19,"4,5, 222, 223 Of the two parts of the in the first receives the name V (should it be t3) in tho Ck. (34}. Sragarbbi, Ilemcandra and others call it *TI (3671). Hier focus the second part of ·BIETILE 67 1 this strophe. The whole strophe is called by all except the CH, which calls it art, and the Ch. which gives both the names. ४) राढउ. A or -17 has five lines, whose constitution varies according to the different varieties (seven according to the Pe.) of this metre. But the Ck. knows its one variety only, viz., 15+11+15+11+15. This is for of the Pr. In the Sr. We have this as well as the other variety with the constitution 15+12+15+11+15 (called #ar). St.& 18, 19, 25 and 222 gre vs while st.s 24 and 223 are mrs. Regarding the p-division of this metro, the I'r. gives oue scheme, 4, 6 etc. give another and Jacobi and ALSDORF adopt a third-all different from one another! The 7-sclicne given by the Pr. does not work in the case of our stanzas. That given by i and others incorporates a different tradition, So the scuietoe derived by JACOBI (Sän, pp. 31-34) and ALSDORF (Kr. pp. 70–71) from a study of the rais occurring in the San. and the Kp. is hero tried. The strnoture of onr 777s conforms to that scheme except in one detail. Twice (250, 2280) we have to assume 11-fusion in the case of the first two youts of the third . This can be avoided if it's t-scheme is adopted. The odd 98 The first to consists of 3 morne, It is either www or The last yt is made up of 5 morae which, in the case of the third and the fifth 4 should have one of those two forms: www or wwwww. The middle piece is divided into tivo 2773: 4+3 in the case of the first qra, 3+4 in the case of the third and the fifth. Ag to the form of these as, the form of the threc-moraic mis almost exclusively preferred in the case of the third and the fifth star of our igis. The first e pernits both was well 29 www. The four-moraich is either or www in the first 967, but appears in all the four forms ( --- preferred) in the third and the fifth . As remarked previously, there are two cases of tu-fusion: 250 opens us wand 2280 29 www. The even पाद::-- The 11-morais k is divided us 4+4+3, the 19-mornio ·68 8AMDISABISAKA $ 18 (246, 2236) as 5+4+3 The last 18 ww without fail In the 27 the form ww- finds considerable favour छ) दोहा The 1879 forming the second part of the above mentioned Us have been already dealt with under $ 13 16 पत्थु (वस्तु) or छप्पय (षट्पद) Occurrence 137, 148, 189, 191, 199 Normally, this strople is made up of 41+F Ont of these two the fry has been described under 9 Due to the uncertainty of the text there is some difficulty 15 making out the metre of the first fiour lines of the st 157 187a and c containing 21 norae are clearly ranks with the caesurs after Il mora 137d is also the same, with the caesura after the 12 more The remaining 1370 containing 23 morae can be emended into a Tam by dropping & (cf. 6714 on 137b ta taha 7) and adding a (=7) after, say. Are though the opening still appears dissatisfactory from a metrical viow point Thus the first four lines seem to make a regular tre stanzs The same the case with 191 c and d, hoth cantaining 21 morac, with a pause after the 15 KD, in the section dealing with the quts or six-lined retres, defines and illustrates (see Kp II 33, com st 9 49 and 51) several strophes made up of वस्तुवदन (= our चान्य or पस्तुक) or रासादलय (a metre closely allied to our W) or their mixture on one hand aud 47 (= our Ters) or TR* (-TR less by a mora ) on the other and पदपद, सार्धच्छद or काव्य are the general designations for all such strophes In the light of this yo can say that 18 in our text & general designation of the six lined strophes with any one of the following three types of combinations 4789+5 (148, 189, 199), t+38 (187), #12 tentato +T (191) For tho Te see $ 5 SPICS Tho 28 morap of an OFIM line have the scheme 4+4+ 4+www/6+4+ The Cu provides for the three shorts occurring at the cod of the second part only, while the Pr provides for neither of the two groups of three shorts Bat both the parts of our stanzas end invariably in three gborts According to the Ch, in the 1, 3 and 6 , the amphibrachys 18 forbidden and the 6-moraic moonsists of two Now the ·69 METRE units: 2+4. In our stanzas the restriction bolds good in the case of the 1. and the 6. 77, but it is once (1998) violated in the case of the . Tu and and the 6. moralo me in 199e in such as cannot be split up into 2+4. For the metrically dofestive lings see Metrical Emendations. $ 19. 17. CG4. Occurrence : 115-116. There are onlytwo sources—one known, the other mknownwhich can impart requisite informatiou regarding this metre, and as usual the definitions given by them are at variance with cach othor. Vja. IV 737 says that when car is combined with 791 the result is ates. Thus the Vja, treats 54 as a strophio metre. On the other hand the quotation from an unknown source given in the 167 (on Sa. 115) and the अवचूरिका (On SR. 118) states that खडहस्य known also as अविचलभ contains twenty #ng which means that it is identical with maraka, having five #1198 per line. So the name that the Vug. applies to the whole strophe is found given to only the first part of the strophe in the quotation just referred to. It may be observed passingly that this sort of looseness in Daming 4 strople and one of its parts is evidenced also in the case of a few other metre. The names an (or ya, sce $ 18), (see $ 17) and tarun (or *179 see $ 10 ) are found applied to the whole strophes as also to their first parts. In spite of the fact that the two parts of the strophe are separately numbered, our Tseta conforms to the definition given by the V3s, and not with one quoted in the com, For, the sentence left incompleto in SR. 115 is completed in SR. 116. and thus Sn. 115 and 116 together form one unit and if any shred of doubt still lingers, it is banished by the striking fact that the prey of Sr. 115-116 is quite apparently patterned on the illustrative 254 stanza (perhaps a citation) at Vus. IV 74. See Appendix I. sunt and the are treated respectively under $ 24 and 8 20. II Metres of the Gathā type. $ 20, 18. TIET (THT). Occurrence : (independently) 1–17, 32-40, 72, 81, 90, 99, 1 भमरावलिमापन्दगाहा जर दिजए पकरस । ते जाण सहा पुवरद विशिष्टिम् ॥

·70 BAXDESARĀSAKA 126-129, 149, 152, 153, 172, 213, 221; (as the second part of 5) 116. The language of the 793 is always site with a small spattering of Ap. forms. The normal scheme of the is first halt 4+4+4/4+4+5+4+ -- second half 4+4+1/4+4+-+4+ – 777 being forbidden in the odd 773 This variety with the caesura after the third or is called 9297, while the one without such a caesura is called fageIn our text in only the first half of st.$ 6, 7, 16, 40, 81, 93, 126, 127, 153, 172 and 213 the caesara fails to recut after the 12. more. Hence these are of the gange variety. Simuarly because in st. 152 the 12-moraio caesura is wanting in the second half only, it is of the graag variety. Lastly the caesura being absent from both the halves of st.s 72 and 116 they are of the winget variety. The rest are पथ्या. 119 and 152s are metrically defective. For them reſer to Metrical Emendations. $ 21. 19. खंधय (स्कंधक) Occurrence 119. The metre of Sr 119 13 expressly named as <144 (***) in the stanzo just preceding it. But according to all metrical authoritics at hand, a 74* requircs 32 moras for each half, while our stanza in the constituted text has (12+18 - ) 30 morae for each half, which fact entitles it to be called TFT according to the V39. and PP, ne according to Hemacandm and others There appears no way to remove this disciepancy. But there is some evidence from an unexpected source to make it probable that the name fint was current for such metres also which had (12+18) morae for cach of their two halvcs. IV. 92 of Rick's makeart is capressly called trut in IV.91. The metre of the stanza appears to be identical with that of qur stanza, except that both the balves of traieya IV. 32 contain 29 mrae instead of 30. But this fact is indicativo of a defect, not a difference, it that stanza, because *** IV. 9£a as well 03 / bare not a sm as their sixth a which fact Tould be a gross violation of the structure of the 1741. 1 Ed. by $11 JITAFIJATA Mox, Bioghi Jala Scrits, SIX, 1944, ·HCTRE But one more short after the 18, mora vould remove the defcct and the number of morae would be brought up to 30 in hoth the helfes. B. वर्णवृत्त. $ 22. The language of all the following guide is Prakritised Apabhramsa. 20. mest. Occurrenco: 100, This is the well-known metro with the scheme www www - VVVY 23. 21. मंदिणि (नन्दिनी). Occurrence: 171. Only Vus. III 20 and the text and the comm, of the Sr. (st. 170d) support the name of (or refot ). It is nothing but the commonly known azt with the scheme wwwww. i. c. 4 67. Vus. IV 54 again defines this metre under the name font ( = {*). The reason perlaps is that at IIJ 20 it, is treated as onc of the fos, while at IV 54, independently. Compare the similar twofold treatment of fun (14) and gauge (44) in the Vis. To define the metre of Sr. 171, the seat on SR. 171 and the 3ftar on Sa. 170 quoto a stanzn which is practically identical with CK. 7, except one significant variant: the first 9 of Ck. 7 roads the name as azh, While the com.s read fut in its stead. S 24. 22. भमरायलि (भ्रमरावलि). Oocurrenco: 173. Wben ne is extended by a 70, we get up. Thus it hns 5 motius per line. The Vs. twice defines this metre, once as a fert at III 21 with the special nang furat (est), and aguin independently at IV 61. Cf. Pe. II 154. METRICAL EMENDATIONS भदिहा:- 157 &: onc mora too wany. Emend.: flaska (cf. B. fat, C. Radiša) for Famid-c: one mora too many. Emond.: tutor (C.) for Ti 12.-1: one mora too many. Emend.: attity for 24. 158 8: one mora too few. Emend.: Priate (rhyming with जगंत६) for तगंतद 159 ciono mora too fasv. Friend, : di for 1.

·72 BANDESARĀBAEA 167 o: ffrire stands for file cf. Ho. IV 388 min. 168 a one mora too many. Emend.: M (A.) for fans? 160 e. one mora too many. Emend : fat (cf. Grammar, § 17 (b)) for afafaz. 174 d: one mora too many. Emend,: That (cf. Hindi 46) for वतय 181 e: one mora too many. Emend..ages for --: one mora too many. Emend for afe. रासा.- 48 a: one mora too few. Emend fans (cf. B. *) for पदसिइ. 44 d one mora too many Emend, अहिणवियद for वियाइ 47 o One mora too few and the caesura falls after the 13. mora. Emend, drop दर (80C) and read निययमय-दोयणिहि (ef. B. नियइ मइ मइकोइणिहि and the अवचूरियर निरकमद-बौकुचाभ्याम् ) for 24-12fvfa. 54 d. One mora too many. Emend. Affe (A ; cf. B. Ara) for Afrah. 65 a. One mora too many. Emend. Toe (cf Ersla 139 c) for चाउद्दिति G7 a One mora too few Emend. खणद्ध fa (B.; A, has सणउ) for खणदु 08 d. One mora too many Emend saqar 19 disturbing. If emended to an, it infoltes the fusion of the tw 4. and 3. Acceptance of tho rcading in C with the change of fata to ff would rectify the motre 97a One mora too few Emend If, following the suggestion in the coma (दनि श्वासा), we accept रुद्ध निसास for re-सास, the requisite number of 21 morae 18 made up. One mora too many. Emend nfs (cf. O JE) for 103c One mora too many. Emend : 5 (C.) for $14. 1045 One mora too many. Emend, 2107 (C of Metr. Emond 277 181d) for ufa 1050 One mora too few. The text is liere considerably disturbed 117a: In and has not the value of a conjunct It is to be considered as a digraph for an aspirated Hencey is not a beavy syllable. For this see Ch. 3, GL, 62, Ch, 1, 5, KD. 1, 6 etc. ܫ ·METRE 73 118a: ait in Airfra is long. 123c: One mora too many. Emcod. gukat (C.) for et, 124b. Ono mora too many. Emend.: 78 (C.) for 1340: One mora too tow. Emendi mahala (4,) for Ainifta. 136d: One mora too many. Emend, : for 1400: One mora too many. Evend,: aferas (cf. O. 07874) for पेसिनद. 144d. One mora too many. Emend.'* for f43. 145d: One mora too fey. Emend.: 59 for 45€! 147d: One mora too many. Emend, : fafe (cf. B. f) for 1510: Two morag too many. Emend. AT-pakialak (cf. B. Artfaradt) for Rea!. Three muorae too few. Emend.: गहिवि ताम मइ (A.) for गहिवि मइ. 1545: One mora too many. Emend.: for T?? 1550: One mora too many. Emend : AB do not read 7. But then the sense is affected, 1850: Two moras too many. Emend.. wifi (C.) for any and बिरह-हाँव (ef. A. हदि कार्ड } for विरह अगिण. 1876. Two morae too many. The caesura comes after the 13. moru. Euend.: Filer for fort and lintfree for ? 18Bd. The first and the second fe are fused together and the caesura does not fall after the 11. or the 12. mora. As no cage of 7-fusion is known in the cars of our text, we are led to suspect the text here. Emend.: 5115 for 2 and FK for fawn against all tho Mss.? 192c. One mora too ferv. Emend. at CT (C) for us and axcordiugly fee (B.) for Preg. पदादिया:- 2004: Two moras too few.-d: One mora too few. Emend.: RATAR (cf. O. 954 ) for fan. 2010: Ono 22019 too few. Emend. ' प्रष-सर-रह (cf. व्याख्या : सर.]नव-रुचि-विशेषेण, अवचूरिकाः रति-विशेषेण नय रारासि.) for गप सरइ. more probable than thi ng haplographic dropping of from the group artis quite onderstandable. 2022: Ono mora too many. Emend. : ille for tale. 203c: One mora too fer. Encod.: AT& for fra: Tvo morae too many. Emond.: Drop 7 (cf, B. 70 und the silence of the com.s.) from 77-7 str. 10 . TT. t ·74 SANDRSARĀSAEA 209c: Ono mora too few. Enend.: (B.) for . 2110: One more too many. Ennend: ETET (C.) for KTET, 214d. One mora too few. Emend. 73 (B.) for wa. 2190. One mora too many. Emend : 9 for 1. बत्युor कब्ध:- 1070: Onc mora too few. Emendi utlar (0.) for ute. Proper rhyming requires the order of the last two words to be revcrscd. Accordingly wo shall have ny vay rhyming with Feu in d.-d. The 11, moraic cacstra is wanting. We can hape it if we accept tapa (A.; cf. B. tafto) for tettes. 148€. One mora too many. Emend.: (A.) for Ent. 183a. One mora too many. Emend. : ft (B.; or f*?) for . HIV- 820b. ब्रपिन्वउ and जाइब्बउ are to be read As जपिब्वओ and जाइञ्चो. वणिज :- 2081 One mora too many. Can we drop ? Bat all the Mss, and both the coms have it. चूजियय:- 1120. One mora too many. Emend.: As the discrepancy Seerns to be in the opening (mark the exceptiopal form ), we should perhaps read and for an–. Onc mora too few. Emcnd,: 1973 for fort.-: One more too many. Emend.: होइ3 for होइएउ to rhyme properly with पिओइउ. 114d: Two morao too many. Eriend.. HTUT for ws and og for 793 ? 1488. Two morae too few. The shortage is felt just before the caesura, so that the part preceding the cacera has 13 instead of 15 morae. 183e One mora too few. The part following the caesura has 12 istead of 13 more. 3 in sites is long. 1997. One mora too few. Emend.: 3764717 for 3e59f? गाथा:- 110 One mora too fem. Emead.: The part following the caestra contains 17 instead of 18 morte. Pisiceas for removes the discrepancy. cf. II. II 97, 1976: * in T3it is short, ·WETRY 15 TABLE SHOTING THE METRE OF ALL THE STANZAS OF THE SR. IN SEQUENCE, रासा खंधय (!) रासा गाहा रासा वाथु रासा 117-118 119 120 121-125 126-129 130-136 137 138 199-147 148 149 150 151 152-153 154-155 156 157--170 171 172 178 174-181 182 गाहा दोहा रासा 1-17 गाहा 18-19 20-21 पडिया 22+23 डोमिकय 24-25 26-80 रासा 81 दोहा 82-40 गाहा 41-58 रासा 59-63 पडिया 64-08 रासा 69-71 दोहा 72 गाहा 78-81 दोहा 82-83 फामिणीमोहण 84 गाहा 85 फामिणीमोहण 80-87 घउपहया (1) 88-89 दोक्षा 90 91-92 रासा 93 गाहा 94 घाथ 95 होमिटय 96-99 रासा 100. मालिपी 101-103 तसा 104a 1040-1 अक्षिता (पमित) 105-107 108 109-110 रासा 111 महिला 112 पूचिय 113 रासा 114 पूछिय 115-116 समय गाद। रासा दोहा अहिल्ला (अपमिल) मंदिणी गाहा भमरावळी अडिछा (भयमित) अदिला (पमित) . +183 घर 184-190 191 राप्ता रासा वधु रासा पत्यु पहिया संकोदप (1) परहिया रामगिस पहिया गादा परहिया 192-198 199 200-208 204 205-207 208 209-212 213 214-220 221 222-223 रासा ·SARDEGARĀSAXA III FORM AND STRUCTURE. As stated at the beginning, there is not one but several aspects from which the SR, proves to be of considerable importance and intorcst. In the present section we shall consider the literary form of thc Sr, which is so novel as to bostow on it the distinction of being the first Ap, text of its kind published so far." As the title of the Sa, indicates, it is a type of poetic composition. By this one would be instantly reminded of the ter compositions whose exuberance in the Old Western Rājasthāni literature is so remarkable. But the forta of the present 74% is, as the treatment below indicates, altogether different from that of the ONR, tars. There are two prosodists who at all take any notice of the ret form. The addition they make to our knowledge, though moagre, is quite welcome in view of the general paucity of information relating to the structural side of the Ap pootry," Of these two prosodists one is FREE The portion IV 27 to TV 38 of his fangu evidently, though not expressly, deals with a few Ap. metres, strictly so called. This sınall section, after treating दोहा, मागधिका, मारा, सा, अडिT End ढोसा ends up by defining the Texform at 37-38. We come to know froin this that two different types of uur were famliar to ar Vs. IV 37 8ays tlant रासक is constituted with विस्तारितs or पिys closed with विदारी. All these peculiar terms are defined by dux at the beginning of the II K of the Vts But our concern is with the second type of w*, treated at 1Y 38. There we are told that that which is built up with many form or 37*s, with many Rtais, and alus is called by the name tit A definition essentially similar but supplementary in details is advanced by Fr. In his TE, while closing the treatment of Ap metres, he thinha his worthwhile to say something regarding the 19% form and the last four stanzas (VIII 49–52) of the So. are devoted 1 The डादेशरसायनराम of दिनदत्तमूरि published in tbo अपभ्रशकाम्यत्रयी (Gos. XXXVII) 11 on the lines of the Oru Tays of also KP Pp. 31-35, Of course, to come degree we bave to make an exception of the Cple, which the Sc. and the Ch treat al considerable length, though hera also Dooh is atill left dorirod, $ effetto STEKT TUTTE E ** बहुपदि को सजा सो भण्णइ राममो गाम || ·FORM AND STRUCTURE 77 1 to that end. At VIII 49' it is said that in poetry the tist composition with its 78, uff2TS, Fors and other choice metres proves of great charm to the people. But immediately following this is defined'21-moraio matre called yet which probably suggests that this particular motre found special preference in the tem compositions. So. 51-52 give illustrations of this रासाछंद. It requires little effort to show that all the above detailed featurcs of the tax foran are evidenced in essence by the SA, A glance at the Table of Metres given on p. 75 would suffice to find out that our text has got cas, FETS, cars and mets, us also I, aims and some aftcen other metres (cl. 7-4W-EVE of the Sc.). Besides, the main body of the Sr, is built up with 2 21-morajo tai metre, which is closely alied to the car of the Sc. Thus we see that all the characteristics of the Th forma as laid down by the prosadists are amply borne out by the Se. The 222 stanzas of tho Sn, are distributed in three sections called **. But this division resta entirely on the çevelopinent of the themo of the oomposition and unlike the art of the Ap. epic it is not something essential to the form of the trip. Liko me and of the 1990 these 443 indicate a turn in the development of the poetic theme. Thus the first of the Sr. is prefatory or introductory. With the second ha begins the theme proper, while the third occupies itself with in the context of a Arauft and brings the theme to a close. One small point worth noting is the use of two-lined stanzug (889) and six-lined stanzag' (cf. foot-riote 52). Stanza3 58, 63, 1 FW17for7 TCE TOMATE रामाधो कब्वे जण-मण-अहिरामो (सओ)होर।। 2 पानीस मचाणिइ गाउ बदामगिरु । चग्दसार घिरमामहो भाणविरत विरु॥ रामाबंध समिळू एउ महिराम धुभावभल अपसाणविरमगारअरु ।। The text appears corrupt and obscars at se paral placos, 3 There 13 slight irrogalarity in tho dumbering of the stoo229. 22 and 23 ate PoE9ıbly two halves of a p. 81milorly 115 od 116 togelhor bake up the atrophe arcy. Parther 38, 73 and 143 are clear loterpolations, On the oths: baod 30466, 119ef, 117cf, 1180f sught to bear neparate BLADza-dua bora in the hight of 58, 74, 125 s, unids that in the case o! 118cf, 117ef and 1182/ebate to consider thom, u spite of tho yant of jentence-cúnuox100, 83 alz-lined stanzas. 4 In Early Qu). (tko ng composil1009) and Piugal (e. 6877A) Jiterataras this it a favoured topio. & Of coqese in the simple metre. Lore tharo l! no talk of the strophes.

·78 SANDRSARISAKA 74, 104ab, 125, 155, 190, 198, 207 and 220 illustrate the foriner and stanzas 113, 117 and 118 linstrate the latter We find here the go (e & at 133-134, 168-169) and the ga (at 121-125) also, though in view of the lack of sentence connexion between 121-125, the last-naped cannot be properly ao called IV SUMMARY OF THE CONTENTS FIRST STRIDE He who has created all this the ocean, earth, mountains trees and leavenly bodies--I87 He, O wise ones, bless you (1) Bow down, O gentlemen, to that Creator to whom men, sem gods and gods, as also the sun and the moon pay obeisance (2) In the western tract the Mleccha country is known of old There yag one Mirasena, 4 Teater, whose illustrious son Addabumana (1 e Abdala Rahamada), famous for his Prakrit poems and songs, bas composed this Samdeśarisaka (9-4) Ho mago to the great poet-scholars of yore, who were well yersed in grammar, prepared treatises of prosody and wroto good poetry adorned with giammar and metres in the Arabattaya, Sanskrt, Prakrit and Paisajika languages (5-6) As it 18 them that we succeed, who would appreciate the inferior verse of poets uke u, ignorant of the sacred texts and grammar? (7) But perhaps there 18 bo leton For, though the moon shises at night, are the lamps not lit in the houses on that account? (8) Because the cuckoos sing on the tree top with charm and appeal, should the crows on the house roofs give up their casings (9) If we beard sweet loto played upon by delicate fingers, should that be any bar to our besring the drums and tabors at female sports?(10) If the Airivata elephant in rut omita highly fragrant chor, should that stop other elephants from rutting? (11) If the Parijáta spreading aroma with its variegated, richly fragrant flowers blooms an Indre 8 place, should therefore other flowers cease blontınıng? (12) If the Ganges making her stately appearance in the three worlds proceeds towards the sea, woald that be any reason Thy other rivers also should not do the samo? (13) Because the lotus plant in a limpid lale blooms at sunrise, should therefore the goard on the hedge forsake blooming? (14) If a youthful lady fushed with passion dances in the classical style, should that debar an effusite ·79 SUMMARY yokel from dancing to the palm-beats? (15). If the rice-pudding with profuse milk effervesces houncingly, does that mean that the rough branny gruel should stop its sputterings? (16). Whatever one's poetic powers, one must declare them unabashed. If the four-faced god Brabman spoke, is that any reason for others to be reticent! (17). There is not ono such works of good poetry in this wide world as is not known to you, O wise ones. Hence which of you would tarry to lend an ear to the insipid, grace-lacking compositions of an ignoramus like myself? Still it may turn out like this: when men of taste, being hard-pressed, find betel-leaves beyond their reach, they have somehow to get consoled with the modest Satapatri (18). So, considering that this Sandeſarāsaka which is to broadcast his poetio talent and learning is composed and published by the weaver with a naive and curious heart, you please listen with indulgence for a short while to the crude utterings of this lumble person (19). If anybody chances to come across my work, I request hin not to recite it either before the learned (who would not stand such stuff), or before the stapid (who would surely fail to understand it), but by all means before a person of medium calibrc (20-21). So now listen to this charmer—this leading light--of the loveminded, to this veritable cupid for the separated, to this Tevivifier of love's sentiment. Uttered so affectionately, it is fall of love's aroma, it is a stream of-sectar to the car and only he who is proficient in ars amoris cún grusp its full significance (22-23). SROOND STRIDE With down-cast looks and an unceusing stream of tears, a full-bosomed, slender-waisted belle of Vijayanagara stood beholding her husband with her mind's eye. Ter fair body was darkened by the fire of separation--like the dioon eclipsed by Rāht(24). Shaken by her grief she yawned, and wept, and writhed her body. While thus lcwailing, she saw a traveller pussing by (25). At this, longing for her husband as she was, she so bastened towards the traveller as to make her girdle crecp down with tinkles (26). As she fastened it up bor necklace got torn asunder and as she was picking up some of the pearls, ber feet got ontangled the anklets oud she ·89 SADESALĀSAKA fell down ( 27). Perplexed and abashed, she got up in confusion, ber breast-cloth torn in places. With roiling hands over the breasts ( as lotuses on goldea pitchera), she at last reached the traveller and uttered with pathotic eyes and a fallering voice these words (29): "O do tarry a while and kindly listen to that I say." These words drew the traveller's attention and he halted (90). On beholding her a treasure-house of beauty, a sublime creation, a Cupid's weapon, be uttered eigat Gathas. (31) "The ripple-like curly hair of this lady has the blackness of a bee-swarm( 32) The face 13 but a reflex of the full. mnoon: bright, neclarious, spotless (33). The eyes are Jotus. petals" and the cheels, two clusters of pomegranate flowers (34) The arms are delicate lotus-stalks and the hands, two halved lotuses at their ends (35) The breasts are firm, lofty, soothing (3G). The circular narel is deep like an eddy in a highland river and the waist, extremely slender (37) The toes appear kilo rubics; their nails, the marble pieces; the line of bair on them, liko lotus fibres (39). The Creator has fashioned her limbs after the likeness of or perhaps even surpassing the limbs of the goddess Parvati. So who would blame the poots for repeating themselves, seeing that open the creator does the samo? (40) " As that lady of swau's gait heard these Gathas she felt shy. She asked the traveller. "Whenco do you como? Whither do you go?" (41) The trayellor said. "0 fair dame, there is a city called Samora (i. e. Sīmbapura) adorned with white ramparts and triple fortifications and full of well mannered citizens, all of them leaſed (49) If in the company of cleror persons we take a stroll in the city, sweet melodies of Prahrit songs greet our ears. A places the Vedas are expounded by esperts; somewhero the Rásala is staged by the actors (13) Somewhere the Sudeyaratsa story is narrated, in another place the Nale episode; in yet another is recited the Bhārata epic with Farious diferias. Ia se quarters salless Brands 978 wttering benedictions, in others the Rámiyana is eulogised(44). Some bear flute, lute, drums or tabors; some, the strains of melodies. Somewhere attractive dancing girls are performing rhythmic morements (45) Troupes of actors are giving Fonderful drainatic performances and one who enters the courtezan locality would simply skoon in fascination. For there, soke ·SUMMARY 81 courtesans with elephant's gait move ruffled through intoxication. Others' diamond earrings dangle about their ears ( 46). To the case of another one all the while one wonders how her waist does not break under the weight of her heavy, lofty, compact breasts. One of them smiles towards another with eyes slightly salved with collyrium, eloquent with passion and looking aslant ( 47). When another one releases a peal of Jaughter, it appears as if the sun and the moon are shining frou her cheeks. Another one's breasts have a thick plaster of musk, while still another's forehead is adorned with a fino Tilaka (48). Another one's necklace of big pearls, failing to get a resting place, dangles on the peak of her breasts. Another one's deep round navel-hole appears encircled by waves in the form of the three folds on the belly (19). In the case of another one, because of the weight of the hips the creaking of shoes dies out only lingeringly. When yet another utters some delicious words, her teeth crimsoned with batel-juice appear like a row of diamonds (50). When another one laughs, her nether lip, arms and hands all become invested with charm. Somo one's finger-nails are spotless and bright, while another's cheeks are like petals of powegranate flowors (51). Another one's soft eye-brows remind one of Cupid's stretched boy. Some one's anklets give out a sonorous jingling, while some one's jewelled girdle produces a recurrent tinkling (52). When another one's sportive provements make her sandals give out prolonged creaks, it produces an impression of shrill notes of cranes at the advent of autumn. So also when another one sweetly hums the Pañcama note, it seems as if Tambaru tuned his instruments for performance before gods (58). In this way as the passers-by are engaged in observing the beauty of one after another, their Steps falter on the road rendered scarlet with betel-juice. And if one chances to wander the precincts of the city, he sees such a variety of gardeps as to forget the mansions altogethor (54). There are Dhallas, Kundas, Satapatrikās and other countless trees (55-69). There aže other strange trees also. The combined shadows of the&e trees inuking up a dense thicket stretch to the length of ton Yojanas (64). In the city of Samora the Tapuuatirtha is famous in all quarters. It is also well-known as Mülasthana, Thence my inaster has &ent mo as a nessage-carrier and for that reason I en proceediog to Stambbatirths" (65). 11 , The 1 ·SAXDESARTSAKA She rept her I accompa At these words that handsome lady sighed deeply She cracked her fingers She quirered like plaintain in a high blast She stammered something bewailingly Drying the eyes, she said O traveller, my body is shattered at the mention of Stambhatırtha For at is there that my husband 19 staying ho 18 $0 cruel as not to returp after such a long period (67) If you Lindly stop & while, I shall say a few modest words by way of message to my loved one The traveller said “O fair dame with sorrowful eyes, you appear much dejected What is the use of weeping? Say your message (08) The lady said «Tith what heart shall I send the message to one those departure from hence lies only stopped short of reducing me to an ash heap? (69) Moreover, I am ashamed to send the message because nied him when he left nor did I die during his separation (70) But if I renikin silent throagh shame, my heart would break So, appease him by reciting this Gatha (71) My limbs shattered by the stones of four separation do not fall asunder because o my lord they subsist on the hope of meeting you today or tomorrow (72) After reciting this you tell hin these fivo Dohas with due politeness (74) Even thou, h afflicted by the fire of separation, it would be unbecoming to me, who always bear you in the heart to die and thus paut your company (75) Disregarding your presence in my heart, this Separation distresses the body But for the high minded an affront at the land of others is toore painfal that death (76) How 19 it that I am suffering humiliation, though you with your inexhaustible waalond are there as my husband? Tho very limbs that gave you enjoyment are now burnt 1» Separation (77) Thou,h I bave been subject to unremitting attacks from Cupid it 19 only my body that has been shattered, the beart is Dot injured becanse of your presence thero (78) I lack strength sulticreat to cope with Separation llence my mailings Cowherdesses can but cry it is for the order to bring back tho stolen herds (79) The message I intend to send is too lengthy for words Tell my loved one, now my tro hands together can pass through a bracelet and that the ring in the httle inges can now be worn ou my uri(80-81) The traveller risbing to resume his joumey shortly gaid I have to traverse & very difficult path, so speak I ·WART 88 out any thing else that is to be conveyed" (82). At these Fords, pierced by Cupid's arrows as she was, she sighed heavily and with tearful eyes recited this Gathi (83). "These shamelessneyes never coase pouling down tears, but the result is, the fire of separation instead of being put ont flames up more and more like the conflagration in the Khándapa forcst (84)." After reating this Gāthī that lovely lady of sorry plight felt much aggrieved. She said: "Convey these two Catuspadix to him who is ruthless enongh to banish all our conjugal delights (85) "I full in a trance while liinking of you, Not for a moment my left hand is relieved of my head resting thereon. Soaicely do I leave the bed. Thus, O Kápalika, I have been turned into a Käpälını due to your separation (86). Faded is my lustie, sunken my body, the locks dangle about ın disarray, pallor has porraded the face; the gait has become languid, ungainly, and a dinginess has enveloped my loveliness. Thus, o demon, I have been turned into a demones owing to your separation (87). As you are in a hurry to go, I cannot give a written letter for him. So kindly convey to him this Dobi and Gātha (88) "The separation-fire must have sprung from the Marine Fire, for the more it is sprinkled with heavy tears, the more fiercely does it blaze ap (89). The fail fods continuing to get reduced through long, hot siglas would have certainly succumbed, if she had not been sprinkled with gushes of tears (90)'". The traveller said. "O fair dame, now permit me to depast. Or tell me if there is any thing further to be conveyed". She said: "Why, surely I have more to say. But of what gruil can prove a message addressed to one phoso indifference towards me and ambition for wealth have left ule: 80 lonely and suffering? The message is long and you, nre in a hurry. Tell my husband this Githa, Yastu and Domaba (91-92), Formerly even the necklace was not allowed to obstruct our close embrace. Dat DOTY Ocean, rivers, raountains, trees and castles are lying between wa! (98). There are ladies who after a yearningful and - distressiug period of separation are about to reunite with their husbands. Being agitated at the union at hand they would gnjog in dream happy - embrace, kisses and other pleasures with their husbands. But since your leaving, I ·AUDIGARTJAXA have not even slept; then where lies the possibility of the pleasure of union in dreams? (94). What shall I say regarding myself—I, who am weeping, pining day and night for the union with my loved one and reducing my body extremely? Firing my mind lovingly on bim, I address him for a moment under delusion That thief of Separation has robbed me of my belongings in the form of toilette. To whom shall I go for refuge? (95)'." Saying this Domilaka she became motionless for a while, not saying anything or seeing anybody She appeared just like n all picture (96) She felt choked and confused. Recalling the pleasure of the former union with ber loved one, she became pierced with Cupid's arrows Like a deer frightened at the twang of the bow-string, she thres a side glance towards the traveller (97) The traveller said “Compose yourself for a while and wipe your charming face Boshlal, she wiped her face and said (98) "O traveler, my strength proves of no avail Against Cupid. Moreover, faultless though I am, my husband has grown indifferent to me Derord of love, inconstant, he has no idea of the angaish hc causes to others. Recite a Mălini to that rogue (99) At the close of our amorous sports had I but known that my happiness was to disappear, I would have preserved one jarful of fresh love that was then orerflowing, and would have now immersed therein your unloving heart (100) If a cloth looses its rāga, it can be dyed afresh If the body 19 without steha it can be appointed, If one loses money, it can be yon back. But when the loved one's heart becomes devoid of råga, bow, Otraveller, can it be changed?" (101) The traveller said: "Steady your mind. Stop the flood of tears from your eyes The travellers go abroad on many a business and they do not return until their purpose is attained (102) Moreover, wandering in alien countries, they are attacked by Cupid and remembering their wives, thay become overwhelmed with separation. Thus they also like yourself, O young lady, linding the grief of separation from their beloved unbearable, get much emaciated" (103). Hearing these words that fair lady recited an Adilla "Though he has, I deon, no love for me, still, Otraveller, deliver this massage to my husband: The fire of separation baring enveloped the body waist apyards, burns my beart till the close of nigat (104) ·SUBARI 85 + Strack by Cupid's weapon, I cannot speak at length but do tell him everything concerning this plight of mine : boredom resulting frodi the aching limbs, keeping awake through nights, rutiled gait owing to langour, hair unbraided and without flowers and collyriuin trickling down on the cheeks. The flesh that my bady puts on at the hape of being united with the lored one, is again lost, tormented by the fire of separation (105-6). Sprinkled by the waters of hope on thc one hand, and tormented by the best of separation on the other, I am neither living, nor dying bnt am just romaining inflamed". At this juncture, she, wiping her eyes, said a Phullaku (207): "My heart like a goldsmith longs for the dear one. It burns my body in the fire of separation and then sprinkles it with the water of hope" (108) The traveller said: "As I am due to start, please check your tears so that no inauspiciousnegg may arise". The lady said: "Let your going be accomplished according to your wish. In fact, I did not weep. Only my. eyes dripped due to the smoke of separation-fire" (109). The traveller said: "As the sun is about to get, finish your message quickly and allow me to depart". The lady said: “Let you, O traveller, set out in all auspiciousness. Further say to my loved one a Madilla and a Cadillaka (110). Due to bot, prolonged sighings the body bas languished, but not so the flood of tears. Released, my heart landed on a foreign soil, jäst as & moth falls into a light (111). It is ordained of yore that only daya grow longer in the Summer Solstice, while only nights do the same in the Winter Solstice. But this is indeed a third type, tbo 'Separation Solstice', wherein both days and nighta grow longer' (112). O traveller, the day has come to a close. So postpone your learing, and spending the night here, start at daybrood". The traveler said; "O fair-lipped dame, sansbioo blazes during the day-time and my task is urgent. So I must got out immodiately. The lady said: "If you are not to stay, then tell my loved one a Cadillaks and Kbadabadake with Githa (113): We base profited by your going abroad. We bave got a boon to live for ever. For, due to your separation, one dos bas asumed the proportions of an year (124). Since the beart is deranged through separation, since I am out and out afüicted with Capid's arrots, since the opes are engaged ·BG SANDESARASARA in pouring tears down the cheeks and since the passion is constantly blooming in the mind how can I get relief and sleep eren at night? It is surprising that thongh separated from their loved one, ladies can live eten for some days (115 116) The traveller sad O fur lady I shall convey whatever you did say and in addition to that what I have myself reen You not return to your residence and I shall take to tho road. The guin has set Darkness has pervaded the east Because of a difficult and perillous path the night-journey 18 troublesome (117) Hearing the travellei o words she heaved a boť prolon ged sigh The tear partides on her cheeks appeared like pearls on coral caps Crying and bevalling she said Tell my husband a Shandhaka and a Dvipad (118) My heart 18 A jewel treasuring ocean It is always churned by the great Blandara monntain in the form of Separation and thus all the jetrells in the form of happ ness are taken out (119) The fire of separation fanned by Cup d 19 incessantiy blazing within my heart grying forth ashes in the form of restlessness It scorches and terrifies "It makes me sigh langingly (120) On hearing these nords the traveller was touclied He said Patiently onl gaten, me on the questions I am just putting to you (121) Snce wben ) 9 your face conquering in beauty even the sere le layed and nectareous antumnal moon has been enveloped in the smoke of the soparation fre? (122) Snce when are you like this with your lovely penetrating cyes pining with you plaintain-delicato body withering with your Bwan like sportive gait vanishing! (123) Why do you thus give yourself up to grief and get the body out through with the sav of separation? Snce when has your husband gone abroad so that your mind is p creed with the abafts of Cupid? (12+) At th , she recited four Gathas (125) O travellor what is the nse of ash ng the day of separation whenceforth my happiness Fanished and misery began? (126) That 18 the use of recall ng that day which guited the fire of separa tion? Atay eren with its mentian) (197) I am restless since the day of big leaving The time is felt as parful as death Let that summer when my husband left me bo conga med by its o vn fire and let he who has supped we be himself sapped by the Malaya vind. (128 129) --- ·80BIMARY THIBD STRIDE Summer It was at the advent of summer, O traveller, that my husband left, and gone with him was all my happiness As I returaed after seeing him off, I was much agitated (130) Torul by restlessness, yearning and misery, lovelora, I found the Malaya vind unbearablo The scorching sun rays blazed picloingly They burnt the wild grass on the earth (181) Flames darted m the sky like Death's tongues The surfice of the earth became parched The hot blast that "was 'blowing scorched the bodies of women in separation (132) Catakas cried for fresh clouds Rivers carried slondor stream Parrots swung on the leaves of goryoous mango-trees, bent dowu with fruits and futtering like the ears of an elephant Tbor chirpings made me feel helpless (133-134) The sandal puste besmeared on the boxom for coolnes, contrarily heated the bioasts, as previously it had contact with serpents The neckluces and gallands that were put on, were felt flowing boti (185) The lotus petals spread on the bed for comfort rather doubled my agony Thus restless in the bed, I falteringly recited a Vastu und a Doha (136) The lotuses bloo.glug under the sun rays are naturally heat-emitting The moon being cognate of poison would not give pleasuie Sandal paste bearing snake bites wears down the body The necklace also throws salt as it were in the Younds made by Cupid s shafts Lotuses, moon, sandal paste and jewels are praised in the world as copling anodynes But none of them can extinguish the fire of separation Instead, they prove more tormenting to the body (137) People apply camphor and sondal paste on the body But it is ſutile Only the loved one can put down the fire caused by his separation (138)' 770 Rains Somehow I passed the hot supaper The rains came, but not my shameless busband The four quarters were overcast with thuch lying darkness Clouds thundered with rage in the shy (199) Roads descerued only by terrifo fisshes of lightning Catalas Batinted with the water criod gally The row of cranes passing below the fresh clouds appeared charaing (140) Heated by the summer rays the vec ·88 DISALNIKI waters from the clouds flooded the rivers. Shoes in hand, the travellers waded through the waters. Each step futher on the way could be taken only when lightning flashed (141). Waves roared in the rivers which were rendered uncrossable owing to incessant andalations. Travellors halted midway, and if buşinoss still forced them to travel, then boats were used, not horses (142). Leaving pools, craneg mounted on tree.tops. Peacocks danced and cried on mountain peaks. Frogs croaked harshly in waters. Cuckoos chirped on mango-trees (144). Everywhere 'paths were blocked by huge snekes or by big masses of water. The Pătala flowers were destroyed at the impact of water-wares. Swans cried piteously on mountain-tops (145). Herds of cows climbed up the ridges (?). Gsy cowherdesses were merry-making with their husbands. Covered with verdace, the earth alround was redolent of the Kadamba floweis. Capid injected more aches in everyone of my limbs (146). Miserably wallowing in bed, pierced by the lum of bees, and passing the nights winklees and full of enguish, I composed & Vastu, a Gatha and a Dobā (147) Dark, thandering clouds have Overspread the sky in all quarters The flickers of lightning are accompanied by crackling sounds. The frightful croaking of frogs is intolerable. How am I to put up with-tbe continuous, heavy down-pour, with the shrill notes of cuckoos? (148). At the coming of rains, the fire of summer was put down with showers, but, o wonder the fire of separation burnt in my heart with increased vehemence (149). Though my breasts are scalded with tears, the pearls of my necklace do not feel ashamed at this calamity of their neighbours ! (150)' Languid throngh separation, 'miserable and given up to confusioa, I saw my busband in a dream and I grasped his hand and said (151): Does it become the nobly-born to go away leaving behind his beloved in this season of crackling Lashes and clashing clouds? (152). The rainy season is, desi one, unbearable on account of the fresh clouds, the rainbow, Indragopas and tho reddened quarters (158) As, I apoke with a choked throat, I realised where my loved one ves and where "I T&3. At that moment, I did not die hecause, to be sure, I was fashioned from insensitive rock. Likewise my heart did not bread, because surely it was fashioned from adamant (154). Groading like a trog in a feebla voice, I recited this Dohā at the close of a night (155): '0 Night, ·80AART 89 the slander that sticks to you is so huge as it cannot be contained oven by the three worlds. For, you become fourfold when thero is misery, but shrink down whon there is happiness' (156). Bewailing thus and singing songs and reciting Prakrit poems, I somehow reached the end of the rainy season. The nights that become lovely owing to the loved one's wooing were like a saw to me (157). I spent them kceping awake and supporting life with the hope of my husband's arrival, Leaving tho bed curly und cherishing the memory of my loved one I looked towards the South and the star Canopus was spotted. At oude I know that the rains had passed. And still my husband had not returned! (158-169). Cranes disappeared from the sky. Beautiful constellations could not bo seen at night. Snakos went underground. Clear moonlight streamed at night (160). The lake water was adorned with lotuses. Rivers were full of ripples. Lakes now regained beauty which they had lost in summer (161). Swans drank honey from the lotuses and chirped sweetly. The Sutapatris Glled up the world with their luxuriant growth. The streamlets flowed again towards the main water-basin (162). Shores of lakes looked charming due to the conch-white Kāśa grass and rows of birds (163). One's roflection could be seen in the limpid water, I could not bear the cry of Krauicas and at the Arrival of the swans I felt myself unable to carry on existence dying (164). With the reducing waters, I also got reduced. With the glowing fire-Alias my body also glowed with heat (?). O cranes, poor shrill notes remind me of my long-standing misery. You cruel ones, stop your cries, which make the ladies in separation dejected'. Thus I addressed each of them pathetially, but nobody steadied ine even for a while (165-166). Those ladies whose husbands are at hozo, put on ornaments and Tariegated garments and they dance Rasas with them in the streets (167). Making a fine Tilaka mark on the fore-head, besmearing tho body with saffron and sandnl-paste, moving with the sport-case ia hand and singing charming, divine melodies, these ladies devoutly burn incense in their cotished: and stables. Seeing this I was downcast, as my hope you frostrated (168-109) Then I beheld the directions putting on 12 . 17.

·88 KAYDEŠALĪJALA wators from the clouds flooded the rivers. Shoes in hand, the travellers waded through the waters. Each step father on the way could be taken only when lightning Rashed (141). Waves Toared in the rivers which were rendered uncrossable owing to incessant undulations. Travellers halted midway, and if business still forced them to travel, then boats were used, not horses (142). Leaving pools, cranes mounted on tree.tops. Peacochs danced and cried on mountain peaks. Frogs croaked harshly in Paters. Cuckoos chirped on mango-trees (144). Everywhere 'paths were blocked by huge snakes or by big masses of water. The Pătala flowers were destroged at the impact of water-tates. Swans cried piteously on mountain-taps (145). Herds of cows climbed up the ridges (?). Gay cor. herdesses were merry-making with their husbands. Covered with verdare, the earth alround yas redolent of the Kadamba howers. Capid injected more aches in everyone of my limbs (146). 2liscrably wallowing in bed, pierced by the hum of boes, and passing the nights winkless and full of suguish, I composed a Vasta, a Cātbă and a Dobá (147) Dark, thundering clouds bare overspread the sky in all quarters The flickers of lightning are accompanied by crackling sounds. The frightful croaking of frogs is intolerable. Hot am I to put up with the continuons, heavy down.pour, with the shrill notes of cuckoos ? (148). At the coming of rains, the fire of summer was pat down with showers; but, О wonder the fire of separstiou burnt in my heart with increased rohemencc (149). Though my breasts are scolded with tears, the pearls of my necklace do not feel ashaned at this calamity of their neighbourst (150). Langaid through separation, miserable and giveu up to confusion, I saw my busbord in a dream and I grasped his hand and said (151). Does it becomo tho nobly-born to go away leaving behind his beloved in this season of crackhing Aashes and clashing clouds? (152) The rainy season is, 0 dear 00), unbearablc on account of the fresh clouds, the rainbow, Indragopas and the reddened quarters (153).' As, I awoke with a cooked throat, I realised where my loved one wes and" whero 'I was. At that moment. I did not die because, to be sure, I Tras fashioned from insensitive rock. Likewise my heart did not break, because surely it tas fashioned from adamant (154). Groaning like a frog in a feeble voice, I recited this Doba at the close of a night (155): 0 Night, ·SUMMARY 89 the slander that sticks to you is so hoge as it cannot ba contained even by the three worlds. For, you becoure fourfold Sthen there is misery, but sirink down when there is happiness (156). Autumn Bewailing thus and singing songs and reciting Prakrit poems, I somehow reached the end of the rainy season. The nights that become lovely owing to the loved one's Tooing were like a saw to mo (157), I spent them keeping awake and supporting life with the hope of my husband's arrival, Leaving the bed early and cherishing the memory of my loved one I looked towards the South and the star Canopus was Apotted. At once I knew that the rains had passed. And still my husband had not returned i (158-159). Cranes disappeared from the sky, Beautiful constellations could not be seen at night. Snakes went underground. Clear moonlight streamed at night (160). Tuo lake-water was adorned with lotuses, Rivers were full of ripples. Lakes nou regained heauty which they had lost in summer (161). Swans drank honey from the lotuses and chirped sweetly. The Satapatrīs filled up the world with their laxuriant growth, The streamlets flowed again towards the main water-başiu (162). Shores of lakes looked charming due to the conoh-white Kāśa grass and rows of birds (163). One's reflection could be seen in the limpid water. I could not bear the cry of Krauions and at the Arrival of the eang I følt myself unable to carry on existencadying (164). With the redacing waters, I also got reduced. With the glowing fire-flies iny body also glowed with heat (O). O granes, your shrill notes remind me of my long-standing miscry. You cruel ones, stop your cries, which make the ladies in separation dejected'. Thus I addressed each of them pathetically, bat nobody steadied wc eren for a while (165-160). Those ladies whose husbands are at home, pat on ornaments and variogated garments and they dance Rāsas prith them in the streets (167). Making a fine Tilaka mark on the fore-head, besmearing the body with saffron and sandal-paste, moving with the sport-case in hand and singing charming, divine molodies, those ladies dovoutly burn incense in their cougheds and stables. Seeing this I was downicast, as my hape was frustrated (168-169). Then I beheld the directions putting on 12 #. T.

·90 SAUDESARĀSAKA music. noro attractire hues. The flames of separation flared up in my mind and enveloped me. I recited a Nandini, a Gatha and a Bhramarāvali (170): With tloir throats clear and astringent due to the fresh lotus-fibres, swans and Cakravālas scream in the water and move in a wonderful manner as if, one heard the shrill tinkling of the anklets of the Autumnal Beauty (171). In the month of Asrina, the cries of the cranes in the rivers that flowed with a stumbling velocity made me weep again with grief (172). In the moon-lıt nights, the white, lofty ramparts Jooked lovely. I wallowed in my lonely bed, crying, as if I were struch with Death's blow (179) The shores of lakes were pleasant because of the ladies sporting there with their husbands. Youngsters occupied themselves with games. Drums were beaten in every house (174). Boys danced in circle and sauntered through streets playing Redy were graced with tne presence of young ladies (175) On the Dipäralt night mansions were decorated with lights resembling the crescent moon, Ladies applied collyrium to their eyes (170). Darko coloured garments were put on. Various wary lines and curves were drawn as decorations on the bosom. The breasts were besmeared with musl (177) To every limb thich sandal-paste was applied. But it worked as poison fruin Cupid's arrows. Flowers worn artistically on the head gave the appearance of the half-moon mounted on a black cloud (?) (178) The betel-roll with a good deal of camphor was placed in the moath, which then resembled the rising sud. Toilette was done in hurry and confusion. Tinkling of bells yes heard in beds (179). Thus some had given themselves up to sport, whilo I passed nights in anguish. Fascinating music was played in every house On to my lot did at fall to suffer the collective woes (180). Again I recalled my husband who was away since long. And, on a daybreak, shedding profuse tears, I recited an Adillā and a Vastu (181) Not an hour's sleep do I get at night. Reminiscences of my loved one now fail to give me diversion, I have not a moment's enjoyment. Thus circamstanced, who fervent with passion, would not be torn? (182). Does not the lacid moonlight stream in that country? Are there no swaps feeding on lotus fruits? Is there nobody who recitca Pralrit poems in a graceful voice or wlio ·SUDART 91 movingly releases the Pañcama noto? Does not the early dawn there become redolent of blooming flowers? But I have cone to know that as even in the autumn, my husband does not return home, he is surely a man void of taste (183). Winter (Hemanta). Thus was spent the lovely autumn rich in fragrance. Still that hardened rogne did not think of home. While I was thus being pierced with Cupid's shalts, I saw the mansions white with frost (184). My whole body was burning with the fire of separation. Twanging the bove, Cupid was alrngantly releasing his arrows. I was lying on the bed distressed. Still that stoalot of my heart, that wandering Kūpālika, that roguc, that randal did not arrive (185). In restless yearning I then glanced at the quarters and lot Winter with his frost-load had deftly arrived] Now cool water vas disliked. All the lotus-petals were removed from beds (186). Servant-maids no more ground camphor or sandal. The rouge pas tempered with bees' yas. Saffron that was applied to the body was now devoid of sandal. People took to the Campaka oil mixed with musk (187). Camphor and nutmegs were no longer ground together, nor were areca-nuts perfumed with Ketaki, People gare up $Iceping on terraces und ladics slept in cots inside the room8 (188). Aguru was burnt for fumigation. Saffron was applied to the body. Close embrace was now cnjoyable. Comparatively the days became very short; but for mo, O traveller, wus fixed the Brahmat's aeon (189). Wailing through a long sleepless night and lonely in my dwelling, I reoited a Vasta (190). Oyoq boor, I spent the long night with lingering sighs. Cherishing you menjory, I cannot sleep. Bereſt of your toucli, ny limbs have withered owing to the wintry frost. If you do not coine and consol me in this winter, would you then, O blockhead, rogue, sinner, come on receiving my death-dewol' (191), The Cool Season (Sisira). That enemy of a winter was thus spent by inc with much trouble, Thic cool season arrived but that cheat of my husband Yas as erer far oft. The hurricane began to blow fiercely in the aky. Being blasted by it, trees shed all their leaves. They stood without flowers, without fruits, without shade, unapproached by birds, Tha quarters were befogged. Travellers were obstacled, ·92 BAXDESARTSEA I lad 110 being afraid of hail, Park-trees were reduced to stumps. Flower gardens withered (102-193). Leaving their husbands in pleasure-houses, young ladies were forced by cold to resort to fire-placos. Love-sports wero confined to the interior of the houses. Nobody now slept under the garden trees (194), Slightly-boiled and scented suger-cane juice was drunk. On the festive day of Kundacaturthi inany full-bogomed ladies wallowed in their beds (195). Some gavo olms on the birth-day of Spring, the lord of seasons. Some enjoyed in the company of their husbands. At that time I, lonely in the bed, infatuatel with love, sent iny mind as a messenger to my husband, thinking that it would bring the loved one and satisfy me. idea that it too would behave koavishly and Icave me. My husband did not come. Holding up tho messenger he still remained there. My heart was furthermoro filled with the load of misery (196–197). In the hopeful attempt to make a probt viz., the union with the loved one, I had lost the principal. Heal, O traveller, the Vastu then recited by me in sorrow (198). 'After heavy suffering, I sent my mind as å messenger. It did not bring my lord, but itself became attached thereto. So absent-mindedly I passed the night, I indeed repented for this, for though I gave the heart, I did not get my husband. Shall I say what this was like! The she-ass went to get horns, but instead she lost her ears' (199) Spring. Cliarming spring followed the cool season. wind blev fanning tho love-fire of those in separation (200). Ketaki was in full bloom, There were fresh flowers and Icaves of various sorts. Lakes were invested with a unique eauty (201). Women pu on varied rments of whit red flowers and sang in the company of their friends. Their bodies spread rich aroma. It looked as if the sun's period of wintry mourning had expired. Socing this I recitod a Lańkotaka in the midst of my dear friends (202-203). "The unbearable summer passed. Autumn and winter were spent with great trouble. The harsh Siſira also was somebow spent crying. But with the mind on my beloved, it is very hard for me to pass this spring' (201). Trees with their hands of fresh sprouts carried the fernal beauty. Bees, greedy of the juice The Balaya ·SOBALY 98 and fragrance of the Ketaki bud hummed in the forest. They did not mind being pierced witli pointed thorns, becauso persons of taste care only for their tastes. One who is infatuated with love has no consideration for the evil (205-206). Seeing the spring, I was wonder-struck and licar, O travellor, the Ranapīga which I then said (207); "Let Cupid, armed with the sharp tongues of the fire of separation roar. Having tolerated the intolerable, I still live in danger, while my husband, quite untouched hy my love, oarries on his business without an anxious thought of me' (208). Thc Kimfuka flower uppeared like a shower of blood(). Palāšas were veritable goblins, The Malaya breeze mado everything unbebrable. Sobhäñjana (!) provod a sourco of unhappiness (209). Tha fresh blossoms which made the earth scarlet with their pollen added to my anguish. A cool, pleasant breeze blew imparting coolness to the earth (210). The Afoka Hower is falsely so named by the people, for it did not remove my sola for even half a mordent. My limbs fyere tormented, thanks to arrogant Cupid. It is my lord, not the Sabakāra tree, that can still support me (211). Wresting this opportunity, the terrifio separation reachcd its full stature. I heard the peacock dance and cry. Seeing him climbed on 4 mango-branch, I rcoited # Gatha (212): "I am pained to see the peabens merrymaking as if thoy were in a stage-retinue (1). So also mistaking the skywards spreading trees for fresh cloulds, I am pained (213). After this I rose up crying and recalling my grief of long standing, Mames of separation burst up in me. Cupid shattered my body with arrows (214). l'or a while I folt the unbearable grip of death: Beautiful flowers adorned tho ton quarters. Mango-trees sprend towards henven in compactness, Fresh blos.rma appeared because of spring (215). Tho cuckoos (?) on the Suraktuka trees sang with gestures, as if to ropresent various sentiments. Bees vero lymuing sweetly. Time was quite charming (216). Parrots moved in a circle (?) And cricu merrily, 01 in this period it is very very difficult for the ladies caslaved by Cupid to go on living (217). Empty clouds scorched the body. How can one put up with the Cuckoo's notes! Beautiful womon strolled in the stroots. Clamour of trumpets filled the three Torlds (218). The spring time has spent in dancing and singing Carcaria with Talas by ladies with ·94 BAKOISARISAKA their numerous necklaces dangling and their girdle-bells singling (219), Young women were shouting bilariously, Fear the Gathi tEat was then rected by the youthful lady pining for her Ingkad (220): At this time when people are engaged in mal revelry ("), Cupid is sending with a greater Febemenee volleys of arrows towards my heart (221) O traveller, if, full of sgony and tormented with separation and love's fire, I have said any words halsh or ill-becoming, theni you omit them and convey to him everything with due decorum Speak to him what is proper and in such a manner as may not displease kim". And having blessed him, the lady let the traveller proceed further (192) Sending him off she was returning hurriedly when, as she looked towards the south she saw her husband on the way coming back and she was filled with joy. As her great purpose was accomplished unexpectedly, so be it for these who recite or listen to this poem Victory to Him who is without beginning, without end! ( 223), ·NOTES 26. mat: coms. tale it to be a roc. plur, form meaning to नागरा, , but it is difficult to see this form and meaning in this word, 36. The sentence comes to an end after आरहो. मौरमेणस्स goes with an in da. 8b. जोइज is not योतते (80 com.) but द्योत्सवे. 18de. The can be either instr. or loo. But normal constraction here requires the acc. pl. form of q. So, if it is not on instance of case-attraction, there is only one way to explain it. Take TIRE TOWNIE to be loc. absolute and a to be used in a passive sense. Further sex = prefera so that the whole sentence would be ततः ऐकतरः रसिक दुर्गत, पत्रेषु अलभ्यमानेषु, कर्यकथमपि TOYSY STYRà. Still one curious fuct is, if from vale 18d, are 123d, 7 137d and Faganele 150a, fe is removed, we get just the form required by the constructiou and contest. 19d. spra: 'knowing these (facts about the work, its composition and authorship)'. थिमिसिद्ध सणु goes with गियुमेहु in the next line, 201. Age (yoc. sing.-) goes with c fayu, oftere etc. A2d. रससंजीवरसे : ef. रससजीषिनी, the title of भर्जुनवर्गदेव's com. on the अमलातक. 27d. पंखडिय . of. आधु = आस्खलात (प्राचीन गूजराती गद्य सदर्भ pp. 192 1, 28, 215 last line). 28. Take पारउहिय as one word equivalent to प्रत+स्थिता - प्रत्यु- fear. 28d. Porn (=29) is the general term for the finc stufts in clothes. Cf. Ve. P. XXXI.-If zr is taken to mean gaa, we have to attribute sach a sense to Asfire as it never possossos. So hetter to interprete of Astept ( acc. to Grammar, $ 51 B (2)) in the hole'. 42a b. Similar to the rhyming with a great we have 64ca b. सरिवयणि and सरोरहदलनयणि, GGab सिंधुभववणि and सलिलम्भव- जणि, 91a b राशिहरवण and मियतयाण, Ga b मिसितमहत्ववणि and सरोरहदलनयणि,. 104m b दीहरलोरणिहि and मयणुकोयणिहि, 125ad दीहरलोयगिदि and मयणाशेयगिहि and non-final 121cd fponteft and aftfot. This reminds us of ·96 RABDESATABAKA the refrain - which we come across in some old Gujarāti va compositions like the mi (A. O. 1971) and a later type मुणि मुंदारे रे-गिहिलि पुणि बरी रे employed by the early Guj. posts भालण, नाकर and प्रेमानदा G5d. Sue. As our text knows no other case of loc. sing. in r, we may accept that (A). N(see below) has #147. 68c. Ms. N (not ayalled for the text-constitution) has e for me, which otherwise is the only form of its type in the Se, 76 a: (loc ) na (gen.) does not make any sense. So we may read ga (C) and take the whole as a case of gen. absolute (see Grammar, $ 76 (C)) 77a It is probable that fais fa which appears also as # at 154d and is merely an interiogative particle, CE, HC. II 216 विणो प्रश्न 8६४. समाहिमोहु means मोहः (= मूर्या) एव समाधि, The first line is तव सरम्सा मम विषम समाधिमौर उत्थित. 894. 4 and fro refer to tho husband of the film abo also isa प्रवासिन्. 98a. she is strange. Ve expect here yte (f). Ms. N (not availed for the text-constitution) reads att & R. T 13 intriguing It cannot be 7 as it just precedes. Perhaps it 18 et orthographic variant for the emphatic = ft and more than a Asiasta. N. has grow which, following the comm, 13 to be intorpreted as a fait 990. A ta goes with the next line. 1030. विरह सबसे य क्य- विरहेण श्व-वशे च कृता . 103d, far. The instrumental appears inexplicable. A confusion of the passive and active constications? See also Grammar, $ 51 B.(3) and the foot-note on p. 27. 104cd. The rhyme is responsible for the gen of the urat. 105d. बालतिहि is भालसेन, 107€. To construe properly we require a (loc. sing.) or even 4w (see Grammar, $ 51. B. (2)) instead of #9. 116ab. The sentence is completed after te. Read राविव सासु 1191. fat is instr, sing of gate (plur.) 71a, Pk, TTT 22, स्पखणउदाहरणे. 122a. See p. 44. 996 ·NOTES 97 122b. खरय-रयाण-पञ्चक्षु is a compound. 123cd. मुर्सलियह and लीलतियह are 11011. plur. forms (see Grammar, s51. B.s) going with का दीयहि वहि. गहि is not clear. See 18de above. 124x. अंगु is to be supplied from b as the object of अणियद. 126ab. हरिजग stands for हारिऊण, 1300. अणुभचि ( = अनुगस) is abs. from V अणुअंच (= अनु+अध्). 130d. विहलागण is used adverbially. 1840. तह पतिहि = तस्य (राहकारस्य) पन्नेषु. संसारगहि ( = संसर्गण) is to be construed adverbially with af in 6. 137cd. de and care are not clear. For us see 18de above. सल is ज्वाला. 1381. is eonfusing. Further we are required to take उल्हार in a passive sense, though the form is active. 1400. For भयमेनिय and अइरावद See Greenancer,S7d beginning. 141cda 1424 is not clear, 146a. The cornri. take गोयं गणिहि गवाम् गणे: (म.). In that case we would be a strange form. 1480, पर in घरपारोहभर % ! 148d. For सिहरहिया ste Granurneer,573. 3. 1506. For अलविंदुम्भवहि see 18de above. It appears preferable to taka गलत्थिय-गलस्थिताः 154cd. As remarked under 77a abore, four in al is au inter- Togative particle cquivalent to ft. The construction is: (- यतः) बीयः न राल निर्गतः (ततः मन्ये सः) पादचन्ः बद्धाः । इदयम् किम् हिल न स्फुटितम् । ननु तद बण घटितम् । 16iab. Road कदम-भार-पमुशिय-सन्निलिहि दिनलिहिं { सरिह) पक्षिपिउ पानिमय. 167c41 to 169al is ono single sontence. For proper construc tion there is no go but to take fala as pass. 3.plar. Tho sentenco Trould be गुरुभक्ति-मुदिताभिः..........."धूतानि मवासने दीयन्ते. 171a. In परिभस-मुगले, गले is instr. Sco notes on पिम्मे 1100. neet. The tro sentences are गय दनि यमकार । पं पर जोगमा सरया-सरि-गेवर। 17adn 1rl. Only ne (C.) भामेरद सरद सीर (1.) गौe mukes sease. Cr. 1630. For लिहि ममिाह sce p. 43 end, 132, रा.

·98 CABIDEARTSuka . 1760 दिति य 177al (महिला ) कृष्णाम्बरे कृष- रनित )-कुटिल-तर अनेकशिमि विभाविता भासते) 178d Call it be चटु (= चद्रार्ध) (witte flowers ori the black hair look like half moon on the top of black clouds' 184d सेय goes with पलहर 1886 Separate कापूर And सरिस 188d. Probably विच्वाइस 19 an absolutive Construe cd भुवणुप्पर परिहरवि उयारइ पाल्य वि छाइय, कामिणिहि नामिणिहि षमुप्पइ 1920 The sentence is completed after खरफरसु The next sentence extending up to 193c 15 तहि तिणि पणि हय सडिय (य) अमेस तस्य पडि परि गय छाय फुल फर रहिय सउणियण असेपिय (य वे ठिय) 1936 If tím is accepted some oonnected sense can be made out दिसा म तिमिरतरिय, तुहिण धूइण भारणि (य जावा) 1030 Put a senucolon after 37 1940 गिय gocs with 194d If it is not to be construed actively, m must mean bed instead of lying down Then उद्यानानाम् उमेषु म पानिधि शयनानि क्रियते ( = रम्य ते) though value of thus suggestion appears doubtful 1960 at is puzzling It appears that पर केनि- मेलि कर meaning कलिम् कनुम् (1)=केल्य 2016 Does this go with णव-कुसुम पत्त in o} Then विअर्सनु 15 plural (cf p 43 end) 201d The Jne should read भइरेहद पव-सर रह विसमि 206 There is some obscurity in a Apparently the whole stanza las a reference to the *#& in 2050 SO HAT (plur ) is tho subject and 78 (i e their flowers) the object of feath 20 the light of b would be (भ्रमरा ) ती करका विध्यते There remains पहपर (- परस्सर) which cannot be made to fit in the context If somehow it can mean a thop the logical sequcace Fould be quite all right भ्रमरा शीण एका विध्य ते परंत( = तथापि) नरकुसुमानि लिहन्ति, तानि तीक्ष्णानि कण्टयाप्राणि च नै गणपति । यत रतिरानाम् तनु रालोगेन दीयते । (-लग्यते) प्रेममोहन र पापम् ( - भनिटम्) न गयन् । 209ab 31s enpluatio 210at allal कदर्पण सत्तशर (अई जाता)। मम गंगे नाथ (एक) संधारक, न सहार

·NOTES
99
216. RTT (the dark-bodies comes) must be enekos as
there is reference to singing, ab mean "there on the top of the
Suraktaka ( tree) the cackoos ero releasing as it were songs
withgastores acmapanied by various sentiments"
916. start is a compound.
2186. With map dels are = mech (Ife. II-22)
Padcid, गले रणि । वोल्वो पिपिई (अ) गात् पटिन (या भूपि,
AAB इस्लीय मानव
9206. पहावड
*

·APPENDIX I ORIGINALS, PARALLELS OR IMITATIONS With the series of illustrations given in sts 8-17 compare [1] the following two stanzas' found in a stray Ms. leaf*:- जं देह सायरो लहरि गजंतनीरपडिपुनो। ताकि गामतलामो जलभरियो लहरि मा देव ॥१॥ जइ गरुडपक्खिराया परचुस्खेवं करेइ गयणयले । ता कि इयर-चडेहि नयलगमणं न कायव्यं ॥२॥ [2] जसु जित्तिउ बुद्धिवियासु होइ सो तित्तिउ पयड मच्चलो। पिक्खिवि भारावर गुलुगुलंतु कि इयरहस्थि मा मउ करंतु ॥ महकमकईहु ताहँ तणिय किर कवण कह । किं उइइ मयंकि जोयंगण म करउ पह॥ Dhanapala's भविसतकह I, 2,7-10. With st 49ab cf मगं चिभ अलहतो हारो पीगुण्णभाण थनमाण । उन्विग्मो ममइ उरे जमुणाणइफेणपुंजो व्य । Hala's सप्तशतकम् (ed. WREER), 671. With st 70 cf जउ परसते सहन गय न मुश विओएं तस्सु । लनिजह संदेसडा दितेहिं सुहयजणस्सु ॥ Ho IV 419 (5) With st 93 cf हारो नारोपितः कण्ठे मया विश्लेपभीरुणा। इदानीमन्तरे जाताः सरित्सागरभूधराः॥ सुभाषितरत्नभाण्डागार, P 283, हनुम नाटक (ed S.L KELKAR, Bombay, 1901), V.25, p. 80. i Those stapias were noted and takep down by Acharya Shrl JINAVIJATAJT. ByMed Parallelowin indiNitertamnishamborn reproduced in the said its leat in the following tora जाइभरहमावभगेहि अगचंगेहि नभए तरुणी। वा किंवाहादेहि गामगहिहीन मञ्चन ।। बहदुधदर काछोलपहलवदुला उद्धलइ खीरी। ता कणजससहिया रम्बरिया मा तहबाइ॥२॥ According to Acharya Shri JIVAVIJAT UI the lis leaf appears to be old, ·APPENDIX 101 Titb st. 115-116 of 37423 जर पीणसमुण्णसंगआ थणा जइ मंथरलोमणमूसिअअं वर्ण। जब वित्यइपोणविसंडलमो जहणो जइ तस्विरपल्लयकोमलओ अहरो॥ ता कीस हिमा रचिदि च णो णिवुइं तु लहसि । दुलहमगिर विपिमत अहव संतो णित्तिहिसि ।। Vs. IV 74-75. With st. 119 cf. पेम अमिञ मंदय यिरा भरतु पयोधि गंभीर। मधि प्रगटेउ सुर साधु-हित कपासिंधु रघुवीरः ।। रामचरितमानस (the Mila-gutha edition), II 208 end. ब्रह्म पयोनिधि मंदर ग्यान संत सुर आहिँ । कथा सुधा मथि काढहीं भगति मधुरता जाहि ॥ रामचरितमानस, VII 120. With st. 1240 cf. विरह करवत्त-दूसह-फालिजंतरिम Hila's सप्तशतकम् (ed, WEIEN), 15sa. With st. 137 cf. सीयालु पिसु वितु वा संति जणइ हरिपंदशु सिहिकुलु अंगु उगा। गलिणु वि सूरहु सपणतु वह सपणीयलि चित्तउ बेहु डहा । etc. Puspadauta's महापुराण (ed. P. L. VAIDYA) LXXIII.3.8-9. Witlust.171ef णय पिस कसाय संसुद्ध-फर-पाल-मोहरो णिसामेछ। सरय-सिरि-चलणणेउर-रामओय हंस-संलायो ।॥ २६ ॥ occurring on p. 8 of the Taipe? of Koutala (being edited by Dr. A. N. UPADHYE for the Singai Jain Serics).

·APPENDIX II Sources OF THE DIeteicat DEFINITION QUOTED IN THE SL COMMENTARIES " " " " " " " " " " " " "" Definition Occurrence in the Sr Source 1 पढ़गो बारहमतो ete , In the व्याया Oust 2Gr 16-Pr जासु विरणि हुति पय फ्य ete 19 [I54. 3 सोल्ममत्ता जहि पउदीमइ etc 20/GL 70 * हुमिलाहि पाक्षिण etc 23 CK 16 मत होहि चउरासी बहु पय etc 26CK 17. G तेरहमता विसम पर ete BICK21 7 सो चदायणु छद् फुड ete BAC532 8 दो वेया निहियुगल etc 94 Gr82. जनमयायुठेय मालिनी भोगिरीके 100 Kedarabbatta'तरत्नाकर 1184 10 चउप इस जमनुनि दीसइ etc 104C4la 11 जमा होई नई बिहु पय उत्त3 etel 111 CAN 12 दोहाचदु जि दुदव पhिote 112C26 18 सगणा रय वीस य उदु धुन etc 14 पदममणे कठetc 119G 80, "" 15 समय इह नदमिछद धुत etc 171CT " " " " " " " " " " " " " । ? 115 " " " " " " † This quotafíao 13 from that portion of the Meruup of after which VELANENE thinks of beraral grounds, to be speront Now the quotatton 10 3 above esprovaly gives the name ot कवि नदः This possibly suggests that after hed to his credit, besides this 171476 997 a treatise Op yra metros from which our quotation Do # alto most of the Hanzas of the Gu, gawards from # 75 bare beco taken ·ADDITIONS AND CORRECTIONS Grammar, P. 9, foot-note 1: ac oacurs in the Karparamaſjari also (Grosu's edition, p. 48, 1, 19). P. 17, 37: For a different and more probable derivation of the see $ 73 ( 4 ), p. 40. P. 99, $ 48 ii : ania and the accur in the Fasudevahindi also (Part I, p. 47, 1. 12 and p. 40, 1. 19; p. 41, 1. 17 respectively). Some of these Tords were formed porhaps analogically rental as contrasted with mat etc. Metres. P. 54 beginning: raima (Pr. pp. 297-300) with the scheme 6+4+4+4+3 bears only a superfluous resomblance with anr tai. For the formor should begin with a long, need not have a caesura after the 11, or 12. more and should end with an iambic. These features clearly differentiate ging from our vi. P. 59 ond: The variant for a : etc. in the area on st. B2 (दोधकेन सह अष्टाविंशत्यधिक शा गावाणा होधन विना आशीतिमात्रा मित्रमणहरनामा stergar ) fotted in the Ms. N. (not availed for the text constitution) removes the difficulty. It shows that tatay withoat tho Doha is called to which appears to be tho onrly form of the TELUT of the Gujarati prosody. शवकोप Pago under # 911 : add '179. belot : onter alle 949 amar'. drop stutta cto. for at resd azt. under आशेयण : correct as 'मयणाकोयांग - मदनामटा - मदनपेटा- under [*e*7 ]ow . reworC 'Vatu = 874# (9. mg)' to the boxt catry. under apaifitas : correct as '(BRATE 3728) for stufa ctc. read 273747 964 7. Drop the rest. for Veitz, read V3107. Similarly in all cases whero the root is giren as ending in a consonant, 1) ·104 8. DESARXBAKA 1 1 x sc >>> ? ** 10 15 under correct 947 to 849 for ईसरसरि rend ईसरसर under the drop 194, below एरिस enter 'एन ११ एनम्' The four entries below are to be considered as its sub-entries for arm etc read 'कटग्ग २०६ कदनाम for dete read 'कत ७६, कतय १६७ कात under Vr drop 'कीय १५९' under शिण add २१६ कृष्ण' under कोलिय add (गु कोळी) bulow राजोय enter सजत १६५ = धोतमान'. below गण-गण enter "गग १४६ for real eto read ya 97' Drop the rest under V add av after afta23 below "गल enter “Vगल (गु गळ), गलइ १०६ under गलघिय Read गलस्थित for पित under RC correct as [गभीर हा] under गोयगण correct as “गोब गणिहि १४६ गवा बजे under वि read पि for पियू af Alternatively this can be explained as loc sing of चबरम्चवर under V3 correct as 7 169 under goy Drop the query After add «Cf. * IA 98423 (1199) 777 (HOS 11. Glossary) Drop the entry २० यत्' undor - read 94 foi 9,4 under read 1. for 34 correct ry to V79 under a read 517 for at eto under झलक after पलक add '-ज्व' Correct लवति to pit and drop (1930?) and the rest under VM correct to fires Under Vak txe ata 12 into separate entry and add you tout under add 9736 under y coriect 'wer l' to '(tairzity under नाडs torrect as 'नाइय ४६ नाटक' V 13 after freds add 1 for णिदुरइ read गिट्दुरय Drop (य) 19 17 ·ADDITIONS AND CORRECTIONS 105 U . " " " 1 ॥ णितु : correct १.२ to २०२. POTER : correct as (निर्दोष) दोपाभाव'. १०४ below नीसास : enter 'गु१४११. under Vतग : correct as Vतग्ग-जीवितधारणे (2), Drop तद गमे. + under हि : read ५४ for ६४. below तुरक : add 'पुरंग १६९.. under दर : rend १७ for २८. - below दर : enter 'दर २८ छिद्र. १०६ under Vधर : add 'धरिय १०६. Inndar धीर : after धीरबह read १६६ for २६६, below धुत : enter 'धूष १५३'धूम'. under पउछ : Drop (1) प्रयुज' and add 'प्रमुक्त (?). under पउहर : change the entry as "पउहर २४ पद-धरा. under पय ५४ : drop (गु. पग मादयो) correct no to vपनित. पर : drop 'पडि २८. below पउह . enter 'पडिउट्टिय २८ प्रत्युस्थिता १०७ under पडिल्लिय : alter 'देशीत्वादधिसम्' add 'पदिको १० under पडत्तय - after पडिउत correet as '[यथा Vपहुंज'.. correct बहुरपि to बहुरूपि. under चालय : entor "बाह १५१ वाप'. १११ under मुह : correct toम्ही. under Vt. correct रजिवइ to रैगियइ. correct A to . remore tha entry 'ta etc.' belon Veg etc.' under it after Traiaz add ''. below रेणु : enter "रवि २१ हेत्व निपात' under q: aftor y add. 41, 43, 44 ar'. ander fra : correot 944 to 446. under " : correct 'योराळी' to 'यारा', correct बट्टा ctc. as पाक २२२- पथिक under परमिम : correct 'घरक, स! to 'धुरो!' under पलियम : correct as 'पलियन्य' and remore this entry top. below मल. under 'पहिय : correct पाषित to पपित. correct याउलिय to पाउलिय and remore this entry on P. 1.belon यल, 14से.रा. " " ११२ " " " " ·,106 SALDESARĀSAKA ११६ " below सलिलम्भव : enter 'सलोल ५९ व्येल'. corrcet सबसेय etc. as 'सबसे ११ सपशे'. under Vसस . drop १९८. under Vसह : correct सहतिय to सहतिय and at the end add 'सहण ११८ under साइय drop 'खामिन् , (हिं. साइ} and add =संस्कार'. below रेहनि enter "लवरण ६ (लक्षण) न्यावरणशान'. १२० Some important variant readings from N. Ms. (referred to in thc PREFACE, p. eleven). Text 16 बल for बहुल, 200 मुणइ for मुहि, 210 अबुहा for अवुहह, 230 सालिजि प for "मलियह, 24/7 hr for लक, 240 पवहंत for पवहंति, 25a पुसद for पुगर, 251 पमुकं for "चमक, 250 बोइउ for जोयर, 310 परियणि for पहियणियणिहिँ The interpolated stanzas given between 31 and 32 are not found in N Soalso 38 absent from N. 41d. तुहु for हिन, तुहु for मुह, आवियउ for आइयर, 44: मुवच्छ for मुदयवच्छ,45c "यमिहिं for थणिय, 45d गणिहि for प्राणिय, 52 जुबनु for "जुयल, 520 जवलय for 'जयलय, 53a छोलती for "लीलतिय, 53c झुणंती for गुणतिय, 54 जोवंतयह for जोय, 556 जूदिय for जही, 590 तिव्य for निवू The st between 64 and 65 is not faund in N. The first of the interpolated stanzas between 69 and 70 is given in N 19 & quotation (), while the second is absent. 720, गुहु for t. 86 समरेलु for समरत, 911 वणिबु for "ज, 91 रहर, 92a हुई, 93a मेगमे, 98 थिर, पीरि, 980 फुसदि, 930 m for य, 1000 तहवि for तइय, 104ab तह for "हं, 1050 सब for सिव, 106 पति for पहिलिउ Commentary : First stanza in the व्याख्या 'लन्धिसुंदर for मुनिपुलव' The definition stanza of गा in the व्याख्या on 2 : अट्ठारसामु मत्तामु for अट्ठारसेहिं नायथ्यो and विभूसिया for विहिसिया on 3 :प्रधान added after प्रभूत 02 4 • अपभ्रंशशास्त्रं कृतम् for अपभ्रशभंध कृत ' The Definition stanza of या in the व्याख्या on 19 , राहासेण for रासासेण, मुर्णिदु for मुर्णिद्ध, नंददु for नंदव, भणतु for भणंति The definition stanza of परडी in the म्याख्या on 20 : कनु for गतु, गवीसइ for पलीसइ The definition stanza of मिला in the Eurem on 23 हो, for दोहि, तीस for वितीम, मेलवि for मेल, गणु अन्नु for गण अन्न, तजि for भनि The definition stanza of आभाणक in the ग्यास्या on 260 गुहु for मुद्धि, अभाणउ for पाहाणउ. On 28 पट्टमयवक्षं for पट्ट पक्षमयं. The explanation of the definition stanza of चन्दापण in the व्याख्या on 82: दोधकेन सह अष्टाविंशत्यधिक शत मानराणां दोपकेन विना थीतिमाया- प्रमितमणहरनामा चंदायाचन्द, 1 etc.

·कवि- अब्दुल रहमान -पूत
सन्देश रासस
(२. लपमीचन्द्रात व्याख्या तथा अवजूरिकालंकृत

·कवि-अब्दुल रहमान-कृत सन्देश रासक। १प्रथमः प्रक्रमः।- DOCO-- रयणायरधरगिरितरुवराइँ गयणंगणमि रिक्खाई। ज्ञेणऽज्ञ सयल सिरियं सौ बुहह्मण वो सिर्व देउ ॥१॥ 10 रिक्खाओ 2 B C सिरिया । 8 B त । 4 Cघुहियण । 5 AC मुह । 6 Cदितु । [पं० श्रीलक्ष्मीचन्द्रकृता टिप्पनकरूपा व्याख्या।] ॥ॐ नमो गुरुभ्यः॥ नत्वा जिन-गुरून भत्तया स्मृत्वा वाङ्मयदेवताम् । वृत्ति सन्देशरासस्य कुरुते मुनिपुङ्गवः ॥ १॥ तस्याद्या गाथामाह-'ग्रन्थप्रारम्भे अभीष्टदेवताप्रणिधानप्रधाना प्रेक्षावती' प्रवृत्तिरित्यौचित्यात् सूत्रस्य प्रथमनमस्कारगाथा ! [१] यथा-'रयणा'-मो बुधजनाः। स खटा-फर्ता वा-युष्माकं शियं- माङ्गल्यं ददातु-प्रकरोतु । येन स्रष्ट्रा रताकर-धरा गिरि-वरुवरा, गगनाङ्गणे मक्षाणि' चेत्यादि सकलं-समस्तम्, एएं-उत्पादि[तम्] इत्यर्थः ॥ १॥ [अवचूरिका] [:] भो बुधजना ! स सृष्टिकता पा-युप्मा शिवं दातु । येन स्रष्टा रमाकर-धरा गिरि- खबरा गगनाणे रक्षाणि 'स्वादि सकळ - समसं सृटमुत्पादितमित्यर्थः ।। आदर्शपलभ्यमाना भ्रष्टपाठा यथा-- 1 अन्यः प्रापवता। अठा। 4 तर। 8अद्या 5 रिक्षा 67 ल्यादि ।

·२ सन्देश रासक [प्रथम प्रश्रम माणुस्सदिच्वविजाहरेहि गहमग्गि सूर-ससिवित्र । आएहिँ जो णमिज्जई तं णयरे णमह कत्तार ॥२॥ पञ्चाएसि पहूओ पुन्वपसिद्धो य मिच्छडेसो त्थि । तह विसए सभूओ आरदो मीरसेणस्स ॥ ३ ॥ 10 नह। 2B'ज। 3A. नमह, गवहु । 4A देसो वि B "देमु यि। [टिप्पनकरूपा घ्याख्या [२] तथा च- माणुमा -मनुष्य देव विद्याधरैर्नभोमार्गे सूर्य-शशिविम्वाम्या आदितो यो नमस्त्रियते । मो नागरिकलोका ! कतार ममत ॥२॥ द्वन्द्वालापनमेषजभोजनसमये समाग मे] च रमणीनाम् । अनिवारितोऽपि तिष्ठति स खल सखे ! व्यक्तनागरिक ॥ यस्येतेषु स्थानेषु अनिवारित अनिपेधित तिष्ठति स नागरिक' मोच्यते । पेषु फेषु स्थानरेपु-यन कश्चिदालोय फरोति, मथवा यत्रौपधादिवारी फियते, तथा भोजनावसरे कस्यापि गेहे न गच्छति । अथवा एका तमदेशे, स्त्रीसमागमे च, वातासमये, यस्तु अनिपेधितोऽपि तिष्ठति । स चतुरनागरिको भवति । पपा (एतद्१) पिपुलागाथाछन्दः । अथ गाथालक्षणम् - पढमो बारहमत्ती, बीओ अट्ठारसेहिं नायो । जह पदमो तह तीओ, दह पचवि[]सिया गाहा ।। चन गाथा दसि मथमपद द्वादशमातृकम्, द्वितीय पद् अष्टादशमातकम्, तृतीय द्वादशमातकम्, चतुर्य पञ्चदशमातकम् । एव सर्वच क्षेयम् । [३] अमीदेवतानमस्कारमुक्या कवि वदेशादिस्वरूपमाह पचाएसि - प्रतीच्या-पश्चिमदिशि प्रभूता पूर्वप्रसिद्धो म्लेच्छनामा देशोऽस्ति । तत्र विषये 'आरदो' देशीत्या व.] तन्तुपायो मीरसेनारय सभूत - उत्पन्न ॥३॥ [भवपूरिका] [२] मानुष्यदेषविधायौ भोमार्गे सूर्यशनिविदाम्मामादिवो यो नमरिफयते भो नागरि काख को नमन इन्द्रापानमेपरभोजनसमये समागमे च रमणीनाम् । अनिवारितोपि तिति बढ सखे यतनागरिक । [-A माशस्थिता नागरिकशब्दोपरि टिप्पणी ।। [3कपिः स्वदेशविस्वरूपमा:-प्रतीयों-पभिमायार, प्रभूत -प्रधान पूर्वप्रसिदो ग्लेखनामा देशोऽस्ति । तत्र भारदो देशीवात् तन्तुवायो मीरसेनास्य ' सम्भूत - मापन ॥ 1 नमस्सयते। 2 गरी 3.1 4 थे। 5 "रूपते। 6 नमत 17 "सेनास्य ।

·पद्य २-६] सन्देश रासक तह तणओ कुलकमलो पाइयकन्वेसु गीयविसये। अहहमाणपसिद्धो संनेहयरासयं रइयं ॥ ४ ॥ पुचच्छेयाण णमों सुकईण 'य सदसत्थकुसलाण । 'तियलोए सुच्छंद जेहिँ कयं जेहि णिहिट्ठ ॥ ५ ॥ "अवहट्टय-समय-पाइयंमि पेसाइयमि भासाए । लक्खणछंदाहरणे "सुकत्तं भूसिये जेहिं ॥ ६ ॥ 1 A. धुलि 1 2A पाईय । 3 C विसएस । B समेहरा नेहइ । 5 A रईय। 6B नमो17Cण 184 ति।C सच्छदं । 10 B जे निदिदं । 11 B अवहट्टा- सकइ पाइयाई पेसाइयाण। 12 A. 'पाइयं च । 130 पेसाइयाई। 140 सकचित्तं । 15C भूसिया - . [दियनकरूपा स्यामा {"] वस्य-मीरस्य तनयः, कुले कमल इब कुलकमला,माकतकाव्येषु गीतविष- येषु, प्रसिद्धः-लन्धरेख अब्दल रहमान नामा अभूत् । तेन सन्देशानां रासका नामाऽपभ्रंशग्रन्थः कृतः॥४॥ [५] फविः स्वस्वरूपमुक्त्वाऽनौद्धत्ये[न] पूर्वकवीन नमस्कारपूर्वं व्यावर्णप. माह- पुम्बस्छैयाण-पूर्वेच्छेकेभ्यः सुकविभ्यश्च नमोऽस्तु । कीदशेभ्यश्छेकेभ्यः कविभ्यश्च शब्दशास्त्रकुशलेभ्यः । यस्त्रिलोके वर्ग:मृत्यु-पातालरूपे ! स्व(सु)च्छ- न्दम् - स्व(सु)छन्दो विधत्रे यस्मिन् तत् सानु)च्छन्दं शास्त्रं कृतम् । यैश्च निर्दिष्टं सो(सोधितमित्यर्थः । अता कविभिः कृतं पण्डितैः सो(शोधितम् ॥५॥ [६] अपभ्रंश -संस्कृत-प्राकृत-पैशाचिकादिचतुर्भािगभिः, ये कवित्वं छतम्, लक्षणच्छन्दयाभरणाभ्यां तय विभूपितम्, तेभ्यो नमः ॥६॥ [सवचूरिका ] [] सख-मीरसेनस्य तनयः कुलकमलः प्राकृतकाव्ये गीतविषयेषु भोगेषु च प्रसिदो सम्परेखो राम्दल रहमानोऽभूत् । तेन सन्देशरासक' [नाम ] शान कृतम् ।। [५] पूछेकेभ्यः सुकविम्यश्च नमोऽस्तु । फीरोम्यः शब्दशाखालेमा । विठोके सुच्छन्दानं कृतम् । यैश्च निर्दिष्ट्र, 'शोधित, प्रवरितम् ।। परिदत कन्योरिवरं कृतं मयूरेण यथा- सूर्णमानीयता चूर्ण, पूर्णचन्द्रनिमानने । कवये पाणभटाय, पण्डिताय च दण्डिने ॥१॥ [१] अपभ्रंश-संस्कृत-भाव पैशाचिकमाएका सुकवित्वं शोभनं काळ्ये * फूतम् । मध्यच लक्षण छन्द-आभरणाम्यां भूषितं मण्डित च ।। 1 रेषः। संदेसा। रासकं । अंशः। 5थे। 6 राशक। सोषित।

·मन्देश रासक [प्रथम प्रक्रम ताणऽणु कईण' अम्हारिसाण सुइसदसत्थरहियाण । लक्खणछंदपमुकं 'कुकवित्तं को पसंसेइ ॥ ७ ॥ अहवा ण इत्य दोसो जइ उइयं ससहरेण णिसिसमए । ता कि ण हु जोइध्वइ भुअणे रयणीसु'जोइक्खं ॥ ८ ॥ जइ 'परहुएहि रडियं सरसं "सुमणोहरं च तरुसिहरे । ता किं भुवणारूढा मा काया करकरायंतु ॥ ९ ॥ तंतीवायं "णिसुयं जइ किरि करपल्लवेहि अइमहुरं । ता "महलकरडिवं मा सुम्मउ“ रामरमणेनु" ॥ १० ॥ 1A.Cई। 20 मु°13 B युवत। 4 BC अधिAC सिहामि 168 'समये। 7 रयणीइ, हई। Cोरके। 9 C पर, 10 B पहुएण। 11 A मुमनों। 12 AC निगु । 13 A. महालि। ICगुम्गाई। 15 A"खणेसु । [टिप्पनकरूपा व्यास्या [७] तेषां सत्कवीनाम्, अनु-पश्चात्, असाइशानां कवीनाम्, श्रुति-शब्द- शाररहिताना कवित्वम्, सक्षणच्छन्दोम्यां प्रमुक्तम् , का प्रशंसयति ! - अपितु कोऽपि ॥ [८] त िमा कुर्यास्तदर्थमाह - अहवा प०' अथवा 'इत्युपायान्तरसरणे, नान दोषः। यदि रायरेण-चन्द्रेण निशि उदितम् , तर्दैि रजनीपु मु(भ)यने-गृहे ज्योतिक दीपा किंग धोतते', अपितु घोतते ॥८॥ [९] परभूतामिः-बोकिलामिः यदि सरसं सुमनोह [२] यथा भवति तथा तरुसिहरे(शिखरे)एटितम् , ताई भु(मावणा(ना)दाः गृहवलि(लोभिस्थिताः काममा करकरायन्तु-परकर इति शब्दमा कुर्वन्तु , अपि तु पुर्वन्तु ॥९॥ [१०] यदि तन्त्री-घीणावादिनम्, किल इति संभावनायाम्, करपल्लवैः- इलाहुलीभिः वादितं नितरां श्रुतम्, शाह मर्दलकरटिवादिने राम(मा)रमपी. (ज)पु-स्त्रीकीडासु, मा श्रूयतां १, अपि तु भूयताम् ॥ १०॥ [अवधरिका] [-]तेपी कवीताम्, अनु-पश्चात अतिरदशास्त्ररहिवानामस्मा गच्छादामुकं कुत्सितं कनिष क. प्रशसनि, अपि तु न कोऽपि ।। [] हि मा कुनिमाह-अधवेयुपायान्ताम्मरणे, मात्र दोपः । यदि साधरेज नियुदित तहि रजनीषु ज्योतिषक दीप मु(म)वने गृहे किं न प्रोतते , अपि तु बोतते ॥ [१] यदि परभृताभि,- कोकिलाभि सरस-सुमनोहरं यथासशिखरे रदिवम् - मान्दिनम् । ताई कि भु(म)वनावा। काका मा बरकरायन्नु, [भपि तु करकरायन्त ] कस्तान पारपति । [..]वधी-वीणावाद शुन याद घेत् करपलवर तिमधुरम्, सहि मदलकर()वादिन- विशेषवं रामाश्मणेषु-नीप्रीडा मा श्रूयताम् !, अपि तु धूपत्ताम् । इयो। 2 शशि। योयटे। परि। 5 धुस्सा ।

·५ पद्य -१४] सन्देश रासक जइ मयगलु' मउ झरए कमलदलब्बहलगंधदुप्पिच्छो । जइ अइरावइ मत्तो ता सेसगया म मचंतु ॥ ११ ॥ जइ अस्थि पारिजाओ बहुविह गंधडकुसुम आमोओ। फुल्लइ सुरिंदभुवणे ता सेसतरू म फुलंतु ॥ १२ ॥ जइ अस्थि गई गंगा तियलोए णिचपयडियपहावा,। बचइ सायरसमुहा ता सेससरी म बच्चंतु ॥ १३ ॥ जइ सरवरंमि विमले सूरे" उइयंमि त्रिअसिआ णलिणी" । ता किं वाडिविलम्मा मा* विअसउँ* तुंबिणी कहवि ॥ १४ ॥ 1B मइगलु; C मइगल। 2 A. कबल: B कमला। 3 B एराव। 4 B मुचंद्ध । 5 A. बाहुविहि । 6 C कुसम 174.0 गई। 80 समुहं । 90 मतु। 10 B सूरों उपम्मि; सूरे उवयं । 11 B विहसिया, विहिसिया। 12 BC नलिणी। 18 Bणं । 14C विहस। 15B काइव । [टिम्पनकरूपा व्याख्या [११] यदि मतङ्गजा दिग्गजो मदं झरति, कीदृशः कमलदलाचुरगन्ध दुम्पेक्षः । अन्यच्च-यदि पेरावणो मत्तो भवति, तर्हि शेषा' गजा मत्तान भवन्ति', अपि तु भवन्त्येव ॥११॥ [१२] यदि पारिजातो बहुविह(धागन्धाढ्यकुसुमामोदोऽस्ति, अन्यञ्च-सुरेन्द्र- भवने प्रफुल्लति; तहि शेपतरवः किं न फुल्छन्तु , अपि तु फुल्लन्तु ॥ १२ ॥ [१३] यदि गला नाम नदी अस्ति, त्रिलोके नित्यं प्रग(क)टितप्रभावा, सागरम् - समुद्रं सरति, तर्हि शेषाः सरिता सागरं किं मा सरन्तु , अपि तु सरन्तु ॥ १३ ॥ [१४] यदि विमले सरसि-सरोवरे, सूयॉदमे कमलिनी विकसिता, ताई दृचिविलग्ना तुम्बिनी बल्ली कि मा विकसतु ? ॥१४॥ [अवारिका] [1] यदि मतानः- दिग्गजः कमलदलबहलगन्धदुःप्रेक्षं [मदं] मरति, अन्या-ऐरापति:- पेरावणो मतो भवति सदा शेषगजाः किं मदं मा झरन्तु - मा माधन्तु, मपि तु माद्यन्तु ॥ [२] यदि पारिजातोऽस्ति, कीटर ! बहुविधगन्धायकुसुमामोदः, सुरेन्द्र (म)वने प्रफुलति, तर्हि शेपास्तरको मा पुछन्तु , पापित छन् । [२] यदि गला नाम नलि, सा निलो प्रकटितप्रभावा सागरसंमुसा प्रति वर्ष शेषसारतो मा मजन्तु , अपि तु मजन्तु ।। [१५] याद विमले-विस्तीर्णे सारी सूर्योद्गमै कमलिनी विकसति वाह वृत्तिविलमा सुम्बिनी चली फि मा विकसनु, भपि विकसन्तु । 1सेवा।

·६ सन्देश रासका [प्रथम प्रक्रम जइ भरहभावछंदे णच्चई णवरंग'चंगिमा तरुणी । ता किं गामगहिल्ली तालीसहे ण णच्चेई ॥ १५ ॥ जइ बहुलदुद्धसंमीलिया य उल्ललइ 'तंदुला खीरी । ता कणकुकससहिआ रब्बडिया मा दडव्वडउ ॥ १६ ॥ जा जस्स कव्वसत्ती सा तेण अलजिरेण भणियव्वा । जइ चउमुहेण भणियं ता सेसा मा भणिजंतु ॥ १७ ॥ , णथि तिहुयणि जं च” गहु दिल, तुम्हेहिँ वि" ज न सुड" विअडबंधु सुच्छंदु सरसउ । णिसुणेविण को रहइ, ललियहीण मुक्खाह" फरसउ । 10 भाविउदै। 2A मचद। 3 BCणवरंगि। 4Cचिद। 5A सम्मिलिया। GBCउI7C सदुला 1 8C दुडव। A अलजरेण लिजरेण। 10 BC सेसकई । 11 B सणिज्जति । 12 चि। 13 C महु । 14A दिव। 15 A तुम्हे वि । 16 मुआ। 17C मुक्खाण । 18 B विरसिउ A फरसिउ । [टिप्पनकरूपा व्याख्या] [१५] यदि भरहति)मावच्छन्दसा नवराचा दिमा-नूतनवर्णप्रधाना नायिका नृत्यति, तर्हि प्रामीणषयू वाली शब्दे न नृत्यतु , अपि तु भूत्यतु ॥ १५ ॥ [१६] यदि प्रचुरदुग्धेन सम्मीलिता तन्दुलाना क्षीरी उलुलति, तहि धान्य कणतुषयुक्ता म्याडिका मा दडपडउ - मा शरद करोतु ॥१६॥ [१७] साध्यमाह-जा अस्स पच-या यस्य काव्येन शक्ति, सा तेन लजा मुफ्त्या मशितव्या । यदि चतुर्मुखेत मा भणितम्-चयारो घेदाः कृता', तर्हि शेषा फपयो मा कवित्व कुर्वन्तु ॥ १७ ॥ [१८] कवित्वकरणायारमान मोरसाहा नन्यस्य मनाय रमणीयाच दर्शयच. [अवचूरिका [१५] पवि भावभाषचन्दसा गवराघङ्गिमा वरुणी नृपति, तर्हि माममयिका बालीयम्देन किम नृत्य, अपित मृत्यतु ।। [1] पनि प्रादुग्धसमिश्रिवा वग्दुलाना खीरी उनि, पदि धान्यरुणीच्या रबडीया किं मा दाबन-मा शम्द करोत, भपित करोतु ।। [१०] स्वायकरणे सामानमुत्साहपति-या पस्य काव्ये शक्ति सा सेन पा गुरुवा माणितम्या । मदि हनुमुंखेन-मझगा मणितम् -घरवारो पैदा हवा, परे कवयः किपिल मा कुर्वन्द्र, सपि कुर्वन्तु । [10] कवित्वकरणे भारमान प्रोत्साह मारममन्यस ममार रमणीयस्य दर्शयन्, भनौदो।

·पद्य १५-१५) ७ सन्देश रासक चौ. दुग्गचियं अरिहिं पचहि अलहंतेहि । आसासिज्जइ कह कह वि सइवत्ती रसिएहि ॥ १८ ॥ णिअकवित्तह विज माहप', पंडितपवित्थरणु मणुजणंमि कोलियपयासिउाँ । कोहलि भासिअउ सरलमाई संनेहास : तं जाणिवि णिमिसिद्ध खणु बुहयण करवि सणेहु । पामरजणथूलक्खरहि जं रइयः" णिसुणेहु ॥१९॥ [रगुच्छन्दः । 1 B त2 B दोग्ग, A दोगोचियः। 3A पुलिहि । 4 B क्हव । 5 C सरसिपहि। GA. कवित्तविज 17C माह पु 1 8 B पविवित्यरश: पवितरण। 90 कालिया। 'मणु मुणेवि किंचिय पयासिज'एतादृशः B स्थितः पाठः। 10 B भाई। 11 B मगहरा । नोपलभ्यते C आदर्श पंक्तिरियम् । लिपिकरप्रमादेन पविता प्रतिभाति । 12'तुहिजडणव खद ख' एवरुपः B पाठः, 'तं आण व निमसिद्ध खणु-एतादृशः C पाठः। 18 B चुहियण। 14C मिणेहु ! 150 रथई । [टिप्पनकरूपा व्याख्या नौद्धत्येन कीनाह-पत्थि तिहुयणि-मो कवयः त्रिभुवने तन्नास्ति, यद् युष्माभिर्न इएम्-न ज्ञातम्, अन्यञ्च न श्रुतम् - नाकर्णितम् । अतः सर्वविशेषज्ञानात् । युप्मत्कृतं विकटरन्धविशेष() सुच्छन्दसं सरसं श्रुत्वा, असा मूखाणा पिरसितं प्राकृत काव्यम्, ललितहीनम्-लालित्यवर्जित [क] भोप्यति । अपितु न कोऽपि । तर्हि अग्ने कथं प्रवृत्तिः । तद् दृष्टान्तेनाह-यथा दुर्गदरिद्रोपते- श्छेक, पत्राणि - नागवल्लीदलानि, अल[भ]मानः पर्वतादी बहुमो(मूल्यस्यात्, स(शतपत्रिका मास्वाद्यते, तथा मम काव्यमपि पठिष्यन्ति ॥ १८॥ [१९] ततः प्रालि, निजनन्थनवणार्थे पण्डितानाह-णियफवित्त० - भो बुध. जनाः! निशब्द यथा क्षण तूष्णीक्रियताम्। अन्यञ्च यत् पामरेण स्थूलाक्षरे संलयः रचितम्, तत् नेहं कृत्वा युत। कीदृशं निजकरित्यविधाया माहात्म्य भभावरूपम्, आत्मानुमानेन पाण्डित्यभविस्तारणम् । कथं प्रकाशितम् ?-मनसि [भवपूरिका ] नाइ-मोः पयः! विभुषने मास्ति यामाभिने एम्-न ज्ञातम्, पस न श्रुतम् । [युष्मकृतं] विकटपन्ध्रविशेष सुच्छन्द सरस भुस्वा, असा मूर्खाणां स्पृष्टं-कृवं काव्य छलिसहीने श्रुत्वा यः स्थास्यति-पुनः कः प्रोश्यति !, अपितुन कोऽपि । वयं कथं प्रतिबद् उष्टान्तेनाइ-सभा दुर्मते रिश्का, पन्नाणि नागबलीदलान्यलभमानः, पर्वतादौ शतपत्रिका असाचतेवमा समकाव्यमपि पटिप्यन्ति । . I सृष्णीकृयता। दि ·सन्देश रासक [प्रथम प्रकम संपडिउजु सिक्खइ कुइ समत्यु, तसु कहउ विबुह संगहवि हत्यु। पंडितह मुक्खह भुणहि भेट, तिह' पुरउ पढिव्वउ ण हु वि एउ ॥ २० ॥ 1B सपटिय। 20 विदयु। 3 BC तह । [टिप्पनकरूपा व्याख्या किमपि छात्वा प्रकाशितम् । कौतूहलेन भापितम् । पुनः कथं?-सरलमायेन । सन्देस(श)यसकं नाम । इच्छन्दः। तलक्षणम्- जासु वियरणि हुंति पय पंच, पढम चिय पनरह, बीय चारि गारह निरुद्धद। तह तीयइ पंचदह, रड्डभेउ जाणउ सु सुद्धछ । करहिणि मोहिणि मियनयणि, रासासेण मुर्णिदु । अंतिहिं दोहउ जमु हबह, कवि नंदष्टु भणंति ॥ यस्य प्रस्तारे आदी पञ्चदश-एकादश-पञ्चदश-एकादश-पञ्चदशमात्रिकाणि भवन्ति पञ्च पदानि । भान्ते वोधकः । इति लक्षणम् । दोधकलक्षणमने कथयिष्यति [२०] ततः प्रालिर्निजनन्यश्रवणार्थ पण्डितानाह । ततो अन्यपठनस्य शिष्या(क्षा)माह - 'पडिउ जु.'-फोऽपि समर्थ:-प्रशावान, संपतित-प्रसडा. गतम्, (म) सन्देशयसकं पठति, तस्य सन्देशकविदो इस्तं गृहीत्या भणामि । ये जनाः पण्डिताना भूर्माणां चान्तरं जानन्ति, तेषां पुर[व] एप सन्देशरासको नाम न पठितव्यः । यतस्ते महान्ता पण्डिताः। पचडीछन्दः । तलक्षणम्- [अपरि] [रहन्छन्दो यथा-] बाब विरयणि दुति पय पच, पदम चिय पतरह य, सौम चारि गारद निरुदङ । तइ टीका पचरद, रमेउ जागा सु गुर। करविभमोहिणि मिशनयणि राहासेषु मुगिनु । अतिहि दोउ नि हर कवि नवगु मणति ।। मस्सा प्रस्थार मादी पधदर्शकासपशदशमात्राणि पत्र पदानि, मान्ने घोषक हति हालसं. णम् दोधवलक्षणमने क्ययिष्ये ॥ In] माजनिर्निजान्धप्रचणा पण्डितानाह-भो अपना चेहं पुरषा निमविश्व- विचापा माहात्म्य प्रभावरूपमारमानुमानेन पाण्डित्यविस्तारण मनुष्यलोके कौलिकेन वन्नुवायुना (न) प्रकाशिष कोदालमापिय रकमान पामरजनन मूसन त सन्देशरासकं नाम काविरवलक्षण निशद कोलाहलं विहाय मृणुन । [२०] ततो अन्याठनशीलस्य शिक्षामा-या कोऽपि समय:- प्रज्ञावान्, सम्प्रतिस-प्राप्तमिदं शास्त्र पठति तस्य पुल पण्डितल हस्त गृहीत्या भणामि । ये अनाः पण्डितानां सूखाणामन्दर कुर्वन्ति-जानन्ति तेषां पुरत एएन पठितय, यती सदान्तः पण्डिडा. कियध्यते।

·९ पद्य २०-२२] सन्देश रासक गहु, रहइ बुहा कुकवित्तरेसि, अबृहत्तणि अबुहह गहु पवेसि । जि ण मुक्ख ण पंडिय मज्झयार, तिह पुरउ पढिव्वउ सव्ववार ॥२१॥ [पीछन्दः।] . अणुराइयरयहरु कामियमणहरु, मयणमणह पहदीवयरो। विरहणिमइरहउ सुणहुँ विसुद्धउ, रसियह रससंजीवयरों ।। २२ ।। 1B अबुहत्तमित्त अब्दुहम्पवेति । १C पर 19 BCD 140 तह 5A कागीय GOमणुहरू।70"महपहप ! 8Cमयरउ, B महसद्ध।9Aमुणह। 10B सजीयरो, Cसंजीवियरो। [टिप्पनकल्पा प्याल्या] सोलसमता पाहिँ पर दीसइ, अक्खरगतु न कि मि सलीसह । पायउ पायउ यमकनिमुद्धउ, पद्धडियह इहु छंदु पसिद्धउ ।। चत्वार्यपि पदानि पोडशमानाणि । आधाढ़े यमकम, उत्तराई यमकम् । एवं सर्वत्र शेयम् ॥ २० ॥ [२१] तद्धेतुमाह - 'गहु रहइ.'-धुधा मत्कृते काध्ये कुत्थि(दिसते, न तिष्ठन्ति- म मनः कुर्वन्ति । अबुधवेन-अबुधास्तत्राप्रवेशिनः । येन मूर्खाः, न पण्डिता, किन्तु मध्यस्थाः, तेषां पुरतः सर्वदैव पठितव्यः ॥ २१॥ [२२] ग्रन्थस्य गुणा ना]-'अणुरइय' - अनुरागिणां सर्वशास्त्रविदां रतिग्रई समषिसानम्, भारमुकाम मनोहदम्, मनमानरमान योदीपकरार विरहि- णीनां मकरध्वजम् , रसिकानां रससंजीवनकरम्, विशुद्ध जनाः शृणुत ॥२२॥ भिवपूरिका] पडीधन्दो यथा- सोलसमत्ता जदि पर दीसर, अक्रा गर्नु न कि पि सलीसद । पायउ पायउ जमक विसुद्धा पहा छर विमुद्धा पायारोऽपि पदाः षोडशमानिकाः । भाद्या उत्तरार्धे प यमकम् ॥ [२१] तद्धतुमाह-बुधा मस्कृते कान्ये म तिष्ठन्ति- म मनः कुर्वन्ति। भवुधस्येन, नाबुधास्तत्र प्रपेशिनः । येन मूखी, न पण्डिताः, किन्तु मध्यस्था, पां पातः सर्वदेर पठितव्यः।। [२२] अन्यल गुणा-टोमिलावन्न । मनुरागिनी (i) रतिगृदम्, कामुकानो मनोदरम्, मदनमनस्कानो पयोदीपकाम, विरहिणीनां मकरस्वासम्, रसिकानां रससञ्जीवनकरम, करम्, भो जनाः शुशुत । M ·सन्देश रासक [प्रथम प्रकम अइणेहिण भासिउ, रइमइवासिउ, सवणसकुलियह' अमियसरो। लई लिहई वियक्खणु, अत्यह लक्खणु, सुरइसंगि जु विअट्टनरों ॥ २३॥ [डुमिलाछन्दः।] 1C अहणेइह। 2 B सुकुलि जिय, C मुलि अहि। लह। 4 AC लहइ । 5C समि। 6 CAमु। 7AB विअद। [टिप्पनकरूपा च्याप्या] [२३] यतोऽतिमेहेन भापितम् , रतिमतिधासितम्, कर्णशफुल्यां यथाs. मृतम् । मन्यच-विचक्षणो लए-भावे लिखति जानाति । अन्यच- अर्थलक्षणं स पर येचित, यः सुरतिसङ्के विदग्धो भवति, नापरः । डुमिलाच्छन्दः । तलक्षणं यथा- इमिलाहि पयासिण, मत्त विसेसिण, दोहि तहि चिय च्यारि भणू । भण मत बत्तीस वितीसधमेल (1) अट्ठय ठाम ठवेस गणू ॥ गण अल मिलिजइ, सोई ठविजइ, तं पुण जाणि ण मंति करी। करि जमकु विसाइण, पाइण पाइण, सु१ वि छंदु विभंजि परी ।। ॥ इति श्रीदेवेन्द्रसूरिशिष्य वा० धीलक्ष्मीचन्दविरचिताया संदेशरासत्तौ प्रथम प्रक्रम ॥ [भवद्रिया] [२३] पतोऽतिनेहेन भाषितम् , रविमतिवासितम् , कर्णशकुल्योः यथाऽमृतम् । अन्यथ- एतस्यालक्षण स एव विचक्षणो लए-भाये लिपति-भानानि, या मुरतिसङ्के विदग्धो भवति, नापर [दुमिता छन्दो पश- अमिला हि प.॥ 4 ·पच २३-२४] सन्देश रासक - २ द्वितीयः प्रक्रमा- , विजयनयरहु काबि वररमणि', उत्तंगथिरथोरथर्णि', 'बिरुडलक धयरहपउहर । दीणाणण पहु णिहई', जलपवाह पवहति दोहर । विरहग्गिहि 'कणयंगितणु तह 'सामलिमपवन्नु । गजई राहि" विडंबिअउ ताराहिबइ सउनु ॥ २४ ॥ फुसइ लोयण रुवइ“दुक्खत, "धम्मिल्लाउमुकमुह", विजंभइ "अरु अंगु मोडइ । विरहानलि संतवि, ससइ दीह करसाह तोडइ । 1A खणि; B तरुण। 20 योह, B थोरपण। 3A बहs B विरद्ध। 4 B निहइ निय। 5C जल जल 6 B पवहंत । 7Cकणयमि।8A. सामला Cसामलिय। पया। 10 A. णिजद। 11B राह। 120 विटनिओ। 18C सवलु। 14 B रुप; सभइ। 15 B दुक्खित। 16C धम्मिों। 170 मुहु। 188TCनिया। 19A. अंग। 20 A. सप्तची । 21C सास। [टेपनकरूपा व्यारया] [२४] अथ कथाखरूपमाह-विजयनयरहु'- विक्रमपुरात् काचिद् घरनाइ (वि)का उच्चस्थिरहद-स्थूलकुचा भ्रमरीमध्यमध्या धाराष्ट्र-राजहंस-गतिविर- हिणीत्वाद् दीनानना । नेत्रयोदभर जलप्रपाहं प्रवहन्ती परदेशगतं पति पश्यति । तथा कमाया पिरहामिला उजु सरीरं श्यामलिमरपाम्, कवि: कथयति-मन्ये ताराधिपतिश्चन्द्रः सम्पूर्ण रागुणा विडम्पिको प्रस्त इति ॥ न्छन्दः ॥२४॥ [२५] तस्या विरहावस्था व्यावयन्नाद्द-लोचने-'कुमद'-उत्फुसति दुःखाना रोदि)ति । धम्मिल्लोन्मुक्तमुखा विजृम्मति । यह मोटयति । विरहानल- अयपूरिका] [२४] विक्रमपुवाद काचिद यरनायिका उच्चस्थिरस्थूलकुचा भ्रमरीमध्यमध्या धार्तराष्ट्र- गतिः, विरहिणीस्वाद् दीनानना, नेहायोदयबरजलप्रवाहप्रवहन्ती परदेशगर्व मभु पश्यति । पुनः कोरशी-तथा फनकानयास्तनु तथा क्याम प्रपलम् , यथा ज्ञायते धाराधिपतिः सम्पूणों विड- म्बितो राहुणा-प्रस्त इति । [२५] तस्या सिरहावरुषां व्यापटे-लोचने उत्फुसति, दुःखाता रोदिति, धस्मिाष्टमुरवा, मुखे विट्टम्मति, अ भोटपति, विरदानलमाSधति, कावासोट्यति । पुर्य मुग्धया विल- .

·१२. सन्देश रासक द्वितीय क्रम इम' मुह बिलवंतियह महि चलणेहि छिहंतु । अडुड्डीणउ तिणि पहिउ पहि जोयउ पवहंतु ॥२५॥ [रड. तं जि पहिय पिक्खेविणु 'पिअउक्वंखिरिय', मंधरगय सरलाइव उत्तावलि चलिय"। तह मणहर "चलंतिय चंचलरमणभार", छुडवि खिसिय" रसणावलि "किंकिणिरवपसर" ॥ २६ ॥ 1A इव। 2C मुदह B मुह । 3 C टिबतु। 4 A. त, Cत। 60ज । 6A पहिट। 7 B पिया। 8A उसिखिरीय चकिपिरिय । 9A. सरलाविभ। 10A बलिभ। 11 B चलपिहि चल। 12 A. रवणिः। 18 A. छुपि । 14 A. खिसी आ। 15A कणि B किमणि। 16AC गय पसरि । [टिप्पनकरूपा घ्याण्या] संतप्ताऽऽश्वसति, करसापा(शाखा त्रोटयति । एव मुग्धया विलपत्या नहीं चरनाभ्या झामन श्रो(यो)द्विग्न , नगरमध्य विहाय पार्श्व एव सपरन्, पथि प्रवइन् पथिको दृए । रुहरचन्द ॥२५॥ [२६] त पथिक दृष्ट्वा पत्युत्कण्ठिता, मन्थरगति सरलयित्वा यावदुरमुक गत्याचलिता, तापन्मनोहर घलन्त्याचपलरमणभरात् कटिप्रदेशाद्सनाऽऽवलि फिक्षिणीकणयुवा छुटिता । आमाणकनाम च्छन्द । तल्लक्षण यथा- मच होहि चउरासी चहु पय चारि कल ते सठि जोणि निवद्धी जाणहु चहु अ दल। पचकल वजिजहु गणु सुद्धि वि गणहु सो वि आहाणउ छदु के वि रासउ मुणहु ।। पदे पदे एकविंशति मात्रा सर्वस(स्या) चउयसीति । गादी पट् क्ला, तदनु प्रपः। अपरस्तु चतु फला । एकस्लिमातक । पञ्चकल पर्जनीय ॥ पप(तत्) रासकच्छाद ॥२६॥ [अवधरिका पन्या महीं घरमा(नाम्या कामन्, अध्दीविग्मो नगरमध्य विहार पायें सचरनु पथि प्रवहन पथिको रस ॥ [२६] पथिक रहा दया कि हतामियाभाणका साऽऽह-त पथिक पा पाण्ठिना मायागमन पापा पाचहुमुका गया परिसा यादम्मनोहर वसन्यासयापारमणभरा रसना किरिणीक्षणप्रसरा घुदिता । दो यपा-'मत्त होद पराली घर पय क्यारियल०॥'

·पद्य २५-२८] सन्देश रासक तं जं मेहल ठवइ गठि णिहुर सुहय, तुडिय ताव थूलावलि णवसरहारलय । सा तिवि किवि संवरिवि 'चइवि किवि संचरिय', णेवर चरण विलगिवि तह पहि" पंखुड़िय ॥ २७ ॥ पडि उट्ठिय सविलक्ख सलज्जिर संझसिय", त" सिय"सच्छ "णियंसण मुह विवलसिय" । तं संवरि अणुसरिय" पहियपावयणमण, फुडवि णित्त कुप्पास विलग्गिय दर सिहण ॥२८॥ छायंती" कह कह व सलज्जिर "णियकरहि', कणयकलस झंपंती गं इंदीवरहि । 1A.मेहति। A B C निगुर। SA तुलनि: C तुडचि। 4 A. सामः ताव 5Cघूमावलि। GBC न. 7Cचयवि। BA केषि 9Aसंचरीय। 10Aचरणि । 11 B पय । 120 पक्वडिय। IS A मंझसीय। 14A । 15A सिर । 16 BOनियं। 17B सिन 18A अणुसरी। 190 फुद्धिति । 20 B गत; C नित्त 1 21 A. दर सिगाह । 22 A. यंती। 20 B C निय। 24 B परिहि । .25 AB रिहि । [टिप्पनफस्पा व्याख्या [२७] सा सुभगा यापत् तो मेखला अन्यौ स्थापयति, तावता मुक्कामयी स्थूला नवसरहारलताऽऽचलिखुटिता । [ ........"सावता नूपुरचरणाभ्यां मिलग्य निर्वलवात् पतिता ॥ २७॥ [२८] यावत् पतितोस्थिता सविलक्षा सलजा संभ्रमिता। साचद श्वेतं स्वच्छ निवसने-शिरोवस्त्रं विषलसितं-दूरीभूतम् । तदपि संवरयित्वा पथिकमाएन(ग) मानका शश्व संस्ता, सावता मैत्रपटं वरन्नमय कूर्पासकं कक्षुकं विदार्य फुची ईपहरे छिद्रे विलनो-प्रकटौ जा(या)तावित्यर्थः ॥ २८ ॥ [२९] सापाला सलना पथिक पतिविरहिणीत्वात् फरणम्, पभिनीत्वात् अवचूरिका] [२५] सा शुमा यावता मेखला अन्यौ स्थापयति तावता मुक्तामयी स्थूलावलिनवसर. हारलता श्रुटिता । ततस्तानि कानिचिन्मुक्षाफलानि संगीलयिष्या (संमील) कानिचिदौरसुस्यात् सरत्या संचलिता, सावता पुरचरणाम्यां विलम्य पतितेत्यर्थः ।। [२८] थापत् पतितोधिता सविलक्षा सलना संशसिता ताद श्रेतं खछ निवसन-शि- यो विदलसितं-दूरी भूसम्, सपि संघरहावा (संवृत्य) पभिसापमनरका पावत् संघवा, चावला नेत्रपट्ट बसमयं पास मञ्चकं विदार्य कुधा दरे छिदे विलक्षी-प्रकटौ पातावित्यर्थः ।। {२५] सा सलमा पथिक प्रति, विरहिणीवाद, रुगं सबिलास शब्दं कृतवती । निजक- ·सन्देश रासक [द्वितीय प्रक्रम तो आसन्न पहुत्त 'सगग्गिरगिरवयणि', कियउ सङ सविलासु करुण दीहरनयणि ॥ २९ ॥ ठाहि ठाहि णिमिसिद्ध सुथिरु अवहारि मणु, णिसुणि किं पि जे 'जपउं हियई पसिजि खणु । एय' वयण आयन्नि" पहिउ कोऊहलिउ', णेय" णिअत्तउ ता सु कमडु वि गहु चलिउ ॥३०॥ "कुसुमसराउह रूवणिहि विहि णिम्मविय गरिह। तं पिक्खेविणु पहियणिहि" गाहा भणिया" अट्ठ ॥ ३१ ॥ * 1B निगर।C 'गिरि । 3A दसणि 4Aकिमउ. 5A मुविलामु, C सविलास। 6 B णिमिसद्ध, तिमिसिद्ध । 7 A हिअइ, हिश्य । 8A पसिज्झि, B पसचि। 9 A एइ। 10C आइभि । 11C कोअहिलियओ। 12C नेइ निय" । 18 BO नहु 1 14 BCTसम । 150"णि हूिँ। 15 B मिम्ममिय । IT A पथियाणहि, Bपहियवति ।.18 BC दिया । [टिप्पनकरूपा घ्याख्या] सविलासम्, शन्दं कृतवती ! कुन्ती ?-निजफराभ्यां कुचावाच्छादयन्ती । नु वित । कनककलसाविन्दीवराम्यामाच्छादयन्ती । यतस्तस्या हस्तौ पुनः पुनः सकजलनेनस्पदिक्षालनात् श्यामलतां गतौ । ततो दीनेश सगद्गद्गीदना आस निकटं माता ॥ २९ ।। [३०] किमाह-'अहि अहि.'-निमेपाई मुस्थिरं यधा(पा) तिष्ठतिष्ठ। मनस्यवः धारय । यत् किञ्चिद् जल्पामि तच्छ्यणाभ्यां शृणु । क्षणं हृदये प्रसीद् । तस्या एतानि वाक्यानि यारी, पधिकः कोहलितः सन्, न क्रमाद्ध निवृत्तो न चाले चलितः । क्षुम्घत्वात् तथैव संस्थित इत्यर्थः ॥ ३०॥ [३१] कुसुम शरायुधां विधिना गरिष्ठ रूपनिधिःधि) निर्मितां तां प्रेक्ष्य पथिके- नाष्टी गाथा भणिता ॥३१॥ भिवचूरिका] सम्यां (को) पाटादयन्ती । 'नु' इति विव, कनरलसावीन्दीवाम्या मीलोत्पलाया. भाष्यादिती, यवस्वस्या हन्नी फनलनेत्ररसावधालनाच सामतो गरे। बतो दीर्घनेत्रा सगद्दा निकट प्रासा॥ . [३०] किमाह-निमेषा मुस्थिर यया ति ति: । मतस्यवधारय । पत् किजिनल्पामि तच्छ्बणाम्या शुणु । क्षण हदये मसीद । तथा एलान वाश्यानि आर्य, पथिक कोदालियः सन्, न ना निवृत्तो न भाये पलित । शुम्भवान् वव सस्थित हत्या ॥

·पच २९-३२ सन्देश रासक पहिल भणइ विवि दोहा तमु सु वियतपरि । इकु मणि विभउ थियउ कि रूविणि पिक्खि करि ।।" किं नु पयावइ अंधलङ अहवि वियडलु आहि । जिणि परिसिं तिय णिम्मक्यि ठविय न अप्पह पाहि ॥ } 5C अप्पहु। 'अइकुडिलमाइपिहुणा विविहतरंगिणिसु सलिलकल्लोला । किसणत्तणमि अलया अलिउलमाल व रेहति ॥ ३२ ॥ 10। 2 B रूपणि । SC मंधुलउ । 4 B एरेस । [* एतद् दोधकयुगल B C सन्जके आदद्वये लभ्यते, पर A आदर्श नोपलभ्यते । अत एतस्याव- चूरिकाऽपि न विद्यते । क्षेपकप्रायमिदम् ।] 6 B अय। 7A तरेगंसु । 8A. अलिया। [टिपनकरूमा व्याख्या] दोधकच्छन्दः । तलक्षणम् - तेरह महाविसमपय, सम एगारह मन । इहु जाणिज्जहु दोहडड, अन्न म करिजहु यस । प्रथम-तृतीयपदे त्रियो] दशमाने भवता । द्वितीय चतुर्थे पदे एकादशमात्रिक भषतः । इति दोधका अता पर पधिकचेतामाह-पथिकस्तां दृष्ट्वा दोधकद्वयमाह-'पहिउ'-पथिक) द्वौ दोधको भणति । तस्यां विदग्ध्रपरिणा एका मनसि पिलयो जाता। तां रूपयती मेक्ष(प्य) अह एवं मन्ने-किनु प्रजापतिः अन्धा, अथवा पण्डः । यदेतादशी श्री निर्माय चेनाऽऽत्मपान स्थापितेति। क [३२] देवीवर्णनं चरणाद्, नारीवर्णनं शिरसः । अत आह-अतिकुटिल. मात्रया प्रधानाः । यथा तरविणीषु सलिलकल्लोला यकाः । कृष्णत्वे अलिकुलमाला व । एपंविधास्तस्या अलकाः शोभन्ते ॥ ३२॥ [अवधूरिका] [३१] कुसुमस(नारायुभं रूपनिधिविधिना गरिहा निमिया । ख प्रेक्ष्य पयिकनाटी गाथा भगिताः । छन्दो यथा- 'वेरर मचा विसमपय, समगार [ मत।' इत्यादि। [३२] देवीवर्णनं घराद्, मारिस: ! मत भाइ-तम्या भलका गोमन्ने । कोदशा :- भतिकुटिलमाया प्रधानाः, तरकिणीसलिलकाछोला इस वकाः । कृष्ण पेनाहि. दुकमाठा इव ॥

·६ सन्देश रासक [द्वितीय प्रक्रम रयणीतमविदवणों अमियंझरणो सपुण्णसोमो य। अकलंक माई वयणे वासरणाहस्स पडिविच ॥ ३३ ।। 'लोयणजुयं च णाई' रविंददल दीहरं च राइन्छ । पिंडीरकुसुमपुंजं तरुणिकबोला कलिज्जंति ॥ ३४ ॥ कोमल मुणालणलयं अमरसरुप्पन्न बाहुजुयलं से। ताणते करकमलं णजई दोहाइयं पउमं ॥ ३५ ॥ सिहणा सुयण-खला" इव थट्टा निचुन्नया य मुहरहिया । संगमि सुयणसरिच्छा आसासहि" वे नि अंगाई ॥ ३६ ।। 10 विहमणो। 2B पुग्णा, C सपुग। 3 B मार। 4Cइणं। 50 लोमण। GC जुर्भ। 7 Bणबई | A8 पोले । 9BC गणाल। 10A नलयं, B णिलयं । 11A'जुनलं । 12 Bai 18 Bणजई। 14Cकला। 15 Bासासद । [द्विपनास्पा व्याख्या [३३] तस्या बदनं घासरनाथस्य प्रतिविम्यवद् रराज । कीदृशम् -रजनी. तमोविद्रावफा, अमृतस्रावी, संपूर्ण अकलको या सोमो मानं उपमा ॥ ३३॥ [३४] अहमेवं मन्ये -तस्या स्त्रियाया लोचनयुगे दीर्घतर रागाढ लरविन्ददलं जिग्य(जया)ति । दाडिमीपुष्पगुच्छ तस्याः] कपोलो(लौ) जिग्य(जय)त: ॥३४॥ [३५] अहमेवं मन्ये-तस्या वायुगलम्, अमरसरउत्पनं कोमलं मृणाल. नलकम्, पद्मसरसः संभूतखणेकमलं भूमिमभ्यदण्ड जिग्य(जयति । तयोः पादोः प्रान्ते यत् करकमलं तद् द्विधामूतं प्रद्म शायते ॥ ३५ ॥ [३६] तस्या नाइ(यि)कायाः कुचौ खजनसलूलौ) इव शोभतः। सलोपमान कथम् - स्तब्धी नियोनती मुखरहितो। अनसूतत्वात् । सलमेनान्योऽन्यमिलितेन स्वजनसदृक्षौ । कि कुर्वतो?-द्वायपि अङ्गानि भाभ्यासयन्तौ ॥ ३६॥ [अवचूरिका] [२९] तस्या वदनं पासरनाथस्त्र प्रतिविम्यामिव रराज । कीदशम् !-रजनीवमोचिद्रायकोड- मृतस्त्रावरी । सम्पूर्णसोमस्स अकलमात्रा वासरनाथस्योपमा नान्या।। [३५] यस्या लोचनयुगलमरविन्ददल दीर्घता रागाय शोभते पिण्डीरकुसुमपुभव पानिमी. पुष्पगुटबत तस्याः कपोली श्यते ।। [३५] तस्सा पाहुयुगलं भमरसरउत्पा मानससर.संगावं मुहानल मिथ स्वर्णकमलस भूमिमध्यस्थदण्डमिद कोमलं शोमते, तयोर्या(तो) याकरकमलं तद् विधाभूतपदमिव ज्ञायते । * [३] सा] कुचो सजनखलाविव शोभत.। सलोरमा[न]माह-सम्धी कठिनी निसो. प्रता, भप्रसूतादाद मुखरहिती । तथा च सङ्गमे मेले स्वनसती । पत्रो द्वावमापासा. भासयतापवान्तरवासाने आश्वासपतः ।

·पय ३३-४०] सन्देश रासक गिरिणइ समआवत्तं जोइज्जइ णाहिमंडलं गुहिर । मझं मञ्चसुहं "मिव तुच्छं तरलग्गईहरणं ॥ ३७ ।। 'जालंधरिथंभजिया ऊरू रेहति तासु अइरम्मा । वहा य गाइदीहा सरसा सुमणोहरा जंघा ॥ ३८ ॥ [क्षेपक] रेहति पउमराइ व "चलणंगुलि "फलिहकुटि पहपंती । तुच्छं रोमतरंगं उम्विन्न "कुसुमनलएसु ॥ ३९ ॥ सयलज सिरेविणु पयडियाइँ अंगाई तीय" सविसेसं । को कवियणाण" दूसई, सिलु विहिणा" वि पुणरुत्तं ॥४०॥ ७ 1BC1 20नामि BA गहिरं । 40 मुहम्मिन। 5 Bतुति । जालंधर। 7C बिया, B जिऊ । 8A रेहिति। Bइमाया 10Cरम्मा। TA आदयों एतदुलेखो लभ्यते। 11 A. बरण। 12 फलिय। 130 उष्विा । 14 AC कुसम°1 15Cी 16A कईयणाण। 17 B दूसई। 18A विहगाइ। [टिप्पनकरूपा व्याख्या [२७] तस्या नाभिमण्डलं गिरिनद्यावर्चसणं गभीराश्यते । भन्यच- तस्या मध्य मर्यसुखमिघ-मानुख्याध्य)कभोगसातमिय तुच्छं पश्यते । कदाचन दागोचरम् , कदावनादग्गोवरम् । अथवा तरलगती हारणं पदमिय ॥ ३७॥ [३८] तस्या ऊक जालन्धरि-कदली गर्मसदृशौ राजतःच पुन-वृत्ते, नाति- दीर्घ, सुतरां मनोहरे सरसे जो राजतः ॥ ३८ ॥ [३९] तस्याश्चरणालयः पारागखण्डानीच शोभन्ते । तथा च-तासामहुली. भामुपरि नखाः पनपगोपरिस्थस्फटिकसण्डानीय । तथा च-ताखालीपु उद्न- कमलसपरतन्तुस्टर्श समतरह व्यरचन ॥ ३९ ॥ [४०] विधिना सै(0)लजां दृष्ट्वा तस्या भङ्गानि तद्वत्,ततो या सविशेष म्], [अषपूरीका ] [२७] या नाभिमण्डलं गिरिनधावसरशं गंभीर रस्यते योतते धा। अन्यथ-मध्य मयमुखामिव हुन्छ, कदाचनेन्द्रियगोचरम्, कदाचन हरलातेहरणम्, भपकर बरलगती हारिणं पदमिय [३८] बालन्धरी-कदलीस्तम्म-तारी बस्या बरावतिरम्यौ राजतः । पूर्व मातिदी सासे मुमनोहरे जसे राजतः ।। [३९] साबरणालयः परागरण्टानीय पारेभन्ते । तया च - तासामलीनामुपार मलाः परागोपरिस्थितस्फरिकसतानीव । तथा च-दास्वादिपूजकमलनाकान्सर रोम- पर सरका। [-] विभिमान वा सस्था भान पर सोऽपि सबिशेपं या प्रग(क)दिवान- कृतानि । अत माह-वा कधी दूरपति, यद् विभिनाऽपि पुनरुकं मष्टम् ।

·सन्देश रासक [ द्वितीय प्रक्रम गाहा तं निमुणेविण रायमरालगई, 'चलणंगुट्टि धरत्ति सलजिर उल्लिहइ । तउ पंथिउ कणयंगि तत्य बोलाविय, कहि जाइसि हिव पहिय कह व तुह आइयउ॥शा णयरणामु सामोरु सरोरुहदलनयणि, "णायरजणसंपुन्नु" हरिस "ससिहरवयणि" । धवलतुंगपायारिहि तिउरिहि" मंडियउ", णहु दीसई कुइ मुक्खु सयलु" जणु" पंडियउ ॥४२॥ विविहविअक्खण सत्यिहि जइ पवसिई णिरु, सुम्मइ छंदु मणोहरु पायउ महुरयर" । ICराई। 2A "य, B गई। 3A चरण AAI 5A बोला- विअउ, बोलाविउ। 6A कह। 7B तुहु । 8Cआइट। 9B नया नासि। 100 नायर 11 A सपुत। 12 ग्रिहर। 130वयणि ! 14A तिउरिम। 150मडिउ। 10 Bीस। 17 Cसबल 18A जण। 19Bरियसण। 20 B पविधीह। 21 महुरु सप । [टिपनकरूपा ध्यास्था] यथा प्रकरितानि-रुतानि । अत याइ-फा कवीन् दूपयति । यद् विधिनाऽपि पुनरुतं सूएम् ॥ ४० ॥ [५] बदन म कृतं तया तदाह-राहा त निमुणे-ता गायाः श्रुत्या राजम. रालगत्या चरणाहुनि धरिनी सलजमुलिपल्या कनकाजवा पथिको वाचालितः। अतः परं छयास्यति, फुतः समुपागतः॥४१॥ [४२] तत्पएः पथिसपाहू-'नयर.' हे हेमसरोरुहदलने शशधरवदनि ('ने) ! सामोर- मूलस्थाननाम मगरं वर्तते । कीदृशम् ?- नागरिकैः संपूर्णम्, भवलतुगभापरिनिपुरैश्य मण्डितम् । अन्यय-या कोऽपि न मूषा, किन्तु सका लोऽपि जनः पण्डितः॥४२॥ [परिका] [१] गायाः शुषा सतो राजहंसगत्या चरणाप्टेन घारेकी सलामुहिन्या यया कनकामया पथिक इति वाचालित-हे पधिक [क पास्यसि । फुतस्त्वमागतः ॥] .[२] सामोरं मूलस्थानं नाम नगरम् । हे सोहदलनयने ! नागरजनी सम्पूर्णम्, शश- भावदतिला घवजापारित्रिपुरेश मण्डित पर्वते । उसकोऽपि मूळ नसते, सकछोपि अनः परितोधि .

·पद्य ४१-४५] सन्देश रासक कह व ठाइ चउवेइहि वेउ पयासियई', कह बहुरूवि णिबहउ रासउ भासियई ॥ ४३ ॥ कह व ठाई सुदयवच्छ कत्थ व नलचरिउ', कत्थ व विविहविणोइहि भारहु उच्चरिउ । कह व ठाइ आसीसिय चाइहि "दयवरिहिं, रामायणु अहिणवियअई कत्थ वि कयवरिहि ॥ ४ ॥ के "आइन्निहिं "वंसवीणकाहलमुरउ, कह "पयवण्णणिबद्धउ मुम्मई" गीयरउ । आयण्णहि सुसमत्थ "पीणउन्नयथणिय", चलहि चल्छ "करंतिय" कत्थं वि णट्टणिय” ॥ ४५ ॥ 10ठाई12 A वेयदि: C डाह । S A. सिआई। 4 A वहरूवि णि । विहि । 5A. भासी; C भासियई। 60ठाई। 7ACसुदवच्छ। 8A.Cबर नल'। चरियउ। 100वस्थ विविहि। 11 B उचरि। 12 A. चाईय। 14 A.बीभद। 150 आइनिहि; B आयमहि । 10 सवीण: B चीणस। 17 A. पयन C परब, 18 A मुंबइ। 19 B आइनिहिं । 200 पीजय। 21 A. 'यणिहि। 22 A चोल करति। 23 B करती। 24 'य' नास्ति B: 25 A. कथएवि कत्थ व 1 26 A. पदमिहि । [टिपनकरूपा प्याया] [१३] यदि विचक्षणैः सह पुरान्तः] परिभ्रम्यते, तदा मनोहरं छन्दसा मधुरं माय भूयते । कुत्रापि चतुर्वेदिमिः येदप्रकाश्यते । फुयापि पटुरूप(प)- भिर्नियद्धो रासको भाष्यते ॥४३॥ [१४] फुत्रापि सु(स)दयपच्छकथा, कुत्रापि नलचरित्र[], कुत्रापि विविध. पिनोदै भारतं उचरितं भूयते । अन्यथ-फुमापि युवापि आशिपा यागि. मिजिपरैः रामायणमभिनूपते ॥ ४४ ॥ [५] केचिद् यंशयाणकादलगुरजमृदाशदान आफर्णयन्ति । शापि [अपरिश] [] यदि विचक्षणः सह पुरान्तः परिप्रम(म्योते, पदा मनोहर इन्दसा मधुरं प्राह पुरते, ममापि धनुदिभियदा सूपडे, प्रकाश्यते या। समापि बहुरूपनियो रामो माश(पोते ।। [४] कत्रापि सदस्यहरुथा, पुनापि मलचरित्रम् , कुत्रापि गिरिधविनोदभारवं यूपते; त्राप्याशिपा स्यागिभिदिग्वरमारत (रामायण) मुपायते ॥ [५] केपि गावीणाकालमुरमादानाम्पनि । प्रापि माइलपनियदो गोवरया यूपते । मायाने समपाः पीनोपानन्या नयनयटन हुन्या परिसरामर्ग हुन्धि । 190 पपई 1 ·२० सन्देश रासक [द्वितीय प्रत्रम नर अउच्च विभविय' त्रिविहनडनाडहि, मुच्छिजहि पविसंत 'य वेसावाडइहिं । भमहिं का' वि मयविमल गुरुकरिवरगमणि, अन्न रयणताडंकिहि' 'परिघोलिरसवणि ॥ ४६॥ अवर कह व णिवडव्भरघणतुंगत्यणिहि, मरिण' मझु गहु तुट्टई" ता विभिउ" मणिहिं । का वि केण सम" दर हसइ नियकोअणिहि', छित्ततुच्छतामिच्छ"तिरन्छियलोयणिहि ॥ ४७ ॥ 1B विम्हयहि बिम्हि । B मुस्जिद, मुच्छमहि । 3A पवसठिय, B पविसता। 4 BC बाइपहि। 50 केवि । BC महाभल । A ताइपाहि । 8 C परिघोजि । २०परमि। 10 A गुहु | 110 तुझे। 12 BAP विभउ । 180सम इसई। 14A. नयरोमणिहि B नियइमाइकोणिहि, ८ नयमइकोपिदि । 15Cरिच्छिय। [टिपनरूपा व्याख्या भारतवर्णनियो गीतरयः भूयते । धुनापि आकर्णनेपिणे) समर्था-पीनोमत- स्तन्य नफ्य[] चरचरीतिशब्द कुपन्सचरन्ति ॥३५॥ [४६ यत्र नरा विविधनटनाटकिमिसियन्ते । यत्र वेश्याभिषेयापाटके प्रविशन्तो नीरागिणोऽपि भूधर्यन्ते । तद्घर्गनमाह-काश्चिद् वेश्या मदनिम्मला गजगमना भ्रमन्ति । अन्या रमताड प्रतियोलन्तश्रवणा- परिभ्रमन्ति ।। १६ ॥ [१७] अपरा काचन भ्रमति । कीदृशी-यत् तस्या मध्य निव(वि)डोत्तर धनतुहस्तनयोभारेण न मुरति तदाऽऽश्चर्यम् । भमरा फाचन कैनापि सद निनक मदनीच्या (कुवाभ्या) क्षिमतुच्छतामिच्छाम्] फजल तिर्य(क) स्थित रोचनाभ्या दर मनाकर हसति ॥ १७ ॥ [अपरिका [6] मन्त्र नरा विविधनसारिशीभिर्विमयन्ते । यत्र घेश्यामिश्यापाटके प्रविशन्तो नीरागि पोऽपि मुळ्यन्ते । तवर्णनमाह-काचिद् वेश्या मदनिम्मा गजगमना भ्रमति । भन्या रम का प्रतिभोलन्द्रमामा भ्रमन्ति ॥ [४०] भपरा काचन प्रमति । कोशी - या मध्य निव(दि)टोबुरधनतुझ स्तनमोभोरेग गति, तदाश्चर्षम् । मपरा काचित फेनापि सह निजदमदकोकचाम्पा शिस्तष्कमद्धति हस्पिटलोचनाम्या दर मनाह(ग) इसलिए ·पद्य ४६-४९] सन्देश रासक अवर का विसुविअक्खण' विहसंती विमलि', णं ससिसूर णिवेसिय' रेहई गंडयलि' मयणवट्ठ "मिअणाहिण करस व पंकिय", अन्नह भालु तुरक्कि तिलइ आलंकियउ ।। ४८ ॥ हारु कस" वि थूलाबलि गिद्गुर रयणभरि, लुलइ मग्गु अलहंतड थणवह सिहरि । गुहिर" पाहिविवरंतर कस्स" वि कुंडलिउ", तिवल तरंग पसंगिहि रेहइ मंडलिउ" ।। ४९ ॥ रमणभार गुरुवियडउ का कहिहि धरई", अइमल्हिरउ* चमकर तुरियउ गहु सरह । 1Coवियाखामि। BCविति। 33य दि°14 Cविमल। 5 Bणबद। 6A. सूरु।7A निवेसिड। 8 'रेदर' नासि B19A गंडियलि 1100 111 B मयणा' महणा। 12 A.पंकअत। 13 भाल। 14 A स थूला: B क्स व मूला। 15 A. गहिर' 16 B "वियर्डतरु। 17 BOरस व । 18 A. बुलियद । 19AB विमल 20 B तागि पसविउ । 210मंडलियर । 22A माह 23 C कविहैि। 24 A परइ । 25 मिदिरउ । 26 B नहु । 27 B सरई । [टिपनक रूपा व्याख्या [८] अपरा काऽपि मुविचक्षणा विवसन्ती विमला निर्मलदास्पा भ्रमति । फोदशी?-महमेयं मन्ये शशि-सूपो गण्डयोनिविष्टौ। कस्याश्चिमदनप कुषस्थल भूगनामिपकाहितं घर्तते । मन्यस्सा भालं तीक्ष्णेन तिलकेनालकृतं वर्तते ॥ ४८ ॥ [१] काशित समाहिम शिखरे बार पेशनलमा समग लोलाति। कम्याथिनामिवियर गम्भीरं पुण्डलितं-कुण्डलाकार वर्तते । पुनः कीदर्श नामि. चिघरम् !-प्रियलीतरप्रसङ्गतो मण्डलितमिय शोभते ॥ ४९ ॥ [५०] काचिद् रमणमार गुरुविकटम् , अतिस्थूलत्यात्, कप्टेन पिमा । [अवपूरिका] +--- [6] परा काचित् सुविचक्षणा विकसम्वी विमला विनिर्मटहास्या प्रमति । कीरशी 1- मन्ये, शशि-या सामोनिविौ। फसायत मदनापुचस्प हगनाभिरक्षितं यते । मन्यसा भारतीयणेन तिकोनास यते ॥ [१] करपावन खगपपिपरे निष्ठुरे हारः प्रदेशमहमान रखमरेग होति । कम्पानिमाभिः दिवो गम्मी हडि-पाटामा य । पुन: पीस मामिविपाम् 1-शिवीताप्रमाणे मालितमिव शोमते [५० अपिट रमणभार गुरपिकटाए, भतिरपूलावान्, कौन भिति-पारमति । प्रला. ।

·२२ . है सन्देश रासक [द्वितीय असम जपंती महुरक्खर कस्स व कामिणिहि, हीरपंतिसारिच्छे डसण झसुरारुणिहि ॥ ५० ॥ अवर कह व वरमुड हसतिय अहरयलु, सोहालट करकमलु सरलु वाहह'जुयलु । अन्नह तरुणिकरंगलिगह उज्जल विमल, अवर कवोल कलिजहि दाडिमकुसुमदल ॥५१॥ भमुहजुयल सनहर करस व भाइयई, णाइ कोइ कोयंड" अणंगि" चडाइयाइ । इवह णेवरजुयलय" सुम्मइ रउ घणउ, अन्नह स्यणानिवडउ मेहल रुणझुणउ" ( ५२ ।। 1Cवि। 20 सरिच्छ। 3 B बाहहु । 4Bअण्णद। 5'T BA अइब। 7A. कलिनिहि। 8C कुसम | 9 B वि। 10 Bपई 11Cोड । 12C आणगि। 13 A. जयला, Cजुयल। 14 B रण। 150 आणइ । [दिप्पनकरूपर प्याल्या] तस्याश्चलन्त्या उपानहोश्चमचमच्छब्दोऽतिमन्धरस्तु(स्त्वरित न सरति । थपरस्या मधुराक्षरं जत्पन्त्याः कामिन्या हीरपडिसक्षा नागवलीदलाऽऽरका दशना: शोभन्ते ॥५०॥ [५१] अपरस्या यरमुग्धाया इसन्त्या अपरदल करकमले सरलं याइयुगलं असं समें शोभा] व्यं वर्तते । तत्र फालभ्रमो यथा-पाहुयुगलं वृण्डस्थानीयम्, अधरं दलस्थानीयम् , फरं फमलस्थानीय जातम् । पर्व कमलभ्रमः । मन्यस्यास्तरण्याः कराडलिनखा उज्वला विमला[:] सो(शोभन्ते। अपरस्याः कपोली दाडिमकुश- (स)मदलौ शोभतः ॥ ५१॥ [५२] फस्याश्चिद् भूयुगलं सन्नद्धं लक्षणं भाति । मन्ये फमपि कोदण्डं मदनेन चटाप्यते । एकस्या नपुरयुगलस्य धनः शब्दः श्रूयते । मन्यस्या रक्षनिवसाया मेखलाया रुणझुणशब्द धूपते ॥५२॥ [अवचरिका] बलम्या उपानहोचमचमशदोऽतिमन्यास्वरितं न श(सोरति । अपरस्सा मधुराक्षर शल्पन्थाः कामिन्या होरपश्चिमक्षा नागवल्लीदलारता दशना शोभन्ते ।। [41] अपरस्या धरमुग्धाया हसन्त्या भघरदलं कररमलं बाहुयुग समं शोभा पर्वते । सत्र कमलनमो यथा-अधरं दलस्थानीयम् , करै कमलस्थानीयम्, मरल वाहपुग दण्डवा- नीयम् । अन्यथा अपि नाय(यिकाया' कराहुलीपु नखा रजयला भान्तिमपरसः कपोको दारिमझममदलो करुये। [५२] कस्याश्चिद् भ्रूयुगलं सवर्ण भाति । मन्ये कोदण्डं कमपि पदनेन घटान्यते । एकला अपि मेवरयुगले धनो रवः शूयते, अन्यस्या रतानबदमेलवारणामणधार, सूपते ।

·पद्य ५०-५४] सन्देश रासक - 1 चिकणरउ चंबाइहिं लीलतिय पवरु, 'णवसर आगमि णजइ सारसि रसिउ सरु । पंचमु कह व झुणतिय झीणउ महुरयरु', णाय तुंबरि सजिउ सुरपिक्खणई सरु ॥ ५३ ॥ इम इकिकह तत्थ रूवु जोयंतयह", झसुरपिंग पय खलहि पहिय पवहंतयह। अह बाहिरि" परिभमणि" कोइ जइ नीसरइ, पिक्खिवि विविह" उजाणु" भुवणु तहि चीसरइ ॥१४॥ 1 A पपर 12 CHISA अमिंग मुगिज Bअग्पनि लगय। 40 सारसिउ सर । 5Cपंचम 16A पर 17Cणारयघर। 8 B "पिकरणय ! 9 BOकाह। 10 B स्व। 11A जोयंतयद; B जोयंतिथंह। 12रालहिं । 13AतयB "वियई। 14 A बाहरि बाहिर। 15 A. मगB भमणु । 16 B पिरि; A नास्ति चि। 170 पहि1 18A उजाग; Bउजाग। 19 B तह । [दिपनारूपा व्याख्या ] [५३] फासचिमा(मि)कानां लीलन्तीनां पानहां प्रपरः चिमणः शपः मयतते । मन्ये, गवारदागमे सारसेन रसितम् । फस्यास्थित् कापि पया फुर्धन्त्याः क्षीणों गधुरतरः ससे भाति ल । मन्ये सुरमेक्षणे तुम्नरेण सर सविता॥५३॥ [१४] परमेफम्या एफस्सास्तम रुपं पश्यतां पथि प्रबहतां पथिकानां सार- पिन नागपलीदलाऽऽसादनान्मुक्तरसेन [पावा] सालन्ति । अय यहि परिचमणा फोऽपि यदि निस्सरसि, तदा पिरिघोघानं हा भुपनानि पिण- रसि॥५४॥ मियीय [१] पानsire Treम छोसनी का मारिमना मगते । मन्ये मे पारसेन रमिणम् । सामिन् परमं उपन्त्याः सीनो गपुरवरा यो माति समपे, पुरशन दुग्योण साः सनिता [41] परमेस्ता एमास संपरा पति अपरा विमान भाग- गुरमेन पास गन। मय पनि परिममगार मेरि मानि Arek हा गुवनानि विमामि ·२४ सन्देश रासक [ द्वितीय प्रत्रम अथ वनस्पतिनामानि- ढल्ल कुंद 'सयवत्तिय कत्थ व स्तबल, कह व ठाइ वर मालइ मालिय तह विमल । जूही 'खट्टण वालू चंबा बउल घण, केवइ तह, कंदुट्ठय अणुरचा सयण ॥ ५५ ॥ माउलिंग मालूर मोय मायंदं मुर, दक्ख भभ ईखोड' पीण आरू सियर। तरुणताल तमाल तरुण तुंबर "खयर, संजिय" सइवत्तिय सिरीस" सीसम" अयर" ॥ ५६ ॥ पिप्पल" पाडल पुय पलास घणसारवण, मणहर "तुज हिरन्न भुज" धय" वंसवण । नालिएर" निंबोय निर्विजिय" निंब बड, ढक" चूय अंबिलिय" कणयचंदण निवड ।। ५७ ।। आमरूय"गुल्लर मद्य आमलिं" अभय, नायवेलि मंजिट्ठ पसरि" दह दिसह गय ॥ ५८ ।। {मिंदार जाइ तह सिंदुवार । महमहइ सु वालउ अतिहि फारी ॥ रासाछन्दः ।) 1 A. सह। 20 वि। 3 B जूहियखम। 40 उमा। 50 युट्टय, B #दुष्ट । 6A भभा, B भमा । 7 Cआसोद। 8 B सीण, C पीड। 9Aहिर | 10 B तमाल। 11 B नुवरु खयक्ष। 12A संजीम। 13 A बनी। 1A.Cसरीस । 15 A. सीसर । 16A अपर । 17A पिप्पड । 18 A. तु । 19 A भुन । 20C पर। 21 BCनाएर। 22Cनिवचिय। 2A , B डक। 24A मैमिली। 25Cआमभूर। 26 A बावलीय27 B पसर। 28A दिलिहि। एतत्यादयुग्म केवल । बादरों प्राप्यते, मोपलभ्यवे AC आदर्शयुग्मे । • [टिपनकरूपा च्यापा] [५५-५८] मामान्येव ।। ५.८ ॥

·२५ . पद्य ५५-६२] सन्देश रासक किंकिल्लि कुंज कुंकुम कवोल, सुरयार सरलं सल्लइ सलोल । वायंब निंब निवू चिनार, सिमि साय सरल सिय देवदार ॥ ५९॥ [पद्धडी]] लेसूड एल लंबियं. लवंग, कणयार कहर कुरबय खतंग । अंबिलिय" कयंब विभीय चोय रत्तंजण जंबुय गुरु असोय ॥६॥ जंबीर" सुहंजण" नायरंग, बिजउरिय" अयस्य पीयरंग । नंदण जिम" सोहइ" रत्तसाल', जिह पल्लव दीसई" जणु पवाल" ॥ ६१ ॥ आरिट्ठिय" दमणय गिद्द चीड, जिह" आलइ दीसइ सउणि" भीड । खजूरि" बेरि" भाहण" सयाई, बोहेय" डवण तुलसीयलाई ॥ ६२ ।। 1Aधुंजम; ० दुका। 2B सला 3A. नायंर।. 4A निवू ।' 5A स्देसूद; B स्टेडिय । GC लंचय । 7 B एल टांग चंगा 8B फणयर। 9 B करी, पलिय। 10 A. गुरबह B युराद। 11 A अंनिटीक', Bअदितीययम्। 12 Bघूय। 13A जंगीर। 14C मुहिंजण। 15 A मियारी भइरई। 16c विखारीय आरू। A | 18 A सोहाहि: C सोददि। 19 साठ ! 20A 21A पवार 9A भारीठय, C आरहिर। 23 B C पन। 21B जिदि। 25 AC सउन। 2G C रानू। 27 Bोरि। 28 मनि: B मार। 20 Bहेस 180Cr: Bा। है. दिसहि ।

·* सन्देश रासक द्वितीय प्रक्रम नाएसरि मोडिम पूगमाल, 'महमहइ छम्म मरुभइ बिसाल ॥ ६३ ॥ [अर्द्धम् ] अन्नय सेस महीरुह अस्थि जि ससिवयणि, मुणइ णामु तह कवा सरोरुहदलनयणि । अह सब्बइ सखेविणु निक्ड' निरंतरिण, जोयण दस गमिज्जइ तरुछायतरिणं ॥ ६ ॥ [पुरउ सुवित्थर बन्नउ अद्धउ जहवि, करि अन्जु गमणु महु मगाए अत्यवह रवि ।।] तवण'तित्थु चाउदिसि मियच्छि' चखाणिया, मूलत्थाणु" सुपसिद्धउ महियलि जाणियइ तिह हुतउ हड इकिण" लेहउ पेसियउ', खभाइतई" वचउ" पहुआएसियउ ॥ १५ ॥ 1A मोहिष। 2B | 3 A. रहु । BOY: FB निषि। 6 ताण तिरिण। 1 एतशयुगल नैवल B आदर्श समुपलभ्यते । 7A B तवणि 1 8 तित्यि। ५०मिछ। 10A साणीयद। 11A मूलबाग'। 2 BOT Bहमणि । 14 A. पेसिट। 15A. खमाइतिह। 16AB ast टिपनकरूपामाख्या) [३२] अत्र शकुनि [ना]-पक्षिणां मालयाना-पदाणा भीडा दृश्यते । शेष गम्यम् ॥ ६२॥ [६४] इत्यादिवृक्षजातिषु सुगम नामान्येव ॥ ६॥ [५] हे मृगाधि! सामोरूपुरे तपनतीधे-सूर्यकुण्ड प्रसिद्धम् । चतुर्दिक्षु व्याख्यायते । तमूलस्थान नाम प्रसिद्धम् ! सर्वैरपि नरामयते । ततोऽव लेखपादक पवन प्रेक्षिपित । स्तम्मतीय प्रवादियो बजामि-गच्छामि ॥ ५ ॥ [अवरिका] [ने पक्षी, भालय नीर शेष नामास्येव । fr] भन्येऽपि शेषमहीरमा पृ है शशिवदनिलि) सन्ति तेषां नामानि है कमलने। को वेति भए सर्वेऽपि सेक्षण निविद्या धना निरत सनि पो जापपा दूधपोजनाम [१५] हे गाणपत्र सामोपुरे सपनतीर्थ-सूर्य प्रतिद ध्याच्यापते । समस्या नाम प्रसिद्ध सर्वैरपि नरामी भूपते । सो देखाइक एकेन प्रेषित हामतीय प्रमा(कादिरी मजामि गम्यते।

·पद्य ६३-६७] सन्देश रासक एय वयण आयन्नवि सिंधुभववयणि, ससिवि सासु दीहुन्हउ सलिलब्भवनयणि । तोडि करंगुलि करुण सगग्गिर गिरपसरु, जालंधरि व समीरिण मुंध थरहरिय चिरु ॥ ६६ ॥ इवि खणडु फुसवि नयण पुण वजारउ", खंभाइतह णामि पहिय तणु जजरिउ । तह मह" अच्छइ णाहु विरहउल्हावयरु, अहिय कालु गम्मियउ ण आयउ णिद्दयरु ॥ ६ ॥ पउ मोडवि निमिसिद्ध" पहिय जई दय करहि, कहउँ" किंपि संदेसउ पिय तुच्छक्खरहि । 10व। 2A प्रायशिवि। 3A सचिउसामु । 4 B दीउन्हउ, दीव उन्ह । 50 समी6A मुद्ध। 7 A.हरी। 8 B त्यपि। 9 A. राणउ, B राणदु वि। 100वजरियउ। 11 Bइतिहिं। 120 नाम, B नामि । 13 B पहिशु । 14C जजरियउ। 15 A. महु। 16 BOनाहु। 17 "गया। 18 B मोडिवि। 198 निमिसा। 20 जे। 21A B कहा। 22 A B तुच्छसरिहि । [टिएनकरूपा व्याख्या [६६] सिन्धूद्रययदना-चन्द्रमुसी, सलिलोयनयना-कमलाक्षी, पतानि पचनान्याकर्य, दीर्घाच्यासं निःश्यस्य, कराडलीस्रोटय(वि)त्या सगद्गद्गीप्रसरा, पाताहता जालन्धरीवत्-फदलीयत्, चिरं मुग्धा थरहरिता-फरिपता ॥ १६ ॥ [६७] क्षणार्धं सदित्या, नेत्रे मार्जय(यि)त्या, तया पुनरुजम् हे पथिक ! स्तम्भतीर्थनाना मम शरीरं जर्जरितम् । तय विरहस्फेटको मम भर्चा पत्तने, त बिना मयाधिक फालो निगमितः। परं स निर्दयो न समागतः ॥ ६७ ॥ [६८] हे पथिक ! यदि दयां हत्या क्षणार्धं पदं मोटयसि, तदा किश्चित् [अपरिग] [५] सिन्धुमयपदना - चन्द्रमुखी, सटिलोमपनपना-माक्षी, एवानि वचनाम्या दीर्घा मानिस कराटीमईदिया सगगी,प्रमरा माताका डाटधरीक्दलीप विर मुग्धा पहावा-पिता ॥ [0] क्षमा रया, नैन्ने मामिया, सया पुनरकम् -१ पयिक! मग्मनीपनाग मम पारी जारितम् । तत्र विराटको मम मनां पते । स पिना मा भिकारी निर्गमित, प र निर्दयो म समागत.. [१] पमिक! यी पो काया मा पई मोटपति-पति, बदारिन् सहे.

·२८ सन्देश रासक [द्वितीय प्रकम पहिउ भणइ कणयंगि कहह किं रुन्नयण, झिजंती णिरु दीसहि उठिबन्नमियनयों ॥ ६८ ॥ जसु णिग्गमि रेणुकरडि, कोण विरहदवेण । किम दिज्जइ सदेसडङ', तसु णिहुरई मणेण ॥ ६९ ॥ [*पाणी तणइ विउड़, कादमही फुइ हिआ। जइ इम माणसु होइ, नेहु त साचउ जाणीयइ ।। किंतु कहिब्बउ भति विणु, धू पंधिय जाणाई। अजह जीविउ कंत विणु, तिणि संदेसइ काई ॥] जसु पवसंत' ण पवसिआ, मुइ विओई ण जासु । लजिजउ संदेसडल, दिती पहिय पियासु ॥ ७० ॥ 1A.मयगोविनवयणि । कि हिनहि दिणरयणि उदियनिय मियनयण' C आदर्श स्थितमेनसायाबरम्। 2 B रेफरड रेकरडि । 3C क्य, B णिहै। 4A लिव। 5A *सनेहडङ । 6 B निमुरय: 7 C पदस्तु, म पविस्त। & B पविलिया । 90 अ, Bमुई। 10 B विजय न, पियान । दोधANA आदरों उपलभ्यते, पर तन नासोपरि अवचूरिका लिखिता लम्यो, मत प्रक्षित वेद प्रतिभाति । इदमन्यद् दोपकात फेवल C आदरों समुपलभ्यते । पर तत्रापि नासोपरि मनरूपा व्याख्या, अपरिग कस्ता लभ्यते, भत इदमपि प्रक्षिप्तमेव ज्ञायते । [टिप्पनकरूपा व्याख्या संदेश मियाय तुच्छाक्षर जल्पामि । पथिको [माणति-हे कनकाहि कथय । स्दनेन किम् ? उद्विनमृगने ! नितरा पिसिधमाना दृश्यसे ॥ ६८ ॥ १] तत. सा जीयनेऽपि सलाजत्व प्रक्टयन्ती प्राह -यस्य निर्गमे विरहद घेनाई रेणूकर-मलपुक्ष न प्रता। अतस्तस्ले निष्टुरेण मनसा संदेशक कप दीयते ॥ ६॥ [७०] अतस्तमेयाथै दृढयन्नाह-यस्य प्रवसवो न मपि(पोसिता । अन्यथ यस्य वियोगे न मृता। यतस्तस्मै प्रियाय सदेशक ददती लज्जे ॥ ७० ॥ [मवचूरिका शमियाय सुच्छामि। पथिको भणति-हे कनकादि काय, रोदनेन किम् । इदिन- मृगने नितरामस्य विधमाना श्यसे । [१९] तत सा धीमनेऽपि, सजल (सलब )व भकटयन्ती - तख निर्गमे विरारना रेणकर - भाग तस्मै लिधुरेण मनसा सदेशक कय दीपते । [..] पतलगेका उपाइ-पस प्रविश(बसोवोऽपि न प्रवि(स) सिता । मनाच यात्र पियोगे न मृता। मतस्तम्स सदेशक दवा हये।

·पद्य ६८-७४] सन्देश रासक लज्जवि पंथिय जइ रहउँ, हियउ न धरणउ जाई। ‘गाह पद्विजसु इक पिय, कर लेविणु मन्नाई १७१ ११ * * ܀ n तुझं निरहपहरसंचूरिआई विहरति जं न अंगाई। तं अजकल्लसंघडण ओसहे णाह तग्गति ॥ ७ ॥ *ऊसासडउ न मिल्हवउ, "दझण "अंग भएण । जिम हड" मुझी बल्लहइ, तिम सो मुक्क जमेण ॥ ७३ ॥ कहवि इय" गाह" पंथिय, "मनाएवि पिउ । दोहा पंच कहिजसु, गुरुविणएण सउ ॥ ७ ॥ 1B लजिनि । 2A पथिय । SAB रहड। 4 B जाई। 5 B पदिजसि । 6A पिम । 7 A मंनाइ । 8 B तुव; C तुअ 1 9 C अंगांई। 10 A संघड उसहे; B संघडसहे। 11 B मिल्हियइ 1 12 B डझण। 13 C दंग'1 14A हु115 B मुक। 16 A. जवेण; जिमेण ) * सर्वेषु आदर्शपु एतद् दोधकतमुपलभ्यते, व्याख्याऽपि कृता विद्यते, पर अमिमपर- यथितवर्णनानुसारेण प्रक्षिक्षमिदं प्रतिभाति । 17 B इह; A इम। 184 गाहा 1 19 A. मनाएवि। [टिप्पनकरूपाच्याख्या [७] हे पथिक ! लजां त्या यदि तिष्ठामि तदा हदयं धारयितुं न शका। अत एका गाथां प्रियं प्रति परे । करं गृहीत्वा तमनुनये[:] । सकोपचिच- प्रसादनमनुनयः ॥ ७१६ [७२] तामाह-हे माथ! त्यद्विरहप्रहारसंचूर्णिणतानि महानि यात विघटन्ते तत्र के कारण म्] १-अध कल्ये संघटना म्]-मेल इत्योपधमभावेन तिष्ठन्ति ॥७२॥ [७३J तयस्तु रक्षन्ती भन्न(घ) आशिया(प)माह-अगदहनभयादुस्सा- (सोसा[-] न मुञ्चामि । तत माशी:- यथाऽहं बल्लमेन मुका तथा स ज(य)मेन मुच्यात् ॥७३॥ [४] भो पथिक ! ५(१)मां गाथां कथयामित्या नियं मनापयेत् । ततः पच दोधका कथनीयाः। गरिष्ठविनयेन सह ॥ ७ ॥ [भवरिका] [1] हे पथिक ! सनां कृपा यदि निशामि, सदा हृदयं धर्नु न नोमि । एका गापां मिय मति पठेकर गृहीखा प्रिय मानये:-नियमनुल्लयः ।। [२J सामाद- नाय! मदिरहप्रहारसंघनितान्यानि यम विघटन्ते, शरणम् !-- मन कल्ये सैय[]नम्-मेल इरोपपत्रमाणेन निष्ठन्ति । [३] रक्षन्ती भये भाशिपमाह- आदइनभयानुसापान] न मुशामि । इस भाशीमा पद्यमेन मुजा पा सभ(पोमेन मुख्यात । [] पयिक! एतां गामा पटिया नियं मामयः, पक्ष दोभान गुरुपिनयेन सह रुपये।

·" सन्देश रासक [द्वितीय प्रक्रम पिअविरहानलसंतपिअ, जइ बचउ सुरलोइ । तुअ छडिपि हियअट्ठियह, तं परिवाडि ण होइ ॥ ७५ ॥ कत जु तई हिअयट्टियह, चिरह विडंबइ काउ । सप्पुरिसह मरणाअहिउ', परपरिहव' सताउ ॥ ७६ ॥ गरुअउ परिह कि' न सहउ', पइ पोरिस निलएण । जिहि" अगिहि तू" विलसियउ, ते वा विरहेण ॥७७॥ विरह परिग्गह छापडइ", पहराविड" निरवरिख । तुट्टी देह ण हल हियउ, तु" समाणिय" पिक्खि ।। ७८ ॥ ICT। 2 B वियह। 3 B विरद्ध। AC मरणाहिउ। 5A परिहट । GA.B परिहनु । 7 B कम 18 मह सहिया । 9A पोरस, B परिस। 10 A. जिह B जिह। 11 A तु B तू। 12 A बिलसिउ। 13 B दवा । 14 B छाव, छावडत। 15A पहिराविड। 16Cन हियत यउ । 17 Bतुर तह । 18 B समापी [टिपना रूपा ब्यास्था] [७५] मरणेऽपि दूपणमाह-त्वा हृदयस्थित मुक्त्वा त्वदिरहानलसतया यदि खगें मजामि, तदा प्रतिपन्न न भवति । यतोऽह स्वासहचरी ॥ ७५॥ [६] भार्याया भतुविरहकष्टे भतुर्दूपणमित्याह-हे कान्त! यत् त्वयि हदपस्थितेऽपि सति विरह पाप-देह विडम्पपति, तत् तव रजा । यठ, सत्पुरुषाणा परत पराभवः सतापो भरणाधिक ॥ ७६ ॥ [७७] भार निन्दन्त्याह-गुरुतर पराभव त्वयि पौर(रु)पनिलयेऽपि सति कि म सहामि, अपि तु सहाम्येव । यतो यरकस्य विलासिता, तान्यङ्गानि निरहेण दाघानि ।। ७७ ॥ [७८] पुनर्भपौरुष प्रकटयन्त्याह-विरहशत्रुपरिग्रहेण शरीरे निरपेक्ष [भवचूरिका] [७५] मरणेऽपि दूषणमाइ-स्वा हदयस्थित मुक्या स्वद्विरदान सत्ता यदि वगै ममानि, तदा प्रतिपत्र न भवति, यनोऽह त्वत्पहनारिणी [1] भार्याया भतृविरहकटे भतुर्दूषणमित्याह-हे कान्त । यदि यि हृदपस्थितेऽपि सति विरह काय-देह विडम्वयति, तद तवैव एजा । यत्र सापुरुषाणां परकृत परामय सन्तापो मरणादधिक [1] भार नि दन्त्याह-गुरुवर परामव स्वमि पौरपनिलयेऽपि सति किन सहामि, अपि तु सहाम्येव । प्रती मेरहस्य शिलसितस्तान्यानि विहेण दग्धानि ।। [2] पुनर्भपौरप प्रकटप स्याह-विहशत्रुपरिप्रदेम घरे निरपेश हरित पर हृदयन महत- स्फोदितम् । किं कारणम् ।- वक्त निळोक्य, सामर्थवानाम्यत् ॥

·पद्य ७५-८१] सन्देश रासक मह ण समस्थिम विरह सउ, ता अच्छउँ विलवंति। पाली रूपमाण पर, धण 'सामिहि घुम्मति ॥ ७९ ॥ संदेसडउ' सवित्थरउ, हउ कणह असमत्य । भण" पिय इकत्ति बलियडई, वे वि समाणा" हत्या ॥८॥ संदेसडड़ सवित्थरउ', पर मइ कणु न जाइ । जो कालंगुलि मूंदडउ", सो बाहडी समाइ । ॥ ८१ ॥ , * 1A मणह रामप्पिम । 28 सिउ। 3 B अग्छ । 4 A विलवंत। 5C पालियरूव । 6A पवाणु। 7A. साई; सामिय। 8A धुमंत। 9A सनेहडउ । 10 Bपहिया । II B भगु। 12A प्रिय। 18 A एकतु: B इति। 14 C अलयडइ। 150 दो वि। 16 A समागइ; B समाणिय। 17 B सविथरउ । 18 A अलंगुलि। 19 0 मुंद'; B मूद। 20 B समाई। 10 आदर्यो एतो दोधको विपर्ययकमेण लिखितो लभ्येते। [टिप्पनकरूपा व्याख्या] महरितम् , परं हृदयं न प्रहतम्-न स्फोटितम् । किं कारणम् ?-त्वयुक्तं विलोक्य । सामात्, नान्यत् ॥ ७८ ॥ [७९] मात्मनोऽसमर्थताम्], भर्तुः समर्थवामाद-मम विरहेण सह सम. (मर्थता नास्ति । अतो विलपन्ती तिष्यामि । यतो गोपालानां पूत्कारमेव प्रमाणम् । परं धनं -गोकुलं सामिभिर्धाम्यते, नान्यः ॥ ७९ ॥ [८०-८१ ] आत्मनो बोधकादयेन दुर्वलतामाह-संदेसडर' - [भत्र प्रथमदोघ- फस्य व्याख्या नोपलभ्यते] संदेस(श)को विस्तीर्णः, मया कस्थि(यायोउन पार्यते। यत् कालामुली-कनिष्ठागुली मुद्रारत्नमासीत्, तद् याही धृधि)यते ॥ ८०-८१ ॥ [अवचूरिग] [१२] भारमनोऽसमयतां भर्तुः समर्पतामाह-मम विरहेण समर्थता नास्ति, पतो विष्ठपन्दी विद्याणि । यतो गोपालानां पूकारमेव प्रमाणम्, पर गोपन- गोकुलं स्वामिमिओपढे, नान्यः । [20] हे पविक! सन्देशकं विस्वरमदं कमि(थयिनमसमर्या, पर है पयिक! प्रियं प्रति भण-पक्षिन् वलये दी इस्ली मातः॥ [पथिक! सन्देश सबिना मपा कधि(पयि) न पार्यते-- शक्यवे, पामिति कधतीमम्-या काम्यहम्या मुद्रक मासीद स थाई समायाति ।। ।

·३२ सन्देश रासक [द्वितीय प्रक्रम तुरिय 'णियगमणु इच्छंतु तत्तक्खणे, दोहया सुणवि' साहेइ सुत्रियक्खणे । कहसु अह अहिउ जं किंपि जंपिव्वड, मग्गु अइदुग्गु मइ मुंधि जाइव्वउ ।। ८२ ।। वयण णिसुणेवि मणमस्थसरवट्टिया, 'मयउसरमुकणे हरिणि उत्तट्ठियां । मुक दीउन्ह "नीसास उससंतिया', पढिय" इय" गाह" णियणयणि वरसंतिया ॥८३ ।। 10लिय1 2A दोहिया । 3 B गुपिनि। 4 A. मुघ, मुद्धि। 50 वयण । 6A.मयमत्य17 Bमयर | 8C हरिण ! 9 A. उत्तट्ठीमा । I0Aणीसास । 11 A उन- सजीआ, मतिया। I24. पत्थिय । Is Bइह। 14A गाहि । 15Cयण। 16A सतीआ। [टिप्पनकरूपा व्याख्या [२] तस्मिन् क्षणे त्वरित निजगमनमीप्सन दोधको भुत्या, क. (स)कय- यति-हे सुविचक्षणे | अथ यद किमपि अधिक कथनीयमस्ति, तत् कथय । मया गों मागो गन्तव्यः ॥ ८२॥ चन्दापणच्छन्दः । तल्लक्षणम् - सो चंदायरे छंदु फुड, जहिं धरि दोहा होइ । अह तिणि रहियड मणहरण, बुहियणि सेसिङ सौद । बुहृयणिहि ससियङ सो नि जाणिजए, कामिणीमोहणो पुरड पाहिजए । मच अडवीस सर जेण विरहजए, सौ वि चंदायणौ छंदु सरहिजए ।। स(तत्) चन्द्रायणच्छन्दः-यमादौ दोधकः, प्रान्ते बासी(मशी)तिमातृको शामिनीमोहनः । अथ दोघर्जितः कामिनीमोहन एप चन्दायतनम् । [३] पुनर्विरहावस्था वर्षयताह-पथिकवचनं श्रुत्वा मन्मयशरव्याप्ता मृग- व्युशरोन्मुक्ता, वितर्के हरिणीवदुजस्ता जाता। तदा दीर्थोप्णोखारा)सा मुक्ताः। अन्यच-उच्चसन्त्या निजनेत्राभ्यां अक्षु यन्त्या पपा गाथा पहिता [भावरिका] [भिन्न क्षयो पारित नियमनर्माप्सन दोधको पुरवा पर्थिकः भपति-है सुविचक्षणे! अथ किमप्यधिक कयनीयमस्ति वकथय, मया दुर्गा मागो गन्तव्य.॥ घायणन्द । एक्षणं यथा- 'सो चंद्रायणद पुरनहि धरि दोहा कोर। [३] पथिकवचन शुरवा मन्मधारयामा मृगम्यु-भासेटफिशरोमुक्का, विर हरिणी. पस्थि( स्थिोता जाता, भदा दीर्घोष्ण से मुका () अन्ययोच्यमन्त्या प्रियाम्मामा वर्षन्त्या, ए गाथा परिवार ·पद्य ८२-८५] सन्देश रासक अणियत्तखणं 'जलवरिहणेण लजंति नयण नहु धिट्ठा। खंडववणजलणं विय विरहग्गी तवइ अहिययरं ॥ ८४ ॥ पढवि इय गाह मियनयण उब्बिन्निया", भणइ पहियस्स अइकरुणदुक्खिन्निया"। कढिणनीसास रइआससुहविग्धिणे, विन्नि चउपइय” पणिज तसु निग्धिणे" ॥ ८५ ॥ 13 तुय समरंत समाहि मोहु विसम ट्ठियां, तह" खणि खुवइ कवालु न "वामकरट्ठियउ । 1AC अणिअत्तरखण। 2A.जलि। 30 वरहिणेण। 4G धिट्टी । 5A चिय । 60विरहग 17 Cमडिय । Bइह 1 9Aनयणि । 10 A उम्बिनीमा। 110 मणिय । 12 A "दुक्खिनीआ। 13 A कठिणणी । 14 A. रइयास', B रइआसु। 15 A सुहविषणे, B सइविधिये। 16A चउपईय, Bचउपर्द। 17 A B निग्यणे। 180 समरंतु । 16 A. मोह। 20 A विसमटिभउ, B विसमुष्ट्रियच 1 21 A1 22C बामकार। [टिप्पनकस्पा प्यारया ] [८] नेत्रयोरविरतजलप्रवाहस्यानिवृत्तत्वमाह-मम नेने धृष्टे अनिवृत्त- लक्षणं लचर्पणेन न लज्जतः । तदा किं विरहाग्निरुपशान्ता(न्तः)?। सदाह- पा(खा)डययनज्वलनमिव घिरदाग्निम(र)धिकतरं तपति । अत्रोपनया-यदा धनजयः खाण्डवपनं ज्वालयितुं प्रवृत्तः, तदैको विद्याहवागत्योपशान्तयितुं प्रवृत्तः। तदैव धनञ्जयेन तन वैयुतोऽनिक्षिप्तः, अधिकं अधिकं ददाह ।। ८४॥ [८५] एतां गाथां पठित्वा अतिकरणदुःसाफीर्णा उद्विग्ना मृगनेना पधिकस्य पुरतो भणति । कठिन निःभ्यासमेयंविधं यद् रतं तस्य यदाशासुखं, तस्य विन- कारकाय तसै निर्वृणाय प्रियाय हे चतुष्पदिक भगः ॥ ८५॥ [८६] तदाह-हे कापालिक !-फपालेन परन्ति फापालिका(का.), अथवा [अवपूरिका] [] देनयोर विरलजलप्रपाहत्यमाह-मम नेत्रे धि()टेऽनिवृत्तलक्षणं जलवणेन न धनत.1 तदा किं विरहानिरपशान्त.१तदाह-साण्डय[बन] वसनसिप पिरहाभिरधिकतर तपति । पदा धनञ्जयः खाण्डबदन क्यालयितुं प्रवृत्तस्तदैको पियाभूदागस्योपशमइ (बि) मवृत्तखदेव धनञ्जयेन पत्र वैधुतोऽमिा क्षिप्तोऽधिकं ददाइ । [८५] एतां गायों पठिावाऽतिकरणदुः खाकीणों रदिमा सुगनेत्रा पथिकस्य पुरयो भणति- कठिननि श्वासमेबंविधं यद् रत तस्य यदाशासुख तस्य विभकारकाप उस निणाय प्रियाय द्वै चतुपदिक भणे॥ [.jहे पथिक!-कपालेन घरम्ति कापालिका, इस सम्बोपनम् [हे कापालिक!] भई .

·सन्देश रासक [द्वितीय प्रक्रम । सिज्जासण न मिल्हड खण खटंग लय, कावालिय कावालिणि तुर्य विरहेण किय८६ ॥ ल्हसिउ अंसु उद्यसिउ' अंगु बिलुलिय" अलय, हुय "उबिबिस्वयण "खलिय विवरीय गय" । कुंकुमकणयसरिच्छ कति कसिणावरिय", हुइय" मुंघ" तुय विरहि मिसायर णिसियरिय" ।। ८७ ॥ . 1A सिज्जासा। 2A नहु 18 सणु। 4A कामालीय, Bारानिय। 5A कवालगि । GA तुम170 विरहेहिं । 8A विभ। 9 A उद्धसुउ, B उल्हसित। 10 A विललिय । HA उदिविर Cउम्बिर 1 12Cखलिय। 13 A गई। 14 Aवरीष। 15A Bहुई। 16A मुस, B मुंधि। 170 निसपरिय; B निधियीय । [टिप्पनकरूपा ध्यार पा] कं ब्रह्म तस्य अपगता आलि[:] यस्मिन् , सा कपालिका (१) कापालिरेष कापालिका, तस्य सम्बोधन हाकियते । यह तव विरहेण कापालिनी-योगिनी कृता। कथम्? - सव स्मरणसमाधी मोहो विपमः समुत्थितः । मोहो-मूच्छी, मोहा- रहः । ततः कपालं क्षणमपि वामकरान दूरीमयति । कपालं-मिचमाजनम्, कपालं-मस्तकम् । अन्यच्च शच्यासनं न मुञ्चामि । शय्याया अधस्तादशनम्, शय्यायामासनम् । तथा सट्वा न मुञ्चामि । खवाझं-पल्यंकपादम्, योगियोगोप- करणंच ८६॥ [७] हे पधिक! तं धन्दे (वः), निसा(शा)सु चरनीति निशाचरस तस सम्बोधनम्-हे निशावर! मुग्धा तय विरहेण निशाचरी-राक्षसी शती(तर)। फथम्?-तेजो हसितं-गतम्, [अ] उपितम् , अलका विलुलिता। उन्धि- म्बिरबदना-फिकवदना जाता। स्खलिता विपरीता व गतिरभूत् । फुङ्कम- सहक्षा कान्तिः कालिमाता । द्वितीयपक्षेऽप्येवम् ॥ ८ ॥ [मवधिका विरण कापालिनी- योगिनी जाता-कृता । कथम् !-तर मरणसमाधी मोहो विषमः समुत्थितः । मोहो-मूळ, मोह:-घेहः । ततः क्षणमपि कपाळं धामकराध दूरीभवति । पालं-भिचभाजनम्, कपाळं-मस्तकम् । अन्यच्च स(सारपासनं न मुयामि सदा- पस्यपादम्, योगियोगोपकरण। [e.] हे पथिक ! प्रियं यदे, निशाम घरवीति निशाना, तय सम्बोधनम् - हे मशासर! मुभा तव विरहेण निशाचरी-पक्षसी वा । कथम् -तेजो सितम्, भामुदक्षितम् , अटका विलुलित उम्बिधिरपदना-फिरवदना जाता। स्पलिवा विपरीण घ गतिभूए । म कनकासा कान्दिा काम(भिमाश । विसीयपसेप्येयम् ।।

·३५ * पद्य ८६-९०] सन्देश रासक तुहं पुणु कजि हिआवल, लिहिवि' न सकउ लेहु । दोहा गाह कहिज्ज' पिय, पंथिय करिवि सणेहु ॥ ८८ ॥ पाइय' पिय वडवानलहु, विरहग्गिहि" उप्पत्ति । जं सित्तउ थोरंसुयहि", जलइ "पडिल्ली झत्ति ॥ ८९ ॥ सोसिज्जंत विवजई सासे "दीउन्हएहि पसयच्छी । निवडत बाहभर लोयणाइ धूमइण" सिञ्चति ॥ ९० ॥ पहिउ भणइ "पडिउंजि जाउ ससिहरवयणि, अहवा किवि" कहणिज सु महु कहु मियनयणि । 10 ह। 2B पुगि, C पुणे । 3 C ऋचा । 4 B हियाव 5A लिहपि B विहिषि। 6A सक7 B कहिजि, C पडिज। 8 A. करपि। 90 पाय। 10G विरहग्गिय, B निहिं । 11C यहि । 12 C यदिशी। 13 B C सोविजतु । 14 दिव। 15 B दीहुन् । 16 B दीहच्छी। 17 Aधू जइण, Cघूमयण 1 18 BO सिज्यति । 19 C पशुलजि । 400 जामि। 21 B किवि, किहु। 220 कहिणज। 29 A कय । [टिप्पनकरूपा घ्याख्या ] [८] भो पथिक ! त्वं अर्तित(अत्यन्त) कार्यव्याकुलः । अहं लेखो(ख) लिखि- त्यति) न शक्नोमि । अतो दोधा गाथा [च] कथनीया मम वल्लभस्य पुरतः। ममोपरि सेहं कृत्वा ।।८८॥ [८] विरहानेरतिशायित्वं दोधकेन गाथया चाद-अहमेवं मन्ये विरझानेड- पानलादुत्पत्तिः। यत् स्थूलाधुवारिभिः सिक्तः, 'पडिल्ली देशीस्वादधिकं शगिति [२०] दीर्घाक्षाः(क्या!) दीर्घोष्णैः श्यासः सौ(शो)प्यमानो(पो)ऽपि विवर्धते पिरदाग्निः । यद् धूप्रेण निपतद् याप्पमरे लोचने संयतः ॥१०॥ [११] पथिको भणति-हे शशधरवदने प्रेपय, ब्रजामि, अथवा यत् किमपि [अवरिका] [40] पथिक ! स्व कार्याकुल:-उपा(सु)का, [म] ठेस लिखिम शोमि । वं प्रियाय दोधलगाये भणेः । पथिक स्नेहं कृत्वा ।। [९] रिहामातिशायित्वं दोधरायाभ्यामाइ-हे पधिक! मियमाह-मामेवं मन्ये- विरहानेषडवानलादुपतिः ।यवस्थूलाधुमिस्सित्तः, 'परिडी देशीवादधिक झमिति-स्वलति । [१०] हे पयिक! प्रिय भणे. दीर्घोष्ण. भासैः सोप्यमाना(गोप्यमागा) सती सा मताशी विषयते, पर-यदि पेडोधनयोयोग(प्पोमर वं-निश्रय यदि सा न सिच्यते। [१] पथिको भणति-हे पारावावदने ! मां पय, हे गगनयने । भयका पक्किमपि कप- ज्यलति ।। ८९॥

·- सन्देश रासक [द्वितीय प्रक्रम कहउ पहिय कि 'ण कहउ कहिसु किं कहिययण, जिण किय एह अवत्य 'णेहरइरहिययण ॥ ९१ ॥ जिणि हउ विरहह कुहरि एव' करि पल्लिया, अत्यलोहि अस्यत्यि इकल्लिय मिल्लिया । संदेसडउ सवित्यरु तुहु उत्तावलउ, कहिय पहिय पिय गाह क्थु तह डोमिलउ ॥ ९२ ।। 4 वइया निवडत" णिवेसियाई संगमइ जत्य गहु हारो। इन्हि सायर-सरिया -गिरि-तरु-दुग्गाई अंतरिया" ॥ ९३ ।। 1A केन। 2 A.जिणि । 3 A कय, कहिय। 4 B गेहरय,Cणेहदयः। 5A. भण | 6A जिण 17 A विरह, B विरह । 8 Bएम । ५० लोह खक। 10 A. इमली । 11 A. मिन्हीआ, C नास्ति पदमिदम् । 12AC तुह। 13 B तहि। 14 ACईया। 15Cखत । 16Aइन्हं । 17 | A सरीआ। 18 Bअंतरिवं। [टिएनरूपा व्याख्या कथनीय तद् है मृगने ! कथय । भो पधिक! कथयामि, [ किंवा न कथयामि।], परं कथयिष्ये । अथवा मेहरतिरहिताय तसै कवितेन किम् । नेपाऽवस्था मृता॥ ९॥ [१२] येमार्यलोभेन कामिनी मुफा । पिरहगायां क्षिप्ता । संदेशकस्तु विस्तीर्णर, रवं तुच्छ(स) । परं तसै एकां गायां घरतुफं] सोमिलकं व चः॥ २२॥ [१३] पूर्वसुपानुभयं सारयन्ती दुः प्रकटमाह-तदा त्वयि निय(वि) पनिवेसि(शि)ले भयपो(आवयोरन्वरे हारो न सान्तः । वार्नी सागर सरित भुगादि अन्तरितम् ॥ १३ ॥ मिरिका] मी तम्मम कपप । है पत्रिक ! कथयामि, किस कपशामिया, पकमिप्ये, तेन कथितेन किम् । बरति] रहितेन ऐनेपाऽपस्या कृया। [२२] विरहकरे-विरहगाया देना शिसा । एवं कृत्वा-शिवा, अभाव अस्वा]. नैकाकिनी मुध्य । सन्देश (क) सविस्तर , समुच्च(सोका । प्रियाप कः पयः)-गाय बलवरोमिलम् ॥ [५] पूर्वसुखानुमत्र मारपन्ती दुसं कराह -पदा स्वमि निवरत-पानिवेशित मारयोरन्तः धारो न संका पानी सागरसरिनिरिसरायान्तरिया।

·पद्य ९१-९४] सन्देश रासक णियदइयह उकंखिरिय किवि विरहाउलिय', पियआसंगि पहुत्तिय तसु संगमि बाउलिय । ते पावहिं सुविणंतरि धन्नउ "पियतणुफरसु, आलिंगणु अवलोयणु चुंबणु" चवणु सुरयरखें। इम" कहिय पहिय तसु णियह जइय" कालि पवसियउ तुहु । तमु लई" मइ तणि"णिद णहु को पुणु सुविणई संगसुहु ॥९४॥ [पिटपदम् ।] 1B "दइय उ, दईयह। 2 किसिरि। 3A वि । Bउलीय। 5'तसु' नास्ति 160 संगम18A.Oजे । C पावहिं। 10 "पिय' नासि C1 11C नास्त्रि 'चुंबणु', AB नास्ति 'चवणु'। 12 B मुरइ। 18 'इम' नाति A1 14 B जहि मालिहि । 150 तेसु । 160 सहगलई। 17 B तणु। 18 B पुण, C पणि। 19 A मुषिणय; B सुइगइ। 20 A संगु। C आदर्श एवेदं पदं लभ्यते । [टिप्पनकरूपा व्याख्या [९४] आत्म[न]स्तु मह[:]खत्वमाह-या[:] काय(च)न स्त्रियो निजदइ- (यि)तोत्कण्ठिता विरहाकुलिता मियसङ्गं प्रपन्ना, तत्सहमव्याकुलिता भवन्ति, ताः स्वमान्तरे धन्यं तनुस्पर्श आलिङ्गन अपलोकन चुम्वनं दशनखण्डनं सुरतं च माप्नुवन्ति । हे पथिक! तस्मै निर्दयाय कथये[:]-ममावस्थां तु शृणु, यस्मिन् काले त्वं प्रविशि(वसि)तः, तसाल्वात्-क्षणान्मम निद्रा नास्ति, किं पुनः स्वप्नसद्गमसुखम् । "नामो नास्ति कुतः सीमे"ति हा(न्या)यात् । यस्तुकच्छन्दः । तल्लक्षणं यथा- दो बेया सिहियुगलं जुयाइ दुन्निउ दुगं च वयो। पनरस तेरस पनरस तेरस जुतो दिवडच्छंदो॥ चतुर्विशति मातृकाणि चत्वारि पदानि । पश्चात् पश्चदश-प्रयोदश-पञ्चदश- प्रयोदशमात्रिकाणि चत्वारि पदानि । एप (एतत्) घस्तुकच्छन्दः । अपरं नाम पटूपदम् ॥१४॥ [भवयूरिका] [१४] विरहिणीनां विरहे मनाक मुससंमभमाह - याः काश्चन लियो निजदयिवोत्कण्ठिता विरक्षाकलिताः प्रियास मपम, वासामन्याकलिता मन्ति, ताः स्वमान्वरे धन्यं तनुस्मामा- लिन्नमवलोकनं चुम्बनं दशनखण्डनं मुरतं चामुवन्ति । हे पथिक ! सम्म निर्दयायैवं कथयेः- ममायस्था वंशय, यमिन् काले रवं प्रविशि(वास)तलमालवार-क्षणान्मम निदा नाशिक पुनः स्वमसनममुखम् । 'मामो नाति नुयः सीमा' इति न्यायेन ॥ .

·, ३८ सन्देश रासक [द्वितीय प्रक्रम पियविरहविओए', संगमसोए, 'दिवसरयणि यूरत मणे, णिरु अंगु' सुसंतह, वाह फुसंतह', अम्पह णिय किं पि भणे । तसु सुयणं निवेसिय, भाइण पेसिय", मोहवसग बोलंत खणे, मह साइय वक्खरु, हरि गउ तक्खरु, जाउ सरणि कसु पहिय भणे १९५॥ इहु डोमिल भणेविणु निशि(सि)तमहर अणि, हुइय" णिमिस" णिफंद सरोरुहदलनयणि । णहु किहु" कहई ण पिक्खइ जं" पुर्ण अवरु" जणु, चित्ति भित्ति णं लिहिय मुंध सच्चविय" खणु ॥ ९६ ॥ 10°पियोए। 20 रयाणि दिवस। Bयण। 4 A छति। 5A. B अगि । BA सेतह। 1A पुरैतह । एतदुत्तरार्धात्मकभागोऽस्य पद्यस्य पतित 0 आदर्श। 8 B सुराणु। 9A. माइमि । 10 B मेचिय। 11 A. डोमिलित, Bहोमिचउ। 124 नित्तमहमहुरवयणि। 18 A हुईय: Bहुई। 14 B निमिश्न: 150 किहुं । 16 A कहिज। 17 Bइस। 18Cमावि पुशु'। 19 अपर। 20A चित्त। 21A मुख। 22 B साचविय । [टिपनारूमा भ्याल्या] [१५] ते सर्पसे कि कर्त्तव्यतामूदत्यमाह-प्रियविरहविउ(पो गाय सङ्गम- सूचकाय राधिदिनं क्लिश्यन्ती, नितरामई शोषयन्ती, पापानि मार्जयन्ती, आत्मना(नो) निर्दयाय भिणामि । परं त्वं वेयं वदेः-यत् त्वां हि(ह)दये निवेश्य भावेनामेप्प(क्ष्य), मोहवशात् क्षणम् , तयोक्तम्-मम स्वामिनो घरखरंत रूपं नाम वस्तु विरहनामा तस्करो हि(ह)त्या गच्छति मत्यहम् । तद् मण, प्रिय कस्य शरणं भजामि ॥ १५॥ [९६] पतर डोमिलकामाक्पा, चन्द्रवदना कमलनेत्रा निर्मि(नि) मेपा निःपन्दा जाता। न च किमपि कथयति, अपर जनं न प्रेक्षते । पत्र वितके- मिती चित्रलिखितेव सत्यापिता-हातेत्यर्थः ।। २६ ॥ [पवरिका] [१५] प्रियविषहवियोगाप सामसूचकाय रातिदिन विमन्ती, नितराम सोपपत्री, पापानि मायन्ती, एथिक! आमनो नियाय प्रियाय किं भवामि । पर ववव पो-परदा हृदये निवेश्य भाषेनाप्रेक्ष्य, मोहवशात् क्षणम्, तयोक्तं मम स्वामिनी पाखरे नाम पर विरहनामा तरको दरमा गर्भात प्रत्यहम् । वनगरिय! करण शरणं प्रमामि [0] एतत् अमिलकमुसवा, चन्द्रवदना कमलनेत्रा निमें (निनिमे)पा निष्पादा चाया। नवकिमपि कषयति, भर पानं न प्रेक्षते । मात्र वित-मिती चित्रलिखिदेव सत्यापिता-- रेत्यः॥

·पच ९५-९८] सन्देश रासक 'ओसासंभमरुद्धसास उरुन्नमुह, वम्महसरपडिभिन्न सरवि पियसंगसुह । दर तिरच्छि तरलच्छि पहिउ जं जोइयउ, णं गुणसह उत्तहि कुरंगि पलोइयउ॥ ९७ ॥ पहिउ भणइ थिरु होहि धीर' आसासि खणु, लइवि वरकिय ससिसउन्नु फंसहि वयणु । तस्स वयणु आयन्नि विरहार भजरिय", लइ अंचलु" मुहु पुछिउ तह व सलज्जरिय" ॥ ९ ॥ पहिय ण सिज्झई किरि" बलु मह कंदप्पसङ, रत्तउ जं च विरत्तउ निहोसे य पिउ । 10सास। 2B उरभमुह। 3 B जोइयइ। 40 उतट्ठ। 5C रंग। B पलोइयइ17A Bधीरि । 8Cआसीसि । 9 A सउन्ह । 10 Bपुंसहि। 11 Bषयण। 12 A आयंतिः आइनि। 130 भय। 14 A भबरीया । 15 अंजुल । 16 B मई, 0 मुइ। 17 A रालबीआ, C सलविरिय। 180 पिवद । 19 A फिर । [टिप्पनकरूपा व्याप्त्या ] [९७] उच्छासनमयद्धनि[:]सा(श्या)सया रदितमुल्या मन्मथशरैः मतिमि प्रया मियसामसुप(ग) स्मृत्वा, तदनुगयो(तो)ऽस्ति घेतीपत् तिर्यग तरलाक्षिम्यां पधिको दृष्टः मन्ये वितर्फे घा। गुणशब्दोऽनस्तया फुरजया एटः सः॥९७ ॥ [९८] मय पथिफसौजन्यमाह-पथिको भणति-स्थिरा धीरा भय । क्षणं मासा(भ्या)सय । यरी-पटि(टी) गृहीत्या शशिसंपूणे मुपं प्रमाय । तस्य पचनमाफी विरहभरमाया सलबया परसाशलमादाय मुरा प्रमातिम् ॥९॥ [९९] आत्मनः सधैयासमर्थतामाह-हे पचिक! मम कन्दर्पण समम्, फिल इति संभावनापाम्, पलं न सिध्यति । यथ तद्प एष प्रिपोनिदोंपेण]दोप [भयचूरिय] [२०] रसमलनिःपासपा दिमुथा, मन्नयाः प्रतिमिमपा, मियसाममुख एवा, बानुगतोऽसि पेति, पतिपंह राशिम्पा पयितो ट। मन्ये-खि पा । ग- समोसा पुरापास्ट Rs. [९] म पविः सौधन्यमाह-पथिो भगान-स्थिरा पीरा मर । सगमायामय । पाहा-पदी हीरवा दाशिसंपूर्ण मुर माप । तर(स) पचनमारय हिमामय रम्या पसायलमादाय मुरा प्रमादिकम् । [] भामना सरमामा- पक, मोति मानार, मम पर ·* --www.d सन्देश रासक [द्वितीय प्रकम णेय सुणिय परवेयण निन्नेहह' चलह, 'मालिणिवित्तु कहिच्चउं इकाइ तह खलह ॥ ९९ ॥ जइ विरइविरामे गट्ठसोहो मुणंती, सुहय तइयं राओं' उगिलंतो सिणेहो। भरवि नवयरंगे इकु कुंभो धरती, हियउ तह पडिल्लो" बोलियंतो विरत्तो ॥१०॥ जइ अंबरु उग्गिलइ राय पुणि" रंगियइ, अह निन्नेहउ अंगु होइ आभंगियई। अह हारिजइ दविणु जिणिवि पुणु मिट्टियइ, पिय विरत्तु हुइ चित्तु पहिय किम पट्टियइ" ॥ १०१ ॥ 1C नेय। 2 A गिबेहह । 30 मालपि । 4 A. हिवसु । 5A विरह, विरह- बिरामे। 6 BC तय 17 B विराभो उग्गिलती। 8A भरय । 9 नव1 10 Bइक । 11B वडिल्लो : 12ACइ। 13 A पुणु । 14 B रंगु, C होइ अंगु। 150 अभि- गियइ । 16 C जिगि पुणि। 17 BC पियह विरतउ हियज । 18 A. विवि । 19 A. वडीयइ । [टिप्पनकरूपा म्यारया] विना रक्त एव विरक्तः । न च तेन परवेदना भुता । यतस्तसै चलिताय सलाय मालिनीवृत्तं पकं कथनीयम् ॥ ९९ ॥ [१०] भात्मनोऽपिमर्शित्यमाह-अद्यापि () रति बिरामे अहं स्वहिरहश्य गट- सौख्यं मन्यास्यम् । तदा हे सुभग! यो रागो नवरङ्गनेहमुद्विलनासीत् , तेनैक कुम्भ भृत्वाधारयिष्यम् । यतो हदयं विरक्तं तत्र फुम्मे क्षिया घ(न)क्षित कृत्वा अस्थापयिष्यम्-व्यापारयिप्यम् ॥ १० ॥ पप(पतस्)मालिनीच्छन्दः । वलक्षणम्- "ननमयययुतेयं मालिनी भोगिलोके ।।" पञ्चदशाक्षरं मालिनीवृत्तम् । द्वौ नगणी तदनु मगणः तदनु को पगणी ॥ [१०] यदि यत्रं गतरागं तवा पुना रयते । यह निह रूक्षं भवति, तैलेन [भवचूरिका] कन्दर्पण समं न सिधनि ! यत् प्रियो निर्देषिण दोष बिना रत्तोऽपि विरत । तेन परवेदना न भुता-नासा । अतस्वसै खलाय निस्पृहायक मालिनीवृत्त करये ॥ छन्दोलक्षण यथा-मनमवश्युरेय मालिनी मोगिलोके ।' [...] यदि वि(अपि गतिवियोगेइ स्वदय मष्टसौख्यमज्ञास्यन् (म्) तदा यो रागो नवर नेहमुद्रिलमासीत् तेनैक कुम्भ मृत्वाऽधारयिष्यम्, यो हदय घिरफ ताकुम्भे विस्या म्रक्षण फरवा स्वस्थमवधारयिष्यम् ।। [1] यदि वन गतरङ्ग भवति, तदा पुना राय(रज्योते, अयन नेहो भारीरं रौव्य ·४१ पद्य ९९-१०३] सन्देश रासक पहिउ भणइ पसयच्छि धीरि मणु पंथि धरु', संवरि णिरु लोयणह वहंत नीर भरु । पावांसुर्य बहुकज्जि गमहि तहि परिभमइ, अणकियई णियई पउयणि सुंदरि ! गहु वलइ ॥१०२॥ ते य विएसि" फिरंतय "वम्महसरपहय, णियघरणिय सुमरंत विरह सबसेय कय" । दिवसरयणि णियदईय"सोय असहंत भरु, जिम तुम्हिहि तिम मुंधि पहिय झिझंति णिरु ॥१०॥ . 10 पसच्छि; B पसियच्छि। 2A माणुय। 30 करु। 40वक । 5A णितु । 6B लोयणहं। 7A चईतु । 8A पीरु । 9 B पावामुयह । 10 A.Cतह । 11 AC अकिया। 120 नियय। 13 B नहु । 14Cवियसि। 15 A वम्हह । 16 B सुयरंत। 17 B किय । 1BC ददय। 19 B तुम्हह 1 20 A तिव । 21C मुंध। 22 B झिझंत । [टिप्पनकरूपा ग्यारया] पुनः मक्ष(म्रक्ष्योते । यदि द्रव्यं हारितं भवति तदा जित्वा पुनः प्राप्यते । पर पधिक! मियस्य विरक्तं चित्त फवं व्यावपति(तते) ॥ १०१॥ [१०२] हे सुन्दरि ! स्थिराभव । मनो मार्गे धर । लोचनाभ्यां यहनीर संपर। प्रवासिनो यहुकमणि गच्छन्ति भ्रमन्ति च । मक(अर)ते प्रयोजने न व्याघु- रन्ति ।। १०२॥ [१०३] ते च विदेश भ्रमत्तः, मन्मथशरप्रहता निजगृहिणी[:] सरन्तः, विरहेण घसी(शी)शताः, दिवसरात्री मिजदय(पिताशोकमरमसहन्तः, यया यूर्य तथा नितरां पथिका मपि क्षीयन्ते-दुर्घला भवन्ति ॥ १०३॥ --- [श्रयपूरिका] (क्ष) भवति तदा तेश्येनाम्पनपते-मर्पते, भय इनिग हार्यते पुनरपि निग्या मिव्यते- माप्यते । पथिक ! प्रियस्य विरतं ददर्य कर्य प्यारीते । [१२] पधिको भगति- हे प्रसवाहि! मनो पीरप, मार्गे घर, टोचनाम्यो यही मां संवा । पधिका मकार्ये गाठन्ति, वन परिसमन्ति । भकृते मनप्रयोजने है मुन्दी! म पलन्टि-न याव्यनित [1]से पविदेश मन्तो मनपरारमा निशगृहिणीः स्मरन्तो शिद्देग पी, दिवसरात्री निमदयितामोडभामसान्तः, पया पूर्व सपा लिal परिसर भषिक्षीपस्ते- दुबला मन्तिम ·४२ सन्देश रासक द्वितीय प्रक्रम एय' वयण आयन्नित्रि दोहरलोयणिहिं, पढिय अडिल्ल नियसेविणु मयणुकीयणिहिं । [अर्डम् ।]. जइ मह पत्थि णेहु ताकं तह, पंथिय कञ्जु साहि मह कंतहं । जविरहम्गि मज्झ णकंतह, हियउ हवेइ मज्झणचंतह ॥ १०४ ॥ [अडिल्लच्छन्दः।]" 10 पहिव। 2 A °लोयणिहि । SA पडि अ1ि4 C डिल ! 5 Aणेहु पत्थि । 6A पयि कज। 7A जइ । 8 B यह क्वह। 9 B मझु गहु, ACणकतइ । टिपनारूपा भ्याख्या [१०४] एतद् बचनमाफर्य दीर्घतराक्षा(श्या) मदनोत्कौकुष्यया भडिल्ला पठिता। संदेह(गोरासकोऽयमिति अन्यमापं सूचनाह-यदि कान्तस्य मयि हो नास्ति, तथापि मम कान्ताय, कार्य-संदेशक साधय-कथय । यद् विरहामिमम कान्तस्य, अन्यच्च मम हृदय ज्वालयति,न कान्तस्य-एफोऽर्थः। यदि तस्य स्नेह (हो) मयि नाति, इत्यहं 'ताक' देशीत्वात् तकपामि । तथापि पथिक! मम कान्ताय कार्य-संदेशक साधय-कथय । प्रायवत्वात् पष्ठीस्थाने चतुर्थी। यद् विरहाग्निमम मध्यम् , आवक्रान्त-नासिकान्तं यावत्, नना(क्वा)न्त- अहर्दिवस राभिधान्त हदयं ज्वालयति-द्वितीयोऽर्थः ॥ १०४॥ अडिलच्छन्दः । लक्षणं यथा- चउपड़ इकु जमछु जि दीसइ, अडिलछंदु सु बुहहि सलीसइ । अडिल्लच्छन्दोलक्षणम् - चतु-पदेषु एक सरक्षो ज(य)मको भवति । स विबुधैः अडिल्लच्छन्द कथ्यते॥ [वचूरिका] [...] एव(मनमाकण्ये दोघेतराख्या(या) मदनोटकौकुष्यया, अविद्या पठिता । सदेशासकोऽयनिवि अन्यभार सूधपति-यदि कानाख मयि ग्रहो नाम्नि, इत्या 'ता' देशस्वात् - सयासि, तथापि पथिक । मम करवाय, कार्य -सदेशक याश्य-कथय । प्राकृताचार पशीखाने चतु॥ दिवीयरक्षे-यदिहानिर्मम मध्यम्, भागकान्त - नासिका पावर, नस्तान्तं : मोदिपस रानिधान्तम्, हृदय ज्वालपति-दितीयोऽर्थे । +2+ 7-27 +--- ·88 स्याग । पद्य १०४-१०६] सन्देश रासक कहि ण सवित्थर सक्कउ 'मयणाउहवहिय, इय अवत्थ अम्हारिय तह सिर्व कहिय । अंगभंगि णिरु अणरई' उज्जगउँ णिसिहि, विहलंघल गय मग चलंतिहि आलसिहि ॥ १०५ ॥ धम्मिलह संवरणु न घणु कुसमिहि रइउ, कजलु" गलइ कचोलिहि जं नयणिहि धारेउ"। जं पियआसासंगिहि अंगिहिं" पलु चडई, विरह हुयासि" झलकिउ तं पडिलिउ झडइ ॥ १०६ ॥ आसाजलसंसित्त विरहउन्हत्त जलंतिय", ण " जीवउ" णहु मरउ पहिय ! अच्छउ धुक्खंतिय" । 10रावित्यतु । 20 मण्णायन। 3 B नास्ति 'इस',Cहुआ। 4A अम्हारीय । 5 B पहिय तह। 6B सद,Cउ। 70अणरउ, Bअरुणउ । 9 BC चलंतह। 10C मालिलिहि। 11C बल । 12 Cनयणि 1 13 Bधारयत । 14 A भगि प। 15 B चदई। 16 A विरहु । 17 A हुयास, यापु । 18 Cशलकि पदिाउ त, B तं पठित शरद 1 19 A जलतीय, जलवी । 20 A नहु 1 21 B नीयत । 22CHदी। [टिपनकल्या धारया] [१०५] भो पयिफ! संदेशको विस्तरामदनस(सारव्यातयामया फपि(थयि) न शक्यते । पर भो पधिक! मदीयाऽयस्था मियतमस्थाने सर्या पथनीया । अहानशं मे-मम अङ्के यरतियते । तर विरदे माग्गें चलन्त्या विदलाला भवामि ॥ १०५॥ [१०६] धमिल(म्मिलोस्य संपरणं पुसुमैन रचितम् । नेत्रयोघृतं कजलं कपोलमागे गलति। यत् मियागमास(श)या पलं-मांस दे चटति, तदिरापना सलकिर्त-भसीरत दिगुणं स्टति ॥ १०६ ॥ [१०] मासा(सर)जलेन संस(ति)का विरदागिना ज्यासन्ती च न जीयामि, [गरपरिम] [] पति! मई महगापुरमादिता प्रदेश मरिन पि(yिोमि, पानिमामयस्ता सम्हापE-म मामिमामात विभागा, कि सा गतिमांग पर मारन [Hit नियम परत रिपए, मेiretrमा गर्मी परिचा. गमास(क)मा पार-ult पक्षी, गिरमिनार-मी ·सन्देश रासक [द्वितीय प्रक्रम इत्यंतरि पुण पुणवि तेणि पहिय धरेवि मणु, फुल्लड' भणियउ' दोहरच्छि णियणयण फुसेविण ॥ १०७ ।। , मुन्नारह जिम मह हियर, पिय'उकिंख करेई । विरहहुयासि दहेवि करि, आसाजलि सिंचेई ॥ १०८ ॥ पहिउ" भणइ पहि जंत अमंगलु" मह म करि", रुयवि श्यवि पुणरुत्त" वाह संवरिवि धरि । पहिय ! होउ तुह इच्छ” अन्ज सिझउ गमणु, मइ न रुन्नु विरग्गिधूम लोयणसवणु ॥ १०९॥ 1 A.C पुणरवि पहिय। 2AC नास्ति 'वेगि'।*3 A पारवि धरेविणु। 4A BA.C मणिउ। 6 A दोहअच्छि B दीइच्छि। 7Cपय। 8A उकिंपि करेइ; Cउकिंखरेइ। 9A.सवेइ । 10C पहिय । 11अमंगल। 12 C महु। 13 B करहि । 140 पवि। 150 गुणात्त। 16A तुय | 17 Bइच्छित । हटिप्पनकरूपा व्याया] न (नि)यते धुक्रती अगिरिव तिष्ठामि । समान्तरे, पधिक मनो धृत्या, पुनः पुनरपि नेने स्पृष्ट्वा, फुलको भणितः ॥ १० ॥ [१८] है प्रिय ! मम हृदयं सर्णकारयद् वर्तते । यथा स्वर्णकारः प्रियोक- पठया-अभीष्टलामेच्छया वर्णममिना गयर, जल(ले)न सिति, तथा शरीरवणे प्रियविरदसरणेनामिना दग्धम्, पुनः सहमाशाजलेन सिञ्चितम् ॥ १०८॥ {१०९] पथिको भपति-प्रजतः पथि ममामङ्गलं मा कुल, रादित्वा दिया। पुनरभूणि संपर । सा माह-पथिक । तसितं भवतु । अद्य मर्म सियतु । मया न कदितम् । विरहानेधूमाधिकत्यालोचनधानपणं जातम् ॥ १०॥ भिवधरिका] [10] आशाजलेन सिधा निशामिना मन्त्री न प जीवामि, नो मरामि, किम्वनिरिप धुखन्ती तिहामि । मनावरे मनो धारयित्वा, मेरे स्था, (फुलको माणितः ॥ [2.6] हे प्रिय ! मम सदय स्वर्णकारवद् यसते । यथा स्वर्णकारा प्रियोस्कण्ट्या--भाट- कामेछया स्वर्णमपिना इंगचा पठेन सिधति, तया शरीरवर्ण प्रियविरहामिना दुम्वा पुनः सामाशाजलेन सिम्रति ।। [११] पथिको भगति-पशि प्रजको माम माऽमङ्गलं कुछ न दिया पुनरणि संदा सा प्राद-लप्सितं भवन् । जप गमनं प्रतिपदा मया मो रदितम् । बिहानमाधिक वालोचनाएं . घवणं मातम् ।

·. पय १०७-१११] सन्देश रासक पहिउ भणइ पसयच्छि! तुरियउ किं वजरहि, रवि 'दिणसेसि पहुत्तु पहुंजहिं दय करहि । जाहि पहिय ! तुहं मंगलु होउ पुणन्नवउ, पियह कहिय हिव इक “मडिल अनु" चूडिलउ ॥११०॥ तणु" दीउन्हसासि सोसिजई, अंसुजलोहु णेय सो सिज्जइ । हियउ पउकु पडिउ दीवंतरि, णाइ पतंगु पडिउ" दीवंतरि ।। १११।। + 1A पसरिछ, उ पसियच्छि। 2 B दिणि C सेस । 4 C पहुभय। 50 जहि । 6A तुय: B तु। 70 मंगल। 80 हो। 9 A नास्ति "हिष'। 10 A इक अखिल्ल । I1BC अनु; A. अक्षु सह। 12 C तिणु। 13 B सिलाई। 14 C परिकु । 15 A B 'पडिउ पियंगु पाइ दीचंतरि' एतादृशः पाठः । [टिप्पनकल्या व्याख्या [११०] पथिको भणति-हे प्रसूतिप्रमाणलोचने! तु(स्व)रितं फथय, कि संदे- शर्क दास्यसि। रविः-सूर्यः, मस्त मायाता ममोपरि दयां छत्या प्रेपया सा आसी शिपदत्या फयपति-जा(या)हि त्यम् । तच पुनः पुनर्नवो महलो भवतु । मम भियस्याने एक भबमोडिल्लं अन्यत् चूडिलकं कथनीयम् ॥ ११० ।। [१११] तनु दीर्थोष्णु(ण)श्वासैः सोख्य(शुष्य)ते, अश्रुजलीघस्तु तसादुत्प मोऽपि न च सोशु)व्यते-इति महदाश्चर्यम् । मम हदयं द्वीपान्तरे पतितं शून्य जातमित्यर्थः । मन्ये पतको दी(दी)पमध्ये पतिवः, सोऽपि मु(म्रियते ॥ ११ ॥ मडिलन्छन्दः । तलक्षणम्- "जमनु होइ जहि बिहु पय जुत्तउ । मडिल्लछंदु' तं सत्रुणि बुचउ !!" [अचूरिका] परिको भणति-हे प्रसवाशि! चरितं शिशिद्द। रविनिशेष प्राप्तः । या हरयामा विसर्गय । सा प्राद-६ पविक! प्रज, व पुनर्णदं मार भवतु । प्रिपाका भ(मोरिमा सम्पत् पहिलकं पयः [91Jहनु दीर्घायासैः सोल्प(शुष्माते । अमु(मधु)जलौघात तमापभोपि म घ गुप्त इति मादाय ( महदामा) मम र दोसन्दरे पनितं-पूचं पातमित्यर्पः । मन्ये पवनो दीपमप्ये पतितः । सोऽपि प्रिपठे।

·* सन्देश रासक द्वितीय प्रत्रम उत्तरायणि वडिहि दिवस, णिसि दक्षिण इहु पुच, गिउइड'। दुन्चिय बड़हि जत्थ पिय, इहु तीयउ बिरहायणु होइयउ ।। ११२ ॥ गयउ दिवसु थिउ सेसु पहिय ! गमु मिल्हियइ, णिसि अत्यमु बोलेवि दिवसि पुणु" चल्लियइ । बिबाहरि दिण"बिंब"जुन्ह" गोसिहि बलई, तो "जाइअइ अ कजि मई अइआवलइ*, जइ न रहहि इणि ठाइ पहिय ! इच्छहि गमणु', चूडिल्लउ खडहडड पियह गाहाइ" भणु ॥ ११३ ॥ - दै 1C बदि। दक्षिण, दक्षण। 9Cइय। 4 Cपुन्धि। 50निडरत । 6A वत्यादि। 7Aलीयउ। 8 A विरहाण, अविरहायण । 90गम। 10C आत्थिमु। 11C दिविसि । 120 पुगि। 13 B बिबाहर। 14BCCणि । 150 बिंदु । 10C जुनु। 17 B गोसहि। 18C चलह। 19 A जायइ अग्जि । 20 B ममः, A मइप 1 *आदर्श एष पार 'रइणि तो जाइ हउ कनिहिं चावलर' एतारो लभते। 21 BC ठाइ। 22 B गवणु। 23 A. गाइ भमणु। [भिनकरूपा व्याख्या [११२] सर्पकालस(स) दुखवामाह-उत्तरायणे दिवसा रचन्ते रात्रयो हीयन्ते, दक्षिणायने रात्रयो पद्धन्ते दिवसा हीयन्ते। यन दे पधते तन्मन्ये एप. त्रि(द)तीय[:] विरहायनो जात.। द्वयोहानी सुर्यः सुखायन., चकारात् ॥ ११२ ॥ चोडियालपच्छन्दः। तलक्षणम् "दोहाछदु जि दु दल मन विचहि पंच मु केहा । चूडिल्लउ ह ह मुणहु मुल्तु पयपइ सधु म पहा ।" दोषकन्छन्दसं पटिन्या मान्ते प्रान्त पञ्च पक्ष माया न्यस्यन्ते । बोडियालको भवति । [११३] दिवसो गत , शिता शेख (प.)। हे पथिक ( गमनं मुख्यताम् । निशा [अपरिका] [13] रत्तरायणे दिवसा वर्धन्ते, रात्रयो हीयन्ते, दक्षिणायने रात्रयो वन्ते न दिवसाः । यत्र पते धन्मन्ये - एषस्तृतीयो विरदायनो 'जार । योहानौ तुर्य मुलायनकासात् ॥ [18] पथिक दिवसो गत -स्थितोपो जात । गगन मुच्यताम् । नियसमवं ·४० पंच ११२-११५] सन्देश रासक फल विरहग्गि पवासि तु, पाइउ अम्हिहिं जाइ पियह भणु । चिरु' जीवं तउ लडु वरु, में हुअउ संबच्छरतुल्लउ इकु दिणु ॥ ११४ ॥ जइ पिम्मविओय' विमुंठलयं हिययं, जइ अंगु 'अणंगसरेहि हयं णिहुयं । जइ बाहजलोह कवोलरयं णयणं, जइ णिच्च मणमि वियंभिययं मयण ॥ ११५ ॥ 7Cणंगु म। 1 A फल 1 2A तुय । 3A बम्हह । 4 A चिर। 50 समस्तुलउ। 6 A विश्रोई । 8BC कोल"19B णिच मण नियभिय मयणं । [टिप्पनकरूपा व्याख्या] निर्गमयित्वा पासरे पुनश्चल्यताम् । पथिका माह-विम्याधरे दिनविम्वज्योत्सना गोसे-प्रमाते ज्यलति । अतः कारणाद् रानावेव कार्ये उत्सुके मया गम्यते । पुनः सा माह-हे पथिक ! यद्यस्लिन स्थाने न तिष्ठसि-गमन मिच्छसि, तदा एकं चूडिल] पदइडं च गाथा भणेः ॥ १३ ॥ [११४] हे प्रिय ! तब मवासे विरहाने सकाशात् फलं प्राप्त इति गत्या प्रियं भण । किं तत्-चिरंजीवी वरः प्राप्तः । यदेकोऽमि घासरः संपत्सरममाणो जातः॥११४॥ [११५]......[ अस्य पयस्य व्याख्या नोपलभ्यते मूलादर्श । ] [भवचूरिका] बोलमिवा-निगमयिरवा, दिवसे पुनधन्यताम् । हे विम्बापरे! दिनयिम्बन्योत्या-भावापो गोसे-प्रभाते ज्वलति । मयाऽस्यो'सुश्ये कार्य गम्यते । पुनः सा माह-यस्मिन् स्थाने न तिष्ठसि, है पविक! यदि गमनमिछसि, पदा पूदिलक, सन्दर्क, गापा घ मिसाप मः। सदान्दोलक्षणं यथा- सगरम पीम यद धर्म माीिय, सानु चानीम पीर गुरू सय। बाद मेदिगि पसिरश्य, मादाने व य स १ [11] प्रिय ! तर प्रयास विरहाः सं मामिति गया प्रियं भग । for शिबीवी परमसः यदेकोऽपि वास। संयासानुस्यो जाण ॥ [१५] परि मे रिपबियोगे हदयं पिसंरपन, सामना गरनिगृतं पया इवम्, परि पासपोजरत मैत्रम्, यदि ममि मित्यमार मदनं विमिवम्, व्यापि मीयते ।

·सन्देश रासक [द्वितीय प्रक्रम ता पहिय ! केम मिसि समए पाविजइ निवद य तह णिह । जीविजइ जं पियविरणीहि दिवसाइ ,तं चुजं ॥ ११६ ॥ भ , पहिउ भणइ कणयगि ! सयलु तुम्हि कहिउ, अन्नइ जं मइ दिहु पयासिसु तं अहिउ । पउमदलन्छि पलहिहि इच्छहि णियभुवणु, हउँ पुणि मग्गि पयट्टउ भजि म मह गमणु । पुबदिसिहि तमु पसरिउ, रवि अस्थमणि गउ । णिसि कट्ठिहि गम्मियइ, मग्गु दुग्ग" सभउ ॥ ११७ ॥ IBC निबुईय। Cदिरों नि । 3C सयल। 4 Bईहु। 5A पलहि, Bउहि 16C भुवण । 7A है। 8 B गणु । 9 B पुग्धविसर। 10 B अपणि । 11Cइदुग्गु भव। [विपनकरूपा व्याख्या] एतत् खडदच्छन्द लक्षणम्- "गणा इय वीस य छदु धुब मणिय, लहु चालीस [वीस) गुरू सुमणोहस्य । सडहडयनामेहि निश्च पसिद्धपय, भइवालहु नामि दुईय य त कहिय ॥" विंशति संगणा, रघु चत्वारिंशत, विंशति गुरव । अतिपल्लहो नाम- द्वितीय नाम। [११६] तावत् हे पथिक! निशि निति निद्रा च कथ माप्यते । यत् प्रियविरहिताभि कैश्चित् ( केचिद्) दिवसा जीव्यते तदेवाश्चर्यम् ॥ ११ ॥ ६११७] पथिको भणति-हे कनकाहि यत् त्वया सकल फथितम्, अन्यत् पन्मथा दृष्ट वृत्तान्तम्, तस्मादधिक प्रकाशयिष्ये । हे पद्मदलाक्षि!"निजभ- पने अपाहि । मह पुनर्माण प्रवामि । मम ते मार्गो दुगमो धर्तते, मन्यच समय ॥१७॥ [अवचूरिका सावद् हे पथिक' निगि निवृत्ति , निदा च कय प्रयानि(पाप्यते), पत् प्रियविरहि वामि केचिदिवसा जीव्यते तदेवाश्वयम् ।। [10] पधिको भणति-हे मना ! यदवास्या सकल कविता, मन्यद् यन्मया स्या हत सविशेष प्रकाशायिष्ये । है पमदराशि' म्यानुह, निजभवन चाम्गय । मामार्ग प्रवर्गमि । भगमन मा माय । पूर्व दिशसार प्रस्तम् । रविरम्नमन गत मिशि कोन गम्यते । मार्गों दुर्गम समय ·४९ पद्य-११६-११९] सन्देश रासफ पहियवयण' आयन्निवि पिम्मविओइरिय', ससि उसासु दीहुन्हउ पुण खामोयरिय', अंसुकणोंहु कवोलि जु किम्मई कुइ रहइ, णं विहुमपुंजोवरि मुत्तिउ सुइ सहई। कहइ रुवई विलवती पियपावासहइ, भणइ कहिय" तह पियह इकु" खंघउ दुवई" ॥११॥ 1A. यया । . मह"हिययं "रयणनिहीं, महियं गुरुमंदरेण तं णिची । उम्मूलियं असेसं, सुहरयणे कड्डियं" च तुह पिम्मे ॥ ११९ ॥ 20आयनवि। SA. विजइरिय: B वियोउरिय। 4A सामोइरिय । 5C चलि; B कबोलिहि। 6 मह17 B महई। 8 B सयद। 2C पाराहय, B पासह । 10B भगई। II B कड़िय सहिय तर। 18A4%; B इम। ISC दुपय । 14 B मम ! 15 0 इणि । A भादर्श 'महियं तुद्ध विरहमंदरे पिथं । एतादृशः पाठः। 160E; B एयणा | 17 A B कहियाई । [टिप्पनरुस्पा व्याख्या [११८ पधिकयननं श्रुत्या प्रेमिवियोगितया क्षामोदयां दीघोरा (प्पण) यासो मुकः । तसिमयसरे मनुकण(यो) यः कोऽपि कपोले तिष्ठति, वन्मन्ये बिगुम- पुोपरि मौकि सोशोभते । ततः प्रियप्रयासहता रोदिति बिलपन्ती पयिकाय कपपति-एक स्कन्धर्फ दुवयं च प्रियं यदेः॥ १८॥ [११९] मम Eि)श्यमेय रतनिधिः। तत् तव गुणमिरदमन्दरेण नित्यं मधि- तम् । उन्मूल्प मुपर समनं निष्कासितम् ॥ ११९ ॥ द्विपदीछन्दः । तल्लक्षणम्- पदमगणे कलम चउपला पंच हुंति फमदंता । गुरुमसत्वलल्या दुवईए पीयसा ॥१॥ [भपपीका [विरुपपनं मुरमा प्रेमपिन(पो)गामा सामोदयां दीपोमा पासो गुः । तभिप्र. पणो यः कोऽपि को निति, बम विमोरि मानिने या सदमा रोदरपति किमी पपिका सनि-दे पति! तुम - [५] मम हरयमेव relat: I rajामादरेग मिषं मधिनम् । रग्गुस्य गुरा- निहाशित मा यःम ·५० सन्देश रासक [द्वितीय प्रक्रम मयणसमीरविहुय' विरहाणल दिट्टिफुलिंगणिन्मरो, दुसह फुरत तिब्व मह हियई निरतर झालं दुद्धरों। अणरइछारुछित्तु पचिल्लइ तज्जइ ताम दडए', इहु अचरिउ तुझ उकठि सरोरुह अह वडए ॥ १२० ॥ खघउ दुवई सुणेवि अगु रोमचियउ, णेय पिम्म" परिवडिउ" पहिउ मणि रजियउ। तह "पय जपइ मियनयणि मुणिहि" धीरि" खणु", किहु पुच्छउ ससिवयणि पयासहि फुड" वय ॥१२॥ 1 A. बिहूय। 2 Bहानलि। 3BO दुमहु फुरंतु। 4Cहियय। 5 Bाल । 60 दुसरे । 7 B दश्यए। 8 A तुम्ह। 9 C सरोसहु । 10 A. दुवेइ । 11 B मुणेविण । 12 B पिम् । 180परिवरियड 1 14 Aमण। 15 B रचियउ। 10 A.Cसहजप 117 A सुणि तह मुहि । 18 0 धीरयम् । 19 A Cण । 20 B यासह । 21 B कुडु। [टिप्पनारूपा व्याख्या] [१२० ] मदनसमीरणेन विधूतो विरदानलो वचते । कीदश -दु(ट)टिफुलिंगैः निर्भर-भृत इत्यर्थ । तीय मम हि(होदये स्फुरन् ज्वलन् । पुन कीरशा-निर] तरज्वालादुर्धर । पुन:-मरतिरक्षायुतः। मा परलोकाय मेरयति । तदर्षन्ती तर्जयति वर्द्धते । परमेतदायर्ये वयोस्कण्ठया सरोरुह वर्द्धते । ही कमल कथ चर्द्धते ?-अत्र तु सरोरुह श्वास (भ्यासम्) । १२० ।। [१२१] स पषिक पन्धक दुपदीं च श्रुत्या, अने रोमाशशुको पभूष। तथा मेमो(म) न गत (सम्) तया पथिकस्य मनो रञ्जित (तम्) । तथापि है मृगनेने मनो धीरय(यि) वा कानिचित पदानि जल्प । पुन , तथाऽ किश्चित् पृच्छामि । यदि शिवदने स्पुट-प्रकट प्रजल्पसि ॥ १२ ॥ [भषचूरिय] [१२०] मदनसमीरणेन विधूलो विरहानदो वत्तते । कोश -टिस्फुरिनिर्भर -गृत इपथ । दीव मम हृदये स्फुरन ज्वलन् । पुन कोशा-निर रवानादुर्धर । पुनारति गुरु । म परलोकाय प्रेरयति ] बदकुर्वन्ती रमाउन यति धईते दाति च पासवदावर्ष दोषठया सरोरुह चईते । अम्रसोरासम् ।। [१] स्कन्ध द्वितीय पुरवा मा रोमाञ्चिवम्, प्रेम व परियतिवम् । पमिको मनगि जित सो पनि अल्पति-ऋण, क्षण धीरा भव, हे शशिवदन ! किमपि प्रमादि, स्फुट- प्रकट यदि मायसि ॥ विपदीपदोलक्षण यथा- पदमगणे बला कला पच दुति कपकता। गुरुमन्समध्वस्या दुद ए. नीयम्टम।।

·पद १२०-१२३] सन्देश रासक णवणरेविणग्गय निम्मल फुरइ करु, सरय रयणि पञ्चक्खु झरंत आमियभरु । तह चंदह जिणणाचँ पियह संजणिय सुहु, कइयलग्गि विरहग्गिधूमि झंपियउ मुहु ।। १२२ ॥ वंककडक्खिहि तिक्खिहि मयणाकोयणिहिं", भणु वट्टहि कई दियहि झुरतिहि लोयणिहिं । जालंधरि व सकोमलु" अंगु सोसंतियह", हससरिस सरलयवि गयहि लीलंतियह ॥ १२३ ॥ इम" दुक्खह तरलच्छि काई तई अप्पियई", दुस्सह विरहकरवत्तिहि अंगु करप्पियई। 1Cविणपउ। 20 निम्मछ13 A साइ। 4A रइणि । 5A पचक्स। BB पुरंतउ। 7Cजिणणत्य। 8A कई अग्यि । 9 B नास्ति 'धूमि' 1 10Cपियन । 11 BC डिविखदि। 13 A तिक्खि, B तिक्तहि। 18 A. मयणुकोमणिहि, BC कोइमिहि। 14A कम । 15A पुरंत। 16C जालघर। 17A. B सकोयल। 18 Cसुसतियह। 190 लीलतियहि । 20 B इमइ दुक्त। 21 A B वाइ। 22 A समु) 28 A अपीअइ । 24 C दुसहु विरहु 125 C करवित्तिहि। 26 A वरीप्पीबह । [टिपनकरूपा याण्या] [१२२] नूतनमेघरेखाविनिर्गतचन्द्रवद् निम्मलं तव वदनं धनते । यथा रजन्यां मत्त(त्याक्षो अमृतकरो अनृतं झूझोरन सो(शो)मते । तद् वदनं चन्द्रसरक्षं कं दिनमारम्य विरहानी झापितः(तम्)-श्यामीकृत(तम्) इत्यर्थः॥ १२२ ॥ [२२३] पद के दिनमारभ्य चक्रकटाक्षतीक्ष्णाम्यां मदेन कृणिताभ्यां वर्षन्ती वर्चसे । कदलीवव सकोमलदलं अई शोषयन्ती, हंससदृक्षां सलिलां गति सरल. यन्ती के दिनमारभ्य वर्तसे ॥ १२३ ॥ [२२४] कं दिनमारभ्य एवंदुरका(दुश्या)य तरलाक्षि । त्यया निजात्मा मर्यते । [श्रवचूरिका] [२२] मवघनरेखाविनिर्गत निर्मलस्फुरस्करः शरदजन्यो प्रत्यक्षममृतभर क्षरन् एवंविधो वन्दः, तस्य जयमार्थ प्रियस्थ संगनिवसुत्रमेयं विशिष्ट मुखं कं दिनमारम्य विरशामिण साम्पितम् ॥ [२३] पक्रकटाक्षतीक्ष्णाम्या मदनाकोधनाम्यामेवंविधाप होचमाम्यां भग के दिनमारम्प क्षाची वर्तसे । जान्धरी कदलीवर सोमलमई शोपयन्ती पाईसे । इससरक्षा गतिमा हावा लीलयती वसे । प्राय बिय सामा धगायः॥ [३२५] हे तरकाशि! एवं-पूर्वोष्पहारेण, स्वपा - भवत्या भई दुःसाप किमित्पर्यते ।

·५४ सन्देश रासक [एतीय प्रकम --३ तृतीयः प्रक्रमः [अतो ग्रीष्मवर्णनम् । णवगिम्हागमि पहिय गाई जं पबसियउ', करवि करंजुलि सुहसमूह मह णियसियो । तसु अणुअंचि' पलुट्टि विरहहवितवियं तणु, यलिवि पत्त" णियभुयणि विसंतुल "विहलमणु" ॥ १३० ॥ तह अणरइ रणरणउँ" असुहु असहतियह", दुस्सहु मलयसमीरणु मयणाकंतियाँ । विसमझाल झलकंत जलंतिय तिव्वयर, महियलि" वणतिणदहण तवंति य तरणिकर" ॥१३॥ 1C पहिए। 2 C गह। 3 विसिउ। 4 B करिदि। 5 B समूहु । 10 आदर्श पतित एए पाद 16ARY 17Bअचु । 8B पलवि। 9A तविउ । 100 यत्ति । 11Cविह्वलमण। 12A 'मणि। 13C रणारगउ । 14 C असहतवद। 150 मयण- पतयह । 16 B महियल। 178लिय्यकर । [हिप्पनकरूपा व्याख्या] [१३०] अधप्रीमतुपर्णनं कविराह - भवनिम्हा-'-हे पधिक! नवमीभागमे नाय भयसिता, तदेवालि हत्या-हास्यनमस्कारं हत्वा सुखमपि प्रयसितम्। तदनु साधुटप विरहासितापिततापी पिसंस्थुल-विहलहलमानसा गृहमा मता ॥ १३०॥ ६२३९] तथा मनि रणरणकं असुक्ख(ख) च सहन्त्या मम मदना या मल यसमीरणो दु सहो यभूय । तथा तरणिकरा विषमज्वालया स्वलन्तमहीतलयन- राणदाहबास्तपन्ते ॥ १३ ॥ [अवचूरिका] [२०] अतो ग्रीष्मात घ्यावयासुरादपगिम्हा०'- हे पविको नवमीकालागी माय प्रवशि(स) 1 दैवाझलिंकवा-हास्यनमस्कार कृत्वा मुरमपि मशि(सितम्। वानु प्याव्य निहामितापित्तनुषी वितस्थुला विहलालमानसा गृहमागता ॥ [1] प्या-मरति रणरणक असुल ४ सहन्या मम मवनातया मपसमीरगो दुसहो - TRA साणिकरा विषमन्मालया बसन्तमदीतलवनतृणदाहकालपन्ते ।।

·पद्य १३०-१३४] सन्देश रासक जमजीहह णं चंचलु णयलु लहलहइ, तडतडयड धर तिडइ ण तेयह भरु सहइ । अइउन्हउ वोमयलि पहंजणु जं वहई', तं झंखरु विरहिणिहिँ अंगु फरिसिउ' दहइ॥ १२२ ॥ पिउ चावइहि भणिज्जइ नवघण कंखिरिहिं, सलिलनिवहु तुच्छच्छ" सरइ तरंगिणिहिं । फलहारिण उन्नमियउ” अइसच्छयई" मुहि, कुंजरसवणसरिच्छ पहल्लिर गंधवहि ॥ १३३ ॥ तह पत्तिहि संसम्गिहि" चूयाकंखिरिय", कीरपंति परिवसई णिवड, णिरंतरिय । लइ पल्लव झुल्लंति" समुट्ठिय करुणझुणि, हउ किय हिस्साहार पहिय "साहारवणि ।। १३४ ॥ [ युग्मम् ] 14. पाहीयल । डिहडि । 3 B नेह्य C तेअह ! 4 B डोमयलि। 5 । वहह । 6 B विरहिणीहि, C विरहिणिअगु। 7 B फरसिड, C फरिसउ । 8C चावहि। 90 किंखिरिहि। 10 A निवउ। 11Cनुच्छछहु। 120 उन्नवियउ। 13 Cइमुच्छह । 14 B पहिल्लिर, 0 पहुहिर । 15C गविहि। 16 B सहयरिंगहि । 17 C याकसिरिहि । 19B निविता 20 A गिवडतरिय, C निरंतरिहि । 21 B झुत । 220 साहीर । [टिप्पनकरूपा व्याख्या] [१३२] वितके चञ्चल नभस्तलं यमजिलावलहलहति । नडाडत्रदिति धरा सुशुप्यन्ती-शब्दं करोति । तेजोभर न सहते। अत्युष्ण प्रमानो वहति । सनरो डुडुयालकनामा पवन विरहिणीनामत स्पृष्ट्वा दहति ॥ १३२ ॥ [१३३-२३४] नयघनोस्कण्ठितैश्चातकै "प्रिय मिय" इति शोभण्यते स। तरङ्गिणीपु सलिलप्रवाह[ ]तुच्छाच्छ[.] सरति स्म । अथ पसु पदेषु सहकार- वर्णनम् -फलभारेणोन्नमित शुभ सहकारवन अतिसच्छायति-अधिक शोभते । [भवत्रिका] [३२] पित-चयल नमस्तल यमजिद्धावर लहलहति । अनडअदिति धरा गुप्यन्ती- पान्द करोति । तेशोभर न सहते । अत्यन्म(युष्य)ममानो प्योमतळे बहति । इसरो दुग्या. लकनामा पचनो विरहिणीनामा स्पृष्टा ददति । [१३३-१३४] मधनोस्कण्ठितेचातक "प्रिय मिर" इति शब्दो मण्यते म्म। वरशिणीषु सलिलपवाद नायतरति स । भय पदसु पदेषु सहकारवणनम् - फलमारेणोप्रमित 180°चय।

·सन्देश रासक तृतीय प्रम [अथ वर्षावर्णनम् ।। इम तवियां बहु गिंभु कह 'वि मई वोलियउ, पहिय पत्तु पुर्ण पाउसु पिठु ण पतु पिउ । चउदिसि घोरंधारु पवन्नउ गरुयभरु, गयणि गुहिरु घुरहुरइ' सरोसउ अंबुहरु ॥ १३९ ॥ पउदंड पेसिजई झाल "झलकंतियइ, भयभेसिय अइरावइ गयणि खिवंतियइ । रसहि सरस वल्वीहिय" णिरु तिप्पंति" जलि, बगह रेह णहि रेहइ णवषण अंति" तलि ॥ १४ ॥ गिंभ तत्रिण" खर ताविय बहु किरणुरिहि", पर पडंतु पुक्खरहु ए मावइ पुस्खरिहि । 1तविउ । 2. बहब, B वह कार 13 B नाति, भुइ 14 BHशु 150 पाव।। 6A चढदिसु, बहुदिति । 70पहु', 8A Bअरहर। 93 | 100पेखिय । 11 A. बला। 12 A. नम्बीहिय B ताबीहिय, बबीय। 13 B निम्नति । 14 A Bबयह। 15 Cघ जत्त । 16 B निम्ह । 17 C बिशु, B तवणि। 18 BC'बहु' नास्ति। 19B किरणकरकिरि हि। 20 B पुष्पर। 21 Bपुरिहि, पुखरहि । हरिप्पनरूपा व्याख्या [१३९] अथ यावर्णनामाह-एयं ग्रीष्मो बहुतप्तः- अत्युष्णः कष्टे कृत्या मया निर्गमिनः । तदनु घर्षाकाल. प्राप्त , पर धृष्टो न प्रियः । चतुर्दिा योगन्धकारो गुरुभा(1) प्रपोऽबुधरी जगने सरोसंप) पथा गर्जति ॥ १३९ ॥ [१४०] भयमीपणया ऐरावत्या गगने घोत त्या ज्यालायद् देदीप्यमानया पगदण्डगथरणमार्गो दृश्यते । वप्पीहकाः सरसं रसन्ति, नितरा जलेन सप्यन्ति । अन्यच-नमसि नक्वनतले गच्छन्ती पकाना श्रेणि. शोभते ॥१४॥ [१४१] श्रीमतपनखरततकिरणोरकर्षसम्पधि पयः पुष्करात् पतत् पुष्करणीपु [अपयूरिका] [१९] अथ वर्षावर्णनमाह-एवं प्रीमो बहुतप्त - अत्युषण का करवा मया निर्गमितः । तदनु वर्षाकाल प्राम, परं] यो न प्रिय । चतुर्दिक्ष पोरान्धकारो गुरभर प्रपनोभयुयो गाने सरोषयमा गति [v.] मांगीपणया ऐरावत्या विधुता गगन घोसन्त्या ज्वालावद्देदीप्यमानया पगदावरणा- मागों दृश्यते । मनोहा सरस रसन्ति, निवरा बरेन तृप्यन्ति । भयय - भास नवपातले गरउन्ती रानां श्रेणि शोमते ॥ {11] भीमवपनसरतसकिरणोरकसम्बन्धि पय पुष्करावतेवन पद पुपरीप-दीपन .

·पद्य १३९-१४३ ] सन्देश रासक ५९ पयहत्थिण किय पहिय पयहि पवहंतयह', पई पइ पेसइ करलउ गयणि खिवंतयह ॥ १४१ ॥ णिवडलहरि घणअंतरि संगिहि दुत्तरिहिं, करि करयलु कल्लोलिहि गजिउ बरसरिहि । दिसि पावासुर्य थक्छिय णियकजागमिहि, गमियई" णायिहि मागु पहिय ण तुरंगमिहि ॥१२॥ कदमलुल धवलंग विहाविह सज्झरिहि", तडिनए वि" पयमरिण अलक्ख सलजरिहि । हुउ" तारायणु अलखु वियंभिउ तमपसरु, छन्नउ" इंदोएहि निरंतर धर सिहरु ॥१४॥ [क्षेपक १] , । 1B पहि, A पहिहि । 2A पपहतयहि, B पवहतियह, C पवइतियह । 30पय पय । 40 पेसन । 60 गयण। 6A खियतिमहि, पिवतियह 17गिण । 8 BO दुसरहि। 9 B कलयल, करयरु । 100 वरसरहि, A मुरपरिहि। 11 B पवारय । 120 गमियई। 13 B नाविह। 14 A कईयसदिल, कद्दमल्छ । 15 A B रहि । 16 B तडिनहि. A तडबिएइ । 17 B सलजहि, सलिनिरिहि । 18 Bहुव, C हुए। 19 B छल उइदोइहि, चउइदउरहि । 20 B नाम्ति 1 23 Gधरसिहार, A हिरवा । [टिप्पनकरूपा व्याख्या] न माति । यतः- सहसगुणमुच्छष्टु(स्लष्ट)मादत (ते) हि रस रविः । तथा च पाय प्रपसन्तः पथिकाः पयोभिः पदप्राणहस्ता सवार गगने विद्युता करल: पगदण्डको दृश्यते, मान्यया ॥ १४ ॥ [१४२] फलोलैर्निविडलहरी यनान्तरसंसर्गण दुस्तरेचरसरितास गर्जितम् । दिशा प्रवासतः [स्थिवाः] | अथ चेत् कार्यागमे प्रयाला, तदा नीभिगम्यते न तुरतमैः ॥ १४२॥ [१४३] क्षेपकम् -धरा स्त्री मेघमची(त्री)गमे, यथा स्त्रीभईसङ्गमे श्रीराण्ड- विलेपनं करोति । पायाच्छादयति सलजस्यात् । बारा-आयतने ने अलक्षे [अवधरिका माति । पाठ -'सहवगुणमुत्रष्टुमादत्ते हि रसंरविः । वया च पथि प्रवसन्तः पथिकाः पयोमि पदत्राणहस्ता कृता । गगने पिधुगा फाल पादण्डको दृश्यते, नाऽन्यथा ॥ [११] कालोनिविलहरीपनानारततर्गेण दुछोर्यरसरिवार पार्जिए, दिशा प्रकाश(स)त. स्थिता । अथ चेत् कार्यागमे प्रवासवदा नीभिगम्यते नरगमे ।। [१३] क्षेपक-परा श्री मेघभोगमे, यया खी मत्सरमे श्रीखण्डसिलेपनं करोति ।

·६० हितीय प्रकन सन्देश रासक बगु' मिल्हवि सलिलद्दहु तरुसिहरिहि चडिउ, तंडव करिवि सिहंडिहि 'बरसिहरिहि रडिङ । सलिलिहि वर सारिहि फरसिङ रसिड सरि", कलयल कियउ कलयंठिहि चडि चूयह सिहरि ॥१४॥ णाय णिवड पह रुद्ध फणिदिहिं दह" दिसिहि, हुइय असंचर मग महंत महाविसिहि । पाडलदलपरिखंडणु नीरतरंगभरि, उरुन गिरिसिहरिहि हंसिहि करुणसरि ॥ १४५ ॥ I ARTI 2A मिल्हिति । 3 A. संडउ, C! 4Cइम्मिदि। 504 GOT TA. ललिहि, सलिलहि। 80 परि। A फरसर; ० परिसिज । 10A B C D 11 B पई, यह । 180[] जिंदाह : 18 CB | 14 Bहुईच । 16 BC महम्बिसहि । [रियनफरूपान्याया करोति-आयछादयति । तमामसरमीप्सति । कोसुम्भं यखं परिदधाति । धरा श्री, मेघमसहम इति विचेष्टितमन्न भायः ॥ १५३ ॥ [१४] सलिलदई त्यक्त्या तरुसिप शिक्ष) यकैरारूढम् । ताण्डव नृत्य मरमा परसिपशिखरिपु-पर्यतेषु विखण्डिभिः राटेतम् । शास)लिलेषु शालूरै । पुर(प)क्लोज (श)न्दिवम् ! फलकण्ठीभितशिखरमापर कलकलशम्दा इत:॥२४॥ [१४५ मारी- सर्पः फणीन्द्रः-फणयुक्कै महाविपः निविद यथा दश सदिक्ष पन्या मार्गः असबरो जातः । नीरतर भरेण पडला (पाडल) दलखपटन पा(जातम् । अन्यथ, इंसः गिरिसिप(शिखीरे करणसरं थथा सदितम् ॥ १४५ [भरपूरिका] पाथीबायादपति, सटबबाद, तारा-भायाने स्लो करोति मायादति, मा असामीपति, सुगम वर्ष परिवभाति । परासी, मेघमसान इति विरेटिवमा भा। [v] लिसद परया रशिक्षरे परालम् । बाप मृत्यं कृत्वा पाशिनरि-4. शिलशिमी परिजम् । पउिडेषु साटो सरेण शस्वितम् । कण्टीमा-कोडि- शाभिभूतशिखरमा (प.) कृतः ॥ {१४५] मामे पायोग्य निच लिपिका पन्था माविषः पानीमा भरोजानीरवरानो पारदरियन पातम् । समिीिशिवरे रसरेण - विहि ॥

·पध १४५-१४७] सन्देश रासक मच्छरभय' संचडि रनि' गोयंगणिहि, मणहर रमियई नाहु रंगि' गोयंगणिहिौं । हरियाउलु' धरवलउ कयंविण महमहिउ, कियउ भंगु अंगगि अणंगिण मह अहि ॥ १४६ ।। विसमसिजविलुलंतिय" अइदुक्खिन्नियई, अलिउलमाल विणगय सर पडिभिन्निया । अणिमिसनयणुविनिय णिसि जागतियइ, वत्थु" गाह किउं" दोहड णिह" अलहतियई ॥१४७ ॥ झंपवि तम वदलिण दसह दिसि छायउ अंबरु, उन्नविय घुरहुरइ घोरु घणु किसणाडंबरु । 1 Bभइ । 2B संचरिउ । 8B रंगि। 4 B सणहरु। 5A. रमीयई 1 6 B रेमिचंगि। पचित एपः पादः 0 आदर्श। 7हरियालज। 8Cकविणि Bअणंगिहि। 10 Aहियड । 110 विवराय । [2C दुक्सिन्नयइ, B दासिनिवइ । 13 C"भिन्नयह । 14AB नयगोविनिय। 15 A सत्य B वत्थू। 160 कोह। 17 B निंद 1 184 अपिवि। 19 A दहहि । 20A उन्नमियउ । 21C घुरुहरई । [टिप्पनकल्या व्याख्या [१६] मच्छर[भ]याद् गवां बजे[] स्थले आरूढम् । गोपागनाभिमधुरं गीत गीयते । हरिताऽऽकुलं धरावलयं कदम्बेन सुगन्ध(ध्य)ति । अनड्रेन ममाधिका:] अङ्गभङ्गः कृतः ॥ १४६ ॥ [१७] पत्रौ विषमसिझा(शग्या)यां मया लुलन्त्या एकाकिन्या निद्रा नमिता। सरोवरे कमलाना मध्ये अलिकुलमाला सङ्कुचिता जाता । मया अनिमिषं रात्री जागरणः कृतः। बस्तुक-गाथा-दोधनिद्रामलभन्त्या राभिर्निर्गमिता ॥ १४७ ॥ [१४८] भो पथिक ! श्यामरहलैः दशदिशि ध्याय आकाश आच्छादितः। गगने उन्नवि(मि)तो घुरहरति धनो मेघा कृष्णाडम्परः । आकाशमार्गो नमोपल्ली- [अवचूरिका] [१६] मच्छरमयाद गवां बनेः स्थले मारूढम् । गोपासनाभिर्मधुर गीतं गीयते । हरिया- कुलं धरावलयं कदम्बेन मुगन्धितम् । समझेन समधिकमगम] कृयः ।। 10] विषमसमा (शध्यायां) बिजुलम्सा पतिदुःखाकोणमा अलिकुलमालाविनिर्गतस्वा. भतिभिप्रया भनिमिपनयनोविण्या निहि जागते()या निद्रामभन्त्या वस्तुको गापा दोषका [१] पईलेन पमो असर्भ अम्पिया-माझम्य, स(ब)सुदिक्षु भग्वरमाकाशमाच्या शिवम् । र अमिनो चोर यथा कृष्णावर हरति गति । नभोवडी-विद्युत् नमोमा ·सन्देश रासक [मृतीय क्रम णहहमगि णहवल्लिय तरल तडयडि बि तडका, दहुरडणु रउदु सदु कुवि सहवि ण सक्छ । निवड निरंतर' नीरहर दुडर घरधारोहमरु । किम सहउँ पहिय सिहरट्टियइ दुसहउ कोइल रसइ सह ॥१८॥ उल्हवियं गिम्हहवी धारानिवहेण पाउसे" पचें । अच्चरियं मह हियए" विरहगी तबइ अहिय[य] रो" ॥१४९॥ गुणणिहि जलविदुष्भवहि", ण गलस्थिय लज्जति । पहिय ज थोरंसुइहि", थण थट्टा डझंति ॥ १५ ॥ , 1A हग्गिहि, मनिगम। 2A "वलि तर B तरयल 4Cयह वित 5A कुइ कि नि। 6 B निविड: TC निरता। 80 सी भरू। B सहिउ । 100 सिहयरहियइ । 110 दुश्महु। 120 पावसी । 13 AC पसोपत्तो। 14 मिह ! 15 Aचित्ते हिपए । 160 अहिययर। 17 4 मविहि, B'भवणु। 18 A. पइस ज थोरै', B पाइयज । 190 "सुयहि । 20 Cण घटा 121 B जाति । [विपनकरूपा ध्याएपा] विद्युत् तडतडेति शाब करोति । पराणा स्टन-पूत्कार श्रुत्या सर्व (सोई) न शक्यते । भो पथिक । नियिड च शब्दादि] दुद्धर नीरघर मैघ सिप(शिखरस्थितेन रोन कथ सहितम् ॥ १५॥ [१४] मया प्रोमा (मो) मनु निर्गमिता(स.)1 मेघसमूहे वर्षाकाले माते शस)ति मह-मम द्वि(E)दये पतदाश्चर्य तथाभि अधिकतरा(रो) विरहामिस्त- पति । १४९॥ [१५०] गुणयुका जलविन्दूद्भवा मुक्काद्वारा किन रजन्ति (न्)। यत् पयिक! सानो स्थूलाधुमिहोते, पर महजता । यतः] स्त घौ । स्तब्धाना कोऽपि सज- नानां दुस लजाब न भवति ।। १५० ॥ [मवरिका] सरल यया सहाकार कूप्पा-सदाकोनि । दराणा रटन रोद पान्दोऽपि सो न शोति । निबिड निरन्तर गीरधर मेप दुर्धरधारीधभर है पथिक ! कय महामि । अन्यय, शिक्षास्थिया भाम्रोपरिस्था कोकिला सह स्वर रसनि । [१] पथिक' प्रीमहषि पाउसे-वांकाले पाते सति धारानिवदेन मेयधारासहेन ध्यापितम् । पर मम हृदय एतताश्वयं विरदाधिरधिकतरजपति ।। [१५०] गुणयुक्ता पक्षविन्दुदवा मुयारा कि न जन् । यह पथिक हानी स्थला- मुमिते , परमसत । पर सन्धी र सल्यानांकष्टेपि सजनानो दुख साचन भवति ।

·पद्य १४८-१५३ ] सन्देश रासक दोहउ एउ पढेविण विरहखेआलसीई', उ अग्गई अइखिन्नी मोहपरावसीई। सुविणंतरि चिरु पवसिउँ जजोइअउ पिउ, संजाणिनि कर गहिवि मई" भणिउ" इहु ॥ १५१ ॥ किं जुत्तं सुकुलग्गयाण" मुत्तूण जं च इह समए । तडतडणतिव-वणघडणसंकुले दइय" वञ्चति ॥ १५२ ॥ णवमेहमालमालिय णहम्मि सुरचाव रत्तदिसि पसरो। घणछन्नछम्म इंदोइएहि पिय पावसं दुसह ॥ १५३ ॥ 1B विरहिखिआ। 20आगह । Bखिन्निय। 4 BC वसी। 50चिर। 6C मिसिपउ7 नालिज 80 जोहउ । 9A.सिंजाणपि; B सिज्जाणिवि 10 A. B गहति। 11 A साम मइ । 120 भर्णिया। 13 Bइज ! 14 BO युतं । 150 मुकलग', B कुलाग । 16 B चि। 17 B C दईय। 18 4 सुरचाय; B सुरचाइ । 19Aदिस। 20Cच्छम्मइदेवएहि । 21 A पिस पाउसं । [टिपनकरूपा स्याझ्या] [१५१] एतहोधकं पठित्वा, विरहाऽऽकुला जाता। पचम् - अमुना प्रकारेण, मोहपरवशा सती चिरं प्रस्थितो मत्ती मया स्यमे दृष्टः । इति वचनं कथि(थयित्वा करप्रणपूव्यकं पवं पथिको भणितः एवं शाट्या करे गृहीतः । सतीत्यमिति सूचितम् ।। १५१ ॥ [१५२] हे दयित ! कि सुकुलोदतानां इदं युक्तम्, यत् तडतडणतीयायां विद्युति धनघटन मेघशब्दसंबले ई[८] [स]मये दयितां मुरवा मजन्ति ॥१५२॥ [१५३] है प्रिय ! प्रावृद्-वकालो दुस्सहः कः ! मेघमाला-मुरचापेन्द्र- गोपकैः, गारकदशदिरप्रसारैः-इत्यादि मेघालङ्कारः॥ १५३ ॥ [अवरिका] [१५] एतद्दोधक पहिरवा विरहखेदालसपातिमिया मोहपरवशया स्वमान्तरे चिरमवि. स(बसि): पियो हटः । उपलक्ष्य, करे गृहीदा, मया एवं भगितः ।। [१५] है दयित । कि कुलोद्भधानामिदं पुरम्, यत्तस्तष्णवीमायां विद्युति, धनघटनमेष- मन्दसंकुले इंदो समए(ये) दयितां मुक्या नजन्ति । स युतम् ॥ [१५].हे प्रिय ! प्रापद दु.सदा । कैनवमेघमाला-मुरघापेन्द्रगोपका । किविशिष्टे :- दिशि प्रयते । पुनः को-पनसटमेन्दुभिः ।

·सन्देश रासफ [तीय प्राम 'रायरुद्ध 'कंठगि विउद्धी जंसिवर्णि कह हउँ कह पिउ' पत्यरंगि' जं न मुइय खणि । जई गहुँ णिग्गउ जीउ पावबंधिहि जडिउ, हियउ न किण" किर" फुटउ णं वजिहि घडिउ ॥१५४ ईसरसरि सारिब" कुणंती करुणसरि । " इहु दोहड मइ पढियः" निसह" पच्छिमपहरि ॥ १५ ॥ जामिणि जं वयणिज" तुअ, तं तिहुयणि णहु माई। दुक्खिहि होइ चउग्गणी, झिजई सुहसंगाई ॥१५६ ॥ . * IBE12 Ag1BC विद्युद्धी। 4 A. सणि, सिविणि। Cपिय! GC पत्यारिण।70 मई18011A1 100जी। 11A किणि। 12 A.किर; वरि । 13 A B सादर । 14 A. पत्थिर, B पटिड। 15 मिनि । 16 B वयाण्ड, Cणज । 17 B मा। 18शिज। 19BC लाई। [टिप्पनकरूपा प्याश्या] [१५५] रागराद्धकण्ठाया स्वने प्रबुद्धय यदा पश्यामि, क महम्, क प्रियः ! तन्हावा यन्त्र मृता सन्मन्ये प्रस्तरामी यिनीयोन नियतस्तन्मन्ये पापजटिता। यच्च विदय निस्फुटितं तन्मन्ये धनघटितम् ॥ १५४ ॥ [१५५ ] ईषत् स्वरेण शालूरवत् करणं खरं कुर्वती(ला) एष दोधको भया पठितः, रात्री शेषविभागे ॥ १५५ ॥ [१५६] हे यामि नि ! यत् तप पचनीयं तत् त्रिभुवनेऽपि न माति । एषा रखनी दुरिका खिता)नां चतुर्गुणी भाते । सुखसमे तत् क्षणा[] मजति ॥ १५६ ॥ ॥धारणेनं समासम् ॥ [अवचूरिका] [१५] सणवकण्यामा सो प्रजुभ्य पदाह पश्यामि . अहम्, प्रिय (ख) शारदा या भूता, तन्मन्ये प्रस्तराशी । यजीवो न निसिम्तम्मन्ये पापवाटिका मध रूप स्फुटित जन्मन्ये वनपटितम्॥ [१५५] ईषत् सरेण शालरवद्-मण्ट्रकवर करणव उपन्या निशा पश्चिमपहरे पष दोषको भया पठित.॥ [१५] है थामिति । यत् एव दयनीयं सत् रिमुवोऽपि न माति । दुखे धतुर्गुणा भवति । सुपे क्षणाच] वंक्षीयसे । वर्णवर्णनं समासम् ॥

·पध १५४-१५९] सन्देश रासक ६५ [अथ शरद्यर्णनम् । इम' विलवंती कह्न दिण पाइउ, गेउ गिरंत पढंतह पाइउ । पियअणुराई रयणि रमणीयव', गिजई पहिय मुणिय अरमणीयच ॥ १५७ ॥ जामिणि" गमियइ इम जग्गंतह, पहिय पियागमि" अस तगंतह । गोसुयरंत" मिल्हि सिज्जासणु, मणि सुमरंत" विरहणिन्नासणु ॥ १५८ ॥ दक्खिण" मग्गु णियंतह भत्तिहि, दिगु “अइत्थिरिसिउ" मइ झचिहि । मुणियउसु पाउसु परिगमिअउ, पिउ परएसि रहिउ गहुँ रमिअउ ॥ १५९ ।। 1.A. इस 1 2 B विलयत, विलंबत। B दिए। 4 B गेय। 5A अयुराइयः । 60 रयणि। A रमणिय। 8Cमुणिय। गीयह। 10 B जामिणी। 11B जागंतह। 120 पियागम। 18 A अइस। 14 B तगंतह। 150 गोसयरत । 16A "मुयरत। 17 BC दक्षिण'। 18Cअगस्थि । 19 B रिखी। 20C पितिहि । ALA मुणिणु, C मुणी। 22 B'सु' नास्ति । 28 B नाति पि'। 24C नह । [टिप्पनकरूपा व्याख्या ] [१५७] अथ शरद्वर्णनम्-एवं विलपन्त्या गीतं रागेण गायन्सा, प्राकृतं पठन्त्या, घपोमान्तदिन समाप्तम् । यस्मिन् रजनी रमणीय गीयते, सा रजनी मया(मम) परमणिरिव-फरपत्रकमिव जाता ॥ १५७ ।। [१५८] यचं प्रियागमास(श)या जीवन्त्या गोसे -प्रभाते शय्यासन मुक्चा विरदनाशनं प्रियं सरत्या जाग्रन्या(त्या) रात्रिर्गमिता ।। १५८ ॥ [१५९] पत्याधितत्वा[६] दक्षिणमार्ग भत्या पश्यन्त्या अगस्तिमहर्दिष्टः । घकालं पर(रि)गामितं ज्ञात्वा भत्ता परदेशे स्थितः, परं न रमितः ।। १५९ ॥ [भवथरिका] [१५] मम शरद-एवं पिलच(प)न्या गीतं रागेण गायन्या, प्राकृतं पठन्स्मा, बान्तदिनं प्राप्तम् । यझिन् रजनी रमशीकैच गीयते, सा रजनी मया प्रामाणिव-कापग्नमिव जाता ।। [५८एवं प्रियागमाशया जीपन्या गोसे -प्रमाते शय्यासनं मुश्मा विनाशनं प्रियं सान्या जामत्या रात्रिलिंगमिता। १५९] पत्याशितवाद दक्षिणमार्ग भश्या पश्यन्त्या अगस्तिमापिदिति शीमें । सात वर्षा परिगमिता। पादेयो स्थितः प्रियासन रमितः ॥

·सन्देश रासक [सूतीय प्रक्रम गय विदरनि बलाहय गणिहि, मणहर रिक्त पलोइय रयणिहि । हुयउ वा छम्मयलि फणिदह, फुरिय जुन्ह निसि निम्मलचंदह ॥ १६० ।। सोहइ सलिलु सरिहि सयवत्तिहि, विविहतरंग तरंगिणि जंतिहि । जय हीय मिमि णवसरयह, तं पुण सोह बडी णव सरयह ।। १६१ ।। हंसिहि कंदुट्टिहिं घुट्टिवि रसु, कियां कलयलु सुमणोंहरू सुरसु । उच्छलि मुवण" भरिय सयवत्तिहि, गय जलरिछि पडिल्लिय तिथिहि ॥ १२ ॥ 1A बिहारवि, विम्यु1ि2.पइलोइम 18Cबास 14Cउम्मयल। 50पुरिक हुन्छ । 50 सन्छिल । 7 B सराई 18 B गंभिन, C गिम्हिण 1 9A कंदुद्दहि, पुरिचिहि । 10 A किं3111C भुपणि । 12A रिल। [टिप्पनकरूपा व्याख्या ] [१६०] बलादका गम(ग)नाद् विदीर्य गता । रजन्यां मनोहराणि प्रमाणि प्रलोकितानि । फणीन्द्राणां पाताले चासो या(जा)तः । चन्द्रस्य ज्योत्मा निर्मला जाता॥१६॥ [१६१] तपः सरोयरेषु शसि(साति)लानि शोमन्ते । तरहिणी गच्छन्त स्तरका शोमन्ते । या च नक्सरसां प्रीप्मेण सौ(शोभा द्वता सा शरदि घटिता ॥ १६॥ [१२] हंसः फमलकन्दोत्पण्डितः तेषां रसं पीत्या मनोहरा कलकला कृतः। सश)तपः मुवनं भृतम् । जलप्रवाहस्तीर्थ स्वस्थाने पतितः ॥ १२॥ [अपभूरिका [१०] पलाइका गगना[२] विदीर्य गवा । रजन्य मनोहारीणि शाणि प्रलोषितानि । नीन्द्रामा पाताले पासो चार । पन्द्रस ज्योरमा निर्मला स्फुरिता। [1] शतपत्रेः सरोदरेण सटिलानि शोभन्ते । तरङ्गिणीषु गन्तस्तराः शोमन्ते । नत. सरसा मीण शोमा हता सा शरद परिवा। ,118] इसे. कमकन्दोलण्टिवेस्तेषां रस पीत्वा मनोहरकर व पापदनं मुखम् । परमवारी सस्थाने पवितः ।। - ·३७ पय १६०-१६५] सन्देश रासफ घवलिय घयलसंखसकासिहं, सोहहि सरह तीर' संकासिहि । णिम्मलणीरसरिहिं पवहंतिहि, तड रेहंति विहंगमपतिहिं ॥ १६३ ॥ पडिबिंब दरसिजई विमलिहिं, कदमभारु पमुकि सलिलिहिं । सहमि ण कुंजसद्दुसरयागमि, मरमि मरालागमि" णहु तग्गमि ।। १६४ ॥ झिल्झउ पहिय जलिहि झिझंतिहि, खिजउ खज्जोयाहि खजंतिहि । सारस "सरसु रसहिं कि सारसि, मह चिर जिण्णदुक्खु किं सारसि ॥ १६५ ॥ 1A. पडिल्लेय1 2A. सकास। 3 C तीरि, B ची। 4 B सकासह । 50 रेई विहगं पंनिहि। 60 पडविप। 7 B दरिसिंग। 8 B कद्दम । 90 पमुझउ। 10 A °सद्द । 11 B मुरालागामि । 12 B तरगामि । 13 A खजोहहिं । 14 C सारसरसु, 8 सारसु फरजु । 15A मइ B मम । 160 दुक्ख, B दुक्खं जिन्न । [टिप्पनकरूपा व्याख्या [१६३] धवलितसंप(शंख)सका सरसो तटाः शोभन्ते । निम्मेलनीरसरसा तटा विहङ्गमपङ्गिभिरूपविशद्भिः शोभन्ते ।। १६३ ।। - [१६] प्रतिविम्योदयो निर्मलो दृश्यते । सलिले: पानीयैः कर्दमभारः ममुकित (मुक्ता)। शरदागमे फुलानां पक्षिणां शब्दो न श्रूयते । तस्यागमे कमलमृणाला अपि गताः॥१६४॥ [१६५] सारसाः सरसं रसन्ति । तदा मयोगम्-हे सारसि ! मम चिरजीतें- दुःख कि सारयसि ? केषु सत्सु, जलेषु क्षयत्सु खयोतेषु योतत्सु ॥ १६५ ॥ [भवरिका] [१५] भवलितपसकाशै. सा. साकाशेः सासों उटाः शेमन्चे । निर्मलनीरसरसा वया विहम्मपलिमिः पविशनि शोमन्ते ।। [11] सलिदैविमला प्रतिबिम्ब जयते । कर्दमभारच मुकः। कौमारवंग सहामि । मरालीगमेऽयमेघ मरामि ॥ [१५] सारसाः सास रसन्ति । तदा मयो-हे सारस ! मम जीर्णदुा कि भार. परि । । केषु सत्सु !-जलेषु क्षमासु सरसु, सोतेषु पोवाम् ॥

·सन्देश रासक [रतीय कम गिद्गुर करुणु सदु मणमहि 'लब, दहा' महिल होइ गयमहिलब। इम इशिवह करुण मणतह, पहिय कुइ धौरवइ सतह ॥ १६६ ।। अन्छिहि जिह सन्निह पर कंतयः, रच्छिहि रमिहि ति रासु रमतय" । करिबि सिंगार विविह आहरणिहि', चित्तविचित्तइ तणुपंगुरणिहि ॥ १६७ ॥ तिल" भालयलि तुरक्षि" तिलकिषि, मुकुमि चंदणि तणु चकिवि । सोरंडहि" "करि लियहि फिरतिहि', दिव्यमणोहरु गेट गिरतिहि ॥ १६८ ॥ A. कसण। 20 मदन मई षु। 3 44वा, पशु4 Bइककद, ONE | 541Bणतह। 7 Bअच्छिद, अल्लय। 8A सन्निहि समय । 9CR| 10A कत्तद। 11 A PE 12A रमाई। 13 A. भभंतप114A करदि1 15 A. साहरणह। 16 A. पंगुरमाहि. B पारणइ । 17 A तिल । 18 रिकि 19A'सोरनिहि. सोरम्ह । 20 शरि। 22 B फिरतहि । 22 B विरतादि। [टिप्परकरूपा व्यायाम [१६६] हे सारसि । निरं परपशब्द मनोमध्ये लव । विराी श्री सब उम्देन गतमहोल(स)चा भवन्ति (ति) | पवं एक प्रति फरुणरान्दै मणत्या) तथापि कोऽपि न धीरयति ।। १६६ ॥ T१६७] यास त्रीणां संनिधौ गृहे फान्ताः सन्ति, रथ्यासु रास रमन्त्सनाः रमन्ति । विविधनानाभकारः सि(घ)हारं कृत्वा रमन्ति । के चित्रविचित्रशीर- प्रावरणः १६७ ॥ [मपरिका] A] हे भारति ! मिथुर का मनोमाने सन । विद्यापीय मान्दैन पदमहो. सिया भवति । एवमेकमेक प्रति करणशब्द भणन्त्या, तयापि कोन भीरपति JA] यासों की सविधी गृहे कान्वा सन्ति पारया रास रमन्यो प्रतिनिवि. धामणे या वादा, निविलिसनुपकर जैन ·पच १६६-१७०] सन्देश रासक धूव दिति 'गुरुभचि सइत्तिहि, गोआसणिहिं तुरंगचलत्यिहि । तं जोइवि हरें णियय उन्विन्निय', 'णेय सहिय मह' इच्छा पुन्निय ॥ १६९ ॥ [युग्मम् ] तउ पिक्खिय दिसि अहिय विचित्तिय", णाय हुआसणि जणु पक्खित्तिय"। मणि" पञ्जलिय विरह झालावलि, नंदणि गाह्" भणिय भमरावलि || ११७० ॥ सकसाय णवन्भिस सुद्धगले, धयरटुनहंग रसति जले। 1G-गुर। 20वलच्छिहिं । 3A B1 4 B नियर, निय। 50 विनो। 60णिय। 7A इड। 8A. उलिय। 90 पियर। 100 विचित्तप । 11B हुतासम्म। 12 B पखितय। 13 Bण 1 14 A.C नंदण 115 A. गाहा । 160 भनी । 17Cपसव्विस, Bणमुल्विस । [टिपनकरूपा ब्याख्या [१६८-१६९] गवासने तुरङ्गमसा(शा)लासु नार्यों भालस्थले तिलकं वीक्ष्ण कृत्वा, कुकमचन्दनाभ्यां तनुमचपित्या, सोरण्डक-क्रीडामाजन करे पत्या, दिव्यं गीतं गायन्यो गुरबिभकिसहिता धूपं ददन्ति । ते सोरण्डकं दृष्ट्वा उद्विमा जाता। यतो नेच्छा पूर्णा । १६८-१६९ ॥ [१७०] अमरावल्या एषा नन्दणि गाथा. मणिता । तदा अधिकविचित्रां दिर्श न्य(त्य) जाने अहं भुताशने प्रक्षिता | कामिः ममालिवमनोविरहग्या लामिः॥ १७०॥ [भरिका] [१६८-18९] गदासने इनमशालासु मायाँ भालस्थळे तिलकं तीक्ष्णं कृत्वा, कामचन्द नायो मुमयिस्वा, सोरण्डक-कीडाभाजन करे ]रवा, दिव्यं गीत गायन्त्यो गुस्माधिसहिता भूरं ददन्ति ।यं सोरगतकं वाहनदिमा जाता। पतो नेच्छा पूर्णा oraru [...] मत्रो दिनोऽशिकविचित्रा स्टा, भदमेघ खाने बाने मशिता । मनसि विरह ज्वालावलिः प्रज्वलिता या नन्दिनी गामा अमरावलिश्च मपिटा । "भगणा छ दिणि छप, चउसहित मध्य संमत्रिय । गुरु सोलस तीस दुई लड़ये, मळतालिप्त भर दिय" ।

·सन्देश रासक [रतीय प्रथम गयदति चमक्करिणं पवरं, सरयासरि णेवर झीणसरं ॥ १७१ ॥ आसोए सरय महासरीए' पयखलिर वैयत्रियडाए। सारति रसिऊण सरं पुणरुत्त रुयाविया दुक्खें ॥ १७२ ॥ ससिजुन्ह निसासु सुसोहिययं घवलं, वरतुंगपयार मणोहरयं अमलं। पियवब्जिय सिज लुलंत पमुक्करए, 'जमकुह सरिच्छ वहारगए सरए"।। १७३ ।। * 10 गयदिति। 2ACTRE1 3A°सरीइ, चिरीऐ। 40 चालिए। 50 विशगए। 6 B रुमानियस्यविया । TA. सोहिपर्य,Cोहिय। 8Cuमुस्ताए। Bथम । 10B विद्यापिए। 11 मुरए। [टिप्पनकरूपा व्याख्या [१७१] सकपाया सदिशा(१)मावशुद्धगरा धृतराष्ट्रा स्थानाच जले रसन्ति । गति चमत्कारकारिणी कुन्ति । सशोरनियो मन्ये नपुर क्षीणखर यथा वर्तते ॥ १७ ॥ नदणिछन्दः। लक्षण यथा- सगणा इह नदणि छब धुवं, उस वि मच प सठवियं । गुरु सोरुस तीस दुई लहुय, अतालिस अक्सर अपविय । [१७२] भव(श्विानि माले पदस्थालितवेगविकटासु महानदीपु सारसेन खां कृत्वा दुख(स) यथा पुनरुक्त रोदिता ॥ १७२. ॥ [१३] शरत्काले शशिन्योत्क्षया निसा(शा)सु धवलगृहाणि परतुझमाका राणि मनोहराणिजातानि । वधैच पिपर्जिताया मयि शय्याया लुलन्सां यमकुहसदृशं-मन्तकमहारसदा यथा विहितम् ॥ १७३ ॥ [अवरिका] [11] सकपाया नाभिस्वाद वगळा एताद्वाश रामराम जले रसन्ति गति बमकारकारिणी फुर्वन्ति पारियो मन्चे भूपुर क्षीपाखरं यया धर्तते ।। [२] अखिन (पानिने) मासे पदस्खटितयेन()विकास महानदीपु सारखेन वा कृत्वा इस यथा पुनरुक रोदिता ॥ ६]शरकाले शनिग्योरखया निशासु पलाणि घरखापाकाराणि च मनोहराणि कृतानि । त्यैव प्रियदर्जितायो मयि शव्यायां लुलित पमष्टसा-मस्तारास यया विहिपए।

·पद्य १७१-१७६) सन्देश रासक अच्छिहि जिहं नारिहिं नर रमिरई, सोहइ सरह तोरि तिह भमिरइ । बालय वर जुवाण खिल्लंतय, दीसई धरि घरि पडह वजंतय ॥ १७४ ।। दारय कुंडवाल तंडव कर, भमहिं रच्छि वायंतय सुंदर । सोहहि सिज्ज तरुणि जणसत्थिहि', घरि घरि रमियई रेह पलिथिहि ॥ १७५ ।। दितिय णिसि दीवालिय" दीवय णवससिरेहसरिस करि लीअय" । मंडिय भुवण तरुण जोइक्खिहिं, महिलिय दिति सलाइय अक्सिहिं ।। १७६ ॥ 1B अत्यहि, मच्छइ। 2A Bजह 1 30 रमियः। 4 B वीर। 50 विहि। 6C बाइ। 7Aदीमहि। BA परि। 9 ममिहि; B भमह । 10A वायंता। 11 A सुंदर। 12 C तरुण° 18 B सत्यहि। 14 B पलामहि। 15 A दिली। 16 Aदिवालीय दिवालय | 17 A लीलय, Bएलीयय । 18 A मलिमति B महिप । [दिप्पनफरूमा व्याप्या] [१४] अथ कार्तिकपर्णनम् -यास स्त्रीणां नरा रमतो(न्तो) पर्तन्ते, तामिः भ्रमन्तीमिः सरसो तटाः शोभन्ते । किं फुपन्या-नयौवनामिः परयालामिा कीबन्लारप्रतिसुदं प्रतिसुदं एटना प्राधमाना पश्यन्ते ॥ १५ ॥ [१७५] दारकाः कुण्डलं कृत्या यादयन्त[] रथ्यासु भ्रमन्ति । तयणीजनाः "सिदाशय्या)यां इन्द्रेन सो(शो)मा लहाभ)न्ते ।गृहे गृहे नरनायो रमन्ति ॥१७॥ [१७६] मार्यः दीपान नपशशिरेपा(पा)सरक्षार करे गृहीत्या निशि पदन्ति । ज्योतिप्यो दीपः भुवनानि मण्डितानि । मन्यच नार्यः तेषां दीपानां फजलं शलाफया शरया नेषु वदन्ति ।। १७६ ।। [मपरिका] [0] भप कार्तिवर्णनम्]-पास पीई मरा रमन्त्री पतन्ते, दामिनी मिः सरसा तया शोमन्ते । पाठमा बान(पुषकोबरा श्रीमन्तो सपन्ते । गृहे गृहे परदा यादमानापन्ने [१५] पण या पप(पादप)न्तो रप्पामु समन्धि । तरी जनसा(41) शम्या पोमते । गृ गृमलिसे रेशा रम्यते । [M] मेकि रात्री दीपमागियो दीपावायते । मयतिरेखासापास पर गुपन्त । गायोति पैदरि मणिम् । नाम पिता +--- ·सन्देश रासक [तीय प्रक्रम कसिणंवरिहिं बिहानिह मंगिहि, कड्डिय कुद्धिल अणेगतरंगिहि । मयणाहिण मयवट्ट मणोहर, चचिय चकावट्ट पयोहर' ॥ १७७ ।। अंगि अंगि घणु पुसिणु विलत्तल, णं कंदप्पि सरिहि विसु खिचड । सजिउकुसुमभारु सीसोबरि, गं चंदङ कसिण घणगोवरि ॥ १८ ॥ झसुरु" कपूर बहुलु मुहि छुद्धउ, णं पञ्चूसिहि दिणपहु युद्धउ । रहसछलि" कीरइ पासाङ्ग, वरस्य किंकिणीहि सिजासण ।। १७९ ।। 1B विहाविय। अगगे। 30 मापछु। 4 मोहए। 5 B विह। ०पयोहरू 7A. 80मदद। 9Aसिबल। 10 BCइसम. 11A, C चद। 12 A किसण। 13 C अमर। 14 A. कफ : 15 B पहल बहुल। 16 C दिणपह। 17 B रक्षित, रहमु । 18 Cशु 1 19CWण। टिप्परकरूपाध्याया] [१७७ ] नानाविधै रणावरी, तथा रचितधनयमरनेकवि पत्रपल्लीभिः नियः सोशो)मन्ते । तथा मृगनामिना चक्रावती पयोधरी चर्चिती ॥ १७७ ॥ [१७८] सर्वात घनघुरण पिलितम्, मन्ये कादर्पण शारेषु विविक्ष(क्षि) तम् । कुस(सु)मभारीपरि सजित , मन्ये कृष्णपनगोपुरे चन्द्रमासान जातम् ॥ १७८॥ [२७१] नागवल्लीदलानि कर्पूरवहुलानि मुरो सिमानि, मन्ये प्रत्यूपे रविः भयुद्धः । प्रसाधना रहसोच्छलेन रिपते । शययासने किदिपीना दररव. भूयते ॥ १७ ॥ भिवचरिका] [A] भानाविधैः कृष्णाम्रोष्टमारचियनकरनेकविधापरीमि लिप सोभन्ते । सानामिना मदनपम्हदय पचितम्, तथा पानी पयोधरी [10] सर्वाङ्गेषु पनपुरण लिसम्, मन्ये कन्दर्पण घरेषु विष विमम् । मुममार' शोपरि सजिव , मन्ये कृष्णधनगोपुरे घनस्यारवान बातम् । E] नागवारपालि करिबलानि मुखे शिक्षानि, अमेव मन्ये मत्यूचे रति उदा । मसापना होछलेन इत्यते, शरयासने लिकिणीना वराध शूयते ॥ winA ·गोय गंदीयई', पद्य १७७-१८२] सन्देश रासक इम' किवि केलि करहि संपुन्निय', मइ पुणु' रयणि गमिय उन्विन्निय । अच्छइ घरि घरि गीउ रखनउ, एगु इकटु कहु मह दिन्नउ ॥ १८० ॥ पुण पिड समरिउ पहिय ! चिरागउ, णियमणि जाणि तह वि सूरगड । धर्ण जलवाहु बहुल मिव्हेविणु, पढिय अडिल सइ वत्थु तहेवि णु ॥ १८१ ।। णिसि पियकह" जंपिरी "उणंदीयइ । रय णिमिसिद्ध अडु "णं दीयइ, विड़ी कामतत्ति “णं दीयइ ॥ १८२ ॥ 1Cइमि। संपुन्निहि य। पुगि। 4B निम्विन्जिय । 50 विकछ । GOरिवहं। 7 Bणु जल। 8A. बहलबहुल । ३०णियह। 108 शहि। हं। 11 नंबी। 120 रह। 13-14CHदीयह। [टिप्पनकरूपा व्याख्या [१०] एवं काश्चन भाग्यवत्यः केलि कुर्वन्ति । मया चोद्विग्नया रानिर्गमिता। गृहे गृहे शी(गी)तं प्रयानं वर्तते । एकं च समनं कष्टं मम प्रदत्तम् ॥ १८ ॥ [१८१] भो पथिक ! यहलं नयनाभ्यां जलप्रवाई मुक्त्वा मया अदिलपन्न पस्तुकच्छन्दो मणितः पुनः पुनरपि तं पथिर्फ रुसत्या निजेमने(नसि) सरोदनं धात्या ॥ १८१ ॥ [१८२] निसि(शि) प्रहरार्थमपि न निन्द्रीयते । मियकथायां शल्पमानायां [अरिका] [40] एवं काश्चन भाग्यवत्या के िवन्दि । मया योनिमाया रानिमिता गद्दे देगीवं अपान पर्वते । एक घ समझ कष्ट मम प्रदतम् । [10] दे पत्रिक! पुनरपि चिवसित मिया एतो निशमनसि, सय सूर्पोमं मनाया धमालपाप्पान पहूर मुगावा मया सदैव 'नु' इति पिव बरिष्ठा पस्नुम्म पटितः । [१४२] लिशि प्रहराधमपि न लिमीयते, शिपयायो लप्यमाना नानन्यते, मामा मेषामपि रखपे म दीयते, काममा पिदान दीर्यते । मपि तदीयते । से..

·सन्देश रासक [हवीय प्रक्रम कि तहि देसि णहु फुरई जुन्ह णिसि णिम्भलचंदह, अह कलरउंन कुणंति हंस फलसेनि रविदह । अह पायउ णहु पढइ कोइ सुललिय' पुण राइण', अह पंच महु कुणइ कोइ कावालिय भाइण। महमहइ अह्व पञ्चूसि णहु ओससिउ घणु कुसमभरु । अह मुणिउ" पहिय" ! अणरसिउ पिउ सरह समई जुन सरह घरु ॥ १८३ ॥ 1 BCRI20 रहि। 36 कुलउ । 4A पाइउ ।C सुलली । 6B रायण। 7 पंचम्। 8 A वालीय, कापालिउ। 9A भायण, 0 माणिउ । 10Aषण। 11A मुग। 12C पहिल। [दिपनारूपा ध्यास्या] मान्यते । मारमा निमेषामपि रतये न दीयते । कामताया(ता) विमान दीर्यते । अपि न दीर्यते ॥ १८२॥ [१८३] सिलिन् पेरो ज्योत्स्नया निर्मलचन्दो न स्फुरति ?, अथ कि हंसाः अरविन्दार सेव्य .फटकलार र फुपन्ति, अय प्रारतकाव्यं सुललितं. मुमनोहर कथित पठति , अप कोकिलाः पञ्चमसर र कुर्वन्ति !, अथवा प्रत्यूपे रविप्रफुलितकुसुमभरो न महमहति ।। अथ मया शात पधिकेन सरि- (२)त-समये यद् गृहं न सरि(स्मततदरसिको रसपेचा नैयर्थः॥१८३॥ ॥ सरि(शर)वर्णने समातम् ॥ [भापरिका] [14पथिक! मिन् देसो घन्दज्योमा निदि राम्रो मिस किन रति १, अपतमिन् देशाविधामा फसेपिनो रासा कलावं न कुर्वन्ति, अथवा मुललिवमापया मा कोपि म भागाती, भय कापालिक निरभान पामार्ग कोऽपि न करोति !, अघ प्रायो वासित विकसरवनासुमभो म परिमहायरे !, मधेदर -झाव है पथिका दिये गीरसो पशरकाले गृहस्य(६) न सरति ॥ इति दर्गदम् ।

·. - पथ १८३-१८५] सन्देश रासक [अथ हेमन्तवर्णनम् । सुरहिगंधु रमणीउ' सरउ इम वोलियउ, पावासुय अइघिट्टिण खलि घरु संभरिउ । इम अच्छउ जं करुण मयणपडिभिन्नसरि, अवलोइय धवलहर सेयतुस्सारभरि' ॥ १८४ ॥ जलिङ पहिय' सन्चंगु विरहअग्गिण तडयद्यपि, सर पमुक्त कंदप्पदप्पि" धणु कडयडवि । त सिजहि दुक्खिजिण आयउ चिचहरु, परमंडलु हिंडंतु कबालिउ खलु" सबरु ॥ १८५ ॥ तह" कंखिरि" अणियत्ति णियंती दिसि पसरु, लइ ढुक्क कोसिल्लिं" हिमंतु तुसार भरु | 13 °गधि ! 2 A. रवीच। 3 C मह। 1 B पिटु। 5 0 वलि । 6 B भन्छन । 70 कुस्सामरि । 8 B पहिउ । 9 सम्बगि। 10 A. हविकड। 11 B यदपि दणि C कंदप्पिर्हि । 12 Cज 1 18 B विगहि, विजह। 14C क्सिज । 150*मंडल । 16 BAR117 A. पाद । 18 B कखिर । 19 C दिख ! 20C ढपुर। 21 B काशिक्षि Cकोशिल। 22Cतुसार। [टिप्पनकरूपा च्यात्मा] [१८४] अथ हेमन्तवर्णनम् -मुरभिगन्धरमणीका स(स)रदेयं व्यतिमान्ता ! पाधिफी परं अतिथऐन परया गृदं न स्मृतम् । एवं फरणया मदनस(श)रप्रति मिसया मया घपलगूदाणि तुपारभरखे(श्वे)तानि दृष्टानि ॥ १८ ॥ १८५Jहे पमिक पिराना ततति शसोशब्द यथा सपा प्रज्या. लितम् । फन्दप्पेण धनुषण कडकडमिति (स)शदं यथा शरा: ममुकाः । ततः शय्यायां दुःसारी याता । यतो मनोहर शयरो निर्दम्मः परमगडले अमन कापालिको नागतः ॥ १८५ ॥ [१८६] तथा च उत्कण्ठिता भनि दिशिप(म)सरं पश्यन्ती पर्चते । तदेय [भवचूरिका] [1] भर हेमन्तपर्णनम्-मुरभिगमरवीका (रमीया) परदेसं व्यनिशा । पयिक! म(लोतिधि (प)न पतिना गृहं न स्मृतम्, एवं कायया मदनारनिमिषा पट- पीपगमरवणानि यानि [५] ई पयिक बिनामिना ति राई या सामालिग पनुग काप इति पापं या परा प्रमुधः । त. पारपापो इसाप मा से () मनोरम R()को निधः परमग आमन् कापाटि माग [4] पनायोपनियता भनित-निरन्तर विशिषम पसन्सी यौन पदमाव' ·30 सन्देश रासक [हतीय प्रक्रम हुइय अणायर सीयल भुवणिहि पहिय अलं, ऊसारिय' सत्थरहु संयल कंदुट्टदल ।। १८६ ॥ सेरेधिहि घणसार ण चंदणु पोसियइ, अहरकओलालंकरणि मयणु संमोसियइ । सीहंडिहि वजियउ घुसिणु तणि' लेनियइ, चंपएलु मियणाहिण सरिसठ सेवियई ॥ १७ ॥ णहु वलियइ कपूरसरिसु" जाईहलह', दिज्जद केवइवासुण पयडउ फोफलह। भुवणुप्परु" परिहरवि" पसुप्पइ जामिणिहि, उपारई" पल्लंघ" विच्छाइय" कामिणिहि ॥ १८८ ॥ 1B हुई। 2 । 3 B ओसार सत्मरद । AC सार। 5Aचरण । BACकिदि। 7Aसीहन्छ । 8Cमिता Br 10Cलाइयह । 11B मय1 12 C सेवियर । 13 B कपूर सरगु। 14C दलहि । 15 A "गुप्पर, B शाप्पा ! 10 A "हरिवि। 17 A उग्रारोहै । 18 । पलंधि, पलंग। 10 B विच्छाइया । [टिप्पनकरूपा व्याख्या हेमन्तः तुपारमर गृहीत्या पुशलेन मास: । भुवने अनादरसी(शीतलानि {जलानि जातानि । सकलकमलदलानि ध(पोस्तरादाप्सा(दपसा)रितानि ॥१८॥ [१५] सैरन्धीमिः धनसार चन्दनं च न पीप्यते । अपरकपोलालकरणे भवन संमिथ्यते । श्रीखण्डवर्जितं घुसूर्ण-कुहम सनी लेप्यते । चम्पकसैले गुगनामिना समंसेच्यते ॥ १८७॥ {१८८] यसिन रिरकोती परदलो द्विधा न शानियते । सुजात्यकश्यो- (स्योत्पमस्यात् । मकटा फोफलेषु केतकीकुश(सोमव्यासो न दीयते । भुमचा भोपरिस्थितमायासं त्यज्यते । तथा यामिनीपु-रानिपु कामिनीमिः आच्छादित. स्थानेषु प्रसुप्यते ॥ १८८ ॥ [मबारका] सुपारमा कुशलेन मादा हुने औषयामास-माघ । भुक्ने श्रीमान जलान्यनामाशि जावानि | सकलानि कमलदलानि वस्तराट् कृतानि ।। [14] सैरन्ध्रीभिर्धनसार पाहन च म पीप्यते । ममापोशावरणे मदने समिण्यते । भीषणपति गण कुसुम दौरेप्यते । पम्पलेट मनामिना सम सेयते। [३४] मातीपायेन सम को न लिप्यते । शीफलामा केतकीयासश्रीयते । मनमोपरि विमा परिहत्य पामिनी उपमाके सुप्पये कामिनीमि, पत्यारिलायन्ते ।

·पथ' १८६-१९०1 सन्देश रासक धूइज्जई तह अगरु घुसिणु तणि लाइयई, गाढउ निवडालिंगणु अंगि सुहाइयइ । अन्नह दिवसह सन्निहि अंगुलमत्त हुय, महु इकह परि पहिय णिवेहिय बम्हजुय ॥ १८ ॥ * 18 31 विलवंती अलहंत निंद निसि दीहरिहि । पढिय" वत्थु तह पंथिय "इक्कल्लिय परिहि ॥ १९ ॥ दीहउसासिहि दीहरयणि मह" गइय" णिरक्खर, आई" ण णिद्दय णिंद तुझ सुयरंतिय" तक्खर । अंगिहिं तुह अलहंत धिट्ट करयलफरिस, संसोसिउ तणु हिमिण हाम हेमह सरिसु । 14 चुइ। 2 B नास्ति, C बहु । B C तणु। 4 B गाढा। 5 C अगु। 6 B अमदिवस । 7 B सनिहिय मुझे। 8C अगुलमित्त । लहति। 10 B दोहरहि, वीहरह। 11 B पढिड। 12C नाई। 13 Aइकाली,Cइलिय। 14 नहु । 15 B गईय,गई। 16 AC खरु। 17 B आई। 18A मुरंतय, समरेतह । 190 तक। 20 B तुम, तु। 21 A. 'फरस । 22 सोउ। 23 हिमण | [टिप्पमकरूपाध्यात्या (१८९] मगर धूप्यते, घुटणं तनी लेप्यते, गाढालिकनमोपु सुपायते । अन(न्य)दिवसममाणे[न]से दिवसा अहुलिमात्रा:-लोकमाना। ममैफस्याः परं यीणां ब्रह्मयुग्म(ग)मिति निविएं मन्ये ॥ १८९ ॥ ११९०] मंया विरहे मिलपल्ल्या दीर्घरात्री निदा मलभन्या दीर्घान्छासैः पंपा बस्तुः पठिता । मो पधिक! गृहे एकाकिनी निवसति ॥ १९० ॥ [१९१] है निरक्षर ! दीघोनसा(णश्या) दीर्घा रजन्यो गताः । हे तस्कर ! निर्दय त्या सरन्या निद्रा नागता । हे धृष्ट! महेषु तय फरस्पो अलमन्या भिपरिका [१९] भार धूप्यते, पुसणं तनी लिप्यते, गाडालिमनमो मुरगायरो । मस्य) पिस्त्र- मागरसे दिवसा मालिमात्रा.-शोकमा । ममैकस्या पर वर्षाणां प्रयुगमिति निविष्टं मन्ये । [...] हे पविक ! र एकादिन्या विळपत्या निमामलभन्या निशि दीर्घता वस्तुक पदित।। [1] है निरक्षर ! दीघोंगवासाची रनों गताः । दे व निय! वो माया मिमा मागता है ! मने पर प्रत्पमस्मन्दा ममा मन्तेन पाए मिसारं anmom- ·सन्देश रासक 1 वित्तीय प्रझम हेमति कंत विलतियह', जइ पलुहि' नासासिहसि । तं तइय मुक्ख खल पाई मइ, मुइयं विज किं आरिहसि ॥१९॥ [अथ शिशिरवर्णनम् ।। इम कट्टिहिं मइ गमिउ' पहिय हेमंतरिउ, सिसिरु पहुत्त' धुत्तु णाहु दूरंतरिउ । उहि झखड गयणि खरफरसु पणि ह्य, तिणि सूडिय झडि कार असेस तहि तरुय" गय॥१९२॥ छाय फुल् फल रहिय असेविय" सउणियण", तिमिरंतरिय" दिसा" य तुहिण धूइण" भरिणं । 1 A.Cपति । वति। 3C पडिलु । 4 B तयउ। 50 पह। 6B मुश्य अवि। 7 B गमिय । B C पहन्तु । १० धनु। 10 BCडिय11 Cखा । 12A परफरमु B फास। 13 B नाति 'शडि 1 14 A. तह 1 158 रूप गय, Cता गय। 160 फुलह। 17 B अवैसिय। 1830 प्रणि । 19ACतिम। 20 B विश्थरिय। 21 Bधूयण,णि । 220 भरिणि । [दिपनारमा ध्याच्या ममा हेमन्तेन धाना हेमरा(स)दक्ष प्रोपितम् । हे फान्त हेमन्ते विलपन्ती मा व्याघुस्य यदि नाश्वासयसि, ताई-तमान कारणाद, हे मूर्ख ! मी पापिन ! मयि मृताया अब(बावे)चाऽऽगत्य किं करिष्यति(सि) १९६॥ n हेमन्तवणेन समातम्। [१९२] अब शिशिपम्-हखह-डुडयाल गगने खर-द परुप-विधी(परी)त उस्थित वा पचनाहपरतापजाता । न [ख]डेन भशेप-समस्त रूप गतम् । मो पपिका पय मपा हेमन्तरि(मोतुनिर्गमिता। अधुना शिशिर -सी(शीतकाल प्राप्त स धूतों नाय दूरान्तरित ॥ १९२ ॥ [१९३] असे)का समस्ता शना-पशिणो क्षजयाफलानि समा- [परिका] शोपितम् । एत! एवं हेमन्ते विटपन्नी म माधुन यदि माऽऽासयसि तह-शमार कारणाद् मूसल! पापिन् । मयि स्वायामावि (व) भागत्य किं करिष्यसि । । हेमन्त वर्णव समासम्॥ [१९२] भय शिविरवणनम् -हे पविक एक सपा हेमवतुं फटेन निर्गमिवा । सावद मिशिस मास । पूर्वनामो वरिवः । सपनाहतो गगने प्रखो महावाट थिः । सेन सूहिता सस्त पास्ताव पाणि मुरवा गा -पिता [१] पायापपरमादिक देव कुनिरागरहित्ता घशा भाव दिशष्टहिनेन सभोण +91-22 ·10 पद्य १९१-१९५] सन्देश रासक मग भग पंथियह ण पवसिहि मिडरिण, उजाणहं ढंखर इअ सोसिय कुसुमवण ॥ १९३ ॥ तरुणिहि कंत पमुकिय णिय केलीहरिहि, सिसिर भइण किउ जल" सरणु" अग्गीहरिहि । आवाणिय" केलीरसु अभितरभुयण", उजाणह दुम्मिहि वि" ण कीरइ किवि सयण ॥१९॥ मत्तमुक संठविउ" विवगंधकारसु, पिजइ अद्धावट्टङ रसियहि इक्खरसु" । कुंदचउत्यि" वरच्छणि पीणुनयणिय, णियसत्थरि" पलुटंति केवि सीमंतिणिय" ॥ १९५ ॥ 1B पंथिहण। A. पबसेहि C पविखियह। ३.. हिमझरिण; C "करिण। 4 B C कुसम 15 B तरुणिय 1 6 A पमुकीय । 70 ससिर 1 BA. माइण्ड | C कियउ । 10Aजण: B मास्ति । 11Cसरण जला। 120 जव जहि। 13 B केलीहरसु । 14 भुवण । 15 B C नास्ति 'वि' 1 16 A. कीरहि । 17 C कवि। 18 B C मनमुकु । 19 B संवरिस; C संवियर । 20 A. गांधकर करे। 21 A रसियह ० रसियहिय । 28A इक्सु। 28 Bउत्थ। 24B वरस्थिणि। 25A सत्थर: B पथरि । 26Cलोलंति। 27Cसमंतणिम । [टिपनकरूपा व्याख्या नित्य स्थित तिमिरोऽन्धकार, तुहिनच्यातर-व्याप्य स्थितः । सी(शी)तभयेन पथिका मार्गे न प्रवि(ब)सन्ति । यसिन समये कुसुमवनानि शोषितानि । प्रथम- पदं वृक्षविशेषणम् । उद्यानवृक्षाणि ढह्वरवज्जातानि ॥ १९३ ॥ [१९४] कदलीगृहेषु कान्तान् मुफ्त्या कान्ता हिमभयेनाग्निशरणं अयन्ते । भु(भाधनमध्ये उपवरके केलिरसमुपभुअन्ते । केऽपि चोधानभवने न संपन्ति । १९४॥ [१९५] मात्रामुफ्तः-मधिको गन्धोत्कर्षः संस्थापितों रसिकरिक्षुरसः मर्दा भवचूरिका] च तिमिरेण धान्दरिता जाता | पयिकानां मार्गा मा, हिमभयान मचलन्ति । उद्याने गतकसुमा वृक्षा दरवजाना ॥ [१९] केलीयदेषु कान्तान् मुफ्स्या कान्ता हिमभयेनानि पारणं भवन् । भवनमध्येsy- वरके केलिरसनुप जन्वे । केपि चौवानगुमेषु न स्वपन्ति ।। [१५] मामागुरवः-मधिको गन्योरको विविध संस्थापितो रसिकरिधरसोऽघर्षावनः पीपते।

·८० सन्देश रासक [मृतीय प्रकर केवि दिति' रिउणाहह उम्पत्तिहि दिणिहि, णियबल्लह कर केलि जति सिज्जासणिहि । इत्यंतरि पुर्ण पहिय सिज इकलियइ, पिउं पेसिउ मण' दूअउ पिम्मगहिलिय" ।। १९६ ॥ मइ जाणिउ पिड आणि" माझ संतोसिहइ', णहु मुणिअउ खलु घिट्छु सो वि भहु मिल्हिहई। पिड णाविउ" इहु दूउ गहिवि तत्व वि रहिउ", सञ्चुहियउ महु दुक्ख भारि पूरिक अहिड ॥१९॥ 1B दति। 2 BC दिणिदि। 3A बहिदि । Baरि। 5A सिणिहि । 0B पुणि। 7 A पिअ पेसिअ । 8 B मणु। 9 Bइड, यह । 10 A गहिया। 11 B नास्ति 'आम'। 120 विष। 180 मिल्द 14 Bाइट| 15 A६ । 161170 राम्बु । 18 A. मह, C मद। 19C बुखु । [विपनकरूपा व्याया यः पीयते । अन्तचतुश्यों प्रचरोच्छ(स)वे काश्चन सीसन्तिन्यः पीनोमवस्तन्यो निजथ(स)स्तरे लोलन्ति ॥ १९५ ॥ [१९६] काधन रिकोनुनाथ वसन्तोत्पतिदिने माघसुदिपश्चन्यां ददन्ति दानम् । निजयलमेन सम फेल्पय शय्याया जा(या)न्ति । अस्मिन् समये एका- किन्या मेमन्नपिलया मया मनोदूतः पर्ति प्रति प्रहित.॥१९६॥ [१९७] मया शातं प्रियतमो(म) सन्तोषयिस्य(प्योति । तेन धृष्टेन खलु- निश्चयेग न शातः यामां उन्शसति (१) । प्रियतमो नागतः । एप मनोदूतः गृहीत्या तय स्थितः । एतत् सत्यं मम हि(ह)रयो() दुपख(ख)पूरितोति) जात (तम्) । १२७॥ [भवरिश कुन्दयनुष्यां वरमणो कावन, व्यापानान्तरम्-कुन्दचनुष्यो प्रवरोध(स)चे कामन सोमवन्य: पीनखम्यो विजयखरे बोलम्ति। [१९] काम्बन रित(स्तु )नाय वमतोम्पतिदिनेशमाघसुदिपम्प दन्ति पानम् । निगवलुभेन सम केल्य] शष्याया यान्ति । अमिचेकाविन्या प्रेममनिलया [ मया ] मनोदूता पति प्रति दिन ॥ [१९५] है पथिक' मा हातम्-एष मनोदून विधमानीय मां सन्तोषयिष्यनि । मया न शासमेष सरो ष्टो मनोदूतो मामपि मोक्ष्यति । मियो नागर, एनं हरित गृहीदा रुख स्थित । परमेवर सास मम हृदय समारेणाधिक पूरितम् । .

·पद्य १९६-१९९] सन्देश रासक ण? मूलु पिअसंगि लाहु इच्छंतियइ, णिसुणि पहिय जं पढिउ' वत्थु विलवंतियइ ।। १९८ ॥ [अईम्] मइ घणु दुखु सहप्पि मुणवि मणु पेसि दूअउं', णाहु ण आणिउ' तेण सु पुणु तत्थव रय हूअउ । एम" भमंतह" सुन्नहियय" जं रयणि विहाणिय", अणिरई कीयइ कम्मि अवसु मणि पच्छुत्ताणिय" । मइ दिन्नु हियउ णहु पत्तु" पिउ, हुई उपम इहु कहु कवण" । सिंगत्थि गइय" उवाडयणि, पिक्ख" हराविय णिअ सवण ॥१९९॥ 1A. पढिय। 2A || 3 A. दुक्ख B दुरिख । 4 B मुणिवि। 5B पेसिय; ऐसियउ। 60 दूअइ। 7ABायित। 8 B तेभि । 9A.C पणु। 1000 11 A.Cइ। 12 A. एव । 18 भवंतह । 14 B सुनयरि । 13A विहाणीय। 10 B अणद, Cअणुरई । 17 B पच्छित्ताणीय; C पछोतागिय । 18Aदिन। 19 A पत्तु B पितु। 20 A. हुइ अयि यवत्य मइ कह: Bहुई य उइच मइ कहु। 21 B कवण । 22 B गईय: ८ गई। 3 B पिक्खण आहराविय । [टिप्पनकरूपा च्यात्या] [१९८] प्रियसनममीप्सन्खा मूलो नष्टः । तेन एतद्वचः श्रुत्वा पथिकेन विलपन्दी दृष्ट्वा वस्तुका पठितः ॥ १९८ ॥ [१९९] निजघनासं ज्ञात्या मनो नाथं प्रति प्रहितः । नाथस्तेन नानीत (1) सोऽपि तत्रैव रतिर्जातः । एवं (श)न्यहदयं यथा भ्रमन्या रजनी विमाता । यनिरूपितं कार्यम् । अतोऽवश्यं मनसि पश्चात्तापो जातः । मया हि(ह)दयं दत्तं परं प्रियो न प्राप्त एपोपमा कथय केन समम् ? तवाह-शृङ्गार्थ गर्दभी गता, पश्य अधणी शारिती ॥ १९९॥ शिशिरवर्णन समासम् ।। [भवपूरिका] [१९८] प्रियतमलाममिच्छन्त्या मम मूलं नष्टर । हे पथिक शश यद पस्तुको विलपन्या परिवा [१९९] निजघनं दुःख शाखा [मनो] नापं प्रति प्रहितः । नामस्तेन मानीतः, सोऽपि सव रखो या पुर्व शून्यहृदयं यया अमन्या रवनी दिमाव । भनिरूपित कार्य [कृतम् ।। सोऽवस मनसि मातापी जावमा हदस दस पर प्रियो न TRE एपोपमा काय देन समम् । बार-शमा गईमी महा, पाय भणी पारसी इति शिशिरवर्णनम् ।। सं.

·सन्देश राराक [सूतीय प्रक्रम [अथ पसन्तवर्णनम् । गयउ सिसिरु वणतिण दहंतु, महु मासु मणोहरु इत्य पतु । गिरिमलयसमीरणु णिरु सरंतु, मयणग्गि' विउयह विप्फुरंतु ॥ २० ॥ सं केवई जणइ सुहं विआसु, विअसंतुं रखनउ दह दिसासु । गावकुसुमपत्त हुय विविहदेसि, अई रेहइ णवसरई विसेसि ॥ २०१॥ बहु विविहराई धण मणहरेहि, सियसाबरतपुष्कंबरेहि। पंगुरणिहिं चचिउ" तणु विचितु, मिलि सहीयहि गेड गिरंति णित्तु ।। २०२ ।। 1A सिर। 20 सिणु । BB मनग्ग। 40निउड्य। 5A पुरेतु। 6B सकोगह। 70 विहंसतु । 8 B C दस | 9Aऐ। 10 A. 'सरऐ। 11 A बिहराइ विभिदराय 1 12 Bहोसि। 13वधि: 14 Aगिरनु । [दिप्यनकरूपा व्याया] [२००] अध पसन्तवर्णनम्-शिशिरो गता, मधुमास: लियोगिनों मदनानि विस्फोरयन् नितां मलयाचलसमीरणो चचौ ॥ २० ॥ [२०१] संकुपितजनसु (१) विकास (स.) विकसरो दशदियभाग(पु) घसन्तोऽपतीपणः । यसिन समागमने नौवनकुस (सोमपत्राः विविधतनामकार- रूपाः। सनवरुचिविशेषेण अत्यन्तं भाति ॥ २० ॥ [२०२] सखीमिर्मिलित्या नित्यं गीतं गायन्तीमिस्तनान) अमिा, यथा [अवधरिका] २०JAथ सन्दवर्णनम् - शिशित गठः, मधुमास: भासः । दियोगिना मदनाम विस्फुरत् लिवरों मध्याचछसमीरणो प्राति ॥ [1] से सम्पर केतकी शुभ विकास मणति उत्पादयति । पादान्ताम्-हे पधिको यो पसन्दो जनस्य च संकोचति, प्रकटं सुखं जनयति । दशसु दिख रम्यः-विहसन् रामो भासः । नानुसुमानि पत्राणि च विविधदेपाणिजातानि। तिविशेषेण नवसस्पतिवरी पोभन्ते ।। [२३] सीभिर्मिलित्वा नित्यं गीतं गायन्तीभिः हुनुहु यथा शर्मिता (1) केन :- विविधरामेण । पुनः-श्वेतसवरशुपाम्बरेपनमनोहर पहरणे ॥

·पच २००-२०४] सन्देश रासक ८३ मह महिउ अंगि बहु गंधमोउ, णं तरणि पमुक्कर सिसिर सोउ । तं पिखिवि मइ सञ्झहि सहीण, लंकोडउ पढियउँ नववल्लहीण ॥ २०३ ॥ गयउ गिम्हु "अइदुसहु वरिसु उविनियइ, सरउ गयउ अइकट्टि हिमंतु पवन्नियइ । सिसिर फरसु बुल्लीणु" कहब रोवंतिया, दुक्करु गमियइ एहु णाहु सुमरंतियइ ॥ २० ॥ वाहिजइ नवकिसलयकरेहि, महुमास लच्छि णं तरुवरेहि। 5A.मरमा 1B मम। 2A तरुणि। 8B पमुफिट । 4 A B ससिर । C मझिहि। 6A सहीय। 7 A.C पदिउ। 8 A गवनाय, वहीय। 9 A गिंभु । 10 A नास्ति 'अ'। 11 C सिसिरु। 12 B विलीय, वाही। 13 A. रोवंतियह । A मादर्श नोपलभ्यते पधमिदम् । 14 B करहि । 15 B मासु । 16 B तम्खरैहि । [टिप्पनकरूपा व्याण्या] चर्चितम् । केन?-विविधरागेन(ण)। पुनः कैश्चित् ?-सर्वरक्तपुष्पास्वरैः घनमनो- हरैः पद्गुरणैश्च ॥ २०२॥ [२०३] बहु यथा गन्धामोदो महमहितः । मन्ये तर(र)णिना-सूर्येण शिशिरशोकस्त्यक्तः । पाठवः] पुर(रु)पहितामिः तरुणीभिः-स्त्रीभिः । प्रेक्ष- (आप) बल्लभाना सखीनां मध्ये लंकोटका पठितः ॥ २०३ ॥ [२०४] अतिदुस्सहो ग्रीष्मो निर्गमितः। पपी च उद्विग्नया निर्गमिता । मम कथमपि महता कप्टेन शिशिरस्पर्शः शीतुरितुः( तः) रोव(सद)न्या गतः । दुक(ख)करो नाथ सरन् एषो निर्गमितम् । पतिबियोगत्यात् ।। २०४ ॥ [मवरिकर] [ २०३] बहु यथा गन्धामोदो महमहितः । मन्ये पणिना-सूर्येण शिशिरशोकस्त्ययः । पाठप्रयः। पुरुषहिताभिस्तरपीमिः-स्त्रीभिः तं प्रेक्ष्य, बल्लभीना सखीनां मध्ये मषा बोटका । पठिता। [२०५] भतिदु.सहो प्रीमो निर्गमितः । वर्षा घोद्विमया निर्गमिता । शरदविकष्टेन गता । हेमन्तः अपम:--प्रास. । शिशिरः फरस(स)कठिनो बोलीनः । कथमपि रदन्टौप दुःखकरो नाथ सरन्या गमिव ·[एतीय प्रक्रम सन्देश रासक रुणझुण करेहि वणि भमरु छुड, केवयकलीहि रसगंधलुद्ध ॥ २०५ ॥ विझंति परम्पर तरु लिहंति, कंटग तिक्ख ते 'गहु गणति । तणु दिवइ रसियह रसह लोहि, णहु पाउ गणिजई पिम्ममोहि ॥ २०६॥ महु पिक्खिवि विभिउ मणिहि हुउ, सुणि" पहिय कहिउ स्वणिज रूळ ॥ २०७।। [अर्द्धम् ] पज्वलंत विरहग्गि तिव्य झालाउलं, मयरद्वउ वि" गजंतु "लहरि घण भाउलं। सहवि दुसहु दुत्तर विचारज्जई" सब्मय", मह हह किवि दुग्गु वणिजइ णिभयं ॥ २० ॥ 1B ऋण माणु: B ममर । BB रसि । A A. पपर। 50 कंटग्गि। 6A ते। लोइ। 8Cगिन B विभउ। 10B मणह। JIA पुणि। 120 मणिज । 13C स्त्रु। 14 A पयरक्षणि। 15 B लहरि गजति पण। 1GB दुतर। 17 Aबिरइन, विवरिना। 1BA. सम्भव । [टिपनकरूपा व्याख्या [२०५] मनु वितर्क-तयविकिसलयकः मधुमासलक्ष्मीराते स । बने बने धारशुरुणायते, केतकीफलिकारसगन्धलुया. ॥ २०५॥ [२०६] परस्पर मिलिते. फण्ट फैविध्यन्ते, परं-तथापि मधुलिदो मधु लिहन्ति । कण्टकामाणि तीक्षणानिन गणपन्ति । रसलोमेन रसिकानों परीर दीयते । नतु पाय(पाप) न गन्ध(ज्य) मोहमोहिमिः पुरुषैः ॥ २०६॥ [२०७] एतरितं हवा मनसि विस्मयो यभूयः । एतद श्रुत्वा पपिकेन रमणीकरूपा कथितः ॥ २०७॥ [२८] मकरम्पजोऽपि धनं यथा भा-आकुलम्, यथा प्रज्वलदिरहानि जीबज्यालाकीणे यथा पर्जन पचते। दुस्तर दुस्सह यथा विषय समय यथा [भवचूरिका] २] केतकीनी परस्पर मिलिले कण्टकैविष्यन्ते, परं-व्यापि मलिशे मधु लिइन्धि, कन्ट- कामाय मीणानि [२] एमपन्ति । उनू सिकायो बसलोभन दीयते, भैममोहन पाप नगपते । {२०७] मधु प्रेक्ष्य मनसि विस्मयो जाता है पविकाश रानीक (रमणीको कमिकम् । [२४] भावलावविरहानिस्तीवरवालाकुरे ममजोशी जेन, हरीभनतिधिक.

·पच २०५-२१० । सन्देश रासक ८५ किसुयई कसिण वणरत्तवास, पच्चक्ख पलासई'धुर्य पलास । सत्रि दुसह हूय पहंजणेण, संजणिउ असुहु वि मुहंजणेण ॥ २०९ ।। निवडंत रेणु" धरपिंजरीहि, अहिययर तविय "णवमंजरीहि । मरु सियल वाइ महि सीयलंतु, णहु जणई सीउ णं खिवइ तंतु ॥ २१० ॥ जसु नामु अलिकउ कहइ लोउ, णहु हरइ खणड्ड असोउ सोउ । 1B किंव: किंमुबह। 2A कसण। 30 पलासय । 4 A. धुइ। 5 B दुरसह । 6A हुय। 7 A पमंजोग । 80 दुसहु। 9 'वि' नास्ति BC 100 सोहंजणेण । 11 BCtण! 12B गय। 18 B सीयल। 14 C वाय। 15 B जणय गं खि। [टिप्पनकरूपा च्याल्पा स्थीयते मया। परं चिन्तयामि मम नेहेन अपीडितः, दुर्गे-स्तम्भतीर्थे निर्भय यथा स मरिश्रयः वाणिज्यं करोति । अथवा रमणीकरूपच्छन्दः रातकस्यैय जातिः॥२०८॥ [२०९] किंम() पुष्पं कन्न(प्ण)घनरतवर्षासदशं जातम् । अतो मन्ये पलासा(शः) प्रत्त(त्यक्ष एवं पलासा(शा)-राक्षसः । सबै भभक्षनेन दुस्सह जातम् । सुईजनेनासुखं जनितम् ॥ २०९ ।। [२१०] नवमरीभिर्निपतद्रेणुना घरा पिजरिताभिरधिकतरं तापिता । मरच्छीतलो महीं सी(शी)वलयन वाति । परं सी(शी)तं न जनयति । मन्ये किंतु तापंक्षिपति ॥ २१०॥ [छवचूरिका] प्रभाकामपाकुले दुःसहे साहित्या सभयं पया दुतरं विचर्षते-भग्यते । मम प्रेहस्प किमपि (1) दुर्ग निर्भय या पिते पा(व्या) प्रियते॥ [२०९] किंशु पुष्पं कृष्णधनवर्णसदृशं जातम् । अतो मन्ये पलास:(.) प्रत्यक्षं पम- पलाश राक्षसः । सर्व ममानेन - पवनेन दुःसहं जातय, सुहानेनासुखं जानतम् ॥ [२०] नवमरीभिर्निपतदेशुना घरा पिलरिटामिाधिकवरं तापिटा । मरीवलो मही भीतल[यान याति, पर शीतं जनपति । मन्ये किं पापं पति ।

·सन्देश राप्तक [इवीय प्रकम कदप्प प्पि सतविय' अगि, साहारई णाहु ण सहार अंगि' ॥ २११ ॥ लहि छिदु बियंमिउ विरह घोरु, करि तड सुणिउ' रडत मोरु । सिहि चडिउ पिक्खि मायदसाह, सुणि पंथिय जं मइ पढिय गाह ॥ २१२ ॥ दूइजउ दुइय" वरहिणीहि" कयहरिस णवरहम्मि" । गयणे पसरियणपदुम धणभंती मुणिय" पुण दुम्म ।। २१३ ॥ 1 BC मदारिया 2C सतविउ । SA. साक्षर Cसाहार । 4Bाहार। 5समि। 68 तहबु । 70सुणिय। B रतु । 9.विद । 10 A. पवित। 11 R O दुइस 1 22 B परिहिणी हि । 13 0 वरिहम्मि। 14 A "दुम । 15 A मुणीय। [दिप्यनकरूपा व्याख्या] [२११] जयोस नाम लोक ] असो(शो)क इति कथयति बदलीकम् । यतोऽशोक क्षणार्द्धमपि मम शोक न हरति । फन्दपदार्पसतप्ताहीं मा नाथ एवं साधारयति, न सहकार ।।२१९॥ [२१२] धोरो रोदो बिरह छिद्र भित्या(या) विकृम्भित । ताण्डव प्रत्या मयूरो न(रोटति । सानसापा(शाखा)या फोकिलसमूद भारुढ दृष्ट्वा भो पथिक या गाथा पदिता सात्व णु ॥ २१२॥ [२१३] है दूत ! नास्थय कृतहर्षामिहिणीमि दूये । अथवा द्वितीयाभिः स्वामि नष्टविरहिणीना शामिये । गगने प्रसरितनवगुभे(मै) धन- प्रान्ति(न्ति) शारया पुनमै ॥ २१३ ।। [परिका] [1] यस्य नाम लोकोऽशोक इति कथयति तदलीकम् । यतीडोका क्षणार्धमपि मम शोकन हरति । क दसवसा नाय एवं साधारपति, न सहका। [१२] हे पविक! छिद्र साधो विरहो विस्मित । मयूरार कृषा रन् भुवः। रिपी-मयूरी मास पसाय पविक शशु या गाया मया पठिता । [२५] पथिक ! नायब तहषभिदिणीभिमग्री भिसे । मयदा दितीयकामियां- भिनष्टविहिनी भिडूये । गगने प्रसारितनवदुमै धनधान्त झावा पुगपे ।

·८७ पप २११-२१६] सन्देश रासक इय' गाह पढिवि उठ्ठिय रुवंत, चिर जुन्न दुख मणि संभरंत । विरहग्गिझाल" पज्जलिअ अंगि, जजरिउ" बाणिहि तणु अणंगि ॥ २१४ ॥ खणु मुणिउ दुसहु जमकालपासु, वर कुसमिहि सोहिङ दस दिसासु । गय णिवड णिरंतर गणि चूय, णवमंजरि" तत्य वसंत इय ।। २१५ ॥ तिहि" सिहरि सुरत्तय कसिण काय, उच्चरहि "भरहु जणु विविह भाय । अइ मणहरु पत्तु मणोह रीड, उच्चरहिं सरसु महुयर झुणीउ ।। २१६ ।। 1 Bइह। 2. पुढवि। 3 B उढिवि। 4 C रुबति। 5A.चिरु, C जिर । GA गुन्हु । 7 B दुक्खु । 8 B मग 190 रामरति । 10C. फाल। 11 B जजरियउ । 12Cणव। 13 A. गोदर सोहियर। 14 B निविड । 15 A "मंजरी। 16 B वसति । +A यादर्श नोपलभ्यते यद्यमिदम् । 17 C तह । 180 किमण। 19 C उचरिहि तरहु। 20Cझणील। [टिप्पनकरूपा व्याश्या]] [२१४] इमां गायां पठित्या रुदन्ती उत्थिता । किं कुर्वन्ती जीर्णटुक(हाखं) मनसि संभरन्ती । पधिक ! विरहाग्निज्वाला अझै प्रज्वलिता । तथा अनवाण- स्तनुः जर्जरीभूता(ता) ॥ २१ ॥ [२१५] यस्मिन वसन्ते क्षण-क्षणमानं यमकालपास(श)सदृशं शातम् । पर कुखमैः दिगविभागा सो(शोभिताः । गगने-आकाशे आश्रमों निविडं गताः। तत्र वसन्ते नूतनाम्नमञ्जयों बभूवा) ॥ २१५ ॥ [२१६] यस्मिन् समये नानाप्रकारैर्भरतभावं उच्चरन्ति तसिन् सुरक्तक्ष. सिप(शिखरे अत्यन्तमनोहरः समयः प्राप्तः । मधुकरा-भ्रमरा: सरसं-सुमनो- हरं शन्दं उश्चरन्ति ॥२१६ ॥ [भवचूरिका [२४] पत्रिक ! एतां गार्धा पडिस्खा रुदन्तु (रदन्ती) अस्थिता। चिरं जाणदुःखं ममास संमारयन्ती । विरहारियाला भने प्रज्वलिता । मनोन पाणैखनुर्नजरितम(सा) [२५] क्षणं ज्ञानं ज(प)ममालपा दुःसहः । पौर-प्रधानः कुमुमति दिशः शोभते । बूला:-भाना निविदा:-निरन्तरा गगनं गता, नवा माखन वसन्ते जागः ॥

·सन्देश रासक [-तृतीय क्रम ८८ कारंड' करहि तह कीर भाइ, कारन पउकाई तह कुणाइ । अईएरिस मयणपरब्बसीउ, कह कह धरती कट्टि जीउ ।। २१७ ॥ जलरहिय मेह संतविध काई', किम कोइल 'कलरउ सहण जाइ। रमणीयण रथिहि परिममंति, तुरारवि तिहुयण वहिरयंति ॥ २१८ ॥ चचरिहि गेउ झुणि करिवि तालु, नञ्चीयइ अउव्य" वसंतकालु। घण निविड हार" परिखिल्लरीहिं, रुणझुण" रउ मेहलकिंकिणीहि ॥ २१९ ॥ 1 B कारेड 12Bाह 180पमुक।4Aऐ150 कहति । 6A अरविष 170 काय । 8 नोइ कलरव, कलिखु । 98 सह 1 10 A तूराव। 11 B तिहुयश | 128 बहरियति बहिरियति । 18 B चहि चञ्चरहि । 14C रवि। 15 C बन्दु। 16 पाल, भाल। 170निर । 18 B हरि । DA रपण। 20 A.Bणीहि । [टिप्यनकरूपा घ्यावया] [२७] तम बसन्ते कीरा-मुका[शा रक-मण्डलं कुर्वन्ति तच कारण्यमयुर यया क्षणति । मह इति कोमलालाप, दरो सममे मदनपर- घसा(शा) जीवं कधेन धरतीय ॥ २१७ ॥ [२१८] जलरहिता मेयाः स(शरीरं सन्तापयन्ति । कोकिलाकलरवः कर्य सधते । रमणीगणाः रध्यामागें परिभ्रमन्ति । तूर्यरवेण त्रिभुवनं पधिरयन्ति जनाः ॥ २१८॥ [२१९] एप यों पसन्तकालो नत्यते । कै-चापरिकजना, कि धरया- वाले ध्वनि ष कृत्वा । पुनः निबिडहारपरिवेएिवामिः युक्तीभिः । पुनः शादाय- मानकिद्विणीनिनादमेखलाभिः ॥ २१ ॥ [अवसूरिका] [10] सन्ते फी-शुका: कार-मीर(1) कुर्वन्ति । द्वन्त्र कारुपयमयुकं यमा कुन्टिमिति कोमकामन्त्रगे, ईशे समये मनपरवशाही स्टेन धान्टीव । [२] बाहिमा काया सन्तापिता । कोकिकानां सायं घोढुं शक्यते । बमणी. गणा रप्यामार्गेषु भ्रमन्ति । परदेण त्रिभुवनं यघिरी क्रियते। [२.५ सदरे-हमा गीत हावा, हानि कृषा, भपूतों धसन्तकालो सुस्यते । चननि- बिहारामिः परिगन्तीमिर्मसाकिरिणामी पुणवः फियते ।। + ·पद्य २१५-२२२] सन्देश रासक गज्जंति तरुणि णवजुन्यणीहि, सुणिं पढियं गाह पिअकंखिरीहिं ।। २२० । [अर्द्धम् ।] एआरिसंमि समए घणदिणरहसोयरंमि लोयंमि । अचहियं मह हियए कंदप्पो खिवइ सरजालं ॥ २२१ ॥ जइ अणक्खर कहिउ मइ पहिय ! घणदुक्खाउन्नियह मयणअग्गि 'विरहिणि पलिलिहि', तं फरसउ मिल्हि तुहु विणयमग्गि पणिज्ज झत्तिहि । तिम' जंपिय जिम कुवइ णहु तं पभणिय जं जुत्तु, आसीसिवि वरकामिणिहि बट्टाऊ पडिउत्तु ।। २२२ ॥ 1 BOजुवणीय। 2 A पढियद । '30अपियरे। 4 A. विरहणि, B विरहिण । 5A B पलनिहि। GB मिल्हेवि तुह। 7 विव 1-8A जिन। 9A "पि भगिर । [टिप्पनकरूपा व्याख्या ] २२०] अस्मिन् समये नवयौवनास्तरुण्यः गर्जन्ति । पठिता गाथां श्रुत्या मियोपरि उत्कण्ठिता जाता ॥ २२०॥ [२२१] पताशे वसन्तसमये दिवसे धनं यथा रसोकरे लोके च याते सति, कन्दप्पो मम हिहि दयेऽधिकतरं शारजालं क्षिपति ॥ २२१ ॥ मथ मन्थमुपसंहरलाह- [२२२] यत् पथिक ! गया घनदुक्खा(खा)पूर्णया मदनामिना विरहेन(ग) च प्रतिया, भनक्षरं कथितम्, तत् कटोरं परिहत्य विनयमार्ग झगिति प्रमणे [:]। तथा कथये यथा [स] न कुप्यति । तद्भणेः यद् युक्तं भवति । एवं कथयित्वा परकामिन्या आशिषि) दत्वा पथिको गमनार्थ प्रयुजितः ॥ २२ ॥ भिवचूरिका] [२२०] नवयौवनाः सियो गन्ति । पतिकाया मयंपा गाथा पाठला ॥ [२२] पलायो बसन्तसमये दिषसे घनं यथा रहसोकरे लोके च पाते सति, कन्दपों मम हदयेऽधिकतरं शारजालं क्षिपति ।। [२२२] यत् पभिक! मया घनदुःखापूर्णया-मदनामिना दिरहेण च प्रलिमा, नक्षरं काधितम्, पर कडोरकं परिहत्य, दिनपमा मया समिति भणेः । तथा क्ययो, पमा न कुप्यति । नमः पार्क भवति । एवं कथयित्वा परजामिन्या पाशिर्ष दुवा पयिको गमना मयुञ्जितः ।। से. १२ ·सन्देश रासक [ तृतीय प्रक्रम ते पडुजिवि चलिय दीहच्छि अइ तरिय, इत्थंतरिय दिसि दक्षिण तिणि जाम दरसिय, आसन्न पहावरिउ दिगु णाहु तिणि झत्ति हरसिय । जेम अचिंतिउ कन्जु तसु सिद्ध खणदि महंतु, तेम पढंत सुर्णतयह जयउ अणाइ अणंतु ॥ २२३ ॥ ICहिहिं से पलिय अच्छि द हरिय। AB तुरियड । BOक्षण। 4A. अचतड, B चितउ। 5A सिंधुयणधु। 6Cषणापतु भतु । [टिप्पनास्था प्यास्मा] [२२३] सा दीर्याशी यावत् तं पय(वि)त्या अति त्वरितं चलिता। अस्मिन्न- घसरे दक्षिणा दिर हटा दैवासन्न यथा पन्थान आपरयन् तया पतियः । घर्पिता इमिति जाता। भयाशीयांदम् -अथ फर्चा मणति-यथा चिन्तित कार्य तस्याः भणा मध्ये महत् सिद्धम्, तथा पटतो ण्यता सिध्यतु । अनाद्यनन्तः परमपुरुषो जयतु ॥ २२३॥ ॥ इति संदेशराश(स)कटिप्पन समासम् ॥ थीममायारशाम्बुधिशशिसहशो हालि(दि)गस्याहजन्मा पुनो मातरतोस्तिलण्या प्रपिदितचरणो रुद्रपल्लीपगरछे । धीमदेवेन्दशिष्या मार-रस-युग भूवत्सरे (१९६५) वृत्तिमेता लक्ष्मीचन्द्रय काराखिलगुणनिधयः सूरयः सो(शोधयन्तु ॥ १।। वृत्तिनाश्यास्प) दशा विलोकि सुरो सुगुरो १) पाय न चाभाणि च भो पर्नु मुस्तस्त्विदं भुवि मया चायावि शास्त्रं कचित् । किन्तु क्षत्रियगाइस्य मुखवो था या म(च!) वृत्ति श्रुता मा(सा) सा ह्यत्र भया विमूढमतिना पात्ती नि[य]द्धा ननु ॥ २॥ यदन्यथा मया पोरत्तोपत्ता) कश्चिदर्थस्तथा पदम् । तदहं नैष जानामि तज्जानात्येव गाइडः ॥ ३॥ * ॥लिखितं धीहिसारदुर्ग अषाढसुदि गएम्यां (धोधवासरे। इश्वरिका] [२१३J सा दीर्घाक्षी यावत्त प्रेषयिवाऽतियार पलिता । अभिनवसरे दक्षिणदिशिया. सदेवाऽऽखन यथा पन्धानमावा[समा पति हर्षिता हरिति शीघ्र जातामयाऽऽशीवाद अन्य भगति- यथाशिन्तित चर्य वस्या क्षणामध्ये महत् शिम, व्या पटां शुग्यता सिमरामनामनन्तपरसपुल्यो जयतु। ॥ इत्यारिः । धौन्देशरामक समाप्तं । पं. नमसमुद्रेण फिसितम् ॥

·सन्देशरासकगतपद्यानुक्रमणिका-अकारायनुक्रमेण । अहणेहिण भासिड रहमद अइकुडिलमार पिडणा मच्छिहि जिद नारिहिं नर अच्छिहि जिह सन्निह भणियत्तखणं जलवरि' अणुराश्य रयहरू अन्य सेस महीरह अवर कह र णिवसभर अपर कह व घरमुद्ध अवर कायि सुविअक्षण अवहट्टय-समय पाइयंमि महवा ण इत्थ दोसो अंगि अगि घणु घुसिणु आएहि पहिय किं पुच्छिपण आमरूप गुल्लरमय भारिट्रिय दमणय गिद्द आसाजलसंसिप्त विरह आसोय सरय महासरीप इम इकिवाद तत्थ रूखु इम कट्रिहिं मइ गमि इम किधि केलि करहि इम तबियड बहु गिभु इम दुक्खह तरलच्छि इम विलवंती फहच इय गाह पदिनि उट्टिय बहु डोमिलउ भणेविणु ईसरसरि सालूरिय उत्तरायणि बहिहि दिवस उल्हवियं गिम्हहवी ऊसासडउन मिल्हवउ एय घयण आयशनि एयारिसंमि समय ओसासंममबद्धसास फहमलुल धवलंग विहा' कसिपायरि विद्वाविद पयाह पद्याङ्क २३ काहय ठाइ सुद्यवच्छ ३२ कहवि इय गाह पंथिय १७४ कहि ण समित्थर सकत १६७ | कारंड फरहि तह कीर २९७ ८४ किकिल्लि कुंज कुंकुम २२ मि जुत्तं सुकुलग्गयाण ६४ | किं तहि देसि पहु फुरइ ૨૮૩ ४७ मिनु पयावर अंधळ (पृ.१५) ५१ किंसुयह कसिण धणरत्त २०२ ४८ कुसुम सराउह रूप ६ केवि दिति रिउणाहद ८ को माइन्निहि चंसथीण १७८ कोमल मुणालणलयं ३५ १२७ कंत जु तह हिमय ७६ ५८/ *कंतु कहिवउ भति (पृ.२८) ६२/खणु मुणिउ दुसह जम' २१५ १०७ खंघउ दुवइ सुणेवि २२१ १७२ | गजति तरुणि णवजुम्वणिहि ५४ गयउ गिम्हु अइ दुसङ २०४ १९२१ गपउ दिवसु थिउ सेस ११३ १८० गयउ सिसिर वणतिण १३९ गयमिइरवि चलाय १२४ गरुअउ परिहब्बु १५७ गाहा तं निसुणेविणु ११ २१४ | गिरिणइसमभावत्तं ३७ ९६ गिंभताविण सरतविय १५५ गुणणिहि जलविंदुभवहि १५० २१२ चच्चरिहि गेउयुणि करिवि १४९ चिकणरउ वाइहि ७३ छाय फुल्ल फल रहिय ६६ छायंती कह फहव २२१ जह अस्थि कई गंगा ९७ / जहअस्थि पारिजामो १४३ जद मणक्खर कहिउ मा २२२ १७७१ जइ अंबरु उग्गिलइ १०१ २०० ·१२ सन्देशरासमपधानुक्रमणिया पार . १२८ १३१ ४ १३४ २९६ ७ आई परहुपहि रहिये अइ पिम्मविओयविसं जह पदुलदुखसमीलिया जह भरद्वभाषचंदे অঃ গ পবিত্র গী जामयगछुमउमरप जापिरविराम गट्ट जासरवामि विमले जत्थ गओ सो सुमो जम जीदद णं चंचलु जल रहिय मेहसंतविध जलिउ पहिय सम्पंगु जसु निगमि रेणुकाहि जमुनामु मलिकउ कहा जतु परसंत प पपसिधा जा जस्स कधसत्ती जामिणि गमियह इम जामिणि वणित जालंपरिधभजिया जिणि इउ विरहह पुरि अंबीर मुहंजण नापण ससुवकपूर याहुल हिमहर पहिय जलिहि झंपवि तम यद्दलिण टाहि ठाहि मिमिसिद्ध दलद सयवसिप पटु मूलु पिनसंगि लाहु पत्थि तिमणि च पथरणामु सामोर णगिम्दागमि पहिय पाह मययणरेह विणरगय यमेहमालमालिय मा दलिया कप्पूरसार पहरा चुहा कविता मायपिसद पदपद्ध णिभकवित्तह विज गिट्टर फल्गु सा मणमहि णियदइयह उकंखिरिय पचार ५.णियलरियणतर ११५ मिसि पहरद्धय दीया १६ पिसि सयपि पितु १५ तश्या णिषत णियेसि० १०४ तउ पिपिपय दिति १४ तणु घणसारिण चंदक्षिण १०० तणु दीवन्दसासि सोसिना १४ तरुणादि पतापमुधिष १२८ तवणतित्यु चाउदिति १३२६षणरस्पारण २१८ तहसिरियणिपत्ति १८५ तह तणमो पुलकमलो ६५ तह पचिहि संसगिहि २१९ तहि सिद्दरि सुरत ७०ता कदम तेण किं सुमरिरण १७वा केम पहिय णिसिसमए १५८ ताण कईण थम्हा' १५६ सिलउ भारयलि तुरक्षित ३८/य समरंत समाहि ९२ तुरिय णियगमणु इच्छंतु ६३ वह चिरहपहर संचूरिआई १७९ तह पुणु कति द्विमायला तेय विएसि फिरतय ततीपाचं णिसुयं ३० से जि पहिय पिक्सेविणु तंज मेद्दल दवर तिं पहुंजिवि घलिय दीइच्छि दक्षिणमा गितह दारयकुंडयाल तंव दितिय णिसि दीवालिय १३० दीदासासिहिदहरयणी ११२ दूरजउ दृश्य वरहिणिदि १५३ दोहउ पह पटेचिश १८८ धम्मिलह संचरणुन घणु २१ धवलिय धवल संप १५ धूरजह तह अगय धुलिण पूच विति गुरुमति १६६ मर घउच्च विमविय १४ नारसरि. मोहिम पूगमाल ८२ ८८ २७ १५३ १०६ ५६ ·सन्देशरासकपद्यानुक्रमणिका ९३ पद्याह • ५६ २ १२९ ५० १ ३३ १५४ ३२ ७१ २१२ ८७ २०५ २९| विजयनयरह कानि पद्याका निवदंत रेणु धरपिंजरीहिं २१० माउलिंग मालूर मोय पउदंड पेसिजइ झाल १४० माणुस्स दिव्य विजाहरेहि पउ मोडवि निमिसिद्ध ६८ मुकाई जत्थ पिए पचापति पहभो ३ रमणभार गुरु बियडर पजलंत विरहग्गि तिब्द २०८ रयणायरधरगिरि तरुवराई पडिउट्टिय सविलक्ख २८ रयणीतमविदवणो पडिविवउ दरसिना १६४ रायरस कंठगि विउच्ची पढवि इय गाह मिय ८५ गावि खणद्ध फुसपि पहियण सिज्झह किरि ९९ रेहति पजमराइव पहियवयण आयनिवि दीहर १२५ लजवि पंथिय जइ पहियययण आयनिवि पिम्म ११८ लहि छिडु वियंभिउ मिरह पहिउ भणइ फणयगि ११७ ल्हसिउ अंतु उद्धसिउ पहिउ भणइ धिरु होहि ९८ लेसूद्ध एल लंधिय +पहिउ भणइ विवि दोहा (पृ.१५ लोयणजुयं च णनाद पहिउ भणइ पडिजि ९१ पहिउ भणह पसयच्छि तुरियड वयण णिसुणेवि मणमस्थ पहिउ भणद पसयच्छि धीरि वाहिजा नवकिसलय पहिउ भणद पहिजंत पाइय पिय घडयानलहु विज्झति परुप्पर तय लिइंति पाणी तणर विउ (पृ.२८) बियसाविय रवियरहि पिअमिरहानल संतविम ७५ विरह परिगह छाड बिलवंती अलहंत निंद पिउ चावहि भणिजद विविहविभक्षण सत्यिहि पिप्पल पाडल पुय पलास मियविरह विओर विसमसिज विलुलतिय वंक कडक्खिहि तिक्विहि पुण पिउ समरिय पहिय पुष्यदिसि हि तमु पसरित | सकसाय णवन्भिस सुद्ध सयलज सिरेविणु पयर्डि, पुग्घच्छेयाण णमो फल विरहग्गि पवासि ११४ ससिजुन्हनिसासु सुसोहिय कुसइ लोयण रच २५ सिहणा सुपण खला यगु मिल्हवि सलिलद्दहु सुन्नारह जिम मह हियर बहुविविहराइ घश मणरे हि ममुहजुयल सन्नद्ध ५२ सेरेधिहि घणसारु ण चंदशु मईजाणित पिउ आणि १९७ सासिजत विवजह मइ घणु दुक्खु सहप्पि १९९) सोहइ सलिल सरिहि मच्छरभय संचरिष्ट रति १४६ संकेवह जण सुहं पियासु मचमुम संविउ वियह १९५ संदेसडउ सवित्थरड पर हउ मयणसमीर निहुय विरहा' १२० महण समरिथम विरह सउ ७९ संपडिउजु सिक्स मह महिउ अंगि पाहु २०३ हरियंदशु सिसिरत्यु महहिययं रणयनिहीं ११९ / हाय कस वि थूलावलि मह पिविखवि बिमित २०७ | हंसिहि कंदुष्टिहि घुधिषि २०६ १३७ ७८ १९० ४३ १४७ १७१ ५ २०२ सुरहिगंधु रमपीड सरल २०१ २० ,१३५ ४१ १६२ ·सन्देश रासक शब्द कोप। [अकारादिक्रमानुसार] अ भिच्छ-स् (श हु, हे, इ.) अच्छा ७९, ३२००, उद६०, भनिहि अ१५३ च (0 (3) 0 मा २१७ कोमलसापेऽव्ययम् [[मच्छय १३३ अध सइयायलय ११३ (= पनि आकुल!) For]च्छि २०७,२२३ (यपा-दीक्षाछि, मयुरमुक दीइच्छि) भक्षि उन्हय १३२ मयुष्ण मासिनि १५१ अतिरिका भज १०९ च (हि. गु, मात्र) सरणेद्द २३ अतिपद | अट्ठ ३१ थर (हि.गु. आठ) | अण' (यथा- भगाइ, भगायर, अपांत, मर्णग) भारतिय (अधि) १५९ अगस्ति [नक्षत्र] मर्थ भव्यय (गु, मण) पादुमा १५९ मतिदुर्ग बपिटि १८४ अतिश्या अणकिय १०२ अकृत धामणहर २१६ मंतिमनोर अपार १०५ परति मामल्हिरय ५० अति-मदिरा [ Vमद अपरसिय १८५ भरसिक लीराकरणे अतिशयलीलायुक्त, प्रतिमन्थर. मगर (२० अपिरह) १९ भाचि ( महालय) अपक्खर २२२ मनशर (अनुचितरच. नार्थक) माराया १४० भरावती] विद्युत् अजंग ५२ मा मा सच्च्या १३३ भतिस छायति(क) अणंतु २२३ अनंत अधिशोमते | अगल १२० मनक यउच्च ३२९ पूर्व अणार २२३ अनादि भैसुगु-कान्ति थणापर १८६अनादर सुप १५० मधु (हिं. गु.ास) वणिमिस' १४७ मानिमिष घयाय ९२ माता मणिरर १९९ (१० भणह) भरवि भक मोरिस (*) १९५ अाकर्ष अशुभचि १३० अशु+कान भविसयस- भोपरार १९ भक्षा वर्ण कहा-अशुचि] भनुगप मफिस १७६ पति (६. गुगोस) अगर ५८९ मगर सणुराय १५७ अनुराग PR१५४ अर मणुराइय २२ [ "मनुमगिक अनुरागिन् थणुसरिय २८ अनुगव मगार५१ भोपाम् (दि..आगे) भग' १७७ अनेक "मणि २४ मति (हिं. गु भाग) "] १२५ मा (पश-दुखित्त दुस्सात) भागीहर १९५ [=] मनिया सत्य' ९२मर्थ यर्वितिय २२३ भागिर माथम ११३ जखमा अपरिय १२० माचर्य (हि. गु मघरज) अस्थमण १९७८मसापन अपदिय २२१ कि भिर २५सयद ·अंग २५ अंत २२३ " सन्देशरासक-शब्दकोप ९५ अद्धायट्टय १९५ मर्धावत (भोरकलित) अवत्थ १०५ अवस्था सावर ९६ अपर अंगभंग १०५ अंगय्यथा अपलोय १८४ भवखोकिरा []गुट्टा ४१ अंगुष्ठ (गु. अंगुटो) अवलोयण ९४ अवलोकन अंगुल १८९ अवसु १९९ अयम् अवश्यम् []गुलि ६६ (ए. मागळी) | अवहार:अव+घारय, अवहारि ३० अंचल ९८ (गु. भाचळी) अस १५८ (१) भसुः भाशा "[अंजुलि १३० अंजलि असंचर १४५ असमस्थ ८० भसमर्थ अंतर १४२ अंतराल, ६५ देयं, १४ अम्वर असहतिय १३१ असदंती "भतरिय १९३ अंतरित असुह १३१ मसुख [भ]धार १३९ अंधकार (गु. अंधार, असेस १९२ अशेप अंधा) असेविय' १९३ असेवित अन्न १८९,४६ अन्य असोय २११ अशोक अन्नय६४ भन्य अह ५४,१३५१ अहर५१ अधर अन्नइ ११७ [अन्यत्-चित् । ] अन्यश्च (गु. अने) अहव १८३ अथवा V अप्प-भ (गु. आप) भपियइ १२४ अहवा९१ अहिणवियाइ ४४ ("वियइ) अभिनूपते अप्प ९५मारमन् अहि. १३५ अधि' गबुह २१ भबुध अहिय ६७ भधिक अबुहत्तण २१ ['तण <"खन] अवुधस्व गम्भितर १९४ अम्पन्धर 311 | 'आइ २२३ आदि अमल १७३ आइ १९१०-पायय भायय अमियमयूह १३७ अमृतमयूख चन्द्र आइचिहि ५५६० आयपणहि अंबर १४८ - गगन, १०१ = परख [ आ]उनिय २२२ आपूर्णित (यथा- अंबुहर १३९ अंबुधर दुक्खाउशिय) अम्हारिय १०५= भसदीय "[आ] उल १४६ आफुल-व्यास भरमणीय १५७, - फरपत्रम् आ] उलिय ९४ पाकुलित ज्याझुलित अरविय १३७ अरविंद आउद्द १०५सायुध अरु २५ प-अथ घ (हिं भर) | भापसियय ६५ भादेशितभादिष्ट "अरुण ५० अरणव, आयय ६७ भागत (दि. माया) भाइयय ४१-माययय अलय८७थलक आइ १९१-आय, भापय मलईत १८ मशाव,-भईसय ४९, भल. आयपण (M) =ाकर्ण इंतिय १५७ भायणहि ८५, सापन्निहि 114 अलिय १३८ मलिक भापति ३०,९८ भलिकप २११ मलिक "आयर १८६ भादर भमंगल १०९ अमिप २३ अमृत आइयय ४१ "अलंकरण १८७ ·सन्देशरासक-शब्दकोष 'भारंखिरिय १३ मा काक्ष-1 ( १०० एक भाकांक्षन्ती म.१९९-एकदापि, एकचिन ! (शुपये) भाफत्तिय १३१ भाकान्त फिलिप १९२० इक भासोयण १२३,१२५ (३) कोयण, [गया- १६६ एकर (गु एकेक) मयणाकोयगि], मइनयुक्तचेमदन-पस १५५(ईस) चेपायुक्त इच्छ= Vइच्छ (१ इच्च्यू) इच्छन्त ८२, मागम ५२%ागमन इच्छन्तिय १९० [भा] डबर १४८ "आणण २४ मानयन Vाण= आनी ( भाग) इणि ११३समिन् आणि १९७ भानीय, आप्पिय १११ आनीत इत्यंतरि १०७ अनाम्परे यामगियर १०१ माम्यह, आयज्यले इदीवर २९ मालय ६२ नीड दौत्र १४३ इन्दगोष थालकियय ४८ [भरुकिय ] अळकृत इस ९४ एषम् (गु ऍम, इम) थारसि १०५,१५१ भलस (गु भाळा) हा १५२९५ = एतद् आलिंगपा ९४ भालिंगम ईसरसरि १५५ ईषत् स्वर= लघुशब्द 'यायय १९५ (१ उत्कलित) भावरिय ८७,२२३ (१ भात) उ भावलय ११३,८८( आटल) याकुक उ १५२ उत-प्रत्युत (1) "आधिलि २६ "उयर१९८ उवर भावाणिय १९४१ उक्कपिरिय ९४ [उद्+का+हर ] Vाव [साप्१] अर+म् ( आचई) उत्करिता . उकित भाविहसि १९, "(मा)यि १९७ उकट १२० उरकण्डा "आस८५, "आसा १०६, भासा | उफर १११ उकासमूह भासणय ८६ भासन करडि ६९, (गु उकाडी) सग ९४ "अखि १०८ उत्साक्षा आसन्न २९ "कोयण १०४ कौकुच [१० आकोपण] भासास. [मा+Vास्] = आश्वासय गउ १८१ उद्गम मासासि १५, मासासिजह उगिलन्त १०० (उद्विद] उद्वान् सासीस- भा+शाम Vउचाव भासीसिवि २२२, भासीसिय ४५ (ति) भाशिषा उधरिय ४४ आइरा १६७ बाभरण उच्छल-रक्ष+विष ६ एलि १६२() |वित्त १२० सिक इय ७४ इमाम् उजगय १०५[Vउमा उभिार], इत्ति ८० एकत्र एकस्मिन् कलिय ९२, इ१९२ एमकिनी (गु एक्ली) उबल ५१ उश्वल उमाण ५४ उद्यान उहत १३६ उतिष्ठन्ती ·९७ } } सन्देशरासक-शब्दकोष उट्टिय १९२ वन्धित 'उड़ीणय २५१ ऊसारिय १८६ उरसारित उणंदीया १८२ (१) न आनम्बते उत्तट्टि ९७ ए उमा उत्तट्टिया ८३) एय २०एसद् उत्तंग २४ रत्तुंग' एग १८० एक उत्तरायण ११२ एम १९९ एवम् (गु. पॅम) उत्तापलय ९२ उरमुक, (. उताप) परिस २१७ ईश उत्तावलि २६ पुपी, एपा उद्धसिय ८७ (१)[ उद्यम १] उपित() एड २० । उसय ६५ उपत ओ उसमियय १३३ मोसास ९७ (१) उपवास -उसमिद उन्नयियय १४८ ओस १८३ मोससित[मवश्याय-सितः ] "उन्हय १३२ उष्ण (गु. उन्) उच्चसिव (ग. मोस) उन्हत्त १०७ उष्णत्व, सनि [मोह] १९१ रोष उपपत्ति ८९ उत्पत्ति य (इत्यात्मक) उब्धिविर ८७ फिश (गु. फी) लिस य १०३,१७६,२२३५ [उभय १३७ उद्भव "यण १९३गण 'उमुक" २५ उन्मुक्त 'यण २१८ जन उयारय १८८ कक्षा; उपवरक (गु. ओरडो) यर १३७ [क] किरण [उयरिया, सोपरिया (राजस्थानी-यल ५५ वर मोवरि) नोभरप-भपवरक] |यर ५१ दल उक्त ९७ उलय १४५ }[उ रुदन] उ इति मधिक रुदिता क १८ क (प्रभाय सर्वनाम) के४५ केचित् "उल°१४७ कुल को पुग ९५ कः पुनः (गु. कपण) उल्लिहह ४१ [उदालिन् ] उलिखति Vउल्ह-विमापय् (गु. बोलवतुं, कु-वि १४८ कोऽपि होलवयु)-विध्याति किं-पि ६८ बल्दव १३७, उन्हविय १४९ किवि ९१ (किं वि) उहाव-यर ६७[Vउन्हसकर] विमापक | कुन ४२ कुपि उवर १३५ उदर-उरम् का वि कापि (त्रि.)कोन ५२ कमपि- अवश्य मिल। "[]वरि १५८ उपर उवाडयणि १९९ (१) गईभी 'कयत्थि ५२ कृतार्या "उव्व २१९ | कइय' १२२ कदा, कइय-लगि२२ कदा- उचिन्न ६८ उद्विम,उन्विनिय ६९,या ८५. प्रभृति (दु. nि) उचम १९९पमा कओल १८७ कपोक उवेउ १३६ उद्वेग कय(होवर ४४ कविवर उससंतिया ८३ उच्चसन्ती कज २२३ कार्य उसाख ११८,२९२ अष्ट्रास कट१८० कट सं. १३ ·सन्देशसफ-शब्दकोप Vफसरद-भाष्यमाणकोदस्य का कलयल १४४ कलकर इति शम्दे, कापडवि १८५ कलस २९ कलश कडपख १२३क्टाक्ष फल (. क) कलिजहि ५२ पविय १७७ कमर (गु. काटा, चित्र- 'कली २०५ फलिप, मन्दि (गु. कठी, का इसाधक) फल्लोड १४२ कढिण ८५ कठिन कवण ६४ प्रमाणे सर्वनाम "कण १९८ (गु. कोण, हि. कौन) कणय २४ कणपगि नयादी कबाल ८६ कपाल-शिरोऽस्थि, माश फंटम २०६ कंदमाग भटकान कधालिय १८५ कापालिक फत्वचि ४४ कुत्र+मपि 'कवित्त १० करिव कदम १४३ कर्दम कपोल ५२ पोष कसिरि १३३, ऋखिरी २२० सिण. ७ कृष्ण कालिमा कांती पंत ७६कांत, सरतय १६७ कह-ए (गु. कईई) कह १८, काउ ९१, कति ८७ काति कहत [कय स ] ८१, कार ६८, का पंदप १७८ कंदर्प २३, कहिप १२, कहिन क्थे कहिल 44 हिजसु, कहिस कंदुर १३२ उसक [कंदोर्ट नीलोत्पलम्] S, कहनि ७४, कहिचर २१, कह. कपूर १७९ कर पिज 1 कहिय १७, कहियय १३ कम ३० पद फहि १०५ (कई ग सफर कायम न पामोमि (गु. कधी न ) फरक (गु. कराँ) कोड ०८, करेति २०५, की ९, १४ (की. कहणह८० (कयनस्य) मथनाय रहि) करहि १६, की १०९, कहाशम जाकथितम् । याति कार विकरवि १९, काल ९२, किय १९३, चीय १९५, कियप फहन्छ कुन १५५ १२, फीयय १९९ कर १५७ च्यामिक फर१३० हर कद कह दि १८ कथमपि 'कर १३१ किरण "कद्द १८२ कथा करयल १४२ (कलपट) कककक कहि सत्र (गुः कkि) फरप्पन्कन्द (गु. करपर कौर १२५ (काह) किम् (ए. कॉ, काई) फरप्पियह १२५ कप्यते काय २१६ कापा (गु.काय) कार२१८ करळय १४१(१) रस-पसण्या फाम १८२ (गु.सगारे-की) रणवीषि कामिय २२ कामिक (सु.कामी) फरपच १२१ करपत्रम् (गु. फरवर) कामिणि ५०नी (गु कामनी) "करि ४६ कारिन कारंड २७ () मलम, नीदम् । करण'१३४ काम २१७ कारण्य कल १८३ काल ९४ समय कलयदि १५४ कटी चोकिया पाटगुलि ८१ फनिशालि .

·किरण १४१ . सन्देशरासक-शब्दकोष फावालिय ८६ करपालिक | कैलीहर १९४ कदलीगृह कापालिणि ८६ कापालिनी "कोण ४७ कौकुश्या . आकोणि फाहल ४५ काइला कोयंड़ ५२ कोदंत कि ७७ (किं)-किम् कोइल १४८ कोकिन्छ किंकिणि २६ जी कोऊहल १९ कौमहल किम ६९ (किव) कथम् (गु. केम) कोहलिय ३० कोहलित किम्मा १२८ किम+ (<< कोलिय° १९ कौलिक तुपाय शापि) (गु. फेमे) कोसिल १८६ कौशल्य ख किरि ९९ किल खयहि १३७ खयह (1), क्षपयदि किसण १५८ कृष्ण खलोय १६५ खद्योत "किसलय २०५ खटुंग ८६ (१)खट्वान = पस्यकपाद) योग्यु. किहु ९६ (किं किं पल) किमपि पकरण कीर २१७ खण १२क्षण फुकवित्त २१ कुकविश्व खंभात्त ६५ सम्मतीर्थ (पु. संभात) कुट्ट' १७३ प्रहार खर १४२ "कुडिल १७७ कुटिल खल-स्खल, खलहि ५४, सठिय 6. कुंडयाल' १७५ वर्तुल (गु. हुडा) खल १८४ (प. खळ) कुंड-कुंडलिय-कुंडवालः यथा चाक-साम ११८ शाम चलिर-चकवाल पेंड-पंडलिय-पेंडवाल, खामोयरिय ११८ क्षामोदरी मुद-सुरुवाल] खार' १३७ क्षार (गु, सार) खिज-खिध, खिजा ५५ कुण्डलिय ४९ कुण्डलित = कुण्डलाकार कुंथुम ८७ (गु. कंकु) खिन्नि १५५ खि कुंज' १६४ कोच [पु. कुंज.] खिलंसय १७३ सिद्ध-श्रीदे (ए. कुंजर' १३३ कुंद-चयि' १९५ कुन्दचतुर्थी (43-सिव (सिवा १३७,२१० (क्षिपति) स्थिगु, चोथ) खितिय १४०,१४ा पोवन्धी चित्त १३६, खिसय १७८ क्षिस कुंभ १०० खिसिय २६ खिस-सुपू (गु, सस) "कुणक, कुणा १८३) कुर्णति १८३ (कुणाकण (1) कुणाई २१० कुणइ खुब सुदद ८६ दूरीभवति (रा. खो) "खेम १५१ खेद कणति (1) कुर्वन्ति, पुर्णती १५५ ग "कुप्पास २८-कूल, कामुक कुरगि ९७ कुरंगी गय ५८, गइय १९ गत गय २६,८७, १०५, १७१ गति गयण १३९ गगन गम्गिर २९ [ गगइर (0] गाव गज गर्नु (गु, गाजk) गर्जति २२०, फेलि १८० गजंत २०८, गजित ११३ खेलधु) कुवह २२२ कुप्यति कुसुम १०६ कुसुमसर १३७"शर कुहर ९२ ·१०० सन्देशरासक-शब्दकोष गण-गण (गु. गण) गर्णति २०६, गणि- घ घडिय १५४ पटित (ग. पा) गठि२७ प्रथि घण १०६ धन, पद ५३ (गु. पण) गंड ४८ १३३ मेष गंध१८४ घणसार १३८ धनसार गंयकरिस १९५ (मधुरिस) गंभोरकर्ष घर १६७ गृह (गु. घर) गंधमोम २०३ गंपामोदर घरणिय १०३, परिगृहिणी (गु. घरणी, गंधयहि १३३ [°वहिन] गंधवह घरुणी) मम् = , गमहि १०२, गमियह १४२, घिल्लिय ९२ क्षिस (गु. घाल) १५८, गम्मियह 110, मिजा ६४ हिवि १६२. Vघु-पिए मामिप, 100, गम्मियड |घुरदुप १३९ सरोपं गति गम ११३ गमन | घुसिण १७८ पुसूण गमण १०९। घोर०१३९ गरिट्ट ३१ गरिया च गरुभय ७७ गुरु (गु, गर) गरुय१३९ गुरु चियू-खज, पदवि २७ *गल १७१ (गु. गर्छ) पलरिचय १५० क्षित चउकय १२५ चतुष्क गह पट गहिदि १५१, १९७ चउग्गणी १५६ चमुर्गुणा (गु, बोगी) 'गहिलिय १९६ [महाछ] प्रयिका (सु. चउदिसि १३९, धनुर्दियाः घदी) घउपेह ४३ चतुर्वेदिन पादप १८९ (पु. गाई) चफायह१७७ प्रभाव गाह ८३ गाथा चच्च, पचंति ३६ चरिय १७७ मिजा १५७ गी- चयकिय १६८ प हितमर्विस गिम १३९ प्रीम चचरि २१९ वर्धी गिम्ह १३०, २०४ प्रीम (गु. धीम) चर-माद (गु बार्बु, धदा) चहल 'गिर २१ गिरा १०६ (चटति), पाइपड ५२ गिर-ग, गिरेति ३०२, गिरव १५५ (पाप्यते) परि १४४ चडिय गीय १८० गीत ve, घडी १५ 'गुण १३७ चंचल २६ (गु. संचल) गुण' ९७ क्या चंद १२२ चंद्र (गु. चोदा चोदो) गुरु १६९ महत् चंदण १३७ पंदन गुहिर १३९ गभीरगुहागभीर चंपरल १८७ रम्तेल (गु. पैल) चंबाय ५३ उपानहरिधर्मपाद!] गोयंगण १४६०गो पजः चमकय ५० उपानइलमचमाती गोयंगण १४६ गोशंगना चमझरि १७१ [चमकरी] आमाकारका- गोयासण १६९ गासन रिणी 'गोपर १७८ ( गोपुर चरण २७ गोप ११३[प्रमान दिवस चलंति १०५ चलंती गोय १५७ ·ज जावि १०० सन्देशरासक-शब्दकोप चलिय २६ पलिट चलण २५ चरण ज२० पद 'चलत्य १६९ (१) रंगचलस्थिहि-तुरंगम- शालासु चिलून धरुय्, (गु. घालवू) घहि ४५, जय जयउ २२३ जं२७, २२२ याबद् चलिय १५ जर४३, १९१ यदि चल४५ चछचल शब्द यापि चवण ९४ [चण] दशनसण्डन चार ४४ स्यामिन् जय ९(जहमा) यदा। जय कालि पमिन् काले चाउद्दिस ६५ धातुर्दिश चापड १३३ चातकी जग १३७ जगर (गु.जग) चिकण ५३ बिग्ध (गु. चीक) जग्गंत १५८ जग्ग-जागृ (गु. जाग) चित्त ९६ चित्र | जजरिय ६७ पारित (ए. जाजर). चित्त १६७ चित्रविचित्र जडिस १५४ जटित, सचित-(ग.नाएँ) चित्त १८५ मनम् (गु. चीत) जण जनय, जणा३७ (गु. जगर्नु) चित्तपिचित्त १६७ चित्रविचित्र जण २१६ मनुष्प (. जण) चित्तदर १८५ ३९, १०५ बहुपचना, समूहा. चितिय २२३ बितिव जणण १३६ जनक जणु ६१,१७० (०), २१६ (१) चिरगउ १८[चिरगत शिवसित जरथ ११२ यत्र चुंपण ९४ चुंबन Vi पर, जंप ३०, जंह स, पंती ५०, अंपिरी १८२, पिनट ८२, जंपिय २२२, (जैपिस) Vorमुप, पडिवि ०५ कथयो "छण १९५ [क्षण] उत्सव जम'१३२ पम छम १४३ एम (गु.गाई) 'जम्म १३७ भन्मन् छम्मयल १६० [जमल (पागाउ जलपर (पु. जणु) र ८९, छय १३७ (श "छल १७२ (गु.पळ) जल'१६२ मीर, २४ मम उज्य ६४ छापा जाम्पा (प्र. पात, भजार ११, छायंती २९ घाईती पाहनि., घायउ ६४ पारित (गु.) चाइमा , जादि ., 'छार' १२० [क्षार] रक्षा (-रारा पार) प्राइसिमा 11 मारपर "पायड ७८(१) ८२ छित ४७क्षित बादलीत गि २१२ जागतिय १४ जाग गए सित ३५४ान, समन् (गु.मागी) Vापा.(पृ.नान) पापिया गतिविमा141, सागर चिर१५४ साईतिय" अडिप १८५ पुर पुर[२] रवि ॥ एकाशित ऐगर १८[ml-ATT ·सन्देशरासक-शब्दकोष जीवनय 111 जाम २२३ यावद Vझलम घलक ( TRY) झलक जामिणि १५५ यामिनी कति 11,सतिय झल- जालपरि ६६, १२३ कदली किय.. (पालशलकिनर) जि.२६ एव (गुज) शस्त १३१ (ज्वर) जिण-जि, सिगिवि . ससुर १७२ भागवहीदल-बाल जिणण १२२ जयन 'दाल १२० प्वाला (गु शाळ) जिण्ण १५ जीर्ण झालापति १७० सालावलि जिम ११, १०३ पपा (गु जैम) V झिग्नक्षीय, हिरवार १५, शिमाह जिह १६७ यासाम् १५५, शिक्षति १०३, सिवाद १६५ जीय १५४ जीव मीण १७१, शीणप ५५ क्षीण, सूक्ष्म (7 Vजीयपी, (गु जीवई) जीवर्ड 100, सी) Vझुणध्वन, मुणतिय ५३ जी १३२ जीता शुणि १३४ स्थानि शुय १८९ युग Vझुर- राशि (गु पर) धरत ९५, जुयल ५१ युगल सुरंत १२३ जुयलय ५२ घुगलक Vझुल्ल खोल (गु ला हाति १३४ जुत्त २२२ पुक्त शुन २१४-जूर्ण, भाणे (मुगk) शुन्द २६० ज्योत्या टास्या, ठहि १०, ठिय (द्विय) ७५ शुवाण १७४ शुबन (गु जुबान, जवान) उप-स्थापर, वह २०, उविय 114 जेम २२३ यथा (जेम) ठाइ ४३ (गु ठाम)[<स्थामन् ] स्याने जोवरण (गु भोदूं) जोयवय ५४, ओहवि १९, जोयय (२०) २५, Vडग्झए (गुदाई ) जसति १५० जोयण ६४ योजन "डर १९३ [1] अप (गुर) जोइपख १७६-ज्योतिष्क, दीप उसन ५० [पाना दल जोहयप ९७ खिर १९३ फल पनरहित शुष्काय वृक्ष झषर १९२ ग्यालकनाम पवन, महापाप (हिं मखड) दुशय १८६ दर (एक) सुच के दौकयामास पास V-पार, सह सति हाडि १९२ (डी) निरष्टि ण-न क्षति ९ [NOR, इति-ति] शसिहिप ७८, नाम १८२(१)न खर १३२ शुक्तक ( ( झाँखा) || २९, १८२, नु दिव क्षप-भास, शापनि १४८ (१)व्यायाणहु २०६, २२२ न सल (२)माकम्य नयण ६४ नयन झपमाण, सपती २९, अपिपय १२२॥णयर५५ नगर Vतर, अरंत १२२ (सा) पकत १०४[1] मकान्वचासिकान्त झल १३७ इला-मृगतृष्णा [२] नकान्त रानिपान्त १५१ दिदि ·| निन्नेह ९९, सन्देशरासक -शब्दकोष १०३ Vणच-मुरम् (गु. नावं) मनीया | णित्त २८ (१) मेनपटम् (मच्चि') २१९ णिय ९५ निर्दय णजइ २४ ज्ञायते णियर ६७ निर्दयर जणिय ४५ [ Vननद ] नसिका णिहोस ९९ निदोप 'नई ४६ नट किंद २४,नि-१९०, १९१ निवा(गु.नाद) ग? १०० नष्ट | णिन्नासण १५८ [निर+माश ] निणोंशक णस्थि १८ नास्ति (गु. नथी) निनेहय १० मिने गंदीया (f.) १४२ निद्रीयते "णिवद्धय ४५, नि ५३ निबद्ध नर४६ |णिमय २०८ निर्भय नलचरिय ४४ नलचरित "णिभर १२० निर्भर नव ५३, नवयं ३०० मधीन (गु. गर्बु) निभंति १२८ निर्धारित णय २७ नयन् (गु. नय) णिमिस ९६ निमेपम् णवशुध्वणी २२० नवयौवना णिमिसिद्ध १९, ३०, १८२ निमेपार्दम् (गु. मवजवान) जिम्मल १८३, नि. १६० निर्मल णद५१ नख 'णिम्मघिय ३१ निमापित मह १४० नम गिरक्खर १९१ निरक्षर णयल्लिय १४८ (णहवाही) विद्युत् जिरंतरिय १३४ निरन्तर ११५ माइ १११,५२, णाय १७०, यायं ५३ हवा निरवपिख ७८ निरपेक्षम् णाय १४३ नागस णिरु ४३, १०२ निश्चितम् १८,९५ निवा पायर ४२ मागर निलय ७७ 'गाडइ४६ नाटदिन् णियड १३४ नि'५७ निविड णाम ६४, ना २७ नाम गियडम्भर ४७ (इ) निविडोदुर पारि७४ नारी नियत २१०निपतत् णाय १४२ (1) नौ (गु. नाव) | "नियह १३३ णाविय १९७ ण+माविय (गु. मायु) | णिवेहिप १८९ निपेशित निविट णिवासियय १३० प्रयसिद णाद६७ नाथ णादि०४९ नाभि निविड २१९ निविट णिय १९, निम २९ निन 'णिवेसिय ९५ निषेशिव णिमत्तय ३० नियत निस १५५, णिसि १०५ निशा (गु.निपा) जिउदय ११२ नियोजित मिसायर ८७ निशाचर णियय २६९ (१) नियत जिसियरिय ८७ निशाचरी ‘णिभR, गियंत ३५९, नियंती Vणिमुण-निश्शु, णिमुनि ३०, णिमुटु णियंसण २८ निवसन-शिरोवन १५, निमुणेवि , णिगय १५४ निर्गव शिमुनि ५ जिगाम ६९ निर्गम निस्साहार १३४ निरापार= निस्सापार निग्विण ८५ निग |णि हद २५ परपति णिय ११५ निस "निहि ३UAR णि?र १६६, गिगुरइ १९ (4) मदुर मिहुय ११५ मिभूख नीर १०२ णि १०२ मिल ·१०४ सन्देशरासफ-शब्दकोष 'नीरहर १४८ पर तरुणि १७५ नीतर-सिरप (गुनीसरा) सयपतित्थ ६५ उपनदीर्थ, सूर्यकुषहम् नीसरह ५४ Vत-सतवति विहिं १७॥ नीसास ८३ निश्वास (नीसासो) सनिय १३०, सनियम १९ णेय ३०,९९, १६९, १८२ व तवण' १३७ सपन- सूर्य ह. ९. संद तह६७ पत्र घर' ५२ नूपुर (गु नेवा) सद १८१ (पति) तह १०४ पया त तहि (1) पदा त ९४ सद् (दर्शक सर्वनाम) तदेवि १८५ (सहेव) व त१३५वद वा ३०वदा, ०९ तस्माद तइय १००, १९९ सदा वाकं १०४ (१) हाक देशी सयामि उ२८,१३५. तत ; तो 1 [3] २९ ताडक४६ कर्णभूषण वावर (गुतो) 'तामिच्छ.४७कमल तपसर९५वसर सायहिवड २४ (पाराधिपति) चन निग्ग =(१) सम्पमि १९४७ प्राग १५८ वारायण १५३ वारांगण Vतजस, सन २० ताल २१९ ताव २७ तावत् तड १६३तर ति १८ त्रि Vतडयद-दहामानवस्तुन तस्वडेति शम्दे, तिउर ४२त्रिपुर (7 रहत) पदवि तिपरा १२३ वीण (गुदी) तिड ()-तिष्यति तड़तड़या १३२ अनद् (श स्तर) तिण' १३६ तृण Vड-सहसा प्रकाशे, ता २५८ तिथि १६२ सीर्य Great rवा, करोति । Vतिप्प% विध्य, तिप्पति १५० तडिनय १५३ मत्य (6) ( दक्षिन-तिम १०३, २२२. ज्या (म) तिमिर' १९३ तण १८७, १८९, तणु ३७ मनु ( तन) तिरच्छ ९७ तिर्य ( तिर) तणि ९४ (गुराण, अमे) 'तिरच्छिय ४७ [ सिप'इत] 'तत्त १८२ 8 नियंत तराफ्सण ८२ वक्षण (उदवरण) विलय १६८ विष्ठक तडव १४४, २१२ ताव तिलक-तिलकादिर,विकिवि ५० हतु२१० (१) तिथल'४९ निवली तम ११७ मत तिन्य १२० तीम, तिम्धयर १५वीनतर तमहर ९६शमोहर तिहुपण १८ त्रिभुवन तरणि १३१ तीयय ११२ वीय "तरग१५५ तरगिणि १३३०णी वरल १३ VE-भुटा, ( टूट) उडू १७, तष १४ताएप१९२पर मी (गुदी) तीर १७४ ·तो २९.३० तउ सन्देशरासक-शब्दकोप तुडिय २७ त्रुटिस दरसिय २२३ (परि")"दर्शित; दृष्ट "तुंग ४२ तुचर ५३ तुंवरु Vदल-दलयू (गु. दळवू) दलिया १८८ तुरक (1)४८,१६८ तीक्ष्ण "दय ६९ तुरंगम १४२ | दविण १०१ दक्षिण तुरिय ८२, तुरियय ५० स्वरित दस ६४ वह ५८,१४५ दशन् दारिप-द २२३. स्वरितम् +अपि दसण १३७ दशन "तुल्लय ११४ तुल्य दसिय १३७ दष्ट सुसार' १८६, तुस्सार १८५ सुपार दह (गु. वहई) दहा १३२, दहस्त तुहिण १९३ हिन २००, दहेवि १६ वहण १३॥ तुहु ८८२२२ स्वम् दाहक तू ७७ खम् 'दह १४४ (<द) द तूर २१८ Vदा-दा, दंति 11,दिति १७६, दिन तेय ५३२ तेजम् ६९, दीयइ १८२, दिशय 10 तेम २२३ नतिम (गु. तेम) दारय १७५ दारक दियह १२३ दिवस Vतोड-प्रोटय् , भाच्छोटय् (गु, तोडदु)/ दिण १२४ दिन सोदइ २५, तोडि ६६ दिणपटु १७९. [दिनप्रभु ] रवि दिणविंय ११३ [दिनयिय ] रवि थ दिणसेस ११० [दिनशेष ] मस्त थकिय १४२ [ Vथक<स्या+] स्थित दिट्ठा १८ थह१५० स्तब्ध दिहि १२० टि थण १५० स्तन दिवस ९५ थणयह ४९ स्तमपह दिव्व १६८ दिव्य धरहरिय ६६ कम्पित (गु. थरथर) दिस ५८ थिय ११३ स्थित (गु. धयो) दिसा २०१ दिया। 'चिर२५ स्थिर दिसि २२३ धूल' १९ स्थूल | "दीउन्दर ८३ [दीहन्द] दीर्घोष्ण दीया १८२(1) दीर्यते दीण २४ दीन द्र 'दइय ९४ दृयित दीय १११ दीपय, १०६ दीप (गु. दीयो) दीय ११५ द्वीप दय ६८ दया दयघर ४४ (दि ) द्विजयर, दयापर (1) दीपपर २२ दीपंकर, दक्षिण" १५८ दक्षिण दीवालिय (१) ५७६ दीपालिका, दीपमालिका दह-दाद, दहए २२०,५१५९ (शु. दीवाळी) Vदीसम् (ग. दीसा) दीसहि १८, ददुर' १४८ ददुर पीसह ५२, १७४ प्प १८५ दर्प दीव २५, दीदर २४ दी दर २८ ईन् सुपर २०४ दुष्कर दरसिजाइ १६४ (दार ) | तुफ्त १२४ दुख थोर २४ स्थूल ·सन्देशरासक-शब्दकोष वुक्सिजि १८५ (१) =दुखाता धुक्खतिय १०७ धुम् = वसन्ती 'दुक्तिन्निया ८५-दुखाकीर्ण (गु धल) (गु दुक्तिी) घुस १२२ भूत "दुग्ग ८२ दुर्ग, २०४ दुर्गम अप्राप्य V धूअधूप, धूइजह १८९ दुग्गचिय १८ [दौर्गत्य+दक] दुर्गत धूम १०९ दुग्गम ११७ दुर्गम धूच १६९ धूप दुश्चिय ११२ [ द्वौ व दावपि प दुत्तर १४२दुस्ता पउयण १०२प्रपोजन 'दुद्धर १५८ दुघर |पउन १३५, पडफय २१७ (१) प्रयुक्त दुम्म १९४ दुम पउडउ १५० (पयदार) पगदस्मरण- दुसह १२० मार्ग (गु पगददी, पगडो) दुसइड १४८ हुसह पउम ११७ पम दुरसह १३१ पउहर २४ पो दूध १९७, दूभय १९६ दूत पय १२६ [पद शाद देह (कीलिंग) ७८ (पु देह) पय ५४ पाद, पर मोदय १८ = उपविर (गु पग मांदयो) घ पय १४१ पथम धयरट्ट २४,१७१ [एसराष्ट्र] हस Vपयःप्रवृद, पहा १७ घण' ७९ धन-गोकुएम् (गु धग) पयद २८८ भकट धणु १८५ धनुष पयत्थिण १४१ (१) पादत्राणहसा धमय ९४ धन्य पियास-प्रशाशय पयासिय ४३, पया- धम्मिल ५ धम्मिल 10 सहि ३:, पयातिमु 10, Vघर-र (गु धा) थाह ५., परन्ती पवासिय २७, धरति 100= अधरिष्यद (गुपयोदर २७७ धर धरत), परु १०२, धरि १०९, धरेवि पक्षितिय १७० प्रक्षिप्ता १०७, धरणङ1 पञ्चपस १२२,२०९ [प्रत्य] साक्षात धर ९३२घरा पिचल (1) पछि १२. मेरयति 'घर' १५८ धरति() धरित्री ( परती) पन्छिम १५५ [पक्षिम ] रोष पशुस १७२ प्रत्यूष घपल' १५३ अंत ( धोलु) पच्छुत्ताणिय १९९ [पछ(<पच)। धवलिय १६३ धवलित ( धोव्य) उसाणिय ] पश्चाचापो जाता (श. घपरहर १८४ [घरमगृह] प्रासाद पसवाणी, पसवाघु) 'घार १४८ धारा (गुधार) पचलत २०८ यसत घिट्ट १३९ १८ (गु पीट) Vपपत् (गु पधु) पEat, धीर पीरी, भीरि ०२, Vधीरष- पडि २८परिय" धीरय (गु पीर) धीरया २९६ पसह २७४ (गु पडो, पोपमहाश्वो) "धूण १९३ (1) धूमेन पडिउत्त २२२ [प्रतियच प्रस्थित, प्रयुभित्र धुप २०९ भुव (नोक्षायाम् ) मध्ये (मयुक)।

·सन्देशरासक-शब्दकोप १०७ पडिज-प्रति+युज, पडिजि सपथ | परिगमिअय १५९ परिगमित ] परिसमास पडिविवय १६४ प्रतिषिय "परिमाह ७८ प्रह 'पदिभिन्न १८४ [प्रति ] विद्ध परिघोलिर' ४६ [परि+Vघोल+इर] पछिल्लिय १६२, पदिली ८९ वेशीवादधिकम् परिपूर्णायमान पडिलिउ १०६ द्विगुणम् परितध-परिन, परितवह १३५ पडत्तय १२४ पड़त परिदत्त [ Vडंज- परिभम = परि+धम् , परिभमंति २१४, पहिउंज] प्रचलित, मस्थित परिभमई १०२ पहुंज प्रति+] मेषयू, पटुंजहि ॥१०, परिभमण ५४ श्रमण पजिवि २२३ परिवरिप १२१ पतित Vपढ़ = पठ् (गु. पहई) पढद् १८३, परिवस-परि+यसू , परिपसह १३५ पदंत २२३, पढिासु 1, पदवि ८५, परियाडि ७५ [परिपाटि] उचितमार्ग, पढेविण १५१, पदिव्वा ३७, पदिय ८३ परिवाहि ण होइ-प्रतिपदं न भवति पंडिय २१, पंडियय ५२, पंडित परिहर परि+ह, परिहरवि १८० (गु. पंच्चो, पंटो) "परिहव' ७६ भव पंडित्त २० पंडित परिहिंसम्परिन हिंस, परिहिंसि- पंडित' १९ पाहित्य पतंग १११ परुपयर २०६ परस्पर पच १३४ पन्न, १८ नागवलीदल पल १०६ मांस पलहिदि ११७ २० पलु पत्त १३० प्राप्त पलास २०९ [पराश] (१) पलाशयक्ष पत्थर १५४ प्रस्तर (गु, पत्थर, पारो) (२) पलायन, राक्षस पंफिय ४८ कित-पादित पलित २२२ प्रदील, मलिप्त (1) पंखुडिय २७ मत्खलित पलि स्थिति (पलायहि) ७५ "पंगुरपा १६७ मावरण (गु. पाँगरण) प्रलिश (5 पंच ७४ (गु. पाँच) पंचम ५३, पंघउ १८३ पंचमदन पिलुर%D+ल, पलुरन्ति १९५ पिलु- प्रति+आ+प, पलहिहि १७, "पत्ति १३५ पक्कि (गु. पाँत, पाँति) पलुष्टि 120,18 पंघिय ७१ पथिक (गु. पंधी) पलोइय १६०, एलोहपय ९७ पलोक्ति Vपभण-प्र+भण्, पभगिन ८५, पभणिय २२२ | पलंघ १८८ (पलंघ, पहंग) पर्प, पप (गु, पलंग) 'पमाण ७९ प्रमाण पल्लव १३४ एमुकिय १६४ ममुक्त पचपा १९२ 'न "पवन २४, परसय ३५ [अपर प्राप्त पर७१,८१, पारे ८९ परे। पचर ५३ परएस १५२ "देश "परव्यसी २१७ पियसम्म+पर, पपसिदि १९५, पपसंत परायसी १५१ परवा .०, परमिदम, पमिम .. परिपंदण १४५ रन "परिसिलरी २१९ पर+PिORT] | VRE, प ३५ (संभर), परिपेसम्तो पपईतय ११, पपईति २५ पचीवर १५ ·सन्देशरासक-शन्दकोष पत्तिनि ३. पिंजरी २१० पवाल ६१ पास २५५ पवास १२४ पासाहण १७९ मसाधना 'पवाद २४म पिय ८८ [प्रिय ] मियतम ( पियु) "पवित्थरण १९ [< मावि स्तु] पिपखम्मद (गु घेख) पिख ९९, प्रबिस्तारक पिक्वइ ९६, पिसविण २६,1,रितिदि पविसम्म+विस (गु पेस) २०३, पिरियति ५५, पिरिए ७१, पविसत ६ पिरिक्षय ७० "पसंग ४२ Vपसर=R+स (गु पसरडे) पसार ५, जर १९५ रीय=पिव (गु पी)] पिक्तणय ५३ प्रेक्षण ( पेत्रण) पसरप 10 पीपते पसर ६६ पसिन (सीय ] R+सद् (रोद) पिम्म ११५ प्रेमम् "पिंग ५३ पसिय ६५ प्रसिद्ध पोण ४५ पसुप्पड १८८ प्रसुप्यने पद २३ 'थ पीसिया १८७ पीम =पिप्य (गु पीस) पिध्यते पहजण १३२ प्रभजन पुक्सर १५१ [पुष्पा मेष "पहर १५५ पुरसरि १५१ पुष्करी नदी पहपाविय ७८ प्रहरित Vपुच्छ-पूरम् (पू) पुरा पहलिर १३३ [+हलचल+दर) पुण ६७, (गु इल, हाई) | पुणु ४४, पुणि 101 } पुन (गु पण) पहिय २६ पथिक पुण पुण वि १०७ पुन पुनरपि पहु २४ [प्रभु पनि पुषन्नवष ११.पुनर्ण पहुत्त ११०, पहुत्तय १५२, पहुतिय २९ पुनरुत्त १०२ [पुनरुक्त ] पुन पुन पास (गु पहोती) पुछिय ९८ (पुछ मर]] पाइ १९१ पापिन् प्रमानित (हिं पाउना, म पुसणे) पाइय ५७ प्राकृत पाहय १५७ [+] प्राप्त (हिं पाया) "पुज ११८ (गु पूंज, नो) पाश्य ८९ पाविक पदधारिन् पुनिय १६९ पूर्ण पाउस १३९ मा [हि पाबस, मराठी पुष्प. २०२ पप पाउस पुरउ २० पुरत पायय ४३,२८३ प्राकृत पुष ११२ पूर्व पायार ४२ माका पूरिय १९७ परित ( पूरी) पेसिय २९६ पेसिषय ६५ वित पामर १९ पाली ७९ [पालिका] गोपालिका पेस-[V पेह अयवा । पास (O] हर पेसह १११, पेसिजद १४०, पेसिय ५५ पाव १५४, पार २०६ पापम् पोरिस' ७७ पौरुष (गु पोरस) पाव-प्र+भाए, पावहि ९४ पावयण' २८(-पाप-प्रापनक) मापन पावास ११८ फर्णिद १२५ फणीन्द्र पापासुय १०२,१४२ प्रवासिन Vफसर, फसहि १० माय ·सन्देशयसक-शब्दकोष १०९ फरिसिड १३२ स्पृष्ट्वा खुह २१ - "फरस १९२, फरसय १८, २२२, परसिय विवाहरि ११३ ०धरी ११५ परप (गु. फासँ) विरड २४ (वाड) घरया (निरहला = 'फरस १४, फरिस १५१ स्पर्श अमरीमध्यमश्या) युद्धय १७१ प्रवुद्ध 'फल° १९३ (गु. फळ) फलसेवि १८३ विन् घुहयण १९ पुधजन फलहार १३३"भार | वृहत्तण २१ बुधर Vफिर-परि-युत्, मति+मास्यूद, गम्, ८० द्वौ, (गु.ये) फिरंच १६८, फिरतय १०३ भ्रमन्तः बोलव्यतिकम्, बोलेवि १५ घोल मिस्वार (हिं. फिरना, गु. फाएँ) निर्गमविश्वा पुहय १५४ स्फुटित (गु. फूट्य) VIोल-निर्मजयू, योलियतो १०० अनश्यत् Vफुड - स्फोटय, फुडवि २० योलावियउ ४१ वाचालितः (गु. बोलाग्यो, घड १२१ स्फुट योलारियो) Vफुरस्फुर, फुरद्द १२२, फुररत १२०, फुरिय ११० भय° १५० "फुलिंग १२० स्फुलिंग | मग्ग १९३ भन्न (हिं. नागा) "फुल्ल १९३ पुरष (गु, फूल) भजरिय ९८ । मज (भा)+हर] Vफुस (स्पृश] मृज् , फुसइ २५, भज्यमान-मा (उरफुसति) फुसंत ९५, भण (गु, भगय) भगइ ८५, भणे ९५, फुले विगु १०७, फुसवि २० भण ८०, भारिशु ९१, गणिति 10 फोफल २८८ पूगफल, पूशीफल (गु फोफळ) भत्ति १५९ "क्ति. य भंग १४६ ध्यया यग १४० यक (गु. शाले) 'भंगि १७७ 'यंध १५४ अंघ, १८ कास्यमयंध Vभेज-मन (गु. भाज) भनि 110 पम्हजुय १८९ प्रयुग भगम्भ (गु. मम) भमहि ॥ पलपर (गु. पम्यु) पद १७३ "हि 10५ मत १९९, अमिर १४ बल ९९ (गु. यस) *भम०१७प्रम यहिरयति २९८ मपी भमर २०५ समर (गु. अमरो) याहुरूपि ४३ गरीन (गु. गुरूपियो) ममुद ५२५ (६. भी, गु. भ) विविपिन पेशधारिन् मर-ग, भर १०२, भरवि 1.0, थाल १७९, पशुस १८१ गाट घालय १७४ भर २.६ [भरासाभिनयमान यादहिमा यार मारयर ५२ [ <मायरामने] मापन पाहिरि ५४ पहि(.शर) सिंदु १५० भाप १९,२६.६ भणिय. = मर्मत भरिय ९२ मर४७ याद ५१ गाम्यान (गु. यो tit) ·सन्देशरासक-शब्दकोष भासिभय १९ भाउल २०८ [भा आकुल का याकुल मणहर १४६ मनोहर भारह ४४ [ भारत] महाभारत मणुजण १९ मनुजन ] मनुष्य भाळ४८ मणोहरय १७३, मणोहरी २१६ मनोहर माल्य १६८ तल मडल १८५ (यशा परमपदल) (6) योग- भास-भाष, भासिय ४३,भासिय २१, चतुल (२) परमहल-परदेश मडरिय ४९ मिट्ट (ग भेटई), मिहिपहप्राप्यते मडिय १७६, मस्यिय १२ महित मिति ९६ (भार) मत्त १८९ मात्र "भिस. १७१ विस मत्तमु०५ मात्रामुक, बधिक भीड ६२. समर्द (गु भी) भगलु ११० मगलम् (गु मगळ) মম » স্বল मजार २१५, मगरी २१० मारी "मुथप १३०,१९५, भुषण 10 मथर २६ भवन ( भुवन) मन्नाय (मबार) मनु+पी ( मनाव) भुयण १६२ भुवन मा .1, महाएपि, मुवणुप्पर १८८ [भवनोपरि] Vमर (गु मरधू) मरमि १६४, भुवनोपरितनभाग मरख०० 'मेय २० भेद मरणाभाहित ७६मरणाधिक "मेसिय १४० मेपिका मराल १६४ मर२१० मस्त "मल १७३(एमळ) भ१०९ मा (गुमा,म) "मविहरय ५० एक अहमनिहाय मर२३ मति मदत १४५ महत् मरद्धय २२मकाज भय ४६ मद मदमद-गवसरणे (शु मपमप) भय ८३ मृगम्यु महमहर 10 महमहिन मपशु १८७ मिदन] सिक्यम्, मधुजम् १६ ( मीण) महाविस १४५ मिहाविष] भतिशय जल (1) मयणमगि २२१ मदनामि माहि २१० ही मयणमन २२ मनमनए महिपल ६५ तल मयशवह ५८[मदनपः] दुरथल महिल २६६, महिलिय ७६ महिला मयादय २०८मकावज महिलय १६६ (१) रायमहिलच: मयवद्द १७७ [मदप हम गामहोला =गतमहोत्सवाः "मयूद १३७ मयूख महीषद ६३ माग ९ मार्ग (माग) महुधर २१६ मधुकर मग्छर १४६८मक (T मदर) महुमास २०० [म.ग्रमास भनय ५७,१०४ [मप] कति मारपर ४३ मधुरतर मज्झयार २१ मध्यकार ] मध्यम, Vमा (गु भावु)मा १५५ माति, मध्यरथ मावा" मण ४७ मनस् (गु मन) "माल १३५ ( माळ) मणमत्य८३ मम्मम 'माहप्प १९ माहास्य ·११२ सन्देशरासफ - शब्दकोप मलिस (1) राअ १००, राय... [प] अनुराग ललियहीण १८[हलितहीन ] पालिस्पहीन राईध १३७ राजीव Vलवलए (गु, व्य), ब १६६ रायमराल ४१ सजईस लह-लम् (प. लहे) लहंत 14, राय १८३ संगीत रागः लहंतष ८९, लहंतिय १७ काहि २१२ रामायण४४ लहरि २०८ भी रास १६७ राप्त नृत्य (ए. रास, अथारासे लिहलह = तरलसिखायुषज्वलने समय, रास रमई) लालाइ १८२ रासउ ४३ शासक. (गु. समो) Vलायलाय, हाय ८९ राह् २४ राहु लाह १९८ लाभ 'रिउ १९२ लिह-लिख, लिहइ २३ (जानाति), रिउणाह. १९६ [ऋतुनाथ ] वसन्त लिहिनि ,लिहिय ९६ रिषख १६० [२] नक्षत्र लिलिट्, लिहति २०६ "रिल १६२ जलपवाद (गु.रेल) लीलतिय ५३ लीला कुधन्ती परिसिय १५९ राषि उद्ध२०५लब्ध रू१०७९ रत "टुल १४३ लिम (1) यथा कर्दमलल - कद. रुणझुण २०५ अमरगुञ्जने रणमुणउ ६५ (मैसलाशग्दे) रणक्षणका लुल = लु, लुलह १९, लुलंत १७३ Vलेला (गु. लैं) लेविणु , सहनि रुनु १०९ हदितम् २८, लइ १४, १५ (१), लप (1) रुनय ६८ रोदन ४६, लिय १६८, लीमय १७६ (हिं. -हद, वद २५, स्वंत २१४, रवि लिया) १७, स्यवि यदि ०१ Vलेष: लेपयू, लेवियह 1 दैवियय रो-रो (गु. रोषु) रोवनिय रूप ५४ प लेह ८८ [लेल] लिखितसंदेश रेणु २१० लेहय ६५ लेखक-लेखवाहक रेवान, रेहड १४०, रेहद ५८, रेहति लोउ १११ [लोक. Jजना: ग्लोयण २५ लोचन रेहू १४० रेखा लोह ९२ शेम ल हसिप ८७ सस (शु. उरा) उ, दइ २३, १३४, १८६ माश्यालमारे (गु. शसित च 'लय २७ लता घ २९, १२३ इन "एक २४ घाट (गु. रॉक, छक) ययण ८३°चन (ज. बैंग) उपखण२२एक्षण वयण ९८दन लछि २०५एपमी शोभा चियणिज १५५ पचनीय (गु. वाई) नि स १५ [4] येशु (गु. पाँसदी) १५०, रूविज जिवि, चपरार ९५ [उक्साउपर] उपसा, सख ११४ ४०० (गु. लाएँ) यस्तु (गु. यया पावती, रविय ६०हम्म रु. मराठी, लह) चासो) ·सन्देशरासक-शब्दकोष . पणिजइ २०८ (1) वाणिज्यं करोति, व्याप्रि- वखाणियइ ६५ [वक्खाण व्याख्यान]| यहिय १०५ बाधित (व्यथित) प्रशस्यते (गु. वखाणवू) | यहारगए १७३ यथा विहित (1) Vवचन, वद्य ६५, पश्चउ ७५ Vवा (गु. वावु), पाइ २५० चज १५४ वन चाउलिय ९४ व्याकुलित वजंतय १७४ वाद्यमान (गु. पाजतें) वायंतय १७५ पादयत् 'पजिय' १७३, बजियय १८७ वर्जित 'वाडय ४६ पाटक (गु. वाहो) चिजरकथ् ,घजाहि ११०, यन्तरिय ६७ याम ८६ दक्षिणेतर चिट्टवृत्, यहि १२३, वहिषइ १०१ वास १६० वह २२२ वर्मन् (गु. वाट) 'वास १८८ सुगंध 'वट्टिय ८३ आच्छादित, ध्यास पासिय २३ पासित बडवानल ८२ | ग्वाद्द १८१ प्रवाह Vबह-वर्ष, वहए १२०, वहि, वहिदि दि १८, ८० अपि १०२ विअक्षण २३ विचक्षण वण १३१ बन विअड' १८, "वियडय ५० [विकट ] निविड यते विभडवंध १८ [विकटबन्ध] सुप्रवित "चण्ण' ४५ वर्ण = अक्षर विजह २३ विदग्ध पद्दल १४८ मेघ (गु. वादळ) Vविमस-विकस, विशसंत २०1, पंफ १२३ चक (गु. वॉक) वियसेविगु १०४, वियसापिय १३० वर १४४ श्रेष्ठ विभास २०१ विकास "घरच्छण १९५ [वर क्षण] घर महोत्सव विउय २०० वियोगिन् चरसरि १४२ 'सरित | पिउद्धी १५४ विबुदा घरक्षिय ९८ (1) पटी-धन (ग. घरक, विउणय १३६ द्विगुण विएस १०३ विदेश वरसंतिय ८३ पर्षन्ती (गु. घरस) पियोय ७० वियोग परिस २०४ [य] वर्षाकाल *विओपरिव १५८ [नि+यु+हर] Vवलम्वद (गु. पळवू), यरुइ १०२, विपुल पलिपि १० पियंभिय १४३, विर्षभियय ३५ चिम्मित वलय १४६- पर्नुल विग्विण ८५ [विभिन्] गिनकारक पलाहय १६० पलाइक विचर-वि+घर, विचारमा २०८ चलिय यसय | "विचित्त १६७ शिचित्र यल्लद १९६, यही २०३ पलम (गु. विचित्तिय १७० विविक्षित पहालो, बहाली) घन्यीहिय १४० चातक (J. ययो) | पिच्छाइय १८८[विग्हादित] विनारित (हिं. निशाना, गु.शिशा- मम्मद'९७ मन्मथ 'पस ९५ यश | विज १९१ (१) चिदिरया भाषेध, भारिय पद-पद (. पदे), पाए ३२ पिवय (पा), महन्तम १११ (नई), पिनंम विभ, सिमर २५ मिति २०६ वियत से.१५ पएँ) पसंत २१५ (तु. संत) पाहिग २०५ (रयते) ·सन्देशराप्तक-शब्दकोष Vविडय-वि+डाब, विडवई ७५, | मिसंधुल १३०, निमुरलय (विसंटुल्य) विविभय २४ १७५ विठ्ठल, विहलचल विषय २२२ विनय विसाल ६३ विशाल विणगय १२२ (विणि) विनिर्गत विसुद्घ २२ विशुद्ध 'विणोम ४३ विनोद मिसेस २०१ विशेष वित्त ९९. वृत्त-दुर विगम १६३ V विहर-वि (पार), विहरवि १६० विहल १३० विदाल विहलमल १०५ बिल बिहम ११८ विदुम विहसंती ४८ विद्धी १८२ बिद्धा विहाणिय १९९ विमाता (गु पहा- विधि ८५ वी (गु बने) प्रभातम्) विष्पुरत २०० [लिस्पुत् ] विष्फोरपतू विदावि १४३, १६७ (बिहाविय = विमा- विबुह २० विध वित) विविध चिमल ११४ चिहि ३१ विधि विभिड ४७, १०७ [विस्मितम् ] माश्यम् धी ४५ णा बिभनिय ४६ दिसापिस विमल ४६ बिद्दल घीसर-विस्म, वीसरह ५४ घुल्लीण २०४ गत, पोटीन विरच १००, विरसय ९९ बिरक (वय ४३ पेद विरह २४ "चेयण ९९ पेदना विरामिण २४ बिहानि "चेसि २०१ वेसिन् विरहायण ११२ विगहाल पैसा ४६ या विरहणि २२ (हिणि) विरहिणी विराम १०० बेसायालय ४६ मेगावाटक ( पेशा चिलग-विक्रय, विलतिरादि २७, बाटो) विग्गिय २८ घोमयण १३२व्योमल विलनय १७८ (विदि) विलिस चोल-ध्यति कम्, पोलियय ४५ विलयति ७२. विलवतिय १३५, घोलत १५ भावी विसवती ११. लिपन्दी स पिलसियय ७७ विकसित सइत्ति १६९ मुदिता विलास २९ सायत्ती १८ (स.) शतपत्री अपिलुल - वि+TE, विलुलनिष ३५सर ७१, ९९, ७५ समम्, साधम् बिलुलिय. सउणि ६२ शकुनि विवर' ४९, "सउणियण १९३ शनिगम विवरीय विपरीत सन २४, ९८ सपूर्ण [स+पूर्ण?] वियलसिप २८ दूरीभूत (1) सय ६२शत विषद १९५ (विविध) विविध सयण १९४शयन विविह १३५ विविध सयल ४२ समक्ष रिस १३७ निर सयवच १६५ [शतपत्र] कमल "विस १४५% जल (1) स २०१ सम्परु (३) विसमा ८६ दिपम सपच्छर ११५ सदस्सर ·संवरि २८ संचरण १०६ "संग २३ सन्देशराप्तक-शब्दकोष संघर-सं+, संवरि १०२, संवरित्रि २७, | सत्थर १८६ [सस्तर] शय्या (गु. साथरो) सस्थरण १३६ [नस्तरण] शरया सह १५८ शब्द संसग्ग १३४ संसर्ग संतयिय २५ संतापित Vसंस-शंप, संसियहि १३७ संता ७६ संताप 'संसित्त १०७ संसिक्क संतोस-सम्+तोषय, संतोसिहह १२७ संसोसिय १९१ संशोपित संदेसय ६८ संदेश सकसाय १७१ कपाय संदेसय ६९ संदेश "सफुलिय २३ शकुलिका [यथा, कर्णशकु- सन्नद्धय ५२ संनद्ध लिका] सन्निह १६७ संनिधि सकोमल १२३ कोमल Vसक्ष-पार (गु. शY), सबउ ८८, | सप्पुरिस ७६ सरपुरुष सबर १८५शवर १०५, सक१४८ समय २०८, सभय ५७, सभय सगभिार २९ गद्गद सम४७सह 'संकास १६३ संकाश संख १६३ शेप समत्थ ८०,२० समर्थ संखेव ६४ संक्षेप समस्थिम ७१ सामथ्र्य समरंत८६ सरत् संगम ९४ समरिय १८१ स्मृत Vसंगह-[सं+मह ] महणे, संगहवि १० समानसम्+मा (गु. समाएँ), समाद सच्चु १९७ सत्यम् ८१, समाण. सश्चपिय ९६ [सत्यापित ] साक्षात समाहि ८६ समाधि सच्छ२८ स्वच्छ समीर' ६६ सजिय १७८ [ सनित ] प्रसाधनार्थे रचिराः समीरण १३१ (7. सजा) समुट्टिय १३७ स्थित सजिय ५३ सजित समूह १३० सझर १४३ (१) | संपडिय २० [संप्रतित ?] लम्ध संचडिय १४६ [सम+Vघड] बारूद सांपर्यं) "संचर १४५ संपुन ४२ संपूर्ण संचरिय २७ संचलित | संपुनिय १८० भाग्यवती संजाण-सम्+ज्ञा, संजाणिनि १५१ उपलक्ष्य संभरंत २१४ संसरत् (गु. साँभरहुँ) संजणिय २०९ संजनित संसरिय १८४ संस्मृत संजीवयर २२ संजीवकर] पुनरुज्जीवक संमाणिय ७८[समान ] सह, यथा-तुम संभ्रमित, समीस-सम्+मिप्रय, समीसियह १८७ 'सर'५३ धारद | सर १४४ स्वर 'सर' २७ (गु. सर, सेर) सर २३ सास संमाणि- स्वदयुक्त संझसिय २८[ संभवसित] संशासित सणेह १९ नेह (गु.सनेह) संठषिय १९५ संस्थापित "सस्थ ४३ [सायं ] सह (गु. साथ) 'सस्थ १७५ सार्थ समूह ·११६ सन्देशासक-शब्दकोप सर८३ शर ससिययणि शशिवदना सिरप, सरह १६३, सरत २०० ससिहर ४२, ९१ (शशधर ! ) पद (गु सरस्स, सरबि ९०, सासि १६५ शाशियर) सारपस सिह-सह, ( सहे) सहमि १६४, सरय१२२ शरद सहा ७७, १४८, सह ११८, "सरय१६१ सास २३२, सहतिय ३३, सहषि सरयासरि १७१ भारत+श्री १९९, सहवि ११८ सरण ९५शरण सहिय १६९ सखी (1) सरल ६१ सहार २११ सहकार सराइवि २६, सरलपवि १२३ सालगिरका सहीय २०२ (सहिय) सक्षी (गु सही) सरस १४० 'सरि १४२ सरित सादय ९५ स्वामिन् (हिं सोह) "सरिर २७१ श्री सामलिम२४ श्यामता सरिच्छ १३३ सरक्ष सामि ७९ स्वामिन् 'सरिस १७६ सश सारस ५३, सारखि १६५ सरिस १८५,१७९, सरिसय १८७ सद "सारिन्छ ५० पक्ष (गु सास) सालूर १४४, सालार १५५ शादर, दुर्दुर सरीर १३६ शरीर साव* २०२ सर्व (गू साव) सरोरुह ४२, १४, १२० सास ६६ श्वास ( सास) सरोसप १३९ सोष Vसाह [स] =क, साहेद ४२, साहि सलजर १४३, सलचिर २०, सरनिरिय ९८ (जिर - Vइर) सलमा साह २५ शाखा सलाय १७५ गलाका (गु सटी) सादार.१३४ अवकपन, सहाय सलिल' १३३ (हि सहारा) सलिलम्भय ६६ [सलिलोव कमल सिय०२८ सवण२३ धवण सियल २१.शीतल "सयण १८५ सण सिक्स-शिक्ष (गु शील) मिक्ख २० सपसेय १०३ (ख+पश्य ! ] बशीदत सिंगस्थि १९९ शार्मा सवि२०९ सर्प (गु सा, सरपे) सिंगार १६७ शुमार (हिं सिंगार) सवित्थरय ८० सविस्तर सिज १३६ शेया (गु सेज) सविलफ्ष २८ विक्षीयुक्त Vसिज सिए, सिमहशुध्यते सविलास २९ Vसिज्म सिध्य् (गु सीमयूँ), सिग्मा सय १८५सर्व ११, सिग्स १.९ सरह अपि सिंय:सिए (मि), V सिंह २.४ सष्पपार२१ सर्पकार (गु साँच) सिस- अध, ससद १५, समिवि १९, मिणेह १०० वे सित्तय ८५ सिक "सर्सि'९८मासि १०४ सिर २२३ ·सन्देशरासक-शब्दकोष सिंधुभव ६६ [ सिंधूदुभय] चंद्र सुरस १६२ सिब १०५ सई (1) सुरहि १८४ सुरभि सिषण १५४ (सिविण) वन तुललिय १८३ मुललित सिसिर १२२ शिशित सुवियफ्षण ८२ सुविचक्षण सिसिरत्थ १३५ शिशिरार्थ ] शेयार्थ | सुविण ९४, १५१ स्वम सिदण २८, १३५ (सिहिण) स्तन सुसंत ९५ ( सुस-शुप) शुष्यत् सिडि १४४ [शिसंगित ] मयूर सुह १३७ सुख सिहर ४१, १४३ शिखर सुह १३३, २०१ शुम सिहरि १४४ [शिवरत्] पर्यट सुहय १००, १२४ सुभग सीउ २१० श्रीतम सुहाइयइ १८९ सुखाप्यते सीयल १८६ शीतष्ठ (पू. शीलैं) सूडिय १९२ निझोटित, पातिस (गु. सई) पीयलंत २१० शीतलयत् सुरग्गड १८९ सूरोद्गमम् सीमंतिणिय १९५ सीमंतिनी सेय १८४ श्वेत सीसोपरि १७८शीपरि सेरंधि १८७ सैरंधी-दासी सीहंड १८७ श्रीखंड सेवम् से (गु. सेपर्यं), सेवियह १८७, सु३० सः सुर ११८ शुचि 'सेस ११०, ११३ शेष सुय १८ श्रुत सोय ९५ (१) सूचक सुयण ९५ (सुइण) खम सोय १०३ शोक सुयरंत १५८ पुपरतिम १० (सुपर- सोरंड १६८ फीडाभाजन सर)सात Vसोस-शोषण, सोसिजा ११, सुण-शु (गु. सुण), सुणहु २२, सोसतिय १२५ सुर्णतय २१३, सुणवि ८२, सुगि सोह-शोम् (गु. सोदई), सोहह १५१, २१२,२२०, सुणिय १९, २१३ ६, सोहि १६३, सोहिय २१५ सुथिर ३० सुस्थिर सोह १६१ शोभा | सोहालय ५१ [सोह+माल, मापाच] शोमात्य सुंदर १७५ सुंदर १०२ सुंदरी ह सुन्न १९९. शून्य हउ ८०, १३४, हउँ ६५, 10 अक्षम् सेविषय १३५ हुय ५८इत मुन्नार १०८ सुवर्णकार (गु. सोनार) सुमरंत १०३( सुमर-मर) मरर (ग. समई) सुम्मद ८३ धूयते सुर ५३ सुरय ९४ सुरत सरह २३ सुरति सुरचय २१६ सुरश सुरलोय ७५रलोक इत्थ ८० हल (गु.हाथ) Vइरह (गु. इलु), हर 11, कार १५ "दर २२ (<ir=) गृह हरसिय २२३ दर हराविम ११९ दारित ·१२८ सन्देशयसक-शब्दकोष हरियंदा १३५ हरिपंदन धरियाडल १४६ [हरिता] सशाल हिम १९१ (गु हरियाटु) हिमंत १८६ हेमन्त हरिणि ४३ मी (पाणी) हिब ४१, १० मा हेच] अधुना, मत हरिस ४१ (6) परम (हिप, हवे) हारसुय १२४ [हरिसुत कद हीय १६१ (१) हत "हवि. १३० मि (1) या विवि बिरहानि हीर'५० हीरक VE), वेह 10 ज्वालपति खुप १४३, १८९,८७ अयm, इसतिय ५१ इसन्ती हभप १९९, हुइय 01.8 हाम (११) म हुई १९९, १३५ भूत हार ३७ यण १८ मुदन 'हार ३३ मार "दुपास १०६ हुताश हारलप १३५ वालवा हुभासण १७० हुताशन हारिका शर्यते हेम १९१ (1) हेमन हिपप ७१ ११८ हो-भू ( हो),शेइ ७५,हुंचय ६५, हिमावला ८८(१) कायाकुल' 10९, रोय र - ·सन्देशरासकान्तर्गत प्राकृतशब्द सूचि । च चुन ११६ शार्य कुद्धि ३९ खण्ड (1) केम ११६- कथम् (अप.) भइराबह 11-ऐरावत, ऐरावण अचरिय २२० आश्चर्य भणियत्ती १२८ अनिवृत्ति खणखमत्त १२७ क्षणार्धमान "[भ]= पश्चात खलिर' १७२ [स्वर+दर स्खलत ममियझरण ३३ भमृत-क्षरण अखिव क्षिप, सिषद २२० मम्ह १२८ असाकम् (गु. भम) खीरी १६ पयसा (गु. खीर) ग अम्हारिस ७ असाशा | शहिली १५ अथिला (गु, घेली) भवहम ६ [अपभ्रष्टक ] अपभ्रंश भलबिर १७ [+Vल+हर] भला- गन्धड्ड १२ गन्धाक्ष्य | गाम-गहिली १५% ग्रामीण-मधू मान | गुहिर ३७-गमीर भारतन्तुवाय Vासास-आश्वासय, भासासहि चंगिमा १५-चारता (अप) मासोम १७२ अवयुज इ उम्म १५ मन् इंदोहा १५३ इन्द्रगोपक छेय ५ निपुण इदि५५-इदानीम् इव ३६ (बष्टव्य - विय) "जल ८४ बटन | जाल. १२७ ज्वाला Vउछल-उद+पर (गु. उल), उठला जालंधरि ३८ कदली जोइक्स [ज्योतिफ] दीप डचित ३९ उम [उद्वितः] जोइजद ८ बोलते क जोहजइ ३० श्यते (ग. जो) कट्टिय १९ फर्पित (गु. काय) रक्षर (गु.), शरए । Vफरकराए (कराम्दे), काकरापन्तु ९ त का वाप-विशेष कलकर (गु. कीं, कमाई) कलि- जन्ति श्यन्ते दवण.५२ क०२ कस्य =4 (गु.काट) उहि उद्+दीप (1) तीवाय ग्रीवाय गिरि १० किल (प्राचीन गु. किरि) फिसणसण १२ कृपाव पहपत्र पाहि चार ३t arगति र तिष्ठन्ति (थापया) (ग. टगर्नु, स!) काय ९काक दुधावंडुलक (गु. तादुळ) पुस (स) ·१२० सन्देशरासक-शब्दकोप तियलोय ५ [*त्रि+लोक त्रिलोक पात्र ५२ भाइ (म पायस) वीय (सीए) स्या पिडीर०३४ दादिमी थ "पिहुण ३२ प्रधान (व्याख्या) यध पुणरुत्त ४०, ७२ पुनरक] पुन पुनस्तदेव द पैसाइय ६ [पैशाचिक पैशाची भाषा ददम्बा ९%शम्द करोतु दियह १२६, १२ दिवस फरि ३९ सारिक दिवस २८ कुलद १२=विकसति [गु पूच्च] दिश्व दिव्य] - देव ध दीउन्हय ५.दीयोप्या मा ९० पाप दीवर ३१ दी "दुभिदुष्पेक्ष ] भाग्य भगिध मणिव (म म्हणणे) हुम्म २१३-दूये अक्षण भवन दुसह १५३ दुस्सा दूहय २३ [*तिक र दूसह १० दूषयति मामा (गु म) दोहाइप ३५ द्विधान मपाल मदक हस्तिन् (गु मंगळ) सधनु मायन्तु धमाण ९. भुषन (अपरिका) भेग माइल .. [मदे] मदन (हि मदल) (व्याया) माइ ३२, २३ मात्रा (व्याख्या) गयरे २ नागरिका (प्यास्या) (मापुस ३ [मानुप] मनुष्प (एमाण:) गया ३७, ३५ शागते] उपशायाम् मिथ ३७ (ब) माह १५मान्य पई | मिस्टदेस म्लादेश शिद निदर निति ५ निर्दिष्ट सवाडिया १६३ यवागू (ही) मिलिवियम् रमण 1.श्री निवहसमिति विद ३.रविंद शिसिदनिशा रसिङ्गण १०२ रसिवा, स्वर हरवा मिमुनिभुत गद [ रागिल] रागाभ्य राममा पाएस २ [प्रत्यग+देश] -पश्चिम दिशा । रासय १ रासक (गु रामो) (व्याया) स्याविय १.२रोदित पनि समातिगत रेहवि गोमन्ते परदुम ९परभूत प पसयडी .प्रमाक्षी यष५ प्रजाति ' पर परहिणी वहिंपी पहम अमू] प्रधान | परिक्षण ८१ वर्ष पाइप माह बादि । इति (याश्या)(तु वार) मा र प

·सन्देशरासक-शब्दकोष
१२१
वासरगाह । वासानाथ ] पद
विसिय १४ विकसित
विय ४१ इद (इष्टक्ष्य = मिय)
बिच्छेच १२७ मिच्छेद] त्रियोग
'विदवा है। विद्धाधक
विाहणी १६ विरहिणी
विवजह ९० विषयते
विवाति पर विघटन्ते
[संनेय संदेशक
सपुषण ३३ सम्पूर्ण
| समुह १३ समुख
समीडिय । [समीडित सीमित
सरवर १४ सरोबर (शु सरवर)
| सरिछ ३६ सदस
ससहर 6 शराघर
व ३२ इव
| सिरिय सृष्ट
सिरेविशु ४० सादा
तिहण ३६ तन
सयडल (सइटज) ४० शैलजा
साझ्या ६ संस्कृत
साहसस्य ५ शब्दशाख
सुपण ३६ वजन (यारया)
सुकइत्त सुविन
'सुम्मद १० श्रूयताम

·सन्देशरासकान्तर्गत वनस्पतिनाम सूचि । गखर ५८(हिं गूलर) यणसार ५७ धन ज घादा ५५ भयर ५६ [अकरा] भयरुय ६५ बगरू (गु भगर) अभय ५८ [अभया) हरीतकी अदिलिय ५७ धलिका (गु माम्बटी) भसोय कमशोक आ भामरूय ५८ (हिं अमरूदी) भामलि ५८ (शु भामलकी) भारिहिय । भरिएका ( रीठी) भारू५६मार दिनार ५९ धीर ६२ धूरा ५७ चूत घोस ६० वोन छम्म १३. ई जम्बीर त ईखोड ५६ अक्षोट (गु असोड) जम्बुप १० भादू (जाँघु) पल १० एला (तु एलपी) जूही ५५ शूथिका (जर) क कदर २० करीर (गु फेर-डो) बचण १२ (मध्य-दमणय) कयम्ब ६०३दम ड कणषवादण ५७ कनपदन ४ ५७ (हिं द्वाक गु सासरी) कणयार ३० वर्णिकार (कर) कन्दुष्य ५५ क दोह (कदोह नीलोत्पलम् कदुध उत्पलम्) हम्माल ५६तमाल कवोल ५९१ ककिलि ५१ ककेल्लि पुस ५०१ किंस्य २०५ किंशुक (सु-दो) सम्बर ५६ मुम्बरक कुम ५९ तुलसी ६२ (गु पळशी) द पुरसय ६.क दक्ख ५६ द्राक्षा केवा ५५ केतकी (गु केच डो) दमणय १२नक दाडिम ५ (गु दारम) खबर ५६ (खहर) खदिर (श खेर) देवदार ५९१ (गु देवदार) परि १२ सी (गु खरी) ध अय ५७ धव खतग.." न भन्दण न पिण नाएसारे २३ नागेश्वरी ग ·संदेशरासक-शब्दकोष १२३ नायरंग [नागरंग] नार (गु. नारंगी) मालूर ५६ नायवेलि ५८ नागवली (गु. माग-र-घेली) | मुर ५६ नालिएर ५७ "केर (गु. नाळिएर) | मोय ५६ [मोदा मजमोदा (गु. अजमो) निम्ब ५७ (गु.लीब-डो) मोडिन ६३ मोटा? लिम्वू ५९ (गु. लीड) र लिम्बोय ५७१ रतमण ३० रञ्जन निर्विजिम ५७ निम्बबीज! रत्तबल ५५ रकबला प रत्तसाल६५शाल पलास ५७ पारल ५७ पाटल लवंग ६० पिप्पल ५७ (गु. पीपणे) मुय ५७? पूर्ण य बउल ५५ यकुछ विचररिय ५५ चीनपूरिकर (गु. विजोरी) विमीय १०मिमीतक बेरि १२ बदरी पोहेय ३२१ लेसूह ६०१ घ | यह ३७ घट (गु, वड) बस ५७ वंश वायम्ब ५९१ वालू ५५ एलवाल? सयवत्तिय ५५ शतपत्रिका साल ५९ संजिय ५६ सजे? सला ५९ की मम्भ ५६? माण ६.? मुझ ५७ भूजे म मंजिट ५८ मनिष्ठा (. मजीठ) मरुभइ ६३ मत (, मरवी) महूय ५८ मधूक (गु. महु-डो) माउलिंग ५६ मातुलि मायन्द ५६ माकन्द मालइ ५५ "ती मालिय ५५ मालिका साय ५९ शाक (गु. साग) सियर ५६१ | सिमि ५९शमी | सिरीस १६ शिरीप (. सरस दो) | सीसम ५६ शिशपा (गु. सीसम) | सुरयार ५१ [सुरदारू? ] देवदार सुहंजण [शुभानन] शिम | हिरन ५० [हिरण्य] धत्तर ·सन्देश रासकान्तर्गत विशेषनाम सूचि । मा स भीरसेण मीरसेन भइमाण' भादक रहमान (1) (व्याया) मूलस्याण ६५ [मूलस्थान] मूलवान १ खभाइस ५५, ६७८ स्तम्भनीर्थ (गु. समाज) रामायण ४५ ववर्णतिय ६५ [पनतीर्थ ] सूर्यकुण्ड (व्याया) विजयनपा २१ "नगरविक्रमपुर (व्याख्या) प भरूचरिय ४४ नसरित सनहरासप १९, मनेहए रासय १ संदेशन मरह १५ [ मरत ] = मरत नाट्यशास भारह भारत | सामोर शाम्पा] - मूलस्थान सुदपपछ ४ सयवरस कथा (व्याया) (गु. सदेवंदनी पा) । देस म्लेच्छदेश सन्देशरासकान्तर्गत छन्दोनाम सूचि । न नन्दगि ७७ (द) फ मदिष्ट १०१,161 ख सबार १३ सन्ध ग गाह 1,11,1644८,९२, १२५,120,110,२१,२,२२० भ ममरावलि . म मरिल 110 मालिदि-वितु ५९ पाउपाइप बुद्धिष्ट 110चूडियम 12 ₹ स्वणिज-ड २०० ल छिकोड २०३ ५ दोहा, सोइड 10141,३५५ घरधु ११,३९