INTRODUCTION lix Amara, as the purpose of the samkara (mixing up of words of different genders) here is a jñapaka (significant usage). संकरपाठात् क्लीबनपुंसकशब्दौ पुंलिङ्गावपि । अस्त्री नपुंसकं क्लीबं . . . इति रुद्रः । स नपुंसको भवेत् इत्यमरभाष्यकार: । (p. 385 ) Aptness of illustration is another noteworthy feature of Malli's comm. The word ähatam means an assertion of impos- sibility for which Malli. gives as illustration the well-known line, There goes the son of a barren woman' (eşa vandhya- suto yati, p. 116), found also in Apte's Dict. (p. 376). After explaining makaranda as honey and adding the form maranda given in the Vaijayanti, he mentions another word madhulikā which is illustrated by: अहो मे सौभाग्यं मम च भवभूतेश्च फणितं . . . गिरां देवी , माधुर्यं क्षिपति .. a verse melting in its appeal but mythical in content, found in the Bhojaprabandha (p. 226). Rajah (dust) is well known to be a sakārānta word and is taken as such by the principal commentators. Malli. notes its use as akārānta also as in the well-known verse: अर्थाः पादरजोपमा गिरिनदीवेगोपमं यौवनम् । which he annotates as iti purātanaprayogaḥ (p. 542). On the topic of apupa (Indian cake), Malli. waxes eloquent regarding the varieties, quoting a popular verse 'pürikaya gharikayā polikaya...', hinting in unmistakable terms at his own favourite dish (p. 583). Amara has 'pustam lepädikarmani', indicating thereby the art of plastering and making models'. Ampli- fying this statement with an apt illustration, Malli. adds that the word pustakam has the additional sense of a collection of palm leaves (so as to form a literary work). C तालपत्रादि- • पुस्तं स्यात् । मृद्दारुचर्मवस्त्राद्यैः . . . पुस्तमुच्यते । मधूली- संचये च पुस्तकशब्दप्रयोगः । (p. 637)
