Agam 13 Upang 02 Rajprashniya Sutra Sthanakvasi

Author(s): Amarmuni, Tarunmuni, Shreechand Surana, Trilok Sharma
Publisher: Padma Prakashan
Catalog link: https://jainqq.org/explore/007653/1

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sacitra rAyapaseNiya (rAjapraznIya) sUtra (dvitIya upAMga) | mUla pATha, hindI-aMgrejI anuvAda, vivecana tathA raMgIna citroM sahita * pradhAna sampAdaka uttara bhAratIya pravartaka bhaNDArI zrI padmacandra jI mahArAja ke suziSya upapravartaka zrI amara muni * saha-sampAdaka zrI taruNa muni zrIcanda surAnA 'sarasa' * aMgrejI anuvAda . rAjakumAra jaina pama prakAzana padma dhAma, narelA maNDI, dillI-110040

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| sacitra Agama prakAzana mAlA kA terahavA~ puSpa - sacitra rAyapaseNiya (rAjapraznIya) sUtra (dvitIya upAMga) pradhAna sampAdaka upapravartaka zrI amara muni saha-sampAdaka zrI taruNa muni zrIcanda surAnA 'sarasa' - aMgrejI anuvAda rAjakumAra jaina, dillI - prathamAvRtti - vi saM. 2058 IsvI san 2002 - citrAMkana DaoN triloka zarmA . prakAzaka evaM prApti-sthAna padma prakAzana padma dhAma, narelA maNDI, dillI-110040 - mudraNa-vyavasthA sajaya surAnA zrI divAkara prakAzana e-7, avAgaDha hAusa, ema jI roDa, AgarA-282 002 dUrabhASa (0562) 351165 pA~ca sau rupayA mAtra (500/- rupaye) - sarvAdhikAra * padma prakAzana, dillI

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ILLUSTRATED RAI-PASENIYA (RAJ-PRASHNIYA) SUTRA (THE SECOND UPANGA) Original Text with Hindi and English Translations, Elaboration and Multicoloured Illustrations * EDITOR-IN-CHIEF Up-pravartak Shri Amar Muni (The Disciple of Uttar Bharatiya Pravartak Bhandari Shri Padma Chandra ji M) * ASSOCIATE-EDITORS Shri Tarun Muni Srichand Surana 'Saras' ENGLISH TRANSLATOR Raj Kumar Jain PADMA PRAKASHAN PADMA DHAM, NARELA MANDI, DELHI-110 040

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| THE THIRTEENTH NUMBER OF THE ILLUSTRATED AGAM SERIES ILLUSTRATED RAI-PASENIYA (RAJ-PRASHNIYA) SUTRA (The Second Upanga) , Editor-in-Chief Up-pravartak Shri Amar Muni Associate-Editors Shri Tarun Muni Srichand Surana 'Saras' English Translator Raj Kumar Jain, Delhi First Edition 2058 V. 2002 A.D. Illustrator Dr Trilok Sharma Publisher and Distributor Padma Prakashan Padma Dham, Narela Mandi, Delhi-110 040 Printer Sanjay Surana Shree Diwakar Prakashan A-7, Awagarh House, MG. Road, Agra-282 002 Phone: (0562) 351165 Price Five Hundred Rupees only (Rs 500/-) Copyright: Padma Prakashan, Delhi

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prakAzakIya sva. gurudeva rASTrasanta uttara bhAratIya pravartaka bhaNDArI zrI padmacandra jI mahArAja ne eka amara preraNA vAkya diyA thA-"jJAnadAna mahAn dAna hai| vItarAga vANI para zraddhA karanA aura usakA pracAra karanA kisI bhAgyazAlI kI pahacAna hai|" hamArI saMsthA pUjya pravartakazrI jI ke isI bodhavAkya ko jIvana-sUtra mAnakara nirantara zAstra-sevA ke zubha kArya me juTI hai| aba taka bAraha granthoM kA prakAzana ho cukA hai aura aba hama prativarSa do granthoM kA prakAzana karate hue zAstra-sevA ke isa mahAn kArya ko Age baDhA rahe haiN| ___ gata varSa 1 maI ko acAnaka pUjya pravartakazrI jI kA svargavAsa ho jAnA hama sabake lie bahuta bhArI AghAtajanaka rhaa| unakI upasthiti aura AzIrvAda se hI hamArI saba samasyAoM kA samAdhAna ho jAtA thaa| aba unakI anupasthiti meM bhI unakA AzIrvAda to hamAre sAtha hai hii| unhIM ke ziSyaratna pravacanakesarI upapravartaka zrI amara muni jI mahArAja hamAre AdhAra haiN| upapravartakazrI jI kA aTUTa saMkalpa, dRDha niSThA aura kAma karane kA sAhasa, sUjhabUjha aura sabakA sahayoga prApta karane kI kalA se yaha kArya sadA hI Age baDhatA rahegA aisA hame dRDha vizvAsa hai| __ pAThakoM ke hAthoM meM aba 'rAyapaseNiya (rAjapraznIya) sUtra' sampUrNa sAja-sajjA ke sAtha prastuta hai| isake sampAdana-mudraNa Adi kAryoM meM jina mahAnubhAvoM kA sahayoga prApta huA, hama una sabake AbhArI haiN| mahendrakumAra jaina - adhyakSa padma prakAzana (5)

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PUBLISHER'S NOTE Late Gurudev Rashtrasant Uttar Bharatiya Pravartak Bhandari Shri Padma Chandra ji M. gave us an ever inspiring message--"Imparting knowledge to others is the greatest charity. To have faith on the sermon of the Vitarag and to work towards its spread are qualities of a blessed individual." Accepting this message from revered Pravartak Shri ji as a beacon, our organization is sincerely involved in this project of service to scriptures. Till date we have published eleven books and now we plan to bring out two books every year. The sudden demise of revered Pravartak Shri ji in the month of May (2001) came as a cruel shock to us all. His presence and blessings were panacea for all our problems. Now, though he is no more, his blessings continue to be with us. His able disciple Pravachan Kesari Up-pravartak Shri Amar Muni ji M. is the anchor of all our activities. We are confident that this project is destined to progress under the auspices of his unwavering resolve, profound faith, spirit of endeavour and ability to attract co-operation from all. 'Illustrated Rai-paseniya (Raj-prashniya) Sutra' is now being placed before the readers. We are thankful to all those who have extended their co-operation to this project. We wish and hope to get their continued cooperation in future as well. Mahendra Kumar Jain PRESIDENT Padma Prakashan (6)

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svakathya : prastAvanA "jIvana me sukha-zAnti aura Ananda kI prApti ho / " yaha pratyeka manuSya cAhatA hai| cAhe koI dharma ko, paramAtmA yA AtmA ko mAne yA na mAne, kintu sukha-zAnti kI kAmanA sabhI Astika-nAstika karate hai / kintu isa bAta ko bahuta kama loga samajhate hai ki sukha-zAnti kA mUla adhyAtma hai aura adhyAtma kA AdhAra hai AtmA / adhyAtma kI sarala paribhASA hai-"adhi AtmAnaM - adhyAtmam - AtmAnaM adhikRtya yA kriyA pravartate tad adhyaatmm|"-aatmaa ko lakSya me rakhakara jo kriyA / pravRtti kI jAtI hai, vaha adhyAtma hai| dharmazAstra kA uddezya dharmazAstro kA uddezya hai - AtmA kA pratipAdana karanA / Atma-sattA kA vivecana / vizleSaNa karanA aura pratyeka jijJAsu ke mana me AtmA ke prati zraddhA, AsthA tathA vizvAsa utpanna krnaa| prAcInakAla se lekara Aja taka sabhI dharmazAstro kA nirmANa aura paThana-pAThana isI uddezya ko lekara hotA rahA hai| prastuta rAyapaseNiya (rAjapraznIya) sUtra kA bhI yahI mUla uddezya hai - Atma-sattA kA pratipAdana karanA, AtmA ke prati sabake mana me AsthA - vizvAsa paidA karanA / isa sUtra kI pratipAdana zailI anya zAstro se kucha bhinna hai| dharma va adhyAtma kA viSaya baDA nIrasa aura durUha, samajhane me kaThina mAnA jAtA hai, isalie sAmAnya vyakti dharma kI, AtmA kI, adhyAtma kI carcA me ulajhane se katarAtA hai aura dUra-dUra hI rahanA cAhatA hai| una logo kI ruci kathA-kahAnI vArttA meM adhika rahatI hai / yaha sUtra loka - ruci ko satuSTa aura tRpta karane vAlA hai| isakI zailI me yaha anUThApana hai ki AtmA, dharma aura adhyAtma jaise gahana, kaThina aura nIrasa viSaya ko itanA sarala, sarasa aura rucikara zailI se prastuta kiyA gayA hai ki paDhane vAlA aura sunane vAlA Age se Age paDhanA / sunanA hI cAhatA hai / zAstra ke mukhya pAtra isa zAstra ke mukhya pAtra do hai - zvetAmbikA nagarI kA nAstika rAjA pradezI aura cAra jJAna ke dhAraka mahAn vidvAn pArthyApatya kezIkumAra shrmnn| dono ke bIca me jIva ke astittva ke sambandha me ki "zarIra aura jIva bhinna hai yA eka hI hai ?" isa viSaya me praznottara hote hai, tarka-vitarka hote hai / pradezI rAjA apane anubhava aura yuktiyA~ prastuta karake, jIva aura zarIra ko eka hI siddha karatA hai aura kezIkumAra zramaNa baDe rocaka, yuktipUrNa dRSTAnta, udAharaNa dekara jIva ko zarIra se bhinna cetana tattva siddha karate hai / unake tarka itane yuktiyukta, anubhavapUrNa aura akATya hote hai ki anta me parama adhArmika kaTTara nAstika pradezI rAjA unake sAmane jhuka jAtA hai, svIkAra karatA hai - "ApakA kathana satya hai, mai Aja taka bhUla karatA rahA, galata mAnatA rhaa|" dharma se jIvana- parivartana isa zAstra kA yahI sabase mukhya sAra - tattva hai, yo dekhe to pUre isa Agama kA prANa - tattva yahI hai ki jIva aura zarIra kI bhinnatA siddha karake jIva ko cetana, zAzvata siddha karanA aura zarIra ko (7) For Private Personal Use Only

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* jaDa-pudgalo kA piNDa, nAzamAna siddha krnaa| zarIra ko jaba nazvara mAna liyA, to phira usake prati moha, mamatA, Asakti kA badhana bhI DhIlA paDa jAtA hai| dhana, aizvarya, sattA ke sukha-bhoga kA nazA bhI utara jAtA hai aura vyakti ke jIvana me AmUlacUla parivartana A jAtA hai| dRSTi badalate hI sRSTi badalane jaisI bAta ho jAtI hai| hiMsA aura krUratA me vizvAsa karane vAlA mAnava dayAlu, karuNAzIla bana jAtA hai| zarIra ke sukhoM me Asakta rahane vAlA zarIra ke prati itanA moharahita ho jAtA hai ki mArane ke lie jahara dene vAlI apanI patnI ke prati bhI koI roSa nahI, dveSa nhii| bhayakara vedanA me bhI samabhAvapUrvaka dharma kI ArAdhanA karatA hai| zarIra meM atyanta tIvra dAha utpanna hone para bhI zAnti aura samAdhibhAva me lIna rahatA hai| pradezI rAjA ke jIvana kA yaha Azcaryajanaka parivartana baDA anUThA hai| jisake hAtha, jisakI talavAra dUsaro ke khUna se sanI rahatI hai| jisake nAma se hI baDe-baDe cora, DAkU, hatyAre, aparAdhI kA~pate the, eka dina vahI rAjA bhojana me viSa dene vAle ke prati bhI kisI prakAra kA dveSa-krodha nahI karake samabhAva ke sAtha mRtyu kA svAgata karatA hai| kitanA AmUlacUla parivartana hai eka hI vyakti ke jIvana meN| mahApApI eka dina parama dhArmika bana jAtA hai| isa parivartana kA kAraNa hai dharma me vizvAsa, AtmA kI sattA me AsthA aura adhyAtmamaya jIvana / __ghora naraka- me jAne yogya krUra karma karane vAlA marakara mahAn vaibhavazAlI, prabhAvazAlI devatA banatA hai| gahare gaDDhe se uThakara zikhara para pahuMca jAtA hai| aisI rocaka camatkArI kathA hai isa Agama ke pAtra pradezI rAjA kii| nAma kI sArthakatA ___'rAyapaseNiyasUtra' bAraha upAgasUtro meM dUsarA upAga hai| yaha dvitIya aga Agama sUtrakRtAga kA upAga hai| maiM jaba-jaba isa zAstra ko paDhatA hU~ yA pravacana me sunAtA hU~ to mujhe bhI baDA Ananda AtA hai aura zrotAoM ko bhI, isalie sacitra Agama prakAzana kI zrRMkhalA meM isa varSa isI Agama ko lene kA nizcaya kiyaa| ___ Agamo ke sakalanakartA devarddhigaNi kSamAzramaNa aura isa zAstra ke TIkAkAra AcArya malayagiri ne isakA nAma 'rAyapaseNiya' mAnya kiyA hai| jisakA saskRta rUpa 'rAjapraznIya' hotA hai| TIkAkAra malayagiri kA kathana hai-"isame rAjA ke prazna hai, isalie isakA nAma 'rAjapraznIya' yA 'rAyapaseNiya' hI upayukta hai|" varNya-viSaya jaisA maine pUrva me batAyA, isa zAstra kA mukhya viSaya-AtmA kA svatatra astittva siddha karake usake prati AsthA utpanna karanA hai| jaise kuzala pAkazAstrI (rasoiyA) sAdhAraNa khAdya vastu ko masAlA, vyajana Adi lagAkara itanA svAdiSTa aura rucikara banA detA hai ki bhUkha nahI hone para bhI usakI bhInI gadha aura mahaka se mugdha hokara khAne ko jIbha lalacAtI hai, mu~ha me lAra Tapakane lagatI hai aura khAne ko hAtha baDha hI jAtA hai| usI prakAra isa zAstra me sUryAbhadeva kA varNana, usake aizvaryayukta vimAno kI adbhuta se racanA, svarga ke deva vimAno kA varNana tathA bhagavAna mahAvIra ke samavasaraNa me sUryAbhadeva dvArA racita

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KKA battIsa prakAra ke adbhuta nATaka, sagIta, vAdya Adi kA varNana, unakI eka-eka kriyAvidhi kA rocaka citraNa itanA manohArI hai ki zrotA sunate-sunate mugdha ho jAte hai aura isake sAtha hI kezIkumAra zramaNa dvArA diye gaye rocaka dRSTAnta bhI itane rasaprada tathA arthapUrNa hai ki sunakara gambhIra tattvajJAna bhI sahaja grAhya ho jAtA hai| svarga ke vaibhava, vimAna racanA, sUryAbhadeva kA abhiSeka aura nATaka, sagIta Adi ke varNana kI dRSTi se yaha zAstra kisI anUThI zailI ke kAvya se kama nahI hai| prAcIna kalA, saskRti, loka sabhyatA Adi kA varNana bhI isame bharapUra hai| prAcInakAla me pracalita sagIta ke vibhinna vAdya, yatra, upakaraNa aura nATako kI bhinna-bhinna mudrAe~ va zailiyA~ yaha batAtI hai ki prAcIna bhArata me kalA kA vikAsa kitane ucca-stara kA rahA hai| ina saba varNano ke kAraNa yaha zAstra paDhane/sunane me loka-ruci ko AkarSita karatA hai| ukta saba varNana karane kA mukhya kendra-bindu hai-AtmA kI siddhi aura dharmArAdhanA ke phalasvarUpa pradezI rAjA ke jIvana kA AmUlacUla privrtn| krodha kI jagaha karuNA, dveSa kI jagaha kSamA-zAnti, bhoga, tRSNA va rAjasattA kI lAlasA ke sthAna para viSayo se virakti, nirakuza rAjasattA ke sthAna para vinamratA aura vatsalatA kA dharmazAsana, rAjyabhoga ke prati udAsInatA, prajA-utpIDana ke sthAna para prajApAlana kI bhAvanA, dehAsakti ke sthAna para daihika mamatA kA tyAga aura videhabhAva kI anubhuuti| yahI varNana isa zAstrarUpI zarIra ke prANa hai| inhI sabake kathana ke lie sampUrNa zAstra kA vistAra hai| yaha varNana sunakara paDhakara yaha mAnA jA sakatA hai ki dharma kevala paraloka ke sukharUpa bhautika phala hI nahI detA, kintu dharma-sAdhanA se manuSya kA hRdaya pavitra bana jAtA hai| usakA jIvana tRSNA aura moharahita ho jAtA hai| dharma kA pratyakSa phala isI me milatA hai, pratyeka viSama paristhiti me bhI samatA aura OM zAnti kA anubhava tathA citta kI prsnntaa| mai mAnatA hU~ 'rAyapaseNiyasUtra' kA sampUrNa vistAra isI satya 6 ko prabhAvaka rUpa meM prakaTa karane ke lie hI hai| pA~ca vibhAga isa zAstra ke mukhya rUpa se do vibhAga hai-eka pUrva bhAga, jisame sUryAbhadeva kA bhagavAna mahAvIra ke samavasaraNa me Agamana divya devaRddhi kA pradarzana, battIsa prakAra ke nATako kA abhinaya, phira devaloka prasthAna aura vahA~ para usakA abhiSeka mahotsava, vimAno kA rocaka kAvyAtmaka vrnnn| dUsarA uttara bhAga hai| gautama svAmI dvArA yaha prazna ki isa sUryAbhadeva ne pUrvajanma me aisA kyA dharma va tapazcaraNa kiyA thA, jisake phalasvarUpa itanI mahAn divya devaRddhi prApta huii| uttara meM bhagavAna mahAvIra dvArA usake pUrvajanma, pradezI rAjA kA vrnnn| mukhya rUpa se isake pUrva bhAga aura uttara bhAga yo do vibhAga hai| varNana kI dRSTi se isake pA~ca upa-vibhAga bhI ho jAte hai (1) deva vimAno kA vrnnn| (2) samavasaraNa me aagmn| (3) sUryAbhadeva kA prkrnn| GOO9RQoYANOTATODAN 69069-00000000000000 whakisikisi ki You9oQ MA (9)

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(4) rAjA pradezI aura kezIkumAra zramaNa kA prsg| (5) sUryAbhadeva ke AgAmI bhava-dRDhapratijJakumAra kA vrnnn| dRDhapratijJakumAra kA varNana yaha batAtA hai ki jisane pUrvabhava me dharma kI ArAdhanA kI ho, usa vyakti kA AgAmI bhava (uttara bhava) bhI baDA hI dharmamaya, ucca guNo se yukta, prabhAvazAlI aura sukha-saubhAgya se sampanna hotA hai| usake vyavahAra meM dharma kA pratyakSa prabhAva spaSTa dikhAI detA hai| prastuta sampAdana ___ 'rAyapaseNiyasUtra' kathAnuyoga kA zAstra hai| isase lagatA thA isakA anuvAda-vivecana kArya anuyogadvAra kI apekSA sarala hI hogA, parantu kAma prArambha karane para patA calA ki yaha anuyogadvAra se bhI kliSTa Agama hai| isakI bhASA aura varNana-zailI ucca sAhityika to hai hI, sAtha hI pAribhASika zabdo se bharI hai| deva vimAno ke varNana me vahA~ kI sthiti kA varNana usI stara kI bhASA me kiyA gayA * hai, jise zabdArtha va zabdo kI vyAkhyA ke binA samajha pAnA sarala nahI hai| isalie anuvAda aura vivecana ra me isa bAta kA vizeSa dhyAna rakhA gayA hai ki prAcInakAla me pracalita yA svarga vimAna ke varNana meM prayukta - una zabdo kA Aja kI bhASA me artha aura spaSTIkaraNa bhI sAtha hI sAtha karate jAnA caahie| sadA Agama * svAdhyAya karane vAlo ko jo zabda paricita lagate hai, ve zabda kabhI-kabhAra Agama paDhane vAlo ko samajha pAne meM kaThinAI ho jAtI hai| hindI anuvAda me to phira bhI ve zabda cala jAte hai, kintu agrejI anuvAda 9) me una zabdo kI vyAkhyA kiye binA pAThaka kucha bhI nahI samajha pAyegA, kyoki usa bhASA aura saskRti me ve zabda prayukta hI nahI hote hai, to unakA artha kaise samajhA jaayegaa| isalie anuvAda-vivecana aura " agrejI anuvAda me isa bAta kA khAsa dhyAna rakhA gayA hai ki una apracalita zabdo kA Aja ke sandarbha me artha diyA jAya tAki pAThaka ko samajhane meM kaThinAI na ho| isalie pada-pada para TIkAkAra kI vyAkhyA aura zabdakoSa kA sahArA lete hue isakA anuvAda kiyA hai, jo aba taka ke pracalita anuvAdo se sarvathA bhinna aura viziSTa lgegaa| purAnI pratiyo me 30-40 lAino ke do-do pRSTha ke aise sayukta pATha hai, jinakA uccAraNa bahuta kaThina hotA hai, kahA~ vizrAma lenA, kahA~ zabda toDanA, kahA~ kisa pATha kA kyA zabdArtha karanA, yaha vAcaka, pAThaka aura zrotA ke dhyAna meM bhI nahI rhtaa| isalie hamane lambe pAThoM ke choTe-choTe pada va vAkya banAkara bIca-bIca me unakA artha kara diyA hai| kaI jagaha to eka hI sUtra ke (ka), (kha), (ga) Adi lagAkara pA~ca-chaha upa-vibhAga kara diye hai, jisa kAraNa pATha kA uccAraNa karanA tathA artha samajhanA sarala ho gayA hai| jahA~ taka ho sakA hai, Agama ke viSaya ko par3hane-samajhane me saralatA baDhAne kA pUrA dhyAna rakhA hai| AzA hai yaha prayatna pasanda kiyA jaayegaa| AdhAra grantha ___'rAyapaseNiyasUtra' kathAnuyoga kA zAstra hone ke kAraNa isa para AcAryo ne niyukti, bhASya, vRtti Adi bhI nahI likhii| AcArya malayagiri ne isa para sundara, gambhIra TIkA likhI hai aura yahI TIkA isa zAstra (10)

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kA bhAva samajhane kA mUla AdhAra hai| usa TIkA ke AdhAra para zraddheya zrI ratana muni jI ne isakA sundara anuvAda-vivecana kiyA hai| jisakA prakAzana yuvAcArya zrI madhukara muni jI ke pradhAna sapAdakatva me 'rAjapraznIyasUtram' ke rUpa me Agama prakAzana samiti, byAvara ne prakAzita kiyA hai| aba taka ke prakAzita hindI anuvAdo me vahI anuvAda adhika upayogI kahA jA sakatA hai| hamAre sampAdana me usI kA mUla pATha rakhA hai tathA anuvAda-vivecana me bhI usakA upayoga kiyA gayA hai| hama sampAdaka-prakAzaka ke AbhArI hai| zAstra-sevA ke isa mahAna kArya me mere sva pUjya gurudeva uttara bhAratIya pravartaka rASTrasanta bhaNDArI zrI padmacandra jI mahArAja kI preraNA va AzIrvAda sadA hI mere sAtha rahA hai| aba unakI anupasthiti me bhI unake AzIrvAda kA sabala sambala mere sAtha hai aura usI ke bala para mai isa kArya me Age gatizIla rahane kA sAhasa kara rahA huuN| __isa sampAdana-vivecana me pramAdavaza yA alpajJatA ke kAraNa kahI koI azuddhi tathA jinavANI ke viruddha likhA gayA ho to mai sarala hRdaya se 'micchAmi dukkaDa' letA huuN| citrakAra badhu ne citro ke mAdhyama se svargIya vimAno kI racanA dikhAne tathA pradezI rAjA eva a kezIkumAra zramaNa ke dRSTAnto ko citrita karane me acchA parizrama kiyA hai| jisase rocakatA va navInatA baDha gaI hai| isakA hindI anuvAda va vivecana karane meM prasiddha sAhityakAra zrIcanda jI surAnA 'sarasa' kA sahayoga prApta huA hai tathA agrejI anuvAda me suzrAvaka zrI rAjakumAra jaina, dillI se sahayoga milA hai| - hindI-aMgrejI anuvAda ko bAlayogI zrI taruNa muni jI, upapravartinI viduSI AjJAvatI jI mahArAja, upapravartinI zramaNIsUryA DaoN saritA jI mahArAja tathA viduSI sAdhvI snehakumArI jI mahArAja ne bhI dhyAnapUrvaka dekhA hai, ucita parAmarza eva sahayoga diyA hai| sadA kI bhaoNti gurubhakta dAnI zrAvako ne prakAzana * me apanA sahayoga diyA hai| ___sabhI ke sahayoga se zruta-sevA ke isa puNya kArya me mai Age baDha rahA hU~ aura baDhatA rahU~gA isI Atma-vizvAsa ke sAtha / -upapravartaka amara muni (11) OES

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FROM THE EDITOR'S PEN * Every human being wishes that "He is blessed with happiness, peace and bliss in life." Irrespective of his faith in religion, god or soul, everyone desires happiness and peace be he an atheist or a theist However, very few people understand that the fountainhead of happiness and peace is spirituality and that of spirituality is soul The simplest definition of spirituality (adhyatma) is--any activity or indulgence aimed at soul is spirituality THE PURPOSE OF RELIGIOUS SCRIPTURES The purpose of religious scriptures is to propagate soul; to analyze and elaborate the existence of soul and to infuse every aspirant with the faith and belief in soul. All the religious texts since ancient times have been written and are studied and taught for this single purpose. This 'Rai-paseniya Sutra' has also been written for this very purpose, to propagate soul and to inspire faith and belief for soul in every aspira This scripture is written in a unique style Religion and philosophy are believed to be drab and dry subjects difficult to understand Therefore, most of the people avoid getting involved in discussion on these subjects These people are more interested in stories and fiction This Sutra caters to the needs and interest of the masses The unique style of this Sutra presents the serious, complex and drab topics of soul, religion and spirituality in so simple, interesting and attractive style that the reader or listener gets captivated and wants more THE CENTRAL CHARACTERS There are two central characters in this book--the agnostic ruler of Shvetambika city, kirg Pradeshi and Shraman Keshi Kumar, a follower of Bhagavan Parshvanath and endowed with four kinds of knowledge. There is a discussion between these two regarding the existence of soul"Body and soul are separate entities or one ?" King Pradeshi presents on the basis of his logic and experience that soul and body are one. Shraman Keshi Kumar, with the help of interesting examples and irrefutable logic, refutes his arguments and establishes the identity of soul as an entity (chetan) independent of the body. Supported by experience, his arguments are so logical and irrefutable that in the end the extremely ( 12 )

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dogmatic and agnostic king Pradeshi yields before him and accepts that "All this while he was wrong and had belief in falsehood." RELIGION TRANSFORMS LIFE The central theme or the spirit of this Agam is to establish the independent identities of soul and body and proceed towards proving that soul is life-force (chetan) that is indestructible and eternal whereas body is an aggregate of lifeless matter that is ephemeral and destructible. Once accepted that body is ephemeral, the bonds of fondness, love and attachment for it are loosened. The intoxication of wealth, grandeur, pleasures, enjoyments and power is also diluted. The whole life of a person undergoes a sea change. It is like--everything changes with a change in viewpoint. A person with faith in violence and cruelty turns peaceful and compassionate. A person infatuated with mundane pleasures becomes so detached from the body that he has no aversion or animosity for his own wife trying to poison him He continues his spiritual practices with equanimity even while suffering acute pain He remains calm and serene even when his body runs very high temperature. This astonishing change in the life of king Pradeshi is indeed unique. A person whose palms and sword were ever smeared with blood of others-terrible bandits, dacoits, murderers and criminals trembled at the mention of his name--one day welcomes death with equanimity and that too without any anger or hatred for the person who mixed poison in his food. How fundamental a transformation in the same person's attitude. A great sinner one day turns into a highly religious person. The cause of this transformation is belief in religion, faith in the existence of soul and spiritual way of life A person deserving a rebirth in hell due to his extremely cruel deeds is reborn as a very powerful and affluent god From a deep ravine he rises to the hilltop. So interesting and occupying is this astonishing tale of king Pradeshi, the central character of this Agam THE NAME 'Rai-paseniya Sutra' is the second among the twelve Upanga Sutras (the subsidiary Anga canon). This is the subsidiary of the second Anga Agam Sutrakritanga Whenever I read or include this scripture in my discourse, I enjoy it very much as also does the audience That is the reason I decided to take up this book this year in the Illustrated Agam project. ** ( 13 ) XXX STOC *

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Devardhigani Kshamashraman, the compiler of Agams and Acharya Malayagiri, the commentator (Tika) have given its name as 'Rai-paseniya'. Its Sanskrit transcription is 'Raj-prashniya'. Malayagiri affirms that "As it contains Prashnas (questions) by a Raja (king) the title 'Raj-prashniya' or 'Rai-paseniya' is appropriate." SUBJECT-MATTER As mentioned earlier, the central theme of this scripture is to inspire faith in soul by proving its independent existence By supplementing it with condiments and flavours, an expert chef makes a simple dish so The tasty and inviting that a person without any appetite is drawn by its aroma and flavour. He starts salivating and extends his hand to pick In the same way the vivid description of Suryabh Dev, the unique configuration of his grand celestial vehicles, the celestial venucles of other the thirty two types of spellbinding performances including plays, music, musical instruments along with the details of the processes involved is so beautiful and interesting that the listener gets lost in the narrative. Besides these, even the examples given by Keshi Kumar * Shraman are so meaningful and interesting that the complex e philosophical discussion becomes easy to understand. These descriptions of the grandeur of heaven, structure of celestial vehicles, anointing of Suryabh Dev, plays and music make this scripture an epic poem in unique style It contains ample information about ancient art, culture and civilization. The information about a variety of musical instruments and range of themes and styles of dramas provide evidence about the highly developed state of performing arts in ancient India. These details are the cause of the popular interest in reading and reciting of this scripture The direction this narrative takes is the total transformation of the life of king Pradeshi as a consequence of indulgence in spiritual and religious practices-compassion replacing anger; peace and forgiveness replacing animo: 'ty, detachment from mundane pleasures replacing thirst for enjoyment and craving for territorial power; love, modesty and disciplined governance replacing autocratic rule; apathy for power mongering replacing political ambitions; public welfare replacing public torture; and detachment and renunciation replacing infatuation with body and its pleasures. These details form the soul of the body that is this scripture. All the elaborations and embellishments are directed at this central theme. This (14)

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work emphatically conveys that religion is not just for acquiring worldly happiness in the life after death, it is also for attaining the purity of heart The life of a religious person becomes free of cravings and fondness. The direct fruit of religion is in the form of the capacity to remain equanimous, peaceful and composed in adverse circumstances. All what is written in this 'Rai-paseniya Sutra' is for the purpose of revealing this fact in a forceful manner FIVE SECTIONS This scripture has two main sections-The first section contains incidents of arrival of Suryabh Dev in the Samavasaran of Bhagavan Mahavir, display of his divine powers, performance of thirty two types of dramas, return to Devlok and his anointing ceremony. This also includes interesting and poetic description of celestial vehicles. The second section contains the story of king Pradeshi, the earlier incarnation of Suryabh Dev This story was narrated by Bhagavan Mahavir in answer to Gautam Swami's question that what spiritual practices and austerities in the earlier birth resulted in this god's acquiring such exceptional divine powers. These are the two main sections of this scripture However, on the basis of content of details it can also be divided into five sub-sections (1) Description of celestial vehicles (2) Arrival in the Samavasaran (3) The performance of Suryabh Dev. (4) The dialogue between king Pradeshi and Keshi Kumar Shraman. (5) The future incarnation of Suryabh Dev-Dridh Pratijna Kumar. The story of Dridh Pratijna Kumar informs that a person who indulges in spiritual practices during earlier birth leads a religious life and is blessed with pious qualities, happiness, good luck and prestige High level of religiosity is clearly evident in his behaviour. THIS EDITION 'Rai-paseniya Sutra' is a narrative work (Kathanuyoga). Therefore it seems that the translation and elaboration would be easy as compared with Anuyogadvar Sutra. But on commencing the work it was found that it is more complex than Anuyogadvar Sutra. Not only that its language and description are highly ornamental, it also abounds in technical terms In the description of celestial vehicles the divine and celestial (15) For Private Personal Use Only

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conditions have been described in a language of equally lofty level. This makes it difficult to understand without defining and explaining the technical terms Care should be taken that ancient terms and technical terms used in the description of celestial vehicles have been explained along with the translation The terms that are easy for those who regularly study Agams are difficult for those who study these occasionally. In Hindi translation many of the terms are known to the Hindi reader, but in English translation the reader would be at a loss to understand such terms that are alien to English language. Therefore, in the translation and elaboration as well as English translation care has been taken that such uncommon terms are explained in modern idiom to facilitate our readers That is the reason that help has been taken from the commentaries and dictionaries at every step. This makes this translation first of its kind among the available translations In the ancient manuscripts there are very long sentences with compounded words extending to two pages, and these are very difficult to read and recite. The reader finds it almost impossible to know where to pause and where to break the compound words, what to say of understanding the meaning. Realizing this difficulty we have broken the long passages into small sentences and phrases along with their translation. At some places one long sentence has been divided into fivesix sections marking (a), (b), (c) etc. This will facilitate proper reading and easy understanding. As far as possible attention has been paid to the reader's convenience in reciting and understanding the content of this Agam. I hope that this effort will be appreciated REFERENCE WORKS As 'Rai-paseniya Sutra' is a narrative work, no Niryukti, Bhashya or Vritti has been written on it by Acharyas. Only Acharya Malayagiri has written an eloquent and profound Tika Thus the Tika is the only available reference work to help proper understanding of this work. Based on this Tika, respected Shri Ratan Muni ji has written a beautiful translation with elaborations. It was published as 'Raj-prashniya Sutram' by Agam Prakashan Samiti, Beawar under the guidance of Yuvacharya Shri Madhukar Muni ji as Editor-in-Chief. This is the most among hitherto published Hindi translations of this work In this Illustrated edition we have taken original text from this Beawar edition ( 16 )

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9 and also used it liberally while translating and elaborating. We are indebted to the editor and the publisher In this ambitious project of publishing Agams my revered Gurudevals to Uttar Bharatiya Pravartak Rashtrasant Bhandari Shri Padma Chandra moji M., always inspired and directed my activities. Now, in his absence, his blessings provide me a strong support. That is what infuses me with courage to continue the mission. Still, in case at any place something has been mentioned against the purport of the scripture or not in line with the tradition, I sincerely fe and convey--Micchami dukkadam' (May my misdeeds be undone). The illustrator of this book has worked hard, especially on presenting the celestial vehicles and the examples narrated in the dialogue between king Pradeshi and Keshi Kumar Shraman. He deserves commendation. This novel scheme makes the work all the more interesting. In the editing of this Sutra, Srichand Surana 'Saras' has put in admirable efforts and strenuous work. For the English translation Shri Raj Kumar Jain, Delhi has made a commendable contribution. Balayogi Shri Tarun Muni ji, Up-pravartini Vidushy Agyavati ji M., Up-pravartini Shramanisurya Dr. Sarita ji M. and Sadhvishri Sneha Kumri ji M. have carefully checked the translation and provided able advise and their cooperation I express my heartfelt gratitude for them all and also for all those who have once again made financial contributions towards the publication of this work With a resolve that I will continue to take this mission of Shrut-seva ahead as I have been doing in the past, -Up-pravartak Amar Muni (17)

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anukramaNikA | CONTENTS | NTENTS Introduction (1) Description of Suryabh Dev Amukha (1) sUryAbha varNana sUryAbhadeva kI sthiti sUryAbhadeva dvArA bhagavAna kI stuti 11 Abhiyogika devo ko sUryAbhadeva kI AjJA Abhiyogika devo dvArA AjJApAlana 15 19 savartaka vAyu kI vikurvaNA 23 bAdalo kI vikurvaNA M puSpa-megho kI racanA Abhiyogika devo kA vApasa Agamana sUryAbhadeva kI udghoSaNA eva Adeza The Location of Suryabh Dev The Appreciation of Bhagavan by Suryabh Dev Instructions to Subordinate Gods Acceptance of Orders by Serving Gods Making Hurricane Through Vaikriya Powers Creating Clouds Through Vaikriya Power Making Clouds of Flowers Return of Abhiyogic Gods After Compliance Direction and Proclamation of Suryabh Dev Response to the Proclamation Orders for Setting up Viman Creation of Viman (Aerial Vehicle) Inner Area of the Viman (Aerial Vehicle) Description of the Jewels __ (The Black Colour Jewels) The Blue Colour Jewels The Red Colour Jewels The Yellow Colour Jewels The White Colour Jewels The Fragrance of the Jewels The Touch of the Jewels 32 ghoSaNA kI pratikriyA vimAna-nirmANa kA Adeza adbhuta vimAna racanA (sopAna racanA) 35 vimAna kA antara bhAga 38 maNiyo kA varNana (kRSNa varNa maNiyA~) 39 va nIla varNa maNiyA~ rakta varNa maNiyA~ - pIha varNa maNiyA~ zveta varNa maNiyA~ maNiyo kA gadha 0 maNiyo kA sparza 1. 45 46 (18)

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prekSAgRha-nirmANa 47 50 ragamaca Adi kI racanA sihAsana kI racanA sihAsana kI caturdigvartI bhadrAsana-racanA 54 / samagra yAna-vimAna kA saundarya-varNana 4EUR Abhiyogika deva dvArA kArya-sapUrti kI sUcanA 56 / vimAna me ArohaNa 46 vimAna kA prasthAna varNana sUryAbhadeva kA AmalakappA nagarI kI ora prasthAna sUryAbhadeva kA samavasaraNa me Agamana &R' 64 bhagavAna dvArA vandanA kI svIkRti 65 Construction of Spectators Hall (Preksha Grih) Construction of the Stage Construction of the Throne Construction of Seats in All the Four Directions Description of the Grandeur of Celestial Aerial Vehicle Information About Completion of Work Ascending in Aerial Vehicle (Viman) Description of Departure of the Aerial Vehicle (Viman) Departure of Suryabh Dev Towards Aamal-kappa Arrival of Suryabh Dev in the Samavasaran Acceptance of Greetings by the Lord Question of Suryabh Dev and Its Answer Reply of Bhagavan Mahavir to the Queries Request of Suryabh Dev Dance Creation Creation of Musicians and Musical Instruments Orders of Suryabh Dev for Dance, Singing and Music Description of Dance and Music Presentation of Dramatic Skills 86 Dramatic Presentation from Life of Bhagavan Mahavir The End of Dramatic Performance 98 Return of Suryabh Dev Enquiry of Gautam Swami sUryAbhadeva kI jijJAsA aura samAdhAna bhagavAna mahAvIra dvArA samAdhAna sUryAbhadeva dvArA manobhAvanA kA nivedana nRtya-racanA vAdyo aura vAdyavAdako kI racanA sUryAbhadeva dvArA nRtya-gAna-vAdana kA Adeza 80 86 r NON nRtya-gAna Adi kA svarUpa nATyAbhinayo kA pradarzana bhagavAna mahAvIra ke jIvana-prasago kA abhinaya nRtya-abhinaya kI samApti sUryAbhadeva kA vApasa jAnA gautama svAmI kI jijJAsA 98 * 100 101 101 (19)

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1 * " bhagavAna mahAvIra kA samAdhAna 101 Bhagavan Mahavir's Clarification 102 sUryAbhadeva ke vimAna kA sthAna aura svarUpa 103 / / Location of the Aerial Vehicle of Suryabh Dev and Its Description 103 sUryAbha vimAna ke dvAro kI zobhA kA varNana 106 Description of the Grandeur of Gates of Suryabh Viman dvAro kI khUTiyA~ 111 The Pegs of the Gates 111 dvAra para sthita putaliyA~ 113 The Puppets of the Gates 114 dvAro ke ubhaya pArzvavartI toraNa 118 Festoons on Both Sides of Viman 118 dvArastha dhvajAo kA varNana 126 Description of Flags at the Gates 126 dvAravartI bhaumo kA varNana 126 Description of Storage Above the Gates vimAna ke vanakhaDo kA varNana 128 Description of Forest-regions of the Viman 129 maNiyo aura tRNo kI dhvaniyA~ 130 Sounds of Gems and Grass (Trin) vanakhaDavartI vApikAo Adi kA varNana 135 Description of Lakes in Forest regions utpAta parvato Adi kI zobhA 139 The Grandeur of Utpat Mountains and Others vanakhaDavartI gRho kA varNana 140 Description of Houses in Forest regions vanakhaDavartI maNDapo kA varNana 141 Description of Pavilions in Forest-regions vanakhaDavartI prAsAdAvatasaka 983 The Grand Places in Forestregions 143 upakArikAlayana kA varNana 144 Description of Small Platform to Ascend the Palace 145 padmavaravedikA kA varNana 146 Description of Padmavarvedika 147 mukhya prAsAdAvatasaka kA varNana 153 Description of the Main Palace 153 sudharmA sabhA kA varNana Description of Sudharma Assembly-hall 155 stUpa-varNana 157 Description of Pillar 159 caitya vRkSa 159 The Chaitya Tree 160 mAhendra dhvaja 162 Mahendra Dhvaj sudharmA sabhAvartI manogulikAe~ gomAnasikAe~ 164 The Seats of Sudharma Council-hall mANavaka caitya-stambha 165 Divine Memonal Post (Manavak Chaitya) 162 (20)

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169 deva-zayyA AyudhagRha-zastrAgAra siddhAyatana upapAta sabhA abhiSeka sabhA alakAra sabhA vyavasAya sabhA (pustakAlaya) pustakaratna eva nandA puSkariNI 168 170 171 176 177 177 178 178 170 upapAta ke pazcAt sUryAbhadeva kA cintana 179 sAmAnika devo dvArA kRtya saketa 183 sUryAbhadeva kA abhiSeka mahotsava abhiSeka utsava svacchatA aura sugdh| 186 196 198 upahAro kA AdAna-pradAna nRtya-sagIta harSa-dhvaniyA~ magala-jayanAda prasAdhana aura paridhAna AbhUSaNa dhAraNa sUryAbhadeva kA vyavasAya sabhA me praveza 198 199 200 203 206 206 207 Bed of Gods Armoury 171 An Eternal Temple (Siddhayatan) 171 Place of Birth for Heavenly-beings 176 Coronation-hall 177 Chamber for Putting on Ornament 178 Library 178 The Great Book and Nanda Pushkarni Thoughts of Suryabh Dev After His Birth Pointing of Necessary Duty by Gods of Equal Status (Saamanik Dev) 184 The Coronation of Suryabh Dev 186 Coronation Ceremony. Its Purity and Fragrance Exchange of Presents 199 Dance and Music 200 Ecstatic Tunes 202 Auspicious Music of Success 204 Ornaments and Dress 206 Decorating with Ornaments 207 Arrival of Suryabh Dev in Vyavasaya Sabha 208 Study of Pustak Ratna 209 Cleaning of Siddhayatan (Eternal Temple Idols) 210 Hymn Praising Arihant and Siddha Cleaning of Devachhandak of Siddhayatan (Eternal Temple) 216 Worship of Remains (Asthis-Bones) of Tirthankar 224 Worship of Storehouse of Weapons Cleaning of Coronation-hall 208 pustakarala vAcana siddhAyatana kA pramArjana 210 arihata-siddha bhagavanto kI stuti 213 siddhAyatana ke devacchandaka Adi kI pramArjanA 215 jina-asthiyo kI arcanA 223 AyudhazAlA kI arcanA 224 abhiSeka sabhA Adi kI pramArjanA 226 (21)

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pank 227 Abhiyogika devo dvArA AjJApAlana sUryAbhadeva kA sabhA me Asana-grahaNa 229 Accomplishing the Orders by Abhiyogik (Serving) Gods Seating of Suryabh Dev in Council Chamber Row of Body-guard Gods Ouery of Ganadhar Gautam About Suryabh Dev 230 Atma-rakSaka deva pakti 231 viSayaka gaNadhara gautama kI jijJAsA 232 233 (2) kezIkumAra zramaNa aura pradezI rAjA (2) Keshi Kumar Shraman and King Pradeshi kekaya-ardha janapada rAjA pradezI rAnI sUryakAntA aura yuvarAja sUryakAnta citta sArathI matrI kuNAlA janapada, zrAvastI nagarI, rAjA jitazatru . citta sArathI kA zrAvastI kI ora prayANa zrAvastI me kezIkumAra zramaNa kA padArpaNa janasamUha kA darzanArtha jAnA citta sArathI kI jijJAsA citta sArathI kA darzanArtha gamana kezIkumAra zramaNa kI dezanA 237 Kekaya-ardh Country King Pradeshi 242 Queen Suryakanta and Prince Suryakant 243 Chitta Saarthi . The Minister 244 Kunala State, Shravasti State, 245 King Jitashatru 246 Departure of Chitta Saarthi Towards Shravasti 253 / / Arrival of Kesh: Kumar Shraman in Shravasti 259 Arrival of Public for Seeing the Saint Question Revised by Chitta Saarthi 267 Departure of Chitta Saarthi for Darshan 269 Scriptural Discourse of Keshi Kumar Shraman 275 The Life-style of Chitta Saarthi 276 Request to Keshi Kumar Shraman 278 for Visiting Seyaviya 280 Reply of Keshi Kumar Shraman 282 Arrival of Chitta and His Orders 284 to Gardeners 285 287 Arrival of Keshi Kumar Shraman in Seyaviya 290 Arrival of Chitta for Darshan skit.dis.skc.is.ke.ske.sleesktools.ske.sis.olkasskse.ke.sakse.ka.is.sks.ske.ke.ske.ke.ke.sks.ke.ske.sakse.ske.sakse.sistar 262 citta sArathI kI jIvanacaryA kezIkumAra zramaNa se seyaviyA padhArane kI prArthanA kezIkumAra zramaNa kA uttara citta kA Agamana aura udyAnapAlako ko AjJA kezIkumAra zramaNa kA seyaviyA me padArpaNa 288 citta kA darzanArtha Agamana (22)

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rAjA ko pratibodha dene kI prArthanA 293 | kezIkumAra zramaNa kA uttara dharma-prApti ke cAra kAraNa rAjA pradezI ko lAne hetu citta kI yukti 294 296 298 / " rAjA pradezI kA udyAna me Agamana 300 kezIkumAra zramaNa ko dekhakara rAjA pradezI kA cintana 302 pA~ca jJAna sambandhI carcA 308 tajjIva-taccharIravAda kA maDana-khaDana 312 rAjA pradezI kA tarka pitAmaha kA udAharaNa 317 / nArako ke nahI Ane kA hetu devatAo ke nahI Ane ke cAra kAraNa 319 324 / Request for Giving Religious Sermon to the King Reply of Keshi Kumar Shraman 295 Four Causes of Learning Dharma 298 The Proposal of Chitta to Bring King Pradeshi Arrival of King Pradeshi in the Garden Thoughts of King Pradeshi at the Sight of Keshi Kumar Shraman Discussion About Five Types of Knowledge (Jnan) Analysis of Tajjiv-Tachhareervad (Philosophy of Oneness of Soul and Body) Argument of King Pradeshi Example of His Grandfather 318 Reason for not Coming from Hell 321 Four Reasons for Non-arrival of Gods Test of Identity of Jiva and Shareer Illustration of Kootakarshala (A Temple of Summit of a Hill) 342 Example of Narrow Necked Iron Pot Illustration of Red-hot Iron 346 Illustration of Broken Bow Example of a Leather Water-bag with Air 356 Example of Arani 358 Four Types of Assembly and Punishment 366 Four Types of Dealers 370 Are the Souls of Elephant and Kunthu (Three Sensed-being) Simitar? 376 jIva aura zarIra kI abhinnatA kI parIkSA 339 kUTAkArazAlA kA dRSTAnta 341 lohakubhI kA udAharaNa 343 344 345 tapta loha kA udAharaNa TUTe dhanuSa kA dRSTAnta / havA bharI vasti (masaka) kA udAharaNa 347 349 355 358 araNi kA dRSTAnta cAra prakAra kI pariSad aura daNDanIti 365 - cAra prakAra ke vyvhaarii| kyA hAthI aura kuthu kA jIva samAna hai? 375 (23)

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dIpaka kA dRSTAnta paramparAgata mAnyatA kA nirAkaraNa loha vaNik kA dRSTAnta pradezI dvArA zrAvakadharma-grahaNa 377 379 380 AcArya ke prati karttavya-bodha 386 380 kezIkumAra zramaNa kA udbodhana 392 Example of Lamp 378 Discarding Traditional Beliefs 379 Example of Dealer in Iron 380 Acceptance of Vows of a Householder by Pradeshi Pointing out Duties Towards the Acharya Warning of Keshi Kumar Shraman Assurance of King Pradeshi New Administration Announced by King Pradeshi Conspiracy of Queen Suryakanta 400 Samlekhana and Death of King Pradeshi 393 c. rAjA pradezI kA AzvAsana rAjA pradezI dvArA kRta rAjya-vyavasthA 397 398 sUryakAntA rAnI kA SaDyatra rAjA pradezI kA salekhanAmaraNa 399 403 404 (3) dRr3hapratijJakumAra (3) Dridh Pratijna Kumar 406 sUryAbhadeva kA bhAvI janma mAtA-pitA dvArA janmAdi saskAra 406 408 dRDhapratijJa kA lAlana-pAlana dRDhapratijJa kA kalA-zikSaNa 411 413 kalAcArya kA sammAna 418 The Next Life of Suryabh Dev Ceremony at the Birth by Parents Bringing up of Dridh Pratijna Early Education of Dridh Pratijna Honour of the Teacher of the Arts Physical Capability of Dridh Pratijna Non-attachment of Dridh Pratijna Perfect Knowledge and Salvation Conclusion dRDhapratijJa kI bhogasamarthatA 418 dRDhapratijJa kI anAsakti 423 kevalajJAna aura nirvANa 424 upasahAra 427 (24)

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rAyapaseNiya (rAjapraznIya) sUtra RAI-PASENIYA (RAJ-PRASHNIYA) SUTRA 5 For Private Personal Use Only

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rAyapaseNiyasUtra Amukha nadIsUtra me gyAraha aga tathA bAraha upAga Agamo kA varNana hai| usame dvitIya aga Agama sUtrakRtAga ke upAga rUpa me rAyapaseNiyasUtra kA ullekha hai| yaha dUsarA upAga hai| sUtrakRtAga ke sAtha isa Agama kA sambandha joDate hue TIkAkAra AcArya malayagiri ne batAyA hai"sUtrakRtAga me kriyAvAdI, akriyAvAdI, ajJAnavAdI aura vinayavAdI Adi tIna sau tiresaTha vibhinna mato kA varNana hai| uname akriyAvAdI (nAstika/cArvAka) mata ko AdhAra mAnakara rAjA pradezI kI mAnyatAo ko prastuta kiyA hai tathA unakA yuktipUrNa samAdhAna bhI kiyA hai kezIkumAra zramaNa ne|' sthAnAgasUtra (8/22) me 'akriyAvAdI' zabda kA prayoga do artho me milatA hai-(1) anAtmavAdI, tathA (2) ekaantvaadii| akriyAvAdI ke ATha bheda isa prakAra hai-ekavAdI, anekavAdI, mitavAdI, nimittavAdI, sAtavAdI, samucchedavAdI, nityavAdI aura asat prlokvaadii| iname prathama chaha to ekAntadRSTi vAle ekAntavAdI hai aura samucchedavAdI tathA asat paralokavAdI do anAtmavAdI hai| upAdhyAya yazovijaya jI Adi jaina dArzaniko ne cArvAka jaise nAstiko ko akriyAvAdI kahA hai aura ekAntavAdiyo ko bhI nAstika mata me sammilita kiyA hai| (nayopadeza 123) / isa sUtra me mukhya varNana pradezI rAjA kA hai| pradezI rAjA apane samaya kA kaTTara nAstika arthAt ghora anAtmavAdI thaa| vaha svabhAva se bhI atyanta krUra, kaThora aura dharmadveSI thaa| isalie sUtrakRtAga meM varNita - akriyAvAdI mata ke sAtha usakA sambandha sthApita karake isa rAyapaseNiyasUtra ko sUtrakRtAga kA upAga mAnA gayA hai| rAyapaseNiyasUtra ke prathama vibhAga me sUryAbha devatA kA varNana hai, jo saudharma devaloka me utpanna hone para bhagavAna mahAvIra kI vandanA karane ke lie apanI samasta divya Rddhi ke sAtha upasthita hotA hai aura vahA~ 7 apanI devaRddhi kA pradarzana karatA hai| devaRddhi ke pradarzana kA yaha dRzya dekhakara gaNadhara gautama svAmI bhagavAna se pUchate hai-"yaha sUryAbha devatA kauna hai ? isane aisA kyA tapa, dAna va dharmAcaraNa kiyA jisake phalasvarUpa ise divya deva Rddhi kI prApti huI ?' taba bhagavAna mahAvIra usake pUrvabhava kA varNana sunAte hai, jo dUsare vibhAga meM pradezI rAjA aura kezIkumAra zramaNa ke vArtAlApa ke rUpa me grathita hai| yaha varNana jJAtAsUtra (a 13) varNita dardurAka deva kI taraha usI zailI me hai| pahale devabhava kI devaRddhi kA kathana karake phira usakI pRSThabhUmi me dharmArAdhanA kA varNana kiyA gayA hai| hai jaise kisI hare-bhare phalavAna vRkSa ko dekhakara usake bIja ke sambandha me jijJAsA kI jAtI hai, usI prakAra dharmArAdhanA ke pariNAmasvarUpa prApta divya devaRddhi ko dekhakara usake kAraNabhUta sAdhano ke sambandha me jijJAsA utpanna hotI hai| jijJAsA jAgRta hone para bhagavAna mahAvIra samAdhAna karate hue usakI dharmArAdhanA kA varNana karate hai| rAyapasaiNiyasUtra ke isa prathama bhAga me bhagavAna mahAvIra kI dharmasabhA me sUryAbhadeva ke Agamana se varNana prArambha hotA hai| sUryAbha varNana (1) Description of Suryabh Dev

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RAI-PASENIYA SUTRA INTRODUCTION D. . Nandi Sutra contains the description of eleven Anga Agams and twelve Upanga Agams Amongst them, Rau-paseniya Sutra is the Upanga of the second Anga Agam namely Sutrakritanga It is the second Upanga. Relating this Agam to Sutrakritanga, Acharya Malaygin, the commentator, has said"Sutrakrtanga mentions three hundred and sixty three different philosophies namely Knyavadi, * Akriyavadi, Ajnanvadi, Vinayvadi etc Based on Akriyavadi (non-believer in soul/Chaarvak) philosophy, the philosophical beliefs of king Pradeshi have been presented and Keshi Kumar Shraman had provided logical refutation of all such beliefs" In Sthananga Sutra (8/22), the word 'Akriyavadi', has been used in two distinct manners-(1) Anatmavadi, and (2) Ekantvadi (sticking to one and only one interpretation). Akriyavadi has eight off-shoots-Ekvadi (single point of view), Anekvadi (many points of view), Mitvadi (limited point of view), Nimittvadi, Saatvadi, Samuchhedvadi, Nityavadi and Asat Parlokvadi The first six of the said eight are Ekantvadi sticking to single interpretation or just one point of view Samuchhedvadi and Asat Parlokvadi (non-believer in life after death) are Anatmavadi (non-believer in soul) Jain philosophers like Upadhyaya Yashovijay has termed non-believer in soul like Chaarvak as Akriyavadi Even Ekantvadi has been included in Naastik (non-believer in soul). (Nayopadesh 123) The primary description in this Sutra is that of king Pradeshi The said king was a staunch * Naastik of that period in other words he was fanatic non-believer in soul He was extremely cruel, et merciless and contemptuous towards religion by temperament As such, associating him with Akriyavadi philosophy mentioned in Sutrakritanga, this Rai-paseniya Sutra has been accepted an Upanga of Sutrakritanga In the first part of Rai-paseniya Sutra, there is description of Suryabh Dev The said Dev took birth in Saudharma Devlok and came with his entire celestial grandeur to Bhagavan Mahavir in order to greet him. There he presents his angelic grandeur in detail After witnessing the scene of celestial performance, Ganadhar Gautam enquires from Bhagavan Mahavir-"Who is this Suryabh Dev? What ascetic activities charities and piety and have been performed by him that have resulted in providing such grandeur to him ?" In reply to this query, Lord Mahavir mentions in detail the earlier life-span of Suryabh Dev which forms the second part of this Sutra as dialogue between Kesh Kumar Shraman and king Pradeshi. This description is in the same * style as that of Dardurank Dev in Jnata Sutra (Chapter 13) In the beginning the angelic grandeur has been described and later in that background, his religious practices have been mentioned in detail Just as an enquiry is made about the seed after seeing a tree fully laden with fruit, a curiosity arose to know the causes after seeing the divine grandeur. In reply to it, Bhagavan Mahavir mentions the religious practices that resulted in acquiring such a grandeur The first part of Rai-paseniya Sutra starts with the description about arrival of Suryabh Dev in the spiritual congregation of Bhagavan Mahavir * rAyapaseNiyasUtra (2) Rai-paseniya Sutra

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(1) sUryAbha varNana (1) DESCRIPTION OF SURYABH DEV 1. teNaM kAleNaM, teNaM samaeNaM AmalakappA nAmaM nayarI hotthA, riddhasthimiya-samiddhAra jAva-pAsAdIyA, darisaNijjA, abhirUvA, pddiruuvaa| 1. usa kAla (cauthe Are meM) usa samaya meM-(jaba bhagavAna mahAvIra vidyamAna the) AmalakappA nAma kI nagarI thii| jo Rddha-dhana-jana Adi se sampanna paripUrNa, stimita-sva-cakra, para-cakra Adi ke bhaya se mukta, samRddha-dhana-dhAnya, vyApAra Adi se vaibhavazAlinI yAvat prAsAdika-citta ko prasanna karane vAlI, darzanIya-dekhane yogya, abhirUpa-pratirUpa-manohara aura A~khoM va mana ko sundara ramaNIya lagatI thii| 1. At that time, during that period (the fourth part of the timecycle, when Bhagavan Mahavir was present), there was a city ** named Aamal-kappa. It was prosperous populous and free from internal or external disturbances. It was flourishing in trade and commerce. It was grand, worth-seeing and had many attractive features. 2. tIse NaM AmalakappAe nayarIe bahiyA uttara-puratthime disIbhAe aMbasAlavaNe nAma ceie hotthA, cirAtIte jaav-pddiruuve| ___2. usa AmalakappA nagarI ke bAhara uttara-pUrva digbhAga-(IzAnakoNa) meM abasAlavana nAmaka caitya thA, jo bahuta prAcIna yAvat sundara thaa| ___ 2. At the outskirts of that Aamal-kappa city, in the north-east, there was Ambsalvan Chaitya. It was very ancient and beautiful.se 3. asoyavarapAyave-puDhavisilApaTTaya vattabbayA uvavAiyagameNaM neyaa| ___ 3. vahA~ zreSTha azoka vRkSa ke pAdamUla meM (bhUmi se lagA huA) eka vizAla pRthvIzilApaTTa ra thA, jisakA varNana aupapAtikasUtragata varNana ke anusAra jAnanA caahie| 3. There, at the foot of a grand Ashok tree was a huge slab of * stone. Its description may be considered to be similar to the one is mentioned in Aupapatik Sutra. 4. seo raayaa| sUryAbha varNana Description of Suryabh Dev 2*

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4. usa nagarI ke rAjA kA nAma seya thaa| 4. Seya was the ruler of that city. 5. dhaarinniidevii| 5. rAjA kI rAnI kA nAma dhAriNI devI thaa| 5. His wife was Dharini. 6. sAmI samosaDhe parisA niggayA jAva-rAyA pjjuvaasi| 6. bhagavAna mahAvIra svAmI pdhaare| vandanA karane aura dharma-zravaNa karane ke lie pariSadA (janatA) nikalI, yAvat rAjA bhI nikalA aura paryupAsanA-sevA karane lgaa| 6. Once Bhagavan Mahavir came there. People came to greet him and to listen to his spiritual discourse. The king also came in there. He greeted the Lord and started serving him. vivecana-prastuta sUtra me 'AmalakappA' nagarI kA ullekha hai| bhagavAna mahAvIra ke prasiddha varNako me * AmalakappAM nagarI kA koI ullekha prApta nahI hotA hai, na hI unake vihAra-kSetro kI sUcI meM hI * AmalakappA kA nAma milatA hai| isase pratIta hotA hai tIrtha pravartana ke pazcAt bhagavAna mahAvIra vahA~ * padhAre hai| vartamAna me AmalakappA kahA~ hai isa viSaya me koI nizcita tathya to upalabdha nahI hai, kintu 9 itihAsakAro kA anumAna hai-yaha nagarI pazcima videha rAjya me zvetAmbikA nagarI ke samIpa hI honI caahie| bauddha grantho me vullima rAjya kI rAjadhAnI 'allakappA' kA ullekha hai| isase anumAna hotA hai, * allakappA' hI AmalakappA nAma se prasiddha rahI ho| yaha sthAna zAhAbAda jile ke masAra aura vaizAlI ke bIca avasthita thaa| (rAyapaseNiyasUtra kI prastAvanA - AcArya devendra muni jI) nagarI ke varNana me aupapAtikasUtra kI taraha varNana jAnane kA saketa hai| __ aupapAtikasUtra ke varNana se patA calatA hai, nagara ke bAhara cAro ora khUba kRSi bhUmi thii| lAkho hala calane se jahA~ kI miTTI bhurabhurI, mulAyama aura upajAU ho gaI thii| vahA~ ke kisAna kRSi vidyA me nipuNa the| nAliyo va kyAriyo se bhUmi kI sicAI karane me dakSa the| kheta-khalihAno me dhAna ke Dhera lage * rahate the| gAya-bhaisa, bheDo ke Tole ke Tole kheto me palate the| " nagarI ke bAhara eka bahuta prAcIna ambasAlavana nAma kA caitya thaa| 'caitya' zabda se udyAna aura yakSAyatana dono hI artha sUcita hote hai| ambasAlavana caitya kA varNana aupapAtikasUtra me AtA hai| usakA sAra hai "yaha caitya bahuta prAcIna thaa| dUra-dUra taka prasiddha thaa| vaha chatra, dhvajA, ghaMTA aura patAkAo se maNDita thaa| usakI vediyA~ U~cI banI huI thii| dIvAre sapheda miTTI se putI huI thii| una para gorocana aura OM candana ke thApe lage hue the| jagaha-jagaha candana ke bane kalaza rakhe the| daravAje para toraNa suzobhita the| / rAyapaseNiyasUtra (4) Rar-paseniya Sutra

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* dhUpadAno me agara lobAna-dhUpa jalane se mahaka phUTa rahI thii| vahA~ dUra-dUra se loga Ate, yajJa hotA, AhutiyA~ dete, manautI karate, sevA karate, dAna-dakSiNA dete aura isa AmrazAlavana caitya kI jaya-jayakAra karate the|" ____ ukta varNana se pratIta hotA hai, Amo ke udyAna me hI azoka vRkSa ke nIce koI bahuta prAcIna aura OM vizAla yakSAyatana-yakSa kA prAcIna sthAna hogA, jahA~ yaha saba pUjA-arcA hotI thii| ____ azoka vRkSa ke nIce jaDoM se lagA pRthvIzilApaTTaka-zilA jaisA lambA-cauDA patthara kA paTTa-pATa yA caukI (cabUtarA) banI huI thI, jahA~ bhaktajana pUjA-arcA, yajJa yA prasAda caDhAnA Adi kriyAe~ karate the| isa udyAna me Ama, anAra, arjuna, kadamba, zAla Adi uttama jAti ke taraha-taraha ke vRkSa the| jahA~ pakSIgaNa krIDAe~ karate rahate, kalarava se guMjAte rahate aura bAhara se Ane vAle darzaka manorajana, vizrAma aura Arogya lAbha prApta karate rahate the| isa varNana se usa samaya kI nagara saskRti kA eka sundara citra sAmane AtA hai| jahA~ pratyeka baDe nagara yA rAjadhAnI ke bAhara isa prakAra ke vizAla udyAna hote the, jahA~ logo ko dhArmika AsthA ke sAtha hI Arogya lAbha kI prApti hotI thii| isase nagaro kA paryAvaraNa zuddha rahatA aura janatA ko niHzulka manorajana va svAsthya lAbha milatA thaa| nagara ke rAjA kA nAma 'seya' thaa| sthAnAgasUtra (a 8) me bhagavAna mahAvIra ke pAsa ATha rAjAo ke dIkSA lene kA varNana hai| uname eka nAma 'seya' hai| isase patA calatA hai-'seya' rAjA ne bhagavAna mahAvIra * ke pAsa dIkSA bhI grahaNa kii| AcArya malayagiri ne isakA saskRta rUpa 'zveta' kiyA hai| rAnI kA mUla nAma kyA thA, yaha yahA~ spaSTa nahIM hai| 'dhAriNI' nAma eka sAmAnya vizeSaNa pratIta hotA hai, jo pratyeka mAtA ke lie prayukta ho sakatA hai| yaha zabda mAtRtva ke prati AdarabhAva kA sUcaka hai| ___aupapAtikasUtra ke anusAra 'seya' rAjA bhagavAna kA Agamana sunakara atyanta prasanna huA aura hajAro nAgariko ke sAtha hAthI, ghoDe, senA lekara darzana karane niklaa| AmrazAlavana ke nikaTa pahuMcane para usane bhagavAna ko samavasaraNa meM virAjamAna dekhA to dUra se hI apane hAthI se nIce utarA, utarakara pA~ca rAja-cinho ko utArakara rakha diyA, jaise-(1) talavAra, (2) chatra, (3) mukuTa, (4) jUtA, aura (5) caamr| isa varNana se mahApuruSo, tIrthakaro va sAdhu-santo ke nikaTa jAne kI sabhyatA sUcita hotI hai ki tyAgI puruSo ke samakSa bar3e se bar3A rAjA bhI apane ahakAra va gaurava ke sUcaka cinho kA tyAga kara namratA dhAraNa karake jAtA hai| dharmasthalo meM jUtA utArakara jAne kI bhArata kI saskRti atyanta prAcIna hai| __ isake alAvA pA~ca abhigama karake tIrthakaro kI sabhA meM praveza kiyA jAtA hai| ve abhigama isa prakAra hai (1) sacitta-puSpamAlA Adi kA tyaag| (2) acitta-vastra Adi ko vyavasthita dhAraNa krnaa| (3) eka zATikA (dupaTTA) kA uttarAsaga karanA-mukha para rkhnaa| sUryAbha varNana (5) Description of Suryabh Dev GOVERNORTHODTCOVEODOHORVADITION

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(4) bhagavAna ko dekhate hI dono hAtha joDakara mastaka jhukaanaa| (5) bhagavAna ke caraNo me mana ko ekAgra krnaa| ye pA~ca abhigama karake seya rAjA bhagavAna ke dAhine Akara tIna bAra pradakSiNA karatA hai| tIna pradakSiNA karake vandanA karatA hai, tIna prakAra kI paryupAsanA karatA hai| tIna prakAra kI paryupAsanA isa prakAra hai (1) kAyika upAsanA-zarIra ke aga-pratyago ko sayata karake sabhA me sabhyatApUrvaka baitthnaa| (2) vAcika paryupAsanA-vacana se bhagavAna kI stuti krnaa| unake vacano kA Adara krnaa| (3) mAnasika upAsanA-bhagavAna kI vANI ko mana meM dhAraNa kara anumodanA karate hue yathA zakti svIkAra krnaa| yaha tIna prakAra kI upAsanA/paryupAsanA karake yathA yogya sthAna para baiThatA hai| Elaboration - In the present Sutra, there is a mention of Aamal-kappa city. But there is no mention of Aamal-kappa in other important works about Bhagavan Mahavir or in list of areas of his wanderings. It shows that Bhagavan Mahavir came there only after establishing the order. No definite evidence is available to trace the spot where Aamal-kappa existed, but the historians are of the view that this city must have been 9 near Shvetambika town in the kingdom of Western Videh. In Buddhist scriptures there is mention of Alla-kappa as capital of Vullim kingdom. Thus it is presumed that Alla-kappa might have been famous as Aamal kappa. This place is located between Masaar and Vaishali in Shahabad e district. (Introduction of Rai-paseniya Sutra : Devendra Muni). Regarding the description of this city, it is pointed out that it is similar to the one mentioned in Aupapatik Sutra. From the description in Aupapatik Sutra, it is evident that outside the city there was rich cultivation all around. The soil had become soft, porous and fertile due to numerous ploughings The farmers were expert in agriculture techniques. They were adept at irrigating the fields by drains and edge-plantations. There were heaps of paddy in fields and thrashing zones. Herds of cows, buffaloes and sheep were reared on these fields. There was a very ancient Chaitya named Ambsalvan outside the city. The word Chaitya has two meanings-garden and abode of Yaksha. Ambsalvan Chaitya has been described in detail in Aupapatik Sutra. In brief it is as follows * rAyapaseNiyasUtra (6) Rar-paseniya Sutra

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* * * * * * * * * * * .NA * "This Chaitya was very old. It was famous far and wide. It was decorated with canopy, flag, dumble-bell and buntings. Its padestals were high. Its walls were white washed. They were bearing prints of Go-rochan and sandal paste. At various points, there were urns of sandal wood. The torana (ornamental entrance) was grand. The incense-pots were * spreading fragrance. People used to come from distant places. * Ceremonial fires were lit and offerings were made. Fulfilment of wishes were asked. Services were performed. Charity was undertaken. They Thailed thus Aamrashalvan Chaitya." The above description indicates that here in a mango orchard, under to an Ashok tree there must have been a very ancient spacious and grand * abode of Yaksha where all such worship and rituals were performed. MEET Under the Ashok tree, touching the roots there was a long and wide stone platform where the worshippers used to perform worship, sacrifice or offering of articles of worship including sweets. There were many types of trees in this garden viz. mango, pomegranate, Kadamb, Saal and others. Birds used to enjoy there, making noise, fluttering hither and thither, visitors used to take rest there and enjoy the surroundings that out were beneficial for their health. en This description presents a beautiful account of the culture of that period. Such spacious gardens were at the outskirts of every large town or capital city where the visitors could be benefitted with both the moral values and physical health. Further, such gardens maintained environment free from pollution. Simultaneously they were sources of enjoyment and health for people without any cost. * The ruler of the city was Seya. According to Sthananga Sutra (Ch. 8), eight kings had accepted renunciation at the feet of Bhagavan Mahavir One of them was Seya. It shows that king Seya accepted monkhood from Bhagavan Mahavir. Acharya Malaygiri has translated Seya as 'Shvet. It * is not clear what was the name of the queen The name Dharini appears to be a qualifying name, that can be attributed to every mother This word Dharini represents respect for motherhood. According to Aupapatik Sutra, king Seya felt overjoyed to learn the arrival of Bhagavan Mahavir, he came out of his palace and set out with * thousands of citizens, infantry and other army divisions to greet the the Lord. When he reached near Aamrashalvan and saw the Lord pres the congregation (Samavasaran), he got down the elephant and placed * sUryAbha varNana Description of Suryabh Dev (7) ON * * *

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ORISO21221000 2100150160 O aside five symbols of kinghood namely--the sword, the umbrella, the best * crown, the shoes and the broom This description depicts the sacred practice followed while approaching sages, the Tirthankar and monks. At the feet of the detached saints, even the greatest of all the kings, removes the symbols representing his ego and fame. The Indian practice of removing shoes before entering a religious zone is a fairly ancient one. In addition, one enters the spiritual congregation of the Tirthankar after following five Abhigam (code of approach). They are as follows (1) Removal of garland having Sachitt (fresh) flowers. (2) Wearing material objects such as clothes in a proper manner. (3) Covering the mouth with a piece of cloth. (4) To clasp the hands and bow the head immediately at the sight of the Lord. (5) To concentrate the mind at the feet of the Lord. Adopting the above said code, king Seya circumabulates Bhagavan three times starting from the right He then greets the Lord three times. He then follows the three rules of Paryupasana (offer reverence). They are as under (1) Kayik Paryupasana (offering reverence physically)- To sit in the congregation in a civilized manner properly restraining movement of limbs of his body (2) Vaachik Paryupasana (depicting respect verbally)--To praise the Lord. To greet the words of the Lord with respect. (3) Maansik Upasana (offering reverence mentally)-To accept th word of the Lord in the mind, to appreciate it and to adopt it in daily life according to one's capacity. After following the above said rules he takes his place in the congregation. sUryAbhadeva kI sthiti 7. teNaM kAleNaM, teNaM samaeNaM sUriyAbhe deve sohamme kappe, sUriyAbhe vimANe, sbhaae| suhammAe, sUriyAbhaMsi siMhAsaNaMsi cAhiM sAmANiya-sAhassIhi, cauhi aggamahisIhiM / saparivArAhiM, tihiM parisAhiM, sattahiM aNiehiM, sattahiM aNiyAhivaIhiM, solasahita o Ayarakkhadeva-sAhassIhiM, annehiM bahUhiM sUriyAbha-vimANa-vAsIhiM vaimANiehiM devehiM / ROPACABAR PRORROR. 49 rAyapaseNiyasUtra (8) Raz-paseniya Sutra

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ya devIhi yasaddhiM saMparivuDe, mahayA''haya - naTTa gIya - vAiya - taMtI - tAla - tuDiya - ghaNa - muiMga paDuppavAiya-raveNaM divyAI bhoga - bhogAI bhuMjamANe viharai / imaM ca NaM kevalakappaM jambuddIvaM dIvaM viuleNaM ohiNA AbhoemANe AbhoemANe pAsai / 7. usa kAla aura usa samaya meM saudharmakalpa ke sUryAbha vimAna kI sudharmA nAmaka sabhA sUryAbha sihAsana para AsIna sUryAbhadeva cAra hajAra sAmAnika devoM, apane-apane parivAra sahita cAra agramahiSiyoM-paTarAniyoM, tIna pariSadAo, sAta senAoM, sAta senApatiyoM, solaha hajAra AtmarakSaka devoM evaM aura dUsare bhI sUryAbha vimAnavAsI devoM evaM deviyoM se parivRta dakSapuruSo dvArA jora-jora se bajAye jA rahe - kiye jA rahe nATya, gIta, vAdya, tantrI, tala, tAla truTita, ghana mRdaMga ke svaroM ko sunate hue divya bhogoM ko bhoga rahA thaa| taba usane isa kevalakalpa (sampUrNa) jambUdvIpa nAmaka dvIpa ko vipula - vimala avadhijJAna se nihArate - nihArate dekhA / THE LOCATION OF SURYABH DEV 7. At that time, during that period, Suryabh Dev was in Sudharma assembly in Suryabh Viman of Saudharm-kalp (the first Devlok). He was seated on Suryabh throne, four thousand Samanik Dev (celestial beings of the same status) along with their families, the four chief queens, the three assemblies, seven armies, their seven chiefs, sixteen thousand angels serving as body guard and other gods and goddesses in Suryabh Viman were also near him. The angels expert in dancing, singing, drumming and playing other musical instruments were exhibiting there skills. Suryabh Dev was thus enjoying the music and theatrical performances of celestial order. He then with his far-reaching and pure extra-sensory knowledge saw the entire Jambu Dveep. vivecana - isa sUtra meM sUryAbhadeva ke sabhA - vaibhava kA varNana hai / jaise sAmAnika deva-ye sabhI deva vimAnAdhipati deva ke AjJAdhIna rahate hue samAna dyuti, vaibhava Adi se sampanna hote hai, isalie sAmAnika kahalAte hai / inako bhAI Adi ke tulya Adara-sammAna diyA jAtA hai| agramahiSI- rAjatilaka-sampanna rAjA kI patnI mahiSI aura zeSa anya striyaoN bhoginI kahalAtI hai / apane parivAra kI anya sabhI paliyo me usakI pradhAnatA batAne ke lie mahiSI ke sAtha 'agra' vizeSaNa kA prayoga kiyA jAtA hai| sUryAbha varNana For Private. Personal Use Only Description of Suryabh Dev

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POET a rismahat SHARA Gloom.ORG0-009ALOTAKOTASTAN GGGING tIna pariSadA-sabhI vimAnAdhipati devo kI tIna pariSadAye hotI hai--Abhyantara, madhyama aura baahy| (1) jinase apane antaraga, gupta, gUDha rahasyo ke viSaya me vicAra kiyA jAtA hai, aise parama * vizvasanIya samavayaska mitra samudAya ko Abhyantara prissd| / (2) Abhyantara pariSad me carcita eva nirNIta vicAro ke lie jisakI sammati lI jAtI hai, use madhyama prissd| (3) Abhyantara tathA madhyama pariSad dvArA vicArita, nirNIta eva sammata kArya ko kriyAnvita karane kA dAyitva jise saupA jAtA hai, use bAhya pariSad kahA jAtA hai| sAta senAyeM-(1) azva, (2) gaja, (3) ratha, (4) padAti, (5) vRSabha, (6) gadharva (gAyaka), aura (7) nATya (nRtya karane vaale)| ye senAoM ke sAta aga hai| iname se Adi kI paoNca senA kA yuddha ke lie " aura antima do kA Amoda-pramoda ke lie upayoga kiyA jAtA hai| ye sabhI apane-apane adhipati ke * netRtva me kArya sampAdita karane meM sakSama hone ke kAraNa inake sAta senApati anIkAdhipati kahalAte hai| * AtmarakSakadeva-ye deva astra-zastro se susajjita hokara apane adhipatideva kI rakSA karane me tatpara rahate hai| yadyapi indra Adi devo ko kisI kA bhaya nahIM hotA ki AtmarakSako kI AvazyakatA ho, parantu * yaha bhI indra kA eka prakAra kA aizvarya vaibhava hai| Elaboration--This Sutra narrates the grandeur of Suryabh Dev and his cabinet. 9 Samanik Dev--All these gods are equal in radiance and grandeur in comparison with their king, so they are called Samanik gods. But they * obey the order of the head of the Viman. They are treated by the chief like brothers. 9 Agra-mahishi (The Head Queen)-The wife of the king decorated with the royal symbol is called Mahishi. All the other wives are called Bhogini In order to indicate the greatest importance of the head queen amongst all the wives of the king in the royal family, the word 'agra' is used as an adjective with Mahishi. Three Cabinets (Parishad)--All the Vaimanic celestial gods have three assemblies or cabinets. They are the inner cabinet, the middle MES cabinet and the outer cabinet. (1) The inner cabinet comprises of the most trust-worthy friends who are of same age-group. The topics of intricate and secret nature are discussed with them. (2) The middle cabinet is that assembly whose view-point is * considered about the matters discussed and decided in the inner cabinet. (3) The outer cabinet or assembly is given the responsibility of executing the decision taken by the inner and the middle cabinet. PAROPAROSARODARODARODARO900SARODARADAR.C485858500 rAyapaseNiyasUtra (10) Rai-paseniya Sutra

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Seven Armies--(1) Army of horse-men, (2) Army of riding elephants, * (3) Army in chariots, (4) Infantry, (5) Army on oxes, (6) Army of musicians, and (7) Army of dancers. These are the seven divisions. The first five divisions are for the battle-field while the last two are for providing entertainment. These divisions execute their duties strictly under the command of their respective heads, so the seven heads of the the divisions are called Aneekadhipati. The Atma-rakshak Dev (The Body-guard-The Security Force)* These gods are always ready for the security of their chief god and are always fully armed. Although god Indra and other gods of his status are not afraid of any one and, therefore, they do not need any body-guard, yet it is a type of grandeur depicting their greatness. sUryAbhadeva dvArA bhagavAna kI stuti 8. tattha samaNaM bhagavaM mahAvIraM jaMbuddIve bhArahe vAse AmalakappAe nayarIe bahiyA aMbasAlavaNe ceie ahApaDirUvaM uggahaM uggiNhittA saMjameNaM tavasA appANaM bhAvamANaM paasi| pAsittA haTTha-tuTTha-cittamANadie pIimaNe parama-somaNassie harisavasavisappamANahiyae vikasiya-varakamala-NayaNe payaliyavarakaDaga-tuDiya-keUramauDa-kuMDalahAravirAyaMtaraivacche, pAlaMba palaMbamANa-gholaMta-bhUsaNadhare-sasaMbhamaM turiyaM cavalaM suravare sIhAsaNAo abbhuttttei| anbhuTTittA pAyapIDhAo pacoruhai, paccoruhittA pAuyAo omuyai, omuittA egasADiyaM uttarAsaMgaM karei, karittA titthayarAbhimuhe sattaTThapayAI aNugacchai, aNugacchittA vAmaM jANuM aMcei, dAhiNaM jANuM dharaNi-talaMsi nihaTu tikkhutto muddhANaM dharaNitalaMsi nimei, nimittA IsiM paccunamai paccunamittA kaDaya-tuDiyathaMbhibhuyAo sAharai, sAharittA ke karayalaparigahiyaM dasaNahaM sirasAvattaM matthae aMjaliM kaTu evaM vayAsI 8. usa samaya (vipula avadhijJAnopayoga dvArA jambUdvIpa ko dekhate samaya) sUryAbhadeva ne jambUdvIpa ke bharata kSetra meM AmalakalpA nagarI ke bAhara AmrazAlavana caitya meM yathApratirUpa avagraha grahaNa kara-(sAdhu ke lie anukUla ucita sthAna kI yAcanA karake) saMyama aura tapa se AtmA ko bhAvita karate hue zramaNa bhagavAna mahAvIra ko dekhaa| dekhakara harSita aura atyanta santuSTa huA, usakA citta AnaMdita ho utthaa| mana meM prIti utpanna huI, atIva prasannatA ko prApta huA, harSAtireka se usakA hRdaya phUla gayA, netra aura mukha kamala jaise vikasita * sUryAbha varNana (11) Description of Suryabh Deve

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ho gaye / apAra harSa ke kAraNa pahane hue kaTaka ( kaMgana jaise kaDe), truTita, keyUra (bhujA para pahanane ke gahane-bAjUbaMda), mukuTa aura kuNDala caMcala ho uThe, vakSasthala hAra se camacamAne lagA, pairoM taka laTakate lambe AbhUSaNa jhumake Adi vizeSa caMcala ho uThe aura utsukatA va tIvra abhilASA se prerita ho vaha devoM meM zreSTha sUryAbhadeva zIghra hI siMhAsana se uThA / uThakara pAdapITha para paira rakhakara nIce utarakara pAdukAye utArIM / pAdukAye utArakara ekazATika uttarAsaMga kiyaa| uttarAsaMga karake tIrthaMkara ke abhimukha sAta-ATha kadama calA, abhimukha calakara bAyA~ ghuTanA U~cA rakhA aura dAhine ghuTane ko nIce bhUmi para Tekakara tIna bAra mastaka ko pRthvI para namAyA jhukAyA, phira mastaka kucha U~cA utthaayaa| tatpazcAt kaTaka truTi - bAjUbaMda se stambhita dono bhujAoM ko milAyA / milAkara donoM hAtha joDakara dasoM nakhoM ko paraspara milAkara AvarttapUrvaka mastaka para aMjali karake usane isa prakAra kahA THE APPRECIATION OF BHAGAVAN BY SURYABH DEV 4. At that time, while looking at Jambu Dveep through his abundant transcendental knowledge, Suryabh Dev saw Aamalkappa city in the Bharat area of Jambu Dveep. He further saw, in Aamrashalvan Chaitya at the outskirts of Aamal-kappa city. Shraman Bhagavan Mahavir observing restraints and austerities after seeking permission of proper place for use of monks as predetermined in his mind. He felt extremely pleased and fully satisfied at this sight. He felt attracted and in extremely ecstatic state, his heart became completely contented. His eyes kept on staring and his face brightened. Due to extreme happiness, the ornaments that he was wearing at his wrist, waist, shoulders, ears and head started moving. The garland at his chest gave a dazzling look. The long dangling ornaments touching his feet swayed prominently. Out of curiosity and burning desire, Suryabh Dev who was best among gods, got up from his celestial seat in a hurry. The god then placed his feet on a platform and removed his shoes. He then flung his shawl over his left shoulder (Uttarasang). He then moved ahead seven or eight steps. He then touched the ground with his right knee and keeping the left knee high, bowed to the Lord three times. He then raised his head, joined his adorned arms, clasped his hands, all fingers touching, and touching the clasped hands with his forehead, uttered as under rAyaseNiyasUtra (12) For Private. Personal Use Only Rai-paseniya Sutra

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9. namo'tyu NaM arihaMtANaM bhagavaMtANaM AdigarANaM titthagarANaM sayaMsaMbuddhANaM purisuttamANaM purisasIhANaM purisavarapuNDarIyANaM purisavaragaMdhahatthINaM loguttamANaM loganAhANaM logahiANaM logapaIvANaM logapajjoyagarANaM abhayadayANaM cakkhudayANaM maggadayANaM jIvadayANaM saraNadayANaM dIvo tANaM bohidayANaM dhammadayANaM dhammadesayANaM dhammanAyagANaM dhammasArahINaM dhammavaracAuraMtacakkavaTTINaM appaDihayavaranANa daMsaNadharANaM viyaTTachaumANaM jiNANaM jAvayANaM tiNNANaM tArayANaM buddhANaM bohayANaM muttANaM moyagANaM savyannUNaM savvadarisINaM sivaM ayalaM aruyaM anaMtaM akkhayaM avvAbAhaM apuNarAvattiyaM siddhigainAmadheyaM ThANaM saMpattANaM / namo'tthu NaM samaNassa bhagavao mahAvIrassa Adigarassa titthayarassa jAva saMpAviukAmassa / vaMdAmi NaM bhagavaMtaM tatthagayaM ihagae, pAsai me bhagavaM tatthagae ihagaye ti kaTTu vaMdaMti NamaMsati, vaMdittA NamaMsittA sIhAsaNavaragae puvvAbhimuhaM saNNisaNNe / 9. arihaMta bhagavantoM ko namaskAra ho, zruta- cAritradharma kI Adi karane vAle, tIrtha kI sthApanA karane vAle, svayaM hI bodha ko prApta, puruSo meM uttama, karmazatruo kA vinAza karane me parAkramI hone ke kAraNa puruSo meM siha ke samAna, saumya hone se puruSoM meM zreSTha kamala ke samAna-(sadA praphullita aura suSamA se yukta), puruSoM meM uttama gaMdhahastI ke samAna (jaise gadhahastI kI gadha se anya hAthI bhAga jAte haiM usI prakAra jinake puNya prabhAva se hI Iti, bhIti Adi kA vinAza ho jAtA hai, aise) loka me uttama, loka ke nAtha, loka kA hita karane vAle, loka meM pradIpa ke samAna, loka meM vizeSa udyota karane vAle athavA loka svarUpa ko prakAzita karane vAle - batAne vAle, sabako abhaya dene vAle zraddhA - jJAna-rUpa netra ke dAtA, dharmamArga ke dAtA, dharma ke upadezaka, dharma ke nAyaka, dharma ke sArathI, caturgati rUpa saMsAra kA anta karane vAle dharma cakravartI, avyAghAta (avarodharahita) kevalajJAna-darzana ke dhAraka, ghAtikarma rUpI chadma ke nAzaka, rAgAdi zatruoM ko jItane vAle, karmazatruoM ko jItane ke lie anya jIvoM ko prerita karane vAle, saMsAra - sAgara se svayaM tire hue aura dUsaroM ko tirane kA upadeza dene vAle, bodha (kevalajJAna) ko prApta karane vAle aura upadeza dvArA dUsaroM ko bodha prApta karAne vAle, svayaM karmabadhana se mukta aura upadeza dvArA dUsaroM ko mukta karAne vAle, sarvajJa, sarvadarzI ziva - upadravarahita, kalyANa rUpa, acala-acala sthAna (siddhisthAna) ko prApta hue, aruja - zArIrika vyAdhi vedanA se rahita, ananta, akSaya, , sUryAbha varNana ( 13 ) For Private Personal Use Only Description of Suryabh Dev

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Mease date and de avyAbAdha, apunarAvRtti-jisako prApta kara lene para punaH saMsAra meM janma nahI hotA, aise meM punarAgamana se rahita-siddhi gati nAmaka sthAna meM sthita siddha bhagavantoM ko namaskAra ho| ___ dharma kI Adi karane vAle, tIrthaMkara-yAvat siddha gati nAmaka sthAna ko prApta karane ko tatpara zramaNa bhagavAna mahAvIra ko merA namaskAra ho| ____ 'tatrastha' arthAt jambUdvIpa nAmaka dvIpa ke bharata kSetra meM sthita AmalakappA nagarI ke * AmrazAlavana caitya meM virAjamAna bhagavAna ko yahA~ rahA huA maiM vaMdanA karatA huuN| vahA~ para rahe hue ve bhagavAna yahA~ rahe hue mujhe dekhate haiN| isa prakAra stuti karake vandana-namaskAra kiyaa| vandana-namaskAra karake phira pUrva dizA kI ora mukha karake siMhAsana para baiTha gyaa| 9. I offer my prayers to Arihantas, the super souls who haveer achieved perfection of knowledge and understanding, who are se prime founders of religious order composed of four Tirthas. They are on self-enlightened, supreme human-beings, as brave as lions among all human-beings since they have sub-dued mighty Karmas. They are as good as Pundarik lotuses among all human beings in their tranquility and ecstatic appearance. They are like Gandh-Hasti elephant amongst all human-beings (Just as at the very fragrance of Gandh-Hasti, the other elephants run away, the evil namely famine and other natural calamities disappear as a consequence of their noble appearance). They are supreme in the universe, masters * of the universe, beneficent ones to one and all in the universe. They also are like source of light in the universe, instrument of enlightenment in the universe. They are blessed givers of fearlessness to all, bestowers of right vision and right knowledge, guides to the path of serenity, teachers of Dharma the true knowledge. Charioteer of the most Dharma chariot, guides of religious path, the king emperor instant subduing the entire birth-cycle in universe wherein living beings 192 transmigrate in four states of bodily existence. They possess indestructible perfect knowledge and perception. They have overcome all the ignorance that pollutes the soul. They are conquerors of worldly attachment and hatred and they cause others also to do so. They themselves have come out successful in the swim-fete over the ocean of transmigration and they cause others to win the swim-fete. They are self-enlightened ones and are inspirors en of the same enlightenment to others. They are self liberated and d behind the state and testoster rAyapaseNiyasUtra (14) PORNMOVKOMAAYODHPOORPIGORY Rar-paseniya Sutra (Gok 000

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BADALA sudharmA sabhA Gaj CHMARCH . . . RAANA. - COODo9XMILLIA samavasara (AGRAT A na Poem :: H vandana karatA sUryAbhadeva ome - Medias

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citra paricaya-1 Illustration No.1 bhagavAna mahAvIra ko vandanA saudharmakalpa ke sUryAbha vimAna me utpanna hone ke anantara sUryAbhadeva sudharmA sabhA ke sUryAbha sihAsana para AsIna hotA hai| usake paripArzva me agramahiSiyA~ tathA sAmAnika deva Adi baiThe hai| nRtya, gAyana Adi utsava ke ragAraga vAtAvaraNa me usane avadhijJAna kA upayoga karake dekhA 'bharata-kSetra kI AmalakappA nagarI ke udyAna me bhagavAna mahAvIra kA divya samavasaraNa lagA hai|'' yaha dRzya dekhakara vaha atyanta Anandita ho utthaa| roma-roma harSa se pulakita ho gyaa| zIghra hI sihAsana se uThA, pAdukAe~ utArI, ekazATika uttarAsaga karake vandanA kara puna sihAsana para baiTha gyaa| dono hAtha joDe, vinayapUrvaka bolA"AmalakappA nagarI ke udyAna meM virAjamAna zramaNa bhagavAna mahAvIra ko mai vandanA karatA huuN| vahA~ sthita bhagavAna mujhe yahA~ dekha rahe hai|'' --sUtra 7-9, pRSTha 13 SALUTATIONS TO BHAGAVAN MAHAVIR After incarnating in the Suryabh Viman of Saudharm-kalp, Suryabh Dev sits on the Suryabh throne in the Sudharma assembly He is surrounded by his chief-queens, Samanik gods and other gods In the festive atmosphere of music and dance performances he employed his Avadhi Jnana and saw--"The divine Samavasaran of Bhagavan Mahavir is in progress in the garden of Aamal-kappa city in Bharat area " He got extremely pleased to witness this scene Every pore of his body elated with joy He at once got up from his throne, removed his slippers, covered his mouth with his scarf, offered salutations and returned to his throne He joined his palms and uttered with modesty--"I bow and offer my salutations to Shraman Bhagavan Mahavir stationed in the garden of Aamal-kappa city Although stationed there, Bhagavan sees me here." -Sutras 7-9, p 13

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cause others to liberate so. They are omniscient, possessing perfect wisdom. They have reached the absolute state free from transmigration and are disease free. They are infinite, imperishable and free from all hurdles. Apunaravritti- non-revivability of birthcycle. They are acquirors of total liberation-the abode of Siddhas. I offer my obeisance to Siddhas-the completely liberated souls. I offer my salutation to Shraman Bhagavan Mahavir who is destined to reach the abode of liberated souls, the Siddhas (for full text see Illustrated Kalpa Sutra, pp. 24 ) . I offer salutation to Bhagavan Mahavir who is at present staying in Aamrashalvan Chaitya of Aamal-kappa city located in Bharat area of Jambu Dveep. Bhagavan Mahavir staying there is seeing me. Thus he greeted the Lord, praised him and then occupied the celestial seat facing east. Abhiyogika devoM ko sUryAbhadeva kI AjJA 10. tae NaM tassa sUriyAbhassa ime eyArUve ajjhatthie ciMtie patthie maNogae saMkaSye samupajjittA / 10. tatpazcAt sUryAbhadeva ke mana me isa prakAra kA yaha Antarika, cintita, prArthita - prApta karane yogya, iSTa aura manogata- mana meM rahA huA (mAnasika) saMkalpa samutpanna huaa| INSTRUCTIONS TO SUBORDINATE GODS 10. Thereafter, Suryabh Dev thought in his mind, brooded and deeply contemplated upon the reflections appearing in his mind. 11. seyaM khalu me samaNe bhagavaM mahAvIre jaMbuddIve dIve bhArahe bAse AmalakappAe rary bahiyA ambasAlavaNe ceie ahApaDirUvaM uggahaM uggihittA saMjameNaM tavasA appANaM bhAvemANe viharai / taM mahAphalaM khalu tahArUvANaM bhagavantANaM NAma - goyassa vi savaNayA kimaMga puNa abhigamaNavaMdaNaM NamaMsaNaM- pajjuvAsaNAe ? egassa vi Ariyassa dhammiyassa, suvayaNassa savaNayAe kimaMga puNa gahaNayAe ? taM gacchAmi NaM samaNaM bhagavaM mahAvIraM vandAmi NamaMsAmi sakkAremi sammANemi kallANaM maMgalaM devayaM ceiyaM pajjuvAsAmi / sUryAbha varNana (15) viulassa aTThassa For Private Personal Use Only Description of Suryabh Dev 126031

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eyaM me peccA hiyAe suhAe khamAe NisseyasAe ANugAmiyattAe bhavissai tti kaTu evaM saMpehei, evaM saMpehittA, Abhioge deva saddAvei saddAvittA evaM vayAsI 11. jambUdvIpa ke bhAratavarSa meM sthita AmalakalpA nagarI ke bAhara AmrazAlavana caitya me yathApratirUpa-avagraha ko lekara saMyama aura tapa se AtmA ko bhAvita karate hue zramaNa bhagavAna mahAvIra virAjamAna hai| mere lie zreya rUpa hai| jaba tathArUpa bhagavantoM ke kevala nAma * aura gotra ko zravaNa karane kA hI mahAphala hai to phira unake samakSa jAne kA, unako vaMdanA karane kA, namaskAra karane kA, unase prazna pUchane kA aura unakI upAsanA karane kA prasaMga 2 mile to usake viSaya meM kahanA hI kyaa| kI Arya puruSa ke mukha se eka bhI dhArmika suvacana sunane kA hI jaba mahAphala hotA hai taba 2ii unake pAsa se vipula artha-upadeza grahaNa karane ke mahAn phala kI to bAta hI kyA hai| va isalie maiM jAU~ aura zramaNa bhagavAna mahAvIra ko vandanA karU~, namaskAra karU~, unakA ra satkAra-sammAna karU~ aura kalyANakArI hone se kalyANarUpa, saba aniSToM kA upazamana karane vAle hone se maMgalarUpa, trailokyAdhipati hone se devarUpa aura kevalajJAnI hone se caitya " svarUpa una bhagavAna kI paryupAsanA kruuN| " zramaNa bhagavAna mahAvIra kI yaha paryupAsanA mere lie anugAmI hone ke kAraNa paraloka * meM hitakArI, sukhakArI, kSema-zAnti karane vAlI, niHzreyaskara, kalyANakArI, mokSa prApta karAne vAlI hogI, aisA usa sUryAbhadeva ne vicAra kiyaa| vicAra karake apane Abhiyogika (AjJAnusAra kAma karane vAle) devo ko bulAyA aura bulAkara isa prakAra kahA 11. In Jambu Dveep, there is Bharat area. In it there is Aamrashalvan Chaitya at the outskirts of Aamal-kappa city. In the said city Bhagavan Mahavir is staying following his inner selfimposed restraints observing the code and austerities. His presence is a boon for me. To listen the very name and clan of such great men is He said to be highly beneficial. Therefore, to get a chance to go to them, to greet them, to bow to them, to seek clarifications about inner doubts from them and to serve them must be of extreme benefit. When even a word of such a great spiritual master if properly listened to results in a great light, the result of spiritual meaningful discourse is indescribable. rAyapaseNiyasUtra (16) Rai-paseniya Sutra Gdeg09' N otary

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So So I must go to Shraman Bhagavan Mahavir, greet him, bow to him, welcome and honour him. I should serve him as his service is auspicious and destroys all evils. His service is god like since he is master of all the three worlds. It is resourceful and knowledgeable one since he possesses complete knowledge. For me it is advantageous, auspicious blessed even in the next life-span (life after death) and is going to lead to the final goal of liberation. Such were the thoughts arising in the mind of Suryabhat Dev. He then called the celestial angels who were at his command and ordered them as follows 12. evaM khula devANuppiyA ! samaNe bhagavaM mahAvIre jaMbuddIve dIve bhArahe vAse AmalakappAe nagarIe bahiyA aMbasAlavaNe ceie ahApaDirUvaM uggahaM uggiNhittA saMjameNaM tavasA appANaM bhAvamANe vihri| taM gacchaha NaM tumhe devANuppiyA ! jaMbuddIvaM dIvaM bhArahaM vAsaM AmalakappaM NayariM aMbasAlavaNaM ceiyaM samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNa payAhiNaM kareha, karettA vaMdaha NamaMsaha, vaMdittA NamaMsittA sAiM sAI nAmagoyAiM sAheha, sAhittA samaNassa bhagavao mahAvIrassa savvao samaMtA joyaNaparimaMDalaM jaM kiMci taNaM vA pattaM vA kaTuM vA sakkaraM vA asuI vA acokkhaM vA pUiaM dubbhigandhaM taM savvaM AhuNiya AhuNiya egaMte eDeha, eDettANaccodagaM NAimaTTiyaM pavirala-papphusiyaM raya-reNu-viNAsaNaM divvaM surabhigaMdhodayavAsaM vAsaha, vAsittA NihayarayaM NaTTharayaM bhaTTharayaM uvasaMtarayaM pasaMtarayaM kreh| ___ karittA kusumassa jANusseha-pamANamittaM ohiM vAsaM vAsaha, vAsittA jalaya-thalaya-bhAsurappabhUyassa biMTaTThAissa dsddhvnnnnss| ___ kAlAguru-pavarakundarukka-turukka-dhUva-maghamaghaMta-gaMdhuddhayAbhirAmaM sugaMdhavaragaMdhiyaM gaMdhavaTTibhUyaM divvaM suravarAbhigamaNajoggaM kareha kAraveha, karittA ya kAravettA ya khippAmeva emANattiyaM pccppinnh| 12. he devAnupriyo ! zramaNa bhagavAna mahAvIra jambUdvIpa nAmaka dvIpa ke bharata kSetravartI AmalakappA nagarI ke bAhara AmrazAlavana caitya meM yathApratirUpa avagraha ko grahaNa karake sayama aura tapaM se AtmA ko bhAvita karate hue virAjamAna haiN| " PAROPAPROPARDRONROSAROPRIRODROMOMO PROXXOFRONROEXOXOX ***irha Vot* * * sUryAbha varNana (17) Description of Suryabh Dev * %DAN

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ataeva devAnupriyo / tuma vahA~ jAo aura jambUdvIpa nAmaka dvIpa ke bharata kSetra meM sthita AmalakappA caitya me virAjamAna zramaNa bhagavAna mahAvIra kI dAyeM se bAyeM Avartta karake tIna bAra pradakSiNA kro| pradakSiNA karake vadanA - namaskAra kro| vaMdanA - namaskAra karake tuma unako apane-apane nAma aura gotra kA paricaya do| usake pazcAt zramaNa bhagavAna mahAvIra ke virAjane ke AsapAsa cAro ora eka yojana pramANa golAkAra bhUmi meM ghAsa, patte, kASTha, kakaDa-patthara, apavitra, malina, saDI - galI durgandhita vastuoM ko acchI taraha se sApha kara dUra ekAnta sthAna me le jAkara pheka do / yoM usa bhUmi ko pUrI taraha se sApha-svaccha karake isa prakAra se divya surabhi - sugaMdhita gadhodaka kI varSA karo ki jisame jala adhika na barase, kIcaDa na ho| rimajhima-rimajhima virala rUpa meM nanhIM-nanhIM bU~deM baraseM aura dhUla-miTTI jama ye / isa prakAra kI varSA karake usa sthAna ko nihitaraja, naSTaraja, bhraSTaraja, upazAtaraja, prazAMtaraja (dhUla-miTTI se rahita ) banA do / jala varSA karane ke pazcAt usa sthAna para sarvatra eka hAtha U~cAI pramANa, bhAsvara - camakIle jala aura sthala meM utpanna hue paMcaraMge-raMga-biraMge sugadhita puSpo kI pracura parimANa isa prakAra se barasA karo ki unake vRnta (iNDiyA) nIce kI ora aura paMkhuDiyA~ Upara kI ora raheM / puSpa varSA karane ke bAda usa bhUmi para apanI sugaMdha se mana ko AkRSTa karane vAle kAle agara, zreSTha kundaruSka, turuSka (lobhAna) aura dhUpa ko jalAo ki jisakI sugaMdha se sArA vAtAvaraNa mahaka jAye, zreSTha sugaMdha - samUha ke kAraNa vaha sthAna gaMdhavaTTikA - gadha kI battI ke samAna bana jAye, divya suravaro - uttama devoM ke jAne yogya ho jAye, aisA tuma svaya karo aura dUsaro se krvaao| yaha kArya karake aura karavAkara zIghra merI AjJA vApasa mujhe lauTAo arthAt AjJAnusAra kArya ho jAne kI sUcanA do / 12. O the blessed one's ! Shraman Bhagavan Mahavir is present in Aamrashalvan Chaitya at the outskirts of Aamal-kappa city of Bharat area in Jambu Dveep. He is observing his self-imposed restraints and austerities. So, O the blessed! You go there and greet Shraman Bhagavan three times as specified in the code. You greet him, bow to him and tell him your respective names and gotra (status). Thereafter, you clean an area upto one yojan all around from his seat. You remove grass, leaves, wood, stones, shingal, rotten material and throw that matter in a corner at a distance. After properly cleaning that area rAyapaseNiyasUtra Rai-paseniya Sutra ( 18 ) For Private Personal Use Only

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you provide fragrant rain at that cleaned area. This rain should be within the limit and should not make the area muddy. The shower should be in the same shape of drizzle so that the dust settles down. By causing rain in this manner you destroy, remove and settle down the dust completely. Thereafter, you shower bright, fragrant flowers of five different colours grown in land and water in sufficient quantity upto a height of one haath (a measure). The stalks of the flowers should be downwards and petals upwards. Thereafter, you burn heart-pleasing incense and fill the entire environment with fragrance of black agar, pure kundrushk, lobhan and incense. Due to the fragrance that place should become a treasure of fragrance and worthy of visits by gods. You should do it yourself and also get done from others. After completing this entire assignment you inform me soon. Abhiyogika devoM dvArA AjJApAlana 13. tae NaM te AbhiogiA devA sUriyAbheNaM deveNaM evaM vuttA samANA haTTatuTTha jAva hiyayA karayalaparaggahiyaM dasanahaM sirasAvattaM matthae aJjaliM kaTu 'evaM devo ! tahatti' ANAe viNaeNaM vayaNaM paDisuNaMti, 'evaM devo ! tahatti' ANAe viNaeNaM vayaNaM paDisuNettA uttarapuratthimaM disibhAgaM avkkmNti| ___ uttarapuratthimaM disibhAgaM avakkamittA veubviyasamugghAeNaM samohaNaMti, samohaNittA saMkhejjAiM joyaNAI daMDaM nisiraMti, taM jahA-rayaNANaM vayarANaM veruliyANaM lohiyakkhANaM masAragallANaM haMsagabbhANaM pulagANaM sogaMdhiyANaM joIrasANaM aMjaNANaM aMjaNapulagANaM rayayANaM jAyarUvANaM aMkANaM phalihANaM riTThANaM ahAbAyare puggale parisAuMti, parisADittA ahAsuhume puggale pariyAyaMti, pariyAittA doccaM pi veubbiya-samugghAeNaM samohaNaMti, samohaNittA uttaraveubbiyAI rUvAiM viuvvNti| viuvittA tAe ukkiTThAe turiyAe cavalAe caMDAe javaNAe sigyAe udhUyAe divAe devagaIe tiriyaM asaMkhejjANaM dIvasamuddANaM majhamajheNaM vIIvayamANe jeNeva jaMbuddIve dIve, jeNeva bhArahe vAse, jeNeva AmalakappA NayarI, jeNeva aMbasAlavaNe ceie, jeNeva samaNe bhagavaM mahAvIre teNeva uvaagcchNti| * sUryAbha varNana (19) Description of Suryabh Dev *

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* * .. . . teNeva uvAgacchittA samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNa-payAhiNaM kareMti, vaMdati namaMsaMti, vaMdittA namaMsittA evaM vayAsI_ 'amhe NaM bhaMte ! sUriyAbhassa devassa AbhiyogA devA devANuppiyANaM vaMdAmo NamaMsAmo sakkAremo sammANemo kallANaM maMgalaM devayaM ceiyaM pjjuvaasaamo|' 13. tatpazcAt ve Abhiyogika deva sUryAbhadeva kI AjJA ko sunakara harSita hue, santuSTa hue yAvat hRdaya vikasita ho gyaa| donoM hAtha joDakara AvarttapUrvaka mastaka para aMjali karake "he deva-svAmin ! Apane jo kahA vaha ucita hai|" aisA kahakara vinayapUrvaka AjJA * svIkAra kii| "he deva ! aisA hI karege' isa prakAra se savinaya AjJA svIkAra karake 9 uttara-pUrva dizA me gye| udhara jAkara vaikriya samudghAta kiyaa| vaikriya samudghAta karake sakhyAta yojana kA ratnamaya daNDa bnaayaa| una ratno ke nAma isa prakAra hai-(1) karketana ratna, (2) vajra ratna, * (3) vaiDUrya ratna, (4) lohitAkSa ratna, (5) masAragalla ratna, (6) haMsagarbha ratna, (7) pulaka rana, (8) saugandhika ratna, (9) jyoti ratna, (10) ajana ratna, (11) aMjana pulaka ratna, (12) rajata ratna, (13) jAtarUpa ratna, (14) aMka ratna, (15) sphaTika ratna, (16) riSTha rtn| ina ratnoM ke yathA bAdara-(asAra-ayogya) pudgaloM ko alaga kiyA aura phira yathA sUkSma (sArabhUta) pudgalo ko grahaNa kiyA, grahaNa karake punaH dUsarI bAra vaikriya samudghAta 0 karake uttaravaikriya rUpo kI vikurvaNA kii| uttaravaikriya rUpoM kI vikurvaNA karake arthAt apanA-apanA vaikriyalabdhijanya * uttaravaikriya zarIra banAkara ve utkRSTa tvarA vAlI, capala, atyanta tIvra, caNDa, javana, * vegayukta oNdhI jaisI teja divya gati se tirache-tirache asakhyAta dvIpa samudroM ko pAra karate - hue jahA~ jambUdvIpavartI bhAratavarSa kI AmalakappA nagarI thI, AmrazAlavana caitya thA aura usameM jahA~ zramaNa bhagavAna mahAvIra virAjamAna the, vahA~ aaye|| vahA~ Akara zramaNa bhagavAna mahAvIra kI tIna bAra AdakSiNA-pradakSiNA kI, unako " vaMdana-namaskAra kiyA aura vandana-namaskAra karake isa prakAra kahA* "he bhadanta ! hama sUryAbhadeva ke Abhiyogika deva Apa devAnupriya ko vadana karate hai, namaskAra karate hai, Apa kA satkAra-sammAna karate hai evaM kalyANarUpa, magalarUpa, devarUpa 5 aura caityarUpa ApakI paryupAsanA karate haiN|' - rAyapaseNiyasUtra (20) Rar-paseniya Sutra

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* ACCEPTANCE OF ORDERS BY SERVING GODS 13. At this order from Suryabh Dev the serving gods (Abhiyogic Dev) became happy and cheerful. They clasped their hands and a touching their head said-"O the respected master ! Whatever you * have ordered is proper." Accepting the order they uttered that "They shall perform the assignment accordingly." They then went away in _north-east direction. They then spread the pradeshas beyond their fluid body (Vaikriya Samudghat). Then they created a jewel-studded thick rod numerable yojans long. The said jewels were--(1) Karketan, (2) Vajra, (3) Vaidurya, (4) Lohitaksh, (5) Masaargalla, * (6) Hansgarbh, (7) Pulak, (8) Saugandhik, (9) Jyoti, (10) Anjan, (11) Anjan pullak, (12) Rajat, (13) Jaatroop, (14) Ank, (15) Sphatik, and (16) Rishth jewels. They removed the gross useless atoms of the said jewels and added subtle useful atoms. Later, they again spread the pradeshas of soul beyond their fluid body (Vaikriya Samudghat). After performing the Samudghat of fluid body and thus creating respective fluid bodies of the best type they moved at an extremely high speed like a dreadful storm of a very great velocity. They crossed innumerable continents and oceans and Aamal-kappa city in Bharat area of Jambu Dveep. Then they came to the place in Aamrashalvan where Bhagavan Mahavir was seated. After arriving there, they went round the Lord three times, greeted him, bowed before him and said, ___ "O the reverend ! We, the gods in service of our master Suryabh Dev honour you, greet you and bow to you. You are auspicious, To godlike and fountain of knowledge we pay our respects to thee." vivecana-apane mUla zarIra me rahate hue jIva-pradezo ko zarIra se bAhara nikalane kI kriyA ko * samudghAta kahate hai| sAta kAraNoM se jIva-pradezo ke zarIra se bAhara nikalane ke kAraNa samudghAta ke bhI sAta bheda hai| uname se yahA~ vaikriya samudghAta kA ullekha hai| yaha vaikriyazarIra nAmakarma ke kAraNa hotI hai| vaikriyalabdhi vAlA jIva vikriyA karate samaya apane Atma-pradezo ko vistAra me zarIra parimANa aura U~cAI me saMkhyAta yojana pramANa daDAkAra rUpa me zarIra se bAhara nikAlatA hai| vaikriyalabdhi se do prakAra kI vikriyA hotI hai-pRthak vikriyA aura apRthak vikriyaa| Abhiyogika devo ne pahale pRthak vikriyA dvArA daDa banAyA aura usake pazcAt dUsarI bAra apane-apane uttara rUpa kI vikurvaNA kii| isIlie yahA~ do bAra vaikriya samudghAta karane kA ullekha kiyA hai| sUryAbha varNana (21) Description of Suryabh Deve *

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gati kI atyanta tIvratA batAne ke lie yahA~ tvarA, capala, tIvra, caNDa Adi aneka samAnArthaka zabdo kA prayoga kiyA hai| Elaboration-The process of spreading soul-atoms beyond the original body while still linked to it is called Samudghat. The soul-atoms are spread beyond the original body due to seven reasons. As such Samudghat is also of seven types. Here we are concerned with the fluid Samudghat. This is done when one possesses fluid body. A person possessing skill of fluid blessing (Labdhi) while engaging in this process, spreads his soul-atoms upto his body and then emits them beyond it creating a numerable yojans long rod with his soul-atoms. The fluid process is of two types which is done by those having such skill. They are Prithak kriya and Aprithak kriya. The serving gods performed Prithak kriya first of all and thus created a rod of soul-atoms in this kriya Thereafter each one did fluid process second time in order to transform their body to the maximum. Many words having similar meaning (Synonyms) have been used to show extremely high speed. 14. 'devA' i samaNe bhagavaM mahAvIre te deve evaM vayAsI - porANameyaM devA ! jIyameyaM devA ! kiccameyaM devA ! karaNijjameyaM devA ! AcinnameyaM devA ! abbhaNuNNAyameyaM devA ! jaM NaM bhavaNavai - vANamaMtara - joisiya- vemANiyA devA arahaMte bhagavaMte vaMdaMti namasaMti, vaMdittA namaMsittA tao sAIM sAI NAma - goyAI sAhiMti, taM porANameyaM deva ! jAva abbhaNuNNAyameyaM devA ! 14. taba una Abhiyogika devoM ko sambodhita kara zramaNa bhagavAna mahAvIra ne isa prakAra kahA - "he devo ! yaha purAtana hai arthAt prAcInakAla se devo meM paramparA se calA A rahA hai| he devo ! yaha karaNIya hai arthAt devo ko karanA hI caahie| he devo ! yaha AcIrNa hai arthAt devoM dvArA pahale bhI isI prakAra AcaraNa kiyA jAtA rahA hai / he devo ! yaha anujJAta hai arthAt pUrva ke saba devendroM ne saMgata mAnA hai ki bhavanavAsI, vANavyantara, jyotiSka aura vaimAnika deva arihata bhagavanto ko vandana - namaskAra karate haiM aura vandana-namaskAra karake apane-apane nAmagotra kahate haiM ( apanA paricaya dete haiM) / yaha purAtana hai yAvat he devo ! yaha abhyanujJAta - sarvasammata paddhati hai / " 14. Then Bhagavan Mahavir addressed to the said Abhiyogik gods as follows-"O the celestial ones! This is an age-old tradition rAyapaseNiyasUtra Rai-paseniya Sutra (22) For Private Personal Use Only

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prevalent among the celestial gods. The gods should observe it. This was followed by the gods earlier also. It is known to celestial beings and they have accepted it. So the residential gods (Bhavanvasi), the peripatetic gods ( Vanavyantar), the stellar gods ( Jyotishka) and heavenly gods (Vaimanik) follow it and they honour, greet and bow to omniscients (Arihants). They than mention their names and status (gotra). So, O gods ! This is an age-old tradition." saMvartaka vAyu kI vikurvaNA 15. tae NaM te AbhiogiyA devA samaNeNaM bhagavayA mahAvIreNaM evaM vRttA samANA haTTha jAva hiyayA samaNaM bhagavaM mahAvIraM vaMdaMti NamaMsaMti, vaMdittA NamaMsittA uttarapuritthamaM disIbhAgaM avakkamaMti, avakkamittA veubviyasamugdhAeNaM samohaNaMti, samohaNittA saMkhejjAI joyaNAI daMDaM nisiraMti taM jahA - rayayANaM jAva riTThANaM ahAbAyare poggale parisADaMti, ahAbAyare poggale parisADittA doccaM pi veuvvayasamugdhAeNaM samohaNaMti, samohaNittA saMvaTTayavAe viuvvaMti / se jahA nAmae bhaiyadArae siyA taruNe balavaM jugavaM juvANe appAyaMke thiraggahatthe Dha - pANi- pAyapiTTha taroru- saMghAya - pariNae, ghaNa- niciya - vaTTavaliya - khaMdhe, cammega - dudha - muTThisamAhayagatte, urassa balasamantrAgae, tala- jamala-juyala - bAhU laMghaNa - pavaNa - javaNa - pamaddaNasamatthe chee dakkhe paTTe kusale medhAvI NiuNasippovagae egaM mahaM salAgAhatthagaM vA daMDasaMpucchaNiM vA veNusalAgigaM vA gahAya rAyaM NaM vA rAyaMtepuraM vA devakulaM vA sabhaM vA pavaM vA ArAmaM vA ujjANaM vA aturiyaM acavalaM asaMbhataM niraMta suniuNaM savvato samaMtA saMpamajjejjA / evAmeva te'vi sUriyAbhassa devassa AbhiogiyA devA saMvaTTayavAe viuvvaMti, vivvittA samaNassa bhagavao mahAvIrassa savyato samaMtA joyaNaparimaMDalaM jaM kiMci taNaM vA pattaM vA taheva savvaM AhuNiya AhuNiya egaMte eDeMti, eDittA khippAmeva uvsmNti| 15. tatpazcAt zramaNa bhagavAna mahAvIra dvArA aisA kahane para una Abhiyogika devo ne harSita yAvat vikasita hRdaya hokara zramaNa bhagavAna mahAvIra ko vandana - namaskAra kiyA / vandana-namaskAra karake uttara-pUrva digbhAga meM gaye / vahA~ jAkara unhoMne vaikriya samudghAta kiyA aura vaikriya samudghAta karake saMkhyAta yojana kA daNDa banAyA jo karketana yAvat sUryAvarNana ( 23 ) For Private Personal Use Only Description of Suryabh Dev

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A riSTaratnamaya thA aura una ratno ke yathA bAdara (asArabhUta) pudgaloM ko alaga kiyaa| yathA - bAdara pudgalo ko haTAkara dubArA vaikriya samudghAta karake saMvartaka vAyu (tUphAnI havA) kI racanA kii| jaise koI taruNa, balavAna, yugavAn-(samaya-asamaya hone vAlI zArIrika pIDA se rahita), yuvAvasthA vAlA, rogarahita-sthira paje vAlA-jisake hAtha kA agra bhAga kaoNpatA na ho, pUrNa rUpa se dRDha puSTa hAtha, paira, pITha evaM pasaliyoM aura jaghAoM vAlA, atizaya nicita-paripuSTa 2 maoNsala gola kadho vAlA, carmeSTaka (camaDe se veSTita patthara se banA astra vizeSa), mudgara aura mukkoM kI mAra se saghana, puSTa sugaThita zarIra vAlA, bala, vIrya aura parAkramaAtmazakti-sampanna, eka sAtha tAlavRkSayugala (sIdha meM khaDe do tAla vRkSa) ke samAna sIdhI, lambI aura puSTa bhujAoM vAlA, laoNghane, kUdane, vegapUrvaka gamana eva mardana karane me samartha, kalAvijJa, dakSa, paTu, kuzala, medhAvI eva kAryanipuNa sevaka kA yuvA putra sIMkoM se banI athavA mUTha vAlI athavA baoNsa kI sIMkoM se banI buhArI ko lekara rAjaprAgaNa, antaHpura, devakula, sabhA, pyAU, ArAma athavA udyAna ko binA kisI ghabarAhaTa, capalatA, sambhrama 2 aura AkulatA ke nipuNatApUrvaka cAroM tarapha se pramArjita karatA hai--buhAratA hai| 3 vaise hI sUryAbhadeva ke una Abhiyogika devo ne bhI saMvartaka vAyu kI vikurvaNA karake zramaNa bhagavAna mahAvIra ke AsapAsa cAro ora eka yojana-cAra kosa ke bhU-bhAga meM jo kucha bhI ghAsa, patte Adi the una sabhI ko cuna-cunakara ekAnta sthAna meM le jAkara pheka diyA aura phekakara zIghra usa bhUmaNDala ko svaccha, upazAta, rajarahita banA diyaa| MAKING HURRICANE THROUGH VAIKRIYA POWERS ____15. The Abhiyogic (serving) gods felt pleased at this talk of Bhagavan Mahavir. They honoured him, bowed to him and then went in north-east direction. There they performed Vaikriya Samudghat and created a rod which was numerable yojans long. It was studded with sixteen types of jewels namely Karketan upto Risht. Then they separated the gross undesirable atoms of those jewels and after removing them, performed Vaikriya Samudghat very second time and created whirl wind. ___Consider a young, well-built, healthy (one who is not suffering from any disease or calamity), youthful, non-paralytic person. He se has strong hand and feet, ribs and hips. He has fleshy round shoulders. His body is proportionate and thick like a weapon made rAyapaseNiyasUtra Rai-paseniya Sutra (24) ONAONY age OTBPOHTOAVIOR * * * MDHAR *

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Share thick and hard by beating with hammers and blows. He has extreme courage, strength and inner conviction. His arms are long, a straight and well-built like a pair of Taal trees (Euclyptus). He is a capable of jumping, crossing, running, massaging and pressing hard. He is deft in activities, is quick and intelligent. He is a genius Hot and fully able to perform duties assigned to him. Further consider that a young son of such a person holds a broom made of bamboo sticks and thoroughly cleans the courtyard of the palace, the 2 drawing room, the abode of celestial beings, the assembly hall, the meeting place, the place to serve water, the gardens and all suchlike quickly and without any lethargy or fear in a discreet manner. The Abhiyogic gods of Suryabh Dev in the same manner created the whirl wind and cleaned one yojan (eight miles) of area in each of the four directions around Bhagavan Mahavir, removed grass and leaves discreetly and threw them at one place in a distant corner. Thus they turned that area completely dust-free, quiet and levelled. bAdaloM kI vikurvaNA 16. doccaM pi veubviyasamugghAeNaM samohaNaMti, samohaNittA abbhavaddalae viuvvNti| se jahANAmae bhaigadArage siyA taruNe jAva sippovagae egaM mahaM dagavAragaM vA, OM dagakumbhagaM vA, dagathAlagaM vA, dagakalasagaM vA gahAya ArAmaM vA jAva pavaM vA atariyaM jAva savvato samaMtA AvarisejA, evAmeva te'vi sUriyAbhassa devassa AbhiyogiyA devA abbhavaddalae viuvvaMti, viuvbittA khippAmeva pataNataNAyaMti, pataNataNAittA khippAmeva vijayAyaMti, vijjayAittA samaNassa bhagavao mahAvIrassa sabbao samaMtA joyaNaparimaMDalaM NaccodagaM NAtimaTTiyaM taM pavirala-papphusiyaM rayareNuviNAsaNaM divvaM surabhigaMdhodagaM vAsaM vAsaMti, vAsettA NihayarayaM, NaharayaM, bhaTTarayaM, uvasaMtarayaM, pasaMtarayaM, kareMti, karittA khippAmeva uvsaamNti| 16. isake pazcAt una Abhiyogika devo ne dubArA vaikriya samudghAta kiyA aura usake * dvArA jala se bhare bAdaloM kI racanA kii| jaise koI taruNa kAryakuzala bhRtyadAraka-jala sIcane vAlA bhiztI, jala se bhare eka baDe ghaDe athavA jala-kumbha athavA jala-sthAlaka athavA jala-kalaza ko lekara bagIce ko, parava sUryAbha varNana (25) Description of Suryabh Dev

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(pyAU) ko binA kisI utAvalI ke caturatA se saba tarapha se sIMcatA hai, isI prakAra se sUryAbhadeva ke una Abhiyogika devo ne AkAza meM ghumaDa-ghumaDakara garajane vAle aura bijaliyo kI camacamAhaTa se yukta meghoM kI vikriyA karake zramaNa bhagavAna mahAvIra ke virAjane ke sthAna ke AsapAsa cAroM ora eka yojana golAkAra bhUmi meM isa prakAra se * sugandhita gadhodaka barasAyA ki jisase bhUmi na jala-magna huI, na kIcar3a huA kintu rimajhima-rimajhima virala rUpa se bUMdAbAMdI hone se uDate hue rajakaNa daba gye| isa prakAra * kI megha varSA karake usa sthAna ko nihitaraja, naSTaraja, bhraSTaraja, upazAntaraja, prazAMtaraja (arthAt sarvathA dhUlarahita) banA diyaa| phira zIghra hI megha varSA ko sameTa liyaa| CREATING CLOUDS THROUGH VAIKRIYA POWER ____16. Thereafter, the said gods did Vaikriya Samudghat second time and created clouds containing water. Consider a young, expert water-carrier. He ks up * of water, a water tank or a water container. He then irrigates an orchard deftly from all sides without any undue haste. In the same manner, the Abhiyogic gods created the thundering, whirling clouds in the sky. They moved around and showered fragrant water (gandhodak) in an area upto one yojan in circular shape all around the seat of Bhagavan Mahavir, the area neither became flooded nor muddy. But the dust settled down with these showers. With this _rain they made that area clean, dust-free and levelled. All the dust they had settled nicely. Then the rain was stopped. puSpa-meghoM kI racanA 17. taccaM pi veubviyasamugghAeNaM samohaNaMti puppha-vaddalae viuvvaMti, se jahANAmae mAlAgAradArae siyA taruNe jAva sippovagae egaM mahaM puSpha-chajjiyaM vA puSpha-paDalagaM vA puSphacaMgeriyaM vA gahAya rAyaMgaNaM vA jAva savvato samaMtA kayaggaha-gahiya-karayala-panbhaTTha-vippamukkeNaM dasaddhavanneNaM kusumeNaM mukkapuSphapuMjovayArakaliyaM krejaa| ___ evAmeva te sUriyAbhassa devassa AbhiogiyA devA puSphabaddalae viuvvNti| khippAmeva pataNataNAyaMti jAva joyaNaparimaMDalaM jalaya-thalaya-bhAsurappabhUyassa biMTaTThAissa dasaddhavanakusumassa jANussehapamANamettiM ohiM vaasNti| rAyapaseNiyasUtra (26) Rar-paseniya Sutra CARRIOROHOROTOYOTEYONEPENSIONSIONEDTEROVERBTERDIGDISPENSPRICORIGPRICORNERVAORYROAVACAND G OOGORYGORYApVOINotion

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vAsittA kAlAguru-vara-kuMdarukka-turukka-dhUva-maghamaghaMtagaMdhuddhayAbhirAmaM Hot sugaMdhavaragaMdhiyaM gaMdhavaTTibhUyaM divvaM suravarAbhigamaNajogaM kareMti ya kAraveMti ya, karettA ya kAravettA ya khippAmeva uvsaamNti| 17. megha varSA se dhUla ko zAnta karane ke pazcAta una Abhiyogika devoM ne tIsarI bAra punaH vaikriya samudghAta karake puSpa bAdaloM kI racanA kI-jaise koI taruNa, kAryakuzala mAlAkAraputra (mAlI) eka baDI phUloM se bharI TokarI puSpapaTalaka-(phUloM kI poTalI) athavA puSpacaMgerikA (phUloM se bharI DaliyA) ke, vaise phUloM ko hAtha meM lekara paMcaraMge puSpa-puMjoM ko bikherakara rAja-prAMgaNa yAvat pyAU ko saba tarapha se samalaMkRta kara detA hai| ____ usI prakAra sUryAbhadeva ke Abhiyogika devoM ne puSpa bAdaloM kI racanA karake yojana pramANa golAkAra bhUbhAga meM dIptimAna jalaja aura sthalaja paMcaraMge puSpoM ko jamIna se Upara eka hAtha pramANa khacAkhaca bhara diyaa| puSpa varSA karane ke pazcAt manamohaka sugandha vAle kAle agara, zreSTha kundaruSka, turuSka-lobhAna kI sugandhita dhUpa jalAkara mahakA diyaa| unakI uDatI manamohaka sugandha se sArA pradeza mahaka utthaa| zreSTha sugandha ke kAraNa sugandha kI guTikA jaisA bana gyaa| devoM ke Agamana yogya banA diyaa| isa prakAra phira puSpa meghoM ko zamita kara diyA-sameTa liyaa| MAKING CLOUDS OF FLOWERS ___17. After settling down the dust by rain bearing clouds, the Abhiyogic gods performed Vaikriva Samudghat for the th Now they created flower-bearing clouds, consider a young, expert gardener He holds in his hands a large basket full of flowers (pushp-patalak) or a vase containing flowers (pushp-changerika). He spreads the flowers of five different colours all around in the royal courtyard and thus decorates it. In the same manner the Abhiyogic gods of Suryabh Dev created flower-bearing clouds and filled a circular area of one yojan upto a * height of one haath (eighteen inches) with flowers grown on land and in water. After the flower-bearing showers, they made the area fragrant by burning incense. The fragrance filled the entire area. Due to this extremely pleasant fragrance, the area became like a vase full of 9 fragrance. It became fit for welcome of the gods. Thereafter, the flower-bearing clouds were removed. sUryAbha varNana (27) Description of Suryabh Dev *

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- Abhiyogika devoM kA vApasa Agamana 18. jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchaMti, teNeva uvAgacchittA samaNaM bhagavaM mahAvIraM tikkhutto jAva vaMdittA namaMsittA samaNassa bhagavao mahAvIrassa aMtiyAo aMbasAlavaNAo ceiyAo paDinikkhamaMti, paDinikkhamittA tAe ukkiTThAe jAva vIivayamANA vIivayamANA jeNeva sohamme kappe jeNeva sUriyAbhe vimANe jeNeva sabhA suhammA jeNeva sUriyAbhe deve teNeva uvaagcchNti| sUriyAbhaM devaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTu jaeNaM vijaeNaM vaddhAti vaddhAvettA tamANattiyaM pnycppinnNti| 18. tatpazcAt ve deva zramaNa bhagavAna mahAvIra ke pAsa aaye| zramaNa bhagavAna mahAvIra ko tIna bAra vadana-namaskAra karake zramaNa bhagavAna mahAvIra ke pAsa se, AmrazAlavana caitya se nikle| nikalakara utkRSTa gati se calate-calate jahA~ saudharma svarga thA, jahA~ sUryAbha vimAna thA, jahA~ sudharmA sabhA thI aura usame bhI jahA~ sUryAbhadeva thA, vahA~ aaye| sUryAbhadeva ke sAmane donoM hAtha joDa AvarttapUrvaka mastaka para ajali karake jaya-vijaya ghoSa se badhAyA, badhAkara o AjJApAlana kI sUcanA dii| RETURN OF ABHIYOGIC GODS AFTER COMPLIANCE 18. After this, the said gods came to Shraman Bhagavan Mahavir, honoured him and greeted him three times. Then they came out from Aamrashalvan Chaitya. Then at a tremendous speed, they came to Saudharm heaven. Thereafter, they came to the place where Suryabh Dev was present in Saudharm assembly of Suryabh Viman. They clasped their hands, bowed to him, honoured him and informed him that his orders have been executed in letter and spirit. sUryAbhadeva kI udghoSaNA evaM Adeza 19. tae NaM sUriyAbhe deve tesiM AbhiyogiyANaM devANaM aMtie eyamaDhe socA nisamma haTTatuTTha jAva hiyae pAyattANiyAhivaI devaM saddAveti, saddAvettA evaM vayAsI khippAmeva bho ! devANuppiyA ! sUriyAbhe vimANe sabhAe suhammAe meghogha-rasiyagaMbhIra-mahura-sadaM joyaNaparimaMDalaM sUsaraM ghaMTaM tikkhutto ullAlemANe mahayA mahayA saddeNaM ugghosemANe ugghosemANe evaM vayAhi___ ANaveti NaM bho ! sUriyAbhe deve, gacchati NaM bho ! sUriyAbhe deve jaMbuddIve dIve bhArahevAse AmalakappAe NayarIe aMbasAlavaNe ceie samaNaM bhagavaM mahAvIraM abhivaMdae, rAyapaseNiyasUtra (28) Rar-paseniya Sutra Sex

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tubhe'vi NaM bho ! devANuppiyA ! sabiDDIe jAva nAita-raveNa Niyaga-parivAlasaddhiM saMparivuDA sAiM sAiM jANavimANAI durUDhA samANA akAlaparihINA ceva sUriyAbhassa devassa aMtie paaunbhvh| 19. Abhiyogika devoM dvArA kArya saMpUrti kI sUcanA pAkara sUryAbhadeva ne harSita, santuSTa harSAtireka se praphulla-hRdaya ho padAti anIkAdhipati-sthala-senApati ko bulAyA aura bulAkara kahA 'he devAnupriya ! tuma zIghra hI sUryAbha vimAna kI sudharmA sabhA meM sthita megha garjanA jaisI gambhIra madhura jhaMkAra karane vAlI eka yojana vistAra vAlI susvara ghaTA ko tIna bAra bajA-bajAkara ucca svara meM udghoSaNA karate hue isa prakAra kaho he devo aura deviyo ! suno ! sUryAbhadeva AjJA detA hai ki he devo ! jambUdvIpa ke bharata kSetra meM sthita AmalakappA nagarI ke AmrazAlavana caitya meM virAjamAna zramaNa bhagavAna mahAvIra kI vadanA karane ke lie sUryAbhadeva jA rahe hai| isalie he devAnupriyo ! Apa loga samasta Rddhi ke sAtha yAvat samasta divya vAdyoM ko Dholaka paTaha (nagADA) bajAte hue apane-apane ra parivAra sahita apane-apane yAna-vimAno meM baiThakara avilamba, samaya naSTa kiye binA sUryAbhadeva ke samakSa upasthita ho jaao|" THE DIRECTION AND PROCLAMATION OF SURYABH DEV 19. On hearing that Abhiyogic Devas have executed his orders, Suryabh Dev became happy and satisfied. He felt well-pleased. He then called the army chiefs and said, "O the blessed ones ! You ring the dumble bell lying in Saudharma assembly of Suryabh Viman that emits upto one yojan a serene sweet thunder like sound. You ring the bell three times and then proclaim loudly as under O gods and goddesses ! It is the order of Suryabh Dev that O gods ! Suryabh Dev is going to Aamrashalvan Chaitya in Aamalkappa city of Bharat area in Jambu Dveep, where Shraman Bhagavan Mahavir is present, in order to honour and greet him and bow to him. So, O the blessed ones ! You all along with your entire * grandeur, playing all musical instruments including drums and ve with your entire family present yourself in your respective Vimans before Suryabh Dev without any further delay and without losing any time." ra sUryAbha varNana (29) Description of Suryabh Dev *

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OM 20. tae NaM se pAyattANiyAhivai deve sUriyAbheNaM deveNaM evaM vutte samANe hadvatuTTha jAva hiyae evaM devA ! tahatti ANAe viNaeNaM vayaNaM paDisuNei paDisuNittA jeNeva sUriyAbhe vimANe jeNeva sabhA suhammA, jeNeva meghogha-rasiyagaMbhIra-mahurasaddhA joyaNaparimaMDalA sussarA ghaMTA teNeva uvAgacchati, uvAgacchittA taM meghogharasita-gaMbhIra-mahurasaddAejoyaNaparimaMDalAe sussarAe ghaMTAe tikkhutto ullaalei| tae NaM tIse meghogha-rasita-gaMbhIra-mahurasadAe joyaNaparimaMDalAe sussarAe ghaMTAe * tikkhutto ullAliyAe samANIe se sUriyAbhe vimANe pAsAyavimANaNikkhuDAvaDiyasaddaghaMTApaDisuyA-sayasahassasaMkule jAe yA'vi hotthaa| 20. tadanantara sUryAbhadeva kI AjJA pAkara vaha sthala-senAdhipati deva hRSTa-tuSTa yAvat prasanna hRdaya huA aura-"he deva ! aisA hI hogaa|" kahakara vinayapUrvaka AjJAvacanoM ko svIkAra kiyaa| phira sUryAbha vimAna me jahA~ sudharmA sabhA thI aura usameM bhI jahA~ meghagarjanAvat gambhIra madhura dhvani karane vAlI eka yojana vistAra vAlI gola susvara ghaTA thI, vahA~ aayaa| Akara meghagarjanA ke samAna gambhIra aura madhura dhvani karane vAlI usa * susvara ghaMTA ko tIna bAra bjaayaa| taba vaha gambhIra madhura dhvani karane vAlA susvara ghaMTA tIna bAra bajAye jAne para usakI dhvani se sUryAbha vimAna ke prAsAdavimAnoM kA konA-konA lAkhoM pratidhvaniyo se gUMja utthaa| 20. After hearing the orders of Suryabh Dev, the commanding god of land forces felt pleased and assuring his master that "The work shall be done accordingly", he accepted his orders humbly. He then came to the place in Suryabh Viman where there was the dumble bell whose serene sweet sound could reach upto one yojan. He He then rang that bell thrice. At the ringing of the dumble bell thrice, every corner of the to palace-like abodes was filled with its echo. 21. tae NaM tesiM sUriyAbha-vimANavAsINaM bahUNaM vemANiyANaM devANa ya devINa ya egaMtarai-pasatta-niccappamattA-visayasuha-mucchiyANaM sussaraghaMTArava-viulabolaturiya-cavala-paDibohaNe kae samANe ghosaNa-kouhala-dinakana-egaggacittauvauttamANasANaM se pAyattANIyAhivaI deve taMsi ghaMTAravaMsi NisaMtapasaMtaMsi mahayA mahayA saddeNaM ugghosemANe ugghosemANe evaM vayAsI rAyapaseNiyasUtra (30) Rai-paseniya Sutra 5*

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haMda ! suNaMtu bhavaMto sUriyAbhavimANavAsiNo bahave vemANiyA devA ya devIo ya sUriyAbha-vimANavaiNo vayaNaM hiyasuhatthaM ANavei NaM bho ! sUriyAbhe deve, gacchai NaM bho ! sUriyAbhe deve jaMbuddIvaM dIvaM bhArahe vAsaM AmalakappaM nagariM aMbasAlavaNaM ceiyaM samaNaM bhagavaM mahAvIraM abhivNde| taM tubbhe'vi devANuppiyA ! sabbiDDhIe akAlaparihINA ceva sUriyAbhassa devassa aMtiyaM paaunbhvh| * 21. taba ve sUryAbha vimAnavAsI bahuta se vaimAnika deva aura deviyA~, jo ekAnta rati * krIr3A meM lIna the, sadA pramatta aura viSaya-sukha meM mUrchita rahate the, unhoMne susvara ghaMTArava sunA to turanta sAvadhAna ho gaye, kAna aura mana ko kendrita karake ghaMTArava ko sunane meM dattacitta ho gye| taba ghaMTArava ke viSaya me utpanna kutUhala ko zAnta karane ke lie, ghaMTA kI * gUMja ekadama zAnta ho jAne para usa padAtisenA ke adhipati deva ne jora-jora se udghoSaNA karate hue isa prakAra kahA ___ "Apa sabhI sUryAbha vimAnavAsI vaimAnika deva aura deviyA~ sUryAbha vimAnAdhipati kI " isa hitakArI sukhaprada ghoSaNA ko prasanna hokara sunie he devAnupriyo ! sUryAbhadeva ne Apa sabako AjJA dI hai ki sUryAbhadeva jambUdvIpa ke bharata kSetra meM sthita AmalakappA nagarI ke AmrazAlavana caitya meM virAjamAna zramaNa bhagavAna mahAvIra kI vandanA karane ke lie jA rahe haiN| isalie he devAnupriyo ! Apa sabhI apanI samasta Rddhi se susajjita hokara avilamba sUryAbhadeva ke samakSa upasthita ho jaayeN|" 21. Then many gods and goddesses who were residing in Suryabh Viman (abode) and who were engrossed in amorous * pleasures and were completely absorbed in sensual enjoyment, * heard the sound of the dumble-bell. They at once became alert and attentively listened to the sound of the bell. Then, in order to cool down the curiosity caused by that sound, when the said sound died down, the god controlling the army proclaimed in a loud voice as a under" "All the gods and goddesses of Suryabh abode (Viman) should the discretely listen to the message of Suryabh Dev which is beneficial and pleasent. He then said Othe blessed ! Suryabh Dev has ordered you all that he is going to Aamrashalvan Chaitya in Aamal-kappa city located in Bharat area of Jambu Dveep in order to show his respect and bow to 999RODARODARODARODARODARORDARDAR.4880545054 * sUryAbha varNana (31) Description of Suryabh Dev *

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Bhagavan Mahavir who is present there so, all of you, should properly dress up and present yourself before Suryabh Dev along with your entire grandeur." ghoSaNA kI pratikriyA 22. tae NaM te sUriyA bhavimANavAsiNo bahave vemANiyA devA devIo ya pAyattANiyAhivaissa devassa aMtie eyamahaM soccA Nisamma haTThatuTTha jAva hiyayA / appegaiyA vaMdaNavattiyAe, appegaiyA pUyaNavattiyAe, appegaiyA sakkAravattiyAe, appegaiyA saMmANavatiyAe, appegaiyA koU hala - jiNabhattirAgeNaM, appegaiyA sUriyAbhassa devassa vayaNamaNuyattemANA, appegaiyA assuyAI suNessAmo, appegaiyA suyAI nissaMkiyAI karissAmo, appegatiyA annamannamaNuyattamANA, appegaiyA jiNabhatti - rAgeNaM, appegaiyA 'dhammo' tti, appegaiyA 'jIyameyaM' ti kaTTu savviDDhIe jAva akAlaparihINA ceva sUriyAbhassa devassa aMtiyaM pAubbhavaMti / 22. isake pazcAt sthala - senAdhipati deva kI isa ghoSaNA (sUryAbhadeva kI AjJA ) ko sunakara sUryAbha vimAnavAsI sabhI vaimAnika deva aura deviyA~ harSita, santuSTa yAvat praphulla hRdaya ho gye| kitane hI deva bhagavAna kI vandanA karane ke vicAra se, kitane hI paryupAsanA karane kI AkAMkSA se, kitane hI satkAra karane kI bhAvanA se, kitane hI sammAna karane kI icchA se, kitane hI jinendra bhagavAna ke prati kutUhalajanita bhakti - anurAga se, kitane hI sUryAbhadeva kI AjJApAlana karane ke lie, kitane hI azrutapUrva ( jo pahale nahI sunA ) vaha sunane kI utsukatA lie, kitane hI sune hue arthaviSayaka zaMkAoM kA samAdhAna karake niHzaka hone ke abhiprAya se, kitane hI eka-dUsare kA anusaraNa karate hue, kitane hI jinabhakti ke anurAga se, kitane hI apanA dharma ( karttavya) mAnakara aura kitane hI apanA paramparAgata AcAra-vyavahAra samajhakara sarva Rddhi ke sAtha yAvat binA kisI vilamba ke tatkAla sUryAbhadeva ke samakSa upasthita ho gaye / RESPONSE TO THE PROCLAMATION 22. At the proclamation of the chief of land forces of gods, the heavenly gods and goddesses residing in Suryabh Viman felt overjoyed and well pleased to the very core of their heart. Many gods came there to greet the Lord, some came to serve him, some came to honour him, some came to respect him, some rAyapaseNiyasUtra ( 32 ) For Private Personal Use Only Rai-paseniya Sutra

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came out of curiosity, some came to obey the command of Suryabh Dev, some came to listen to his spiritual discourse that had not been heard earlier, some came to seek clarifications relating to spiritual discourses heard by them earlier, some came just to follow others, some came as a matter of faith in the Jina, some came as a mark of religious duty, some came considering it to be a family tradition. Then they all presented themselves before Suryabh Dev with their full grandeur immediately and without any undue delay. vimAna-nirmANa kA Adeza 23. tae NaM se sUriyAbhe deve te sUriyAbhavimANavAsiNo bahave vemANiyA devA ya devIo ya akAlaparihINA ceva aMtiyaM pAubbhavamANe pAsati, pAsittA haTThatuTTha jAva hiyae AbhiogiyaM devaM saddAveti, saddAvittA evaM vayAsI khiSNAmeva bho ! devANuppiyA ! aNegakhaMbhasayasaMniviTTha lIlaTThiyasAlabhaMjiyAgaM, IhAmiya - usabha - turaga - nara-magara - vihaga - vAlaga - kiMnara - ruru - sarabha - camarakuJjara- vaNalaya - paumalaya - bhatticittaM khaMbhuggaya - vairaveiyAparigayAbhirAmaM vijjAharajamala-juyalajaMtajuttaM piva accIsahassamAlaNIyaM rUvagasahassakaliyaM bhisamANaM bhibbhisamANaM cakkhulloyaNalesaM suhaphAsaM sassirIyarUvaM ghaMTAvalicaliyamahuramaNaharasaraM suhaM kaMtaM risaNijjaM NiuNa - uciyabhisibhisiMtamaNirayaNa - ghaNTiyAjAlaparikkhittaM joyaNasayasahassavitthiNNaM divvaM gamaNasajjaM sigghagamaNaM NAma jANavimANaM viuvvAhi, khappAmeva yamANattiyaM paccappiNAhi / 23. tatpazcAt sUryAbhadeva ne una sabhI sUryAbha vimAnavAsI devoM aura deviyoM ko zIghra apane sAmane upasthita dekhakara hRSTa-tuSTa praphulla hRdaya ho, apane Abhiyogika deva ko bulAyA aura bulAkara isa prakAra kahA "he devAnupriya / tuma zIghra hI eka lAkha yojana vistAra vAlA, saikar3oM stambhoM vAlA eka vizAla yAna taiyAra karo, jisameM sthAna-sthAna para hAvabhAva - vilAsa lIlAyukta aneka putaliyA~ banI hoN| IhAmRga, vRSabha, turaga, nara, magara, vihaga (pakSI), sarpa, kinnara, ruru (bArahasiMgA ), sarabha (aSTApada), camarI gAya, hAthI, vanalatA, padmalatA Adi ke citra aMkita ho / jo stambha para banI vajra ratnoM kI vedikA se yukta hone ke kAraNa ramaNIya dikhalAI deN| jisame bane hue vidyAdharoM ke yugala yaMtracAlita - jaise dikhAI dete ho / apanI hajAroM kiraNoM se jagamagAhaTa karate, hajAroM rUpakoM - citroM se yukta hone se jo dedIpyamAna pratIta ho / darzakoM sUryAbha varNana (33) For Private Personal Use Only Description of Suryabh Dev

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ke nayanoM ko AkarSita karane vAlA ho| jisakA sparza sukhaprada aura rUpa zobhA-sampanna ho| hilane-Dulane para jisame lagI huI ghaMTAvali se madhura aura manohara zabda-dhvani ho rahI ho| jo vAstukalA se yukta hone ke kAraNa zubha, kAnta-kamanIya aura darzanIya lagatA ho| nipuNa zilpiyoM dvArA nirmita, dedIpyamAna camacamAtI maNiyoM aura ratnoM kI mAlAo se vyApta ho, divya tIvra gati se calane kI zakti-sAmarthya-sampanna ho| jo eka lAkha yojana vistAra vAlA * ho| isa prakAra ke yAna-vimAna kI vikurvaNA-racanA karake mujhe zIghra hI sUcita kro|" yaha varNana vimAna-nirmANa kI eka paramparAgata viziSTa zailI kA sUcaka hai| jahA~-jahA~ bhI vimAna kA varNana AtA hai, isakA anusaraNa kiyA jAtA hai-saMpAdaka) ORDERS FOR SETTING UP VIMAN 23. After seeing the resident gods and goddesses before him, Suryabh Dev felt satisfied and pleased. He then called the Abhiyogic gods and ordered as under "O the blessed! You prepare immediately a spacious plane of one Lakh yojans and having hundreds of pillars. It should have dancing dolls at various points. It should be studded with pictures of iha deer, bullock, turag, man, crocodile, bird, snake, kinnar, ruru, sarabh, chamri cow, elephant, forest creeper, lotus creeper and others. It should look grand due to jewel-studded family at the pillars. The machines of Vidyadhars carved on them should appear to be in motion. It should look glamorous as thousands of rays would be emitting from it and because it is embossed with thousands of pictures and paintings. It should be attractive to the eye. Its touch should be pleasant and its appearance should be magnificent. At their movement, sweet and pleasant sound should come out from the chain of bells studded on it As it is according to the architectural design, it should be good beautiful, grand and Haworth seeing. It should be built by expert workers and should have shining rosaries of bright pearls and jewels. It (the Viman) should possess capability of movement at a tremendous speed. It should have a spread of one Lakh yojans. After preparing such a Viman, inform me immediately." [This account indicates the tradition of preparing such a VimanSe editing.) rAyapaseNiyasUtra (34) Ral-paseniya Sutra * * *

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24. tae NaM se Abhiogie deve sUriyAbheNaM deveNaM evaM vutte samANe haTa jAva hiyae karayala-pariggahiyaM jAva paDisuNei jAva paDisuNettA uttarapurathimaM disIbhAga avakkamati, avakkamittA veubviyasamugghAeNaM samohaNai, samohaNittA saMkhejjAI joyaNAI jAva ahAbAyare poggale parisAuti parisADittA ahAsuhame poggale pariyAei pariyAittA doccaM pi veubviya samugdhAeNaM samohaNittA aNegakhaMbhasayasaniviDhe jAva divyaM jANavimANaM viuvbiuM pavatte yAvi hotthaa| 24. tatpazcAt usa Abhiyogika deva ne sUryAbhadeva ke Adeza ko sunakara harSa aura prasannatA prakaTa kii| praphulla hRdaya ho donoM hAtha joDa AjJA ko svIkAra karake uttara-pUrva dizA meM aayaa| vahA~ Akara vaikriya samudghAta kiyA aura samudghAta karake saMkhyAta yojana * vistAra vAlA Upara-nIce lambA daNDa banAyA yAvat sthUla bAdara (asAra) pudgaloM ko alaga haTAkara sArabhUta sUkSma pudgalo ko grahaNa kiyA, grahaNa karake dUsarI bAra punaH vaikriya samudghAta karake aneka saikaDoM stambhoM para sanniviSTa AdhArita divya yAna-vimAna kI * vikurvaNA karane me pravRtta ho gyaa| 24. After hearing the orders of Suryabh Dev, the Abhiyogic Devlet felt happy. He then clasped his hands indicating that he had accepted the orders in a pleasant manner. He then went in northeast direction. He then performed fluid Samudghat and thus created a rod numerous yojans wide and very long. He then separated gross undesirable atoms and replaced them with subtle useful atoms. Thereafter he did fluid Samudghat again and auto engaged himself in preparing exquisite Viman standing on hundreds of pillars. adbhuta vimAna racanA (sopAna racanA) 25. tae NaM se Abhiogie deve tassa divvassa jANavimANassa tidisiM tisovANapaDirUvae viuvvati, taM jahA-purathimeNaM, dAhiNeNaM, uttareNaM, tesiM tisovANapaDirUvagANaM ime eyArUve vaNNAvAse paNNatte, taM jahA____ vairAmayA NimmA, riTThAmaya patidvANA, veruliyAmayA khaMbhA, suvaNNa-ruppamayA * phalagA, lohitakkhamaiyAo sUIo, vayarAmayA saMdhI, NANAmaNimayA avalaMbaNA, avalaMbaNabAhAo ya, pAsAdIyA jAva pddiruuvaa| sUryAbha varNana Description of Suryabh Deve (35)

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25. isake pazcAt Abhiyogika devo ne sarvaprathama usa divya yAna-vimAna kI tIna dizAoM-pUrva, dakSiNa aura uttara me viziSTa zobhA-saMpanna tIna sopAnoM-(sIDhiyoM) kI racanA kii| ve rUpazobhA-sampanna sopAna paMktiyA~ isa prakAra kI thIM___"inakI nema (nIMva athavA bhUmi se Upara nikalA pradeza, vedikA) vajra ratnoM se banI huI thii| inake pratiSThAna (pagathiyA) riSTa ratnamaya aura stambha sone-cA~dI ke bane the| inameM lohitAkSa ratnamayI sUciyA~-kIleM lagI thiiN| vajra ratnoM se inakI saMdhiyA~ (sA~dhe) bharI huI thiiN| car3hane-utarane meM avalambana ke lie aneka prakAra ke maNiratnoM se banI inakI avalambanavAhA-kaThaharA (raliMga) thIM tathA ye sopAna paMktiyA~ mana ko prasanna karane vAlI yAvat asAdhAraNa sundara thiiN|" / CREATION OF VIMAN (AERIAL VEHICLE) 25. Thereafter, the Abhiyogic gods, first of all constructed three beautiful stairs of the Viman in the east, the south and the north. Those stair-cases were magnificent and their detailed description is as under "Their foundation was of hard jewels. Their steps were of Risht jewels and the pillars were of silver and gold. They were fixed with nails of Lohitaksh jewels. The joints were filled with Vajra jewels. The railing to assist in going up or coming down was of Pearls. Thus these steps were very pleasant and unique." 26. tesi NaM tisovANapaDirUvagANaM purao patteyaM patteyaM toraNaM paNNattaM, tesi NaM toraNANaM ime eyArUve vaNNAvAse paNNatte, taM jahA___ toraNA NANAmaNimayA NANAmaNimaesu thaMbhesu uvaniviTThasaMniviTThA vivihamuttantarArUvovaciyA viviha-tArArUvovaciyA jAva pAsAiyA darisaNijjA, abhirUvA pddiruuvaa| 26. ina darzanIya manamohaka pratyeka trisopAna-paktiyoM ke Age toraNa ba~dhe hue the| una toraNoM kA varNana isa prakAra hai "ve toraNa aneka prakAra kI maNiyoM se bane hae the| vividha prakAra ke maNimaya stambhoM ke Upara bhalIbhA~ti nizcala rUpa se bA~dhe gaye the ki ve hila na sakeM, nizcala the| vividha prakAra ke motiyo se aura salamA sitAroM Adi se bhaoNti-bhA~ti ke tArA-rUpakoM, bela-bUToM se zobhita ho rahe the| atIva manohara lagate the|" " " rAyapaseNiyasUtra (36) Rar-paseniya Sutra

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26. There were festoons in front of the said three worth-seeing * stair-cases. The said festoons have been described as under "Those festoons were studded with gems of various types, They were tightly tied directly on jewelled pillars of several types so that they may not move. They were fixed. They were decorated with different types of pearls, stars and suchlike embroidery. They were o looking very attractive." 27. tesi NaM toraNANaM uppiM aTuTu maMgalagA paNNattA, taM jahAsotthaya-sirivaccha-nandiyAvatta-vaddhamANaga-bhaddAsaNa-kalasa-maccha-dappaNA jAva pddiruuvaa| 27. una toraNoM ke Upara ye aSTa magala bane hue the| jaise-(1) svastika, (2) zrIvatsa, (3) nandikAvarta, (4) varddhamAnaka, (5) bhadrAsana, (6) kalaza, (7) matsyayugala, aura (8) drpnn| ye saba darzanIya, abhirUpa aura pratirUpa the| 27. Eight auspicious symbols on those festoons were as under(1) Swastik, (2) Shrivats, (3) Nandikavart, (4) Vardhmanak, (5) Bhadrasan (beautiful piece of cloth used for sitting), (6) Kalash a (pitcher), (7) Matsya-yugal (pair of fish), and (8) Darpan (mirror). All these were beautiful and worth-seeing. 28. tesiM ca NaM toraNANaM uppiM bahave kiNha-cAmarajjhayA jAva sukillacAmarajjhayA acche jAva paDirUve viubbi| ____28. una toraNoM ke Upara svaccha, nirmala, salaunI, rajatamaya paTTa se zobhita vajra nirmita DaDiyoM vAlI, kamaloM jaisI surabhigaMdha se sugaMdhita, ramaNIya, AhlAdakArI, darzanIya manohara bahuta-sI kRSNa cAmara dhvajAe~ yAvat zveta cAmara dhvajAe~ laTakAI huI thiiN| 28. On the said festoons many broom like flags of black and other different colours including white colour were hanging. They were decorated with pure, clean, beautiful, silvery cloth. They were having attractive strong Vajra like stalks. They were emitting lotus like fragrance. They were grand, heart-pleasing and attractive to the eye. 29. tesiM NaM toraNANaM uppiM bahave chattAichatte, paDAgAipaDAge, ghaMTAjugale, uppalahatthae, kumuda-NaliNa-subhaga-sogaMdhiya-poMDarIya-mahApoMDarIya-satapattasahassapattahatthae, savvarayaNAmae acche jAva paDirUve viuvvi| * sUryAbha varNana (37) Description of Suryabh Dev

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29. una toraNo ke Upara nirmala yAvat atyanta zobhanIya ratnoM se bane hue aneka chatrAtichatro (chatra ke Upara dUsarA chatra), patAkA para patAkAe~, ghaMTAyugala, zvetakamala kumuda, * nalina, subhaga, saugandhika, puMDarIka, mahApuMDarIka, zatapatra, sahasrapatra kamaloM ke jhumake laTakAye gaye the| 29. Up above the festoons, there were clean umbrellas one above ke the other, flags one above the other, bells, white lotus including kumud, nalin, subhag, saugandhik, white lotus, the giganitic white lotus, the lotus having hundred leaves, the lotus having a thousand leaves. They were made of extremely attractive gems. vimAna kA antara bhAga 30. tae NaM se Abhiogie deve tassa divvassa jANavimANassa aMto bahusamaramaNicaM bhUmibhAgaM viuvvi| se jahANAmae AliMgapukkhare i vA, muiMgapukkhare i vA, paripuNNe saratale i vA, karatale i vA, caMdamaMDale i vA, sUramaMDale i vA, AyaMsamaMDale i vA, * urabhacamme i vA, vasahacamme i vA, varAhacamme i vA, vagghacamme i vA, chagalacamme i vA, dIviyacamme i vA, annegsNkukiilgshssvitte| ___NANAviha paMcavannehiM maNIhiM uvasobhie AvaDa-paJcAvaDa-seDhi-paseDhi-sotthiyasovatthiya-pUsamANava-vaddhamANaga-macchaMDaga-magaraMDaga-jAra-mAra-phullAvalipaumapatta-sAgara-taraMga-vasaMtalaya-paumalaya-bhatticittehiM sacchAehiM sappabhehiM - samarIiehiM sauJjoehiM NANAviha-paMcavaNNehiM maNIhi uvasobhie taM jahA-kiNhehi NIlehiM lohiehiM hAliddehiM sukillehiN| 30. sopAno Adi kI bAhya racanA karane ke pazcAt usa Abhiyogika deva ne usa divya yAna-vimAna ke andara ekadama samatala ramaNIya bhUmibhAga-sthAna kI racanA kii| vaha bhUbhAga OM aisA samatala aura ramaNIya thA, jaise-AliMgapuSkara (muraja yA kile kA buraja) ke Upara kA bhAga ho athavA mRdaMga-puSkara (mRdaga ke Upara kA bhAga) ho, pUrNa rUpa se bhare hue sarovara ke Upara kA bhAga ho athavA hathelI kA bhAga ho, candramaDala, sUryamaMDala, darpaNamaMDala ke Upara kA athavA zaku (choTe kIla-smAla nelsa) ko Thoka aura khIMcakara cAroM ora se sama kiye OM gaye bheDa ke, baila ke, sUara ke, siMha ke, bAgha ke, bakarI ke aura bheDiye ke camar3e kA UparI 9 bhAga ho (aisA samatala thaa)| rAyapaseNiyasUtra (38) Rar-paseniya Sutra

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usa sama bhUmibhAga me kAlI, nIlI, lAla, pIlI aura zveta varNa kI jo maNiyA~ jaDI haI thIM unameM se kitanI hI Avarta-(cakrAkAra) pratyAvartta vAlI, zreNi-prazreNi (sIdhI paktiyoM jaisI) vAlI, svastika jaisI, puSyamANava, zarAvasaMpuTa, machalI va makara ke aMDe jaisI AkRti-sI mAlUma paDatI thI aura unameM kitanI hI maNiyoM meM puSpalatAoM, kamala-patroM, samudra-taraMgoM, vasaMtalatAoM, padmalatAoM Adi ke citra bane hue the tathA ve sabhI maNiyA~ nirmala, camakadAra kiraNoM vAlI udyota (zItala prabhA) aura prakAza-teja prabhAyukta thiiN| INNER AREA OF THE VIMAN (AERIAL VEHICLE) 30. After constructing the external part namely stairs etc., the Abhiyogic god, prepared a completely levelled beautiful floor in the Viman. That area was made so much levelled and beautiful that it looked like canopy of a fort, the upper surface of a pond completely filled with water, the surface of palm of a hand, the surface of the moon, the sun, a mirror. Further it was levelled like sheep-skin, oxskin, pig-skin, lion-skin, wolf-skin, goat-skin tightly tied with small nails at all the four corners. That levelled ground was studded with black, blue, red, yellow and white jewels. Many of them were circular, straight, swastik shaped or having special characteristics of jewels such as pushyako manav, sharaav-samput, fish-egged, crocodile-egged in shape. Many of those jewels were bearing designs of flowering creepers, lotusleaves, ocean waves, spring creepers, lotus creepers. All the said jewels had pure, pleasant cool shine and grand light. maNiyoM kA varNana (kRSNa varNa maNiyoM) ____31. tattha NaM je te kiNhA maNI tesiM NaM maNINaM ime eArUve vaNNAvAse paNNatte se jahA nAmae-jImUtae i vA, khaMjaNe i vA, aMjaNe i vA, kajale i vA, masI i. vA, masIguliyA i vA, gavale i vA, gavalaguliyA i vA, bhamare i vA, .bhamarAvaliyA i vA, bhamarapataMgasAre ti vA, jaMbUphale ti vA, addAriTe i vA, parapuDhe i vA, gae i vA, gayakalabhe i vA, kiNhasappe i vA, kiNhakesare i vA, AgAsathiggale i vA, kiNhAsoe * ivA, kiNhakaNavIre i vA, kiNhabaMdhujIve i vA, eyArUve siyA ? 31. unameM jo kAle raMga kI maNiyA~ thI unakA raga isa prakAra kA thA * sUryAbha varNana (39) Here Description of Suryabh Deu are MEROVEODYERINGPRIMPRISONI DS" * "* * "* "*

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jaise ki kAlI megha ghaTAe~ hoM, aMjana ho, khajana-(gADI ke pahiyoM para lagA kAlA cikanA * maila) ho, kAjala ho, bhaiMse kA sIMga ho, bhaiMsa ke sIMga se banAI gaI golI ho, bhramara ho, bhramarapaMkti ho, bhramarapaMkha kA sAra bhAga ho, jAmuna kA phala ho, kaue kA baccA ho, koyala ho, hAthI ho, hAthI kA baccA ho, kAlA saoNpa ho, kAlA bakula vRkSa ho, zarada Rtu kA megha ho, kAlA azoka vRkSa ho, kAlI kanera ho, kAlA baMdhujIvaka (gula dupahariyA kA phUla) ho, isa prakAra una kAlI maNiyoM kA raMga thaa| kyA ve kAlI maNiyA~ yathArtha meM aise hI varNa kI thIM? DESCRIPTION OF THE JEWELS (THE BLACK COLOUR JEWELS) 31. The colour of black jewels was as follows Consider dark clouds, the sticky black dirt at the wheels of a a cart, the collyrium, the horns of a he-buffalo, a pill made from the a horn of a buffalo, a bumble-bee, a chain of bees, the feather of a bee, jamun fruit, off-spring of a crow, a nightingale, an elephant, offNo spring of an elephant, a black snake, a black bakul tree, a cloud of winter season, a black Ashok tree, a black kaner, a black bandhujeevak flower. Were the said black jewels in reality so black ? 32. No iNaDhe samaDhe, ovammaM samaNAuso ! te NaM kiNhA maNI itto iTTatarAe ceva, kaMtatarAe ceva, maNuNNatarAe ceva, maNAmatarAe ceva vaNNeNaM pnnnnttaa| 32. he AyuSmAn zramaNo ! aisA nahIM hai| ye to mAtra upamAe~ haiN| ve maNiyA~ to ina upamAoM se bhI adhika iSTatara, kAMtatara, manohara aura manorama kRSNa varNa vAlI thiiN|| 32. O the long-lived Shramans ! It is not so. These are only comparative illustrations. But the said jewels were more goodlooking, more shining and were more attractive jewels of black colour than the abovementioned comparative examples. nIla varNa maNiyA~ 33. tattha NaM je te nIlA maNI tesi NaM maNINaM ime eyAsave vaNNAvAse paNNatte se jahAnAmae-bhiMge i vA, bhiMgapatte i vA, sue i vA, suyapicche i vA, cAse i vA, cAsapicche i vA, NIlI i vA, NIlIbhede i vA, NIlIguliyA i vA, sAmAe i vA, uccantage i vA, vaNarAi i vA, haladharavasaNe i vA, moraggIvA i vA, pArevayaggIvA i vA, " ayasikusume i vA, bANakusume i vA, aMjaNakesiyAkusume i vA, nIluppale ivA, nIlAsoge i vA, NIlakaNavIre i vA, NIlabaMdhujIve i vA, bhave eyArUve siyA ? rAyapaseNiyasUtra (40) Rar-paseniya Sutra

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33. unameM jo nIla varNa kI maNiyA~ thI, kyA unakA raMga isa prakAra kA thA jaise bhRga (bha~varA) yA bhRga ke pakha kA raMga ho, tote, tote ke paMkha , cAtaka athavA cAtaka kI pU~cha, nIla yA nIla ke aMdara kA bhAga ho, nIla guTikA, saoNvA (dhAnya), uccantaka (dA~toM ko nIlA ragane kA cUrNa), vanarAji, baladeva ke pahanane ke vastra, mora kI gardana, kabUtara kI gardana, alasI ke phUla, bANapuSpa, aMjanakezI ke phUla, nIlakamala yA azoka kA raMga ho, nIle kanera kA aura nIle baMdhujIvaka (nIlA kIDA) kA raMga hotA hai| kyA yaha artha unakA * yathArtha varNana karane meM samartha hai ? THE THE BLUE COLOUR JEWELS 33. Is it a fact that the colour of blue jewels was___Like that of a bee, the feather of a bee, a parrot, feather of parrot, a chaas bird, chaas-tail, neel, the inner part of neel, blue box, blue og plants, blue powder used for colouring teeth, vanarajee, the dress of the 8 Baldev, neck of pea-cock, neck of a pigeon, trussed flower, baan flower, anjan-keshi flower, blue lotus, Ashok flower, blue kaner flower, blue bandhu-jeevak ants. Are these illustration proper in describing the colour of those jewels ? 34. No iNaTe samaDhe, te NaM NIlA maNI etto iTTatarAe ceva jAva vaNNeNaM pnnnnttaa| ___34. nahIM, aisA nahIM hai| ve nIlI maNiyA~ to ina upamA vAle padArthoM se bhI adhika camakadAra yAvat atIva manohara nIla varNa vAlI thii| ____34. No. It is not true. The blue jewels were brighter, more beautiful and so on than the above articles in comparison. rakta varNa maNiyA~ 35. tattha NaM je te lohiyagA maNI tesi NaM maNINaM imeyAsave vaNNAvAse paNNatte se jahANAmae sasa-ruhire i vA, urabha-ruhire i vA, varAha-ruhire i vA, maNussa-ruhire i vA, mahisa-ruhire i vA, bAliMdagove i vA, bAladivAkare i vA, saMjhabbharAge i vA, guMjaddharAge i vA, jAsuaNakusume i vA, kiMsuyakusume i vA, pAliyAyakusume i vA, jAihiMgulae ti vA, silappavAle ti vA, pavAlaaMkure i vA, lohiyakkhamaNI i vA, lakkhArasage ti vA, kimirAgakaMbale ti vA, cINapiTTarAsI ti vA, rattappale i vA, rattAsoge ti vA, rattakaNavIre ti vA, rattabaMdhujIve ti vA, bhave eyArUve siyA ? 3 sUryAbha varNana (41) Description of Suryabh Deve CNXXX SXE

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35. ina maNiyoM meM jo lAla varNa kI maNiyA~ thI unakA lAla varNa isa prakAra thA jaisA ki bheDa ke rakta jaisI, kharagoza ke khUna jaisI, manuSya ke rakta jaisI, sUara ke rakta ra jaisI, bhaiMsa ke rakta jaisI, bAla indragopa (lAla raMga kA kITa-indra bahUTI) jaisI, udaya hote prabhAtakAlIna sUrya jaisI, saMdhyA ke rakta varNa jaisI, guMjAphala ke Adhe bhAga jaisI, japA puSpa * jaisI, palAza puSpa jaisI, pArijAta puSpa jaisI, jAtimAna zreSTha hiMguluka jaisI, zilApravAla mUMge jaisI, pravAla aMkura jaisI, lohitAkSa maNi jaisI, lAkha ke rasa jaisI, kRmi ke raMga se raMge kaMbala jaisI, cINa (sindUra athavA lAla raMga kA dhAnya) ke ATe ke Dhera jaisI, raktakamala jaisI, lAla azoka vRkSa jaisI, rakta kanera jaisI, rakta baMdhujIvaka (varSA Rtu meM paidA hone vAlA lAla raMga kA kITa) jaisI? kyA ve lAla maNiyA~ pUrvokta padArthoM ke raMga jaisI lAla thIM? THE RED COLOUR JEWELS ____35. In case of the red jewels among them, the red colour was such as that of the following Consider the blood of sheep, the blood of a hare, the blood of a * human-being, the blood of a pig, the blood of a buffalo, the blood of red insect, the colour of rising sun, the red colour of the setting sun in the evening, part of a gunja-fruit, the colour of japa flower, palaash flower, parijaat flower, vermillion, ruby, lbhitaksh gem, lacquer syrup, a blanket turned red with kirmachi colour, the heap of red coloured corn, red lotus, red Ashok tree, red kaner, the red coloured insect appearing in rainy season (bandhu-jeevak). Were those jewels, as red as the said examples ? . 36. No iNaDhe samaDhe, te NaM lohiyA maNI itto iTTatarAe ceva jAva vaNNeNaM pnnnnttaa| 36. he AyuSmAn zramaNo ! yaha artha una maNiyoM kI lAlimA kA varNana karane meM samartha * nahIM hai| ve rakta maNiyA~ to inase bhI iSTatara yAvat manohara lAla varNa vAlI thiiN| TE 36. O the blessed ! This comparison does not justify their redness. The said red jewels were more attractive and (upto) more beautiful in their redness than the above mentioned illustrations. pIta varNa maNiyA~ 37. tattha NaM je te hAliddA maNI tesi NaM maNINaM imeyArUve vaNNAvAse paNNatte se jahANAmae caMpae ti vA, caMpachallI ti vA, caMpagabhee ivA, halidA i vA, haliddAbhede ti vA, haliddAguliyA ti vA, hariyAliyA ti vA, hariyAlabhede ti vA, hariyAlaguliyA ** * rAyapaseNiyasUtra (42) Rat-paseniya Sutra

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ti vA, ciure i vA, ciuraMgarAe ti vA, varakaNaganighase i vA, varapurisavasaNe i vA, - allakIkusume i vA, caMpAkusume i vA, kuhaMDiyAkusume i vA, koraMTakamalladAme i vA, - taDavaDAkusume i vA, ghoseDiyAkusume i vA, suvaNNajUhiyAkusume i vA, suhiraNNakusume i vA, bIyayakusume i vA, pIyAsoge i vA, pIyakaNavIre i vA, pIyabaMdhujIve i vA, bhave eyArUve siyA ? 37. ina maNiyoM meM jo pIlI maNi thIM kyA usakA varNa isa prakAra kA thA jaisA ki campA kA, campA kI chAla kA, campA vRkSa ke bhItarI bhAga kA, haldI kA, haldI * ke andara ke bhAga kA, haldI kI golI kA, haratAla kA, haratAla ke bhItarI bhAga kA, haratAlaguTikA kA, cikura (gaMdha dravya) kA, cikura ke raga kA, uttama zuddha svarNa kA, uttama " svarNa kI rekhA kA (sunahalI ghAsa kA), vAsudeva ke vastroM kA, allakI (vRkSa) puSpa kA, campA puSpa kA, kaddU ke phUla kA, oNvale ke phUla kA, ghoSAtikI puSpa (toraI ke phUla) kA, sunahalI jUhI ke phUla kA, pIta azoka vRkSa kA, pIlI kanera kA, pIle baMdhujIvaka kA hotA hai ? kyA ve pIlI maNiyA~ pUrvokta padArthoM ke pIle raga jaisI pIta varNa kI thI? THE YELLOW COLOUR JEWELS 37. Is it a fact that the colour of yellow jewels was as under Champa plant, the skin of champa, the inner part of champa tree, turmeric, the inner part of turmeric, turmeric pill, yellow orpiment, the inner part of yellow orpiment, orpiment pill, chikur substance, the colour of chikur, purified gold, golden grass, the dress of Vasudev, flowers of allaki vegetation, champa flowers, * flowers of gourd plant, flowers of citrus plant. flowers of ghoshatiki creeper, flowers of golden juhi, yellow Ashok tree, yellow kaner, yellow bandhu-jeevak are all yellow. Is it a fact that the yellow jewels were comparable in their colour to the above said yellow substances ? 38. No iNaDhe samaDhe, te NaM hAliddA maNI etto iTThatarAe ceva jAva vaNNeNaM pnnnnttaa| ___38. AyuSmAn zramaNo ! ye upamAe~ una maNiyoM ke pIta raMga kA varNana karane meM samartha nahIM haiM, kyoki ve pIlI maNiyA~ inase bhI iSTatara yAvat manohara pIle varNa vAlI thiiN|| 38. O the blessed ! These substances are not capable to illustrate to the colour of the yellow jewels since the jewels were still deeper shade of yellow and more magnificent. 3 sUryAbha varNana Description of Suryabh Dev (43) **

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zveta varNa maNiyA~ 39. tatthaM NaM je te sukkillA maNI tesiM NaM maNINaM imeyArUve vaNNAvAse paNNatte se jahA nAmae-aMke ti vA, saMkhe ti vA, caMde ti vA, kumuda-udaka-dayarayadahi-ghaNakkhIra-kkhIrapUre ti vA, koMcAvalI ti vA, hArAvalI ti vA, haMsAvalI i vA, balAgAvalI ti vA, sAratiyabalAhae ti vA, dhaMtadhoyaruppapaTTe i vA, sAlIpiTTharAsI ti vA, kuMdapuppharAsI ti vA, kumudarAsI ti vA, sukkacchivADI ti vA, pihuNamiMjiyA ti vA, bhise ti vA, muNAliyA ti vA, gayadaMte ti vA, lavaMgadalae ti vA, poMDariyadalae ti vA, seyAsoge ti vA, seyakaNavIre ti vA, seyabaMdhujIve ti vA, bhave eyArUve siyA ? 39. ina maNiyoM meM jo zveta varNa kI maNiyA~ thI, una maNiyoM kA varNa isa prakAra thA jaisA ki aMkarala kA, zaMkha kA, candra kA, kamala ke Upara ke jala kA, zuddha nirmala jalabindu kA, dahI kA, kapUra kA, godugdha kA, kroMca pakSiyoM kI paMkti kA, motiyoM ke hAra kA, haMsapaMkti kA, bakapaMkti kA, candrapaMkti kA, jala me pratibimbita candrapaMkti kA, zarada Rtu ke megho kA, agni meM tapAkara chAye gaye svaccha caoNdI ke patare kA, cAvala ke ATe ke Dhera kA, kundapuSparAzi kA, kumudarAzi kA, sema kI sUkhI phaliyo kA, mayUrapiccha ke andara kI sapheda DaMDI kA, mRNAlataMtu kA, mRNAla kA, hAthI ke dA~ta kA, lavaMga phUla ke gucche kA, puNDarIka kamala kA, zveta azoka kA, zveta kanera kA, zveta baMdhujIvaka kA hotA hai| kyA una zvetamaNiyoM kA raMga pUrvokta padArthoM ke varNa jaisA dhavala-zveta thA? THE WHITE COLOUR JEWELS 39. The jewels that were of white colour are compared in colour ke to the following The white gem (Ank-ratna), conch, the moon, water drops on lotus, pure clean water drops, curd, camphor, cow milk, string of acronch birds, garland of pearls, geese, string of ducks, rays of moon, shadow of moon in water, winter clouds, silver plate purified in fire, a heap of rice flowers, heap of kund flowers, heap of kumud flowers, dried sem beans, white branch in fan of peacock feathers, mrinaal threads, mrinaal, ivory tusk, bunch of lavang flowers, pundreek to lotus, white Ashok, white kaner, white bandhu-jeevak. Is it a fact that the white jewels were comparable in whiteness to the above said substance ? GY rAyapaseNiyasUtra (44) Rat-paseniya Sutra OMGOYADAVORMA N X * " * " "* * 50

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40. No iNaDhe samaDhe, te NaM sukillA maNI etto iTTatarAe ceva jAva vanneNaM pnnnnttaa| 40. nhiiN| yaha upamA una maNiyoM ke zveta raMga kA varNana karane meM samartha nahIM hai| ve zveta maNiyA~ to inase bhI iSTatara yAvat zveta varNa vAlI thiiN| 40. No. These illustrations are incapable of properly describing the colour of white jewels. The white jewels were more grand and attractive than the said substances. OM maNiyoM kA gaMdha 41. tesi NaM maNINaM imeyAsave gaMdhe pnnnntte| se jahAnAmae-koTThapuDANa vA, tagarapuDANa vA, elApuDANa vA, coyapuDANa vA, caMpApuDANa vA, damaNApuDANa vA, kuMkumapuDANa vA, caMdaNapuDANa vA, usIrapuDANa vA, maruApuDANa vA, jAtipuDANa vA, jUhiyApuDANa vA, malliyApuDANa vA, NhANamalliyApuDANa vA, ketagipuDANa vA, pADalipuDANa vA, NomAliyApuDANa vA, agurupuDANa vA, lavaMgapuDANa vA, vAsapuDANa vA, kappUrapuDANa vA, aNuvAyaMsi vA, obhijjamANANa vA, kuTTijamANANa vA, bhaMjijjamANANa vA, ukkirijjamANANa vA, vikkirijjamANANa vA, paribhujjamANANa vA, paribhAijjamANANa vA, bhaNDAo vA, bhaMDa sAharijjamANANa vA, orAlA maNuNNA maNaharA ghANa-maNa-nivvuikarA sabao samaMtA OM gaMdhA abhinissaraMti, bhave eyArUve siyA ? 41. una maNiyoM kI gadha isa prakAra kI thI__ jaise ki koSTho (kUTa nAmaka sugaMdhita vanaspati) ke, tagara ke, ilAyacI ke, coye (eka sugaMdhita padArtha jo candana aura devadAra ke burAde se banatA hai) ke, caMpA ke, damanaka ke, kuMkuma ke, candana ke, uzIra-khaza ke, maruA ke, jAI puSpa, jUhI, mallikA, snAnamallikA, ketakI, paTala, navamallikA ke puSpa, agara, lavaga, vAsakapUra aura kapUra ke pur3oM ke| anukUla baha rahI vAyu kI dizA meM kholane, kUTane, toDane, utkIrNa karane, bikherane, upabhoga karane, vitarita karane, eka pAtra se dUsare pAtra meM rakhane para jaisI udAra, AkarSaka, manojJa, manamohaka, ghrANa aura mana ko tRptidAyaka gaMdha sabhI dizAoM meM phailatI hai| kyA vaha gaMdha isa prakAra kI thI? THE FRAGRANCE OF THE JEWELS ____41. The fragrance of the jewels is compared to the fragrance of e the followingra sUryAbha varNana Description of Suryabh Dev (45)

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0550950 Fragrant koot plant, tagar (a fragrant substance), cardamom, mixture of sandal wood and deodar powder, champa plant, damnak plant, kumkum, sandal wood, andropogon muricatus (usheer), marua (a kind of corn), jaaee flowers, jasmine flowers, mallika creeper, snaan-mallika, ketaki, rose, nav-mallika flowers, agar, cloves, camphor, camphor packets. When such packets are opened in the direction of the wind, such substances are grinded, plucked, scattered, consumed, distributed or transferred from one container to an other, a wide-spread, attractive, pleasant, grand fragrance pleasing to the mind spreads all around. Was the fragrance of the jewels comparable to it? 42. No iNaTTe samaTTe, teNaM maNI etto iTThatarAe ceva gaMdheNaM pannattA / 42. nahI / yaha artha samartha nahIM hai / ye saba to mAtra upamAyeM haiN| ve maNiyA~ to inase bhI adhika iSTatara surabhigaMdha vAlI batAI gaI haiN| 42. No. This is no comparison. These are just illustrations of lower category. Those jewels were more attractive and fragrant then these substances. vivecana - hIrA, pannA, mANika Adi maNiratno me prakAza, camacamAhaTa aura amuka prakAra kA raMga Adi to dikhatA hai parantu maNiyo me amuka prakAra kI utkaTa gadha nahIM hotI hai / kintu ye maNiyaoN deva-vikriyA se nirmita hone ke kAraNa kucha vizeSatA batalAne ke lie maNiyo kI gadha kA varNana kiyA gayA hai| deva zakti se aisA kara pAnA sambhava hai| isa varNana me rago aura gadha kI vizeSatA batAne ke lie prayukta upamAo kA lAlitya darzanIya hai| Elaboration-In diamonds their shine, glamour and particular colour is clearly visible but a particular deep fragrance is not present. But these were created by gods. So in order to tell there special feature, the fragrance is narrated It is possible with the angelic power. In this narration, the examples used to specifically identify the colours and fragrance are worthy of deep study. maNiyoM kA sparza 43. tesi NaM maNINaM imeyArUve phAse paNNatte, se jahAnAmae- AiNe ti vA rUe i vA bUre i vA NavaNIe i vA haMsagabbhatUliyA i vA sirIsakusumanicaye i vA bAlakumudapattarAsI ti vA bhave eyArUbe siyA ? rAyapaseNiyasUtra (46) For Private Personal Use Only Rai-paseniya Sutra

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43. una maNiyoM kA isa prakAra kA yaha sparza kahA gayA hai-jaise ki mRgachAlA, ruI, bUra (vanaspati), hasagarbha nAmaka ruI, zirISa puSpo kA samUha athavA navotpanna kumudapatrarAzi kA hotA hai| kyA unakA sparza isa prakAra komala hai ? THE TOUCH OF THE JEWELS ___43. The soothing touch of the jewels is compared with deer-skin, Scotton, the boor plant, hans-garbh cotton, collection of Shireesh flowers or a heap of newly grown kumud flowers. Was the touch of the team those jewels as soft as that of these flowers ? 44. No iNaDhe samaDhe, teNaM maNI etto iTTatarAe ceva jAva phAseNaM pnnttaa| 44. nhiiN| yaha upamA yathArtha nahIM haiN| ve maNiyA~ to isase bhI adhika iSTatara priya yAvat komala sparza vAlI batAI gaI haiN| ____44. No. These comparisons are not realistic. The jewels were more attractive and softer in touch than the said substances. prekSAgRha-nirmANa 45. tae NaM se Abhiyogie deve tassa divvassa jANavimANassa bahumajjhadesabhAge etthA NaM mahaM picchAgharamaMDavaM viuvvi| ____ aNegakhaMbhasaya-saMniviTuM anbhuggayasukaya-varaveiyA-toraNavararaiyasAlabhaMjiyAgaM susiliTTha-visiTTha- laTThasaMThiya-pasatthaveruliya-vimalakhambhaM NANAmaNikhaciya-ujjala bhusmsuvibhttbhuumibhaag| IhAmiya-usabha-turaga-nara-magara-vihaga-vAlaga-kiMnara-ruru-sarabhacamara-kuMjara-vaNalaya-paumalaya-bhatticittaM / _ khaMbhuggaya-vairaveiyA-parigayAbhirAmaM vijjAhara-jamala-juyala-jaMtajuttaM pi v| ___ accIsahassamAlaNIyaM, rUvagasahassakaliyaM, bhisamANaM bhinbhisamANaM cakkhulloyaNalesaM suhaphAsaM sassirIyarUvaM kaMcaNamaNiyaraNa-thUbhiyAgaM NANAvihapaMcavaNNa-ghaMTA-paDAgAparimaMDiyaggasiharaM cavalaM marIikavayaM vinnimmuyNt| lAiya-ulloiyamahiyaM gosIsa-sarasa-rattacaMdaNaM-daddaradinnapaMcaMgulitalaM, " uvaciyacaMdaNakalasaM, cNdnnghdd-sukytornn-pddiduvaardesbhaagN| sUryAbha varNana Description of Suryabh Deve (47)

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Asattosattaviula-vaTTa-vagdhAriya-malladAmakalAvaM, paMcavaNNasarasa-surabhi= mukkpupphpuNjovyaarkliyN| _ kAlAguru-pavara-kuMdarukka-turukka dhUvamaghamaghatagaMdhudbhuyAbhirAmaM sugaMdhavaragaMdhiyaM gNdhvttttibhuuyN| ___ accharagaNasaMghasaMvikiNNaM divatuDiyasaddasaMpaNAiyaM acchaM jAva pddiruuvN| tassa NaM picchAgharamaNDavassa aMto bahusamaramaNijjabhUmibhAgaM viuvvati jAva maNINaM phaaso| ___ tassa NaM pecchAgharamaNDavassa ulloyaM viuvvati paumalayabhatti-cittaM jAva pddiruuvN| 45. tadanantara Abhiyogika devo ne usa divya yAna-vimAna ke andara bIcoMbIca eka * vizAla prekSAgRha maNDapa (nATyazAlA) kI racanA kii| vaha prekSAgRha maMDapa aneka saikar3oM stambhoM para sthita thaa| abhyunnata-U~cI evaM suracita vedikAoM, toraNoM tathA sundara putaliyoM se sajAyA gayA thaa| sundara viziSTa ramaNIya * saMsthAna-AkAra vAlI prazasta aura vimala vaiDUrya maNiyo se nirmita stambhoM se upazobhita thaa| usakA bhUmibhAga vividha prakAra kI ujjvala maNiyoM se khacita (jaDA huA), suvibhakta * (acchI taraha baeNTA huA) evaM atyanta sama thaa| usameM IhAmRga (bheDiyA), vRSabha, turaMga-ghoDA, nara, magara, vihaga-pakSI, sarpa, kinnara, ruru o (kastUrI mRga), sarabha (aSTApada), camarI gAya, kuMjara (hAthI), vanalatA, padmalatA Adi ke citra citrita the| stambhoM ke ziro bhAga para vajra ralo se banI huI vedikAoM se manohara dikhatA thaa| yaMtracAlita-jaise vidyAdhara yugaloM se zobhita thaa| sUrya ke sadRza hajAroM kiraNoM se suzobhita evaM hajAroM sundara ghaMTAoM se yukta thaa| dedIpyamAna aura atIva dedIpyamAna hone se darzakoM ke netroM ko AkRSTa karane vAlA, sukhaprada se sparza aura rUpa-zobhA se sampanna thaa| usa para svarNa, maNi evaM ratnamaya stUpa bane hue the| usake zikhara kA agra bhAga nAnA prakAra kI ghaMTiyoM aura paMcaragI patAkAoM se parimaMDita-suzobhita thA aura apanI camacamAhaTa evaM sabhI ora phaila rahI kiraNoM ke kAraNa caMcala-sA dikhatA thaa| usakA prAMgaNa gobara se lipA thA aura dIvAreM sapheda miTTI (cUnA) se putI thiiN| sthAna-sthAna para sarasa gozIrSa raktacadana ke hAtha lage hue the aura caMdanacarcita kalaza rakhe the| pratyeka dvAra toraNoM aura candana-kalazoM se zobhita the| rAyapaseNiyasUtra (48) Rar-paseniya Sutra

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dIvAlI para Upara se lekara nIce taka sugaMdhita gola mAlAeN laTaka rahI thIM / sarasa sugandhita pacaraMge puSpoM ke maoNDane bane hue the / uttama kRSNa agara, kundaruSka, turuSka aura dhUpa kI mohaka sugandha se mahaka rahA thA aura usa uttama surabhigaMdha se gaMdha kI vartikA ( agarabattI, dhUpabattI) jaisA lagatA thA / apsarAo ke samUha ke gamanAgamana se bharA thaa| divya vAdyoM ke ninAda meM gUMja rahA thA / vaha svaccha yAvat salaunA, abhirUpa thA / usa prekSAgRha maDapa ke andara atIva sama ramaNIya bhUbhAga kI racanA kI thI / usa bhUmibhAga meM jaDe hue maNiyo ke rUpa, raMga, gaMdha Adi kA samasta kathana pUrvavat samajhanA caahie| usa sama aura ramaNIya prekSAgRha maMDapa kI chata meM padmalatA Adi ke citrAmoM se yukta yAvat atIva manohara caMdevA bA~dhA thaa| CONSTRUCTION OF SPECTATORS HALL (PREKSHA GRIH) 45. Thereafter, the Abhiyogic gods prepared a spacious theatre right in the middle of that magnificent Viman. That hall for spectators (Preksha grih) was located on many pillars. It was decorated with fine platforms, festoons and attractive dolls. This place was shining due to pillars studded with extremely attractive and beautifully shaped auspicious and pure Vaidurya Mani (gems). Its floor was studded with shining gems and it was properly levelled and divided. In it, there were paintings of leopard, wolf, ox, horse, humanbeing, crocodile, vihag bird, snake, kinnar, deer, ashtapad, chamari cow, elephant, forest creeper and lotus creeper. There were platforms made of hard gems at the top of the pillars adding to the grandeur. It was decorated with mechanised paintings in motion. It was shining like thousands of sun-rays. It has thousands of beautiful bells, canopies of gold, pearls and jewels were on it. The front part of the top was decorated with many types of bells and buntings of five colours. It was looking dynamic due to its brightness and the rays spreading in all directions. Its courtyard was plastered with cow-dung. The walls were white-washed. There were hand prints of red sandal paste at many sUryAbha varNana ( 49 ) For Private Personal Use Only Description of Suryabh Dev

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places. The sandal coated pitchers (kalash) were also there. Every 9 gate was decorated with festoons and sandal coated pots. Fragrant, round rosaries were hanging from top to bottom. The decorations of sweet fragrant five coloured flowers were also for prepared thereon. It was abundantly fragrant with smell of black agar (sandal wood), lotus (power), kundrushk (a fragrant substance), benzoin and incense of the best quality and as such was looking like a palace Ke of fragrance. The place was filled with movement of group of fairies. It was echoing with the music of celestial instruments. It was pure, beautiful and attractive. At the ceiling of that level and attractive dancing hall there was an extremely grand canopy painted with pictures of padma-lata and others. raMgamaMca Adi kI racanA 46. tassa NaM bahusamaramaNijjassa bhUmibhAgassa bahumajjhadesabhAe ettha NaM egaM mahaM vairAmayaM akkhADagaM viuvvti| 46. usa prekSAgRha maMDapa ke atyanta sama ramaNIya bhUmibhAga ke bilakula madhya bhAga meM vajra ratnoM se bane eka vizAla akSapATa (akhADA-krIDAmaMca) kI racanA kI thii| CONSTRUCTION OF THE STAGE 46. A spacious stage was constructed with vajra ratna in the centre of the level and attractive part of the Preksha grih (the hall for audience). 47. tassa NaM akhADayassa bahumajjhadesabhAge ettha NaM mahegaM maNipeDhiyaM viuvvati* aTTha joyaNAI AyAma-vikkhambheNaM cattAri joyaNAI bAhalleNaM savvamaNimayaM acchaM saNhaM jAva pddiruuvN| 47. usa krIDAmaMca ke ThIka bIcoMbIca ATha yojana lambI-caur3I aura cAra yojana moTI pUrNatayA vajra ratnoM se banI huI nirmala, cikanI yAvat pratirUpa eka vizAla maNipIThikA kI racanA kI thii| * rAyapaseNiyasUtra (50) Rar-paseniya Sutra *

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47. A grotesque platform studded with gems was constructed HP exactly in the middle of the stage. It was eight yojans long, eight more yojans wide and four yojans thick. It was clean, slippery and worth A seeing. siMhAsana kI racanA 48. tIse NaM maNipeDhiyAe uvari ettha NaM mahegaM sIhAsaNaM viubvai, tassa NaM sIhAsaNassa imeyArUve vaNNAvAse paNNatte tavaNijjamayA cakkalA, rayayAmayA sIhA, sovaNNiyA pAyA, NANAmaNimayAI pAyasIsagAI, jaMbUNayamayAiM gttaaii| ___ vairAmayA saMdhI, NANAmaNimaye vecce| se NaM sIhAsaNe iihaamiy-usbh-turg-nr-mgr-vihg-vaalg-kinrruru-srbh-cmr-kunyjr-vnnly-pumlybhtticittN| sasArasArovaciyamaNirayaNapAyapIDhe, atthrgmiumsuurg-nnvtykusNtliNbkesrpcctthuyaabhiraame| AINaga-ruya-bUra-tUlaphAsamaue suviriy-ryttaanne| uvaciya-khomadugullapaTTapaDicchAyaNe rattaMsuasaMvur3e suramme pAsAie darisaNijje abhirUve pddiruuve| 48. usa maNipIThikA ke Upara eka mahAn siMhAsana bnaayaa| vaha siMhAsana isa prakAra ANDPATOLATOMATOYAYOYAYVAYOJANOPARDAROSARODAROPROP4904904909 kA thA R * + usa siMhAsana ke cakkalA (pAyoM ke nIce ke gola bhAga) sone ke, siMhAkRti vAle hatthe rano ke, pAye sone ke, pAdazIrSaka (kagUre) aneka prakAra kI maNiyoM ke aura bIca ke gAte * jAmbUnada (viziSTa svarNa) ke the| ____ usakI saMdhiyA~ (sA~dhe) vajra ratnoM se bharI huI thI aura madhya bhAga kI bunAI kA veMta 4 bANa (nivAra) maNimaya thaa| hai usa siMhAsana para IhAmRga, vRSabha, azva, nara, magara, pakSI, sarpa, kinnara, ruru, sarabha, camara athavA camarI gAya, hAthI, vanalatA, padmalatA Adi ke citra bane hue the| (51) Description of Suryabh Dev * sUryAbha varNana PROMOOTEREDITOPHTOANTO +

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siMhAsana ke sAmane sthApita pAdapITha sarvazreSTha mUlyavAna maNiyoM aura ratnoM kA banA huA thaa| usa pAdapITha para paira rakhane ke lie bichA huA masUraka (gola Asana) jaise komala aura kesara taMtuoM jaise atyanta sukomala sundara AstAraka se DhakA huA thaa| usakA sparza Ajinaka (carma kA vastra ) (mRga chAlA), ruI, bUra, makkhana aura Aka kI ruI jaisA mRdu-komala thaa| vaha sundara, suracita rajastrANa (vastra) se DhakA thA / usa para kasIdA kAr3he kSauma dukUla (ruI se bane vastra) kI caddara bichI huI thI aura atyanta ramaNIya lAla vastra se AcchAdita thaa| jisase vaha siMhAsana atyanta ramaNIya, mana ko prasanna karane vAlA, darzanIya, abhirUpa aura pratirUpa - atIva manohara dikhatA thA / CONSTRUCTION OF THE THRONE 48. A gigantic throne was constructed on the Mani-peethika (the gemmed) platform. The description of the throne is as under The leg-plates of the throne were of gold, hand-rests were lionshaped and studded with gems and the legs were also of gold. The leg-tops were also studded with jewels. The central limbs were of a special gold. The joints were full of gems. The central part was knitted with jewelled cane. There were pictures of tiger, bullock, horse, man, crocodile, bird, snake, kinnar-the demon-god, deer (ruru), rhinocerous, chamari cow, elephant, wild creeper, lotus and other suchlike things on the throne. The stool in front of the throne was made of unique costly gems and jewels. The cloth for placing the foot spread on the stool was soft and covered with beautiful and extremely delicate cover. Its touch was as much soothing as that of leather cloth, deerskin, cotton, husk, butter and cotton made of Akada plant. It was covered with beautiful, properly prepared cloth. An embroidered cotton bed sheet was spread on it. It was covered with extremely beautiful red cloth. So the throne was looking extremely grand pleasant, worth-seeing, perpetually charming. rAyapaseNiyasUtra ( 52 ) For Private Personal Use Only Rai-paseniya Sutra

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49. tassa NaM sIhAsaNassa uvari ettha NaM mahegaM vijayadUsaM viuvvti| saMkha-kuMda-dagaraya-amaya-mahiyapheNapuMja-saMnigAsaM savvarayaNAmayaM acchaM saNhaM pAsAdIyaM darisaNijjaM abhirUvaM pddiruuvN| 49. usa siMhAsana ke UparI bhAga meM svaccha, nirmala, snigdha prAsAdika (mana ko prasanna karane vAle), darzanIya, abhirUpa aura pratirUpa eka vijayadUSya (chatrAkAra jaise caMdove) baeNdhA thaa| vaha zaMkha, kuMdapuSpa (sapheda phUla), jala kI bUMda, mathe hue kSIra samudra ke phenapuMja (jhAga) ke samAna zveta prabhA vAle ratnoM se banA thaa| ___49. A pure, clean, attractive, worth-seeing, perpetually charming, umbrella-like canopy was tied above the throne. It was made of gems that were as white as conch, white kund flowers, dew drops or foam of milky ocean (Ksheer Samudra). 50. tassa NaM sIhAsaNassa uvari vijayadUsassa ya bahumajjhadesabhAge ettha NaM mahaM egaM vayarAmayaM aMkusaM viuvvti| 50. usa siMhAsana ke Upara ba~dhe hue vijayadUSya ke bIcoMbIca vajra ratnamaya eka aMkuza (khUTI) lagA thaa| 50. A hard-jewelled peg was fixed in the centre of that canopy. ___ 51. tassiM ca NaM vayarAmayaMsi aMkusaMmi kuMbhikkaM muttAdAmaM viuvvti| se NaM kuMbhikke muttAdAme annehiM cauhiM addhakuMbhikkehiM muttAdAmehiM taddadhuccapamANehiM sabao samaMtA sNprikkhitte| te NaM dAmA tavaNijjalaMbUsagA NANAmaNirayaNaviviha-hAraddhahArauvasobhiyasamudAyA IsiM aNNamaNNamasaMpattA vAehiM puvAvaradAhiNuttarAgaehiM maMdAyaM maMdAyaM ejjamANANi ejjamANANi palaMbamANANi palaMbamANANi vaMdamANANi vaMdamANANi urAleNaM maNunneNaM maNahareNaM kaNNa-maNa-Nibui-kareNaM saddeNaM te paese savvao samaMtA ApUremANA ApUremANA sirIe atIva atIva uvasobhemANA uvasobhemANA cittuNti| 51. usa vajra ratnamayI aMkuza (khUTI) meM kuMbha (ghaDA) jitane bar3e AkAra ke eka baDe muktAdAma (motiyoM ke jhUmara-phAnUsa) ko laTakAyA thaa| __vaha muktAdAma bhI cAroM dizAoM meM Adhe kuMbha jitane baDe AkAra vAle aura dUsare cAra 2 muktAdAmoM phAnUsoM se ghirA huA thaa| sUryAbha varNana (53) Description of Suryabh Dev 2

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OM ve sabhI dAma (jhUmara) sone ke laMbUsakoM (geMda jaise AkAra vAle AbhUSaNoM), vividha prakAra kI maNiyo, ratnoM athavA vividha prakAra ke maNiratnoM se bane hue hAroM, ardhahAroM ke samudAyoM se zobhita ho rahe the aura pAsa-pAsa meM laTake hone se jaba pUrva, pazcima, dakSiNa aura uttara kI manda-manda havA ke jhoMkoM se hilate-Dulate to eka-dUsare se TakarAne para vizeSa manojJa, manahara, karNapriya evaM mana ko zAnti pradAna karane vAlI runajhuna zabda-dhvani ma se samIpavartI samasta pradeza ko guMjAte hue apanI zrI-zobhA se sabako mohita kara rahe the| 51. A big garland of pearls as large as a pitcher in shape was hanging on the peg. That garland of pearls was also having four other garlands of * pearls as large as half a pitcher in shape around it in all the four directions. All the above said garlands were shining due to ball-like gold ornaments, various types of jewelled garlands, rosaries studded with gems and chain of semi-circular garlands. As the garlands were hanging close to each other, they were moving with the slowen wind from east, west, south and the north. They were then striking against one another emitting specially pleasant, loveable sound soothing to the ear and causing peace to the mind. The echo of that sound was attracting all the persons close by. siMhAsana kI caturdigvartI bhadrAsana-racanA 52. tae NaM se Abhiogie deve tassa sIhAsaNassa avaruttareNaM uttareNa uttarapurathimeNaM ettha NaM sUriyAbhassa devassa cauNhaM sAmANiyasAhassINaM cattAri / bhaddAsaNasAhassIo viubvi| ___ tassa NaM sIhAsaNassa purathimeNaM ettha NaM sUriyAbhassa devassa cauNhaM aggamahisINaM 9 saparivArANaM cattAri bhaddAsaNasAhassIo viubi| tassa NaM sIhAsaNassa dAhiNapurathimeNaM ettha NaM sUriyAbhassa devassa abhiMtaraparisAe aTThaNhaM devasAhassINaM aTTha bhaddAsaNa sAhassIo viuvvi| evaM dAhiNeNaM majjhimaparisAe dasaNhaM devasAhassINaM dasa bhaddAsaNasAhassIo viuvvati, dAhiNapaccatthimeNaM bAhiraparisAe bArasaNhaM devasAhassINaM vArasa bhaddAsaNasAhassIo viuvvti| paccatthimeNaM sattaNhaM aNiyAhivatINaM satta bhaddAsaNe viuvyti| rAyapaseNiyasUtra (54) Rar-paseniya Sutra 24

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Maste tassa NaM sIhAsaNassa caudisiM ettha NaM sUriyAbhassa devassa solasaNhaM o AyarakkhadevasAhassINaM solasa bhaddAsaNasAhassIo viuvvati, taM jahA-purathimeNaM cattAri sAhassIo, dAhiNeNaM cattAri sAhassIo, paccatthimeNaM cattAri sAhassIo, uttareNaM cattAri saahssiio| 52. tatpazcAt Abhiyogika deva ne usa siMhAsana ke pazcimottara (vAyavyakoNa), uttara aura uttara-pUrva (IzAnakoNa) meM sUryAbhadeva ke cAra hajAra sAmAnika devoM ke baiThane ke lie cAra hajAra bhadrAsanoM kI racanA kii| OM pUrva dizA meM sUryAbhadeva kI parivAra sahita cAra agramahiSiyoM ke lie cAra hajAra | bhadrAsanoM kI racanA kii| dakSiNa-pUrva dizA meM sUryAbhadeva kI Abhyantara pariSad ke ATha hajAra devoM ke lie ATha 2 hajAra bhadrAsanoM kI racanA kii| dakSiNa dizA meM madhyama pariSad ke devoM ke lie dasa hajAra OM bhadrAsanoM kI, dakSiNa-pazcimI digbhAga meM bAhya pariSadA ke bAraha hajAra devoM ke lie bAraha hajAra bhadrAsanoM kI racanA kii| ___ pazcima dizA meM sAta senApatiyoM ke sAta bhadrAsanoM kI racanA kii| tatpazcAt sUryAbhadeva ke solaha hajAra AtmarakSaka devoM ke lie kramazaH pUrva dizA meM cAra hajAra, dakSiNa dizA me cAra hajAra, pazcima dizA me cAra hajAra aura uttara dizA meM cAra hajAra, isa prakAra kula solaha hajAra bhadrAsanoM ko sthApita kiyaa| CONSTRUCTION OF SEATS IN ALL THE FOUR DIRECTIONS 52. Thereafter the Abhiyogic gods constructed four thousand seats for four thousand Samanik gods (the gods of identical status) of Suryabh Dev in the north-west, north and north-east directions. In the east, he constructed four thousand seats for the family members of Suryabh Dev including his four chief-queens. In the south-east he constructed ten thousand seats for the gods * belonging to the inner assembly of Suryabh Dev and in the southwest he constructed twelve thousand seats for the gods belonging to be the outer assembly of Suryabh Dev. In the west he constructed seven seats for the seven army chiefs. Thereafter he constructed four thousand seats in each of the four directions namely east, south, west and north for sixteen thousand gods serving as body-guards to Suryabh Dev. satisfaction and started as a si g sUryAbha varNana (55) Description of Suryabh Dev

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samagra yAna-vimAna kA saundarya-varNana 53. tassa divvassa jANavimANassa imeyArUve vaNNAvAse pnnnntte| se jahAnAmae-airuggayassa vA, hemaMtiya-bAliyasUriyassa vA, khayariMgAlANa vA rattiM pajjaliyANa vA, javAkusumavaNassa vA, kiMsuyavaNassa vA, pAriyAyavaNassa vA, savvato samaMtA saMkusumissa bhave eyArUve siyA ? 53. usa divya yAna-vimAna kA rUpa-saundarya kA varNana isa prakAra hai jaise ki tatkAla udita hemanta Rtu ke bAla sUrya ke samAna athavA rAtri meM prajvalita khaira kI lakaDI ke aMgAroM athavA pUrI taraha se kusumita-phUle hue javApuSpavana athavA palAzavana athavA pArijAtavana ke samAna lAla thaa| kyA yAna-vimAna isa prakAra kA saundarya vAlA thA ? DESCRIPTION OF THE GRANDEUR OF CELESTIAL AERIAL VEHICLE 53. The detailed description of the aerial celestial vehicle and its grandeur is as under Is it a fact that the vehicle was red like the rising sun of winter or the burning charcoal of khair wood at night or the completely blossomed java flowers, palash garden or parijaat garden ? Was the aerial vehicle of such a grandeur ? 54. No iNaDhe samaDhe, tassa NaM divvassa jANavimANassa etto iTTatarAe ceva jAva kavaNNeNaM pnnnntte| gaMdho ya phAso ya jahA mnniinnN| 54. yaha kathana yathArtha nahIM hai| he AyuSmAn zramaNo / yaha yAna-vimAna to ina sabhI upamAo se bhI adhika iSTatara ramaNIya yAvat rakta varNa vAlA thaa| isI prakAra usakA gaMdha aura sparza bhI pUrva meM kahe gaye maNiyoM ke varNana se bhI adhika ramaNIya thaa| 54. No. It is not true. O the blessed Saints ! The celestial vehicle was surpassing all the above mentioned comparisons. It was much more in grandeur, in attraction and in redness. Same is the case with its fragrance and touch. In that case it was much more attractive than the jewels mentioned earlier. Abhiyogika deva dvArA kArya-saMpUrti kI sUcanA 55. tae NaM se Abhiogie deve divyaM jANavimANaM viubbai, viuvittA jeNeva sUriyAbhe deve teNeva uvAgacchai, uvAgacchittA sUriyAbhaM devaM karayalapariggahiyaM jAva pccppinnti| rAyapaseNiyasUtra (56) Rar-paseniya Sutrax

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55. usa divya yAna-vimAna kI racanA karane ke pazcAt Abhiyogika deva sUryAbhadeva ke pAsa aayaa| Akara sUryAbhadeva ko donoM hAtha joDakara AjJApAlana hone kI arthAt yAna-vimAna banakara taiyAra hone kI sUcanA dii| INFORMATION ABOUT COMPLETION OF WORK 55. After completing the celestial aerial vehicle, the Abhiyogic pe god came to Suryabh Dev. He folded his hands and informed him that his orders regarding preparing the celestial vehicle had been complied with. ___ vivecana-sUryAbhadeva ke lie jisa vizAla yAna-vimAna kI racanA kA varNana prastuta Agama me hai vaha vAstukalA kI dRSTi se anUThA aura AzcaryakAraka hai| vimAna-nirmANa kI itanI kalAtmaka saundaryayukta aura suvidhApUrNa takanIka-pravidhi Aja ke vikasita yAna vijJAna ke lie bhI AzcaryakAraka hai aura * Aja taka atarikSa vaijJAnika aise adbhuta vizAla yAna-vimAna kA nirmANa nahI kara pAye hai| yaha varNana unake sAmane eka atyanta vikasita yAna nirmANa kalA kI parikalpanA avazya prastuta kregaa| Elaboration--The description about the construction of gigantic celestial aerial vehicle for Suryabh Dev in the present scripture is unique and wonderful from the point of view of architecture. The developed technique in construction of celestial vehicle is a challenge to the modern science of architecture in providing all the grandeur and all the comforts. Till today, the space scientists have not been able to prepare a unique gigantic aerial vehicle of such type. This description will certainly present to them an image of extremely developed engineering skill of constructing aerial vehicles. vimAna meM ArohaNa 56. tae NaM se sUriyAbhe deve Abhiogassa devassa aMtie eyamaDhe soccA nisamma haTTa jAva hiyae divvaM jiNiMdAbhigamaNajoggaM uttaraveuviyarUvaM viuvvti| viuvittA cauhiM aggamahisIhiM saparivArAhiM, dohi aNIehiM, taM jahAgaMdhavvANIeNa ya NaTTANIeNa ya saddhiM saMpariDe. taM divvaM jANavimANaM aNupayAhiNIkaremANe purathimilleNaM tisopANapaDirUvaeNaM durUhati, duhittA jeNeva sIhAsaNe teNeva uvAgacchai, uvAgacchittA sIhAsaNavaragae puratthAbhimuhe snnnnisnnnne|| 56. Abhiyogika deva dvArA divya yAna-vimAna ke nirmANa ke samAcAra sunakara sUryAbhadeva harSita, saMtuSTa yAvat praphulla hRdaya huaa| usane jinendra bhagavAna ke sammukha gamana * karane yogya divya uttaravaikriya rUpa kI vikurvaNA kii| Ta sUryAbha varNana (57) Description of Suryabh Deve

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vikurvaNA karake unake apane parivAra sahita cAra agramahiSiyoM evaM do anIkoM senAoM gaMdharvAnIka tathA nATyAnIva ko sAtha lekara usa divya yAna-vimAna kI anupradakSiNA karake-cAroM tarapha ghumakara pUrva dizAvartI atIva manohara trisopAnoM se divya yAna-vimAna para ArUr3ha huA aura siMhAsana ke samIpa Akara pUrva kI ora mukha karake usa para baiTha gyaa| ASCENDING IN AERIAL VEHICLE (VIMAN) 56. After learning that the celestial aerial vehicle had been constructed, Suryabh Dev felt happy, satisfied and over-joyed. He then performed emanation of soul particles to prepare fluid body suited for visiting the Tirthankar. Thereafter, he went around the vehicle along with four chiefqueens and two armies, namely the army of musicians and the army of dancers. He then got in form the east through the beautiful steps. He then seated himself on the throne facing east. 57. tae NaM tassa sUriAbhassa devassa cattAri sAmANiyasAhassIo taM divyaM jANavimANaM aNupayAhiNIkaremANA uttarilleNaM tisovANapaDirUvaeNaM durUhaMti, durUhittA patteyaM patteyaM puSaNNatthehiM bhaddAsaNehi nnisiiyNti| avasesA devA ya devIo ya taM divvaM jANavimANaM jAva dAhiNilleNaM tisovANapaDirUvaeNa durUhaMti, dUrahittA patteyaM pattayaM puvaNNatthehiM bhaddAsaNehiM nisiiyNti|| 57. tatpazcAta sUryAbhadeva ke cAra hajAra sAmAnika deva usa yAna-vimAna kI pradakSiNA karate hue uttara dizAvartI sthApita trisopAnoM-sIDhiyoM dvArA usa para caDhe aura apane lie pahale se hI sthApita bhadrAsanoM para baiThe tathA inase zeSa rahe dUsare deva evaM deviyA~ bhI pradakSiNApUrvaka dakSiNa dizA ke sopAnoM dvArA usa divya yAna-vimAna para car3hakara pratyeka apane-apane lie pahale se hI nizcita bhadrAsanoM para baiTha gye| ____57. Thereafter, four thousand gods of equal status went round the aerial vehicle, got in through the staircase in the north and seated themselves in the respective seats meant for them. The remaining gods and goddesses rode the vehicle from steps in the south and took their seats. vivecana-ina do sUtro meM sUryAbhadeva tathA usake AjJAnuvartI anya sAmAnika deva-deviyo ke vimAna me ArohaNa kA krama vizeSa dhyAna dene yogya hai| sUryAbhadeva svaya vimAna me pUrva dizA ke sopAnoM se caDhatA hai aura apane mukhya siMhAsana para baiThatA hai| usake pazcAt sAmAnika deva-uttara dizA ke sopAnoM se tathA rAyapaseNiyasUtra (58) Rai-paseniya Sutra

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- Aug CA NootinANA AM + - - / - XD more SHOCOLATO YAN divya deva vimAna 4.

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citra paricaya-2 | Illustration No.2 vimAna kI divya racanA bhagavAna mahAvIra ke darzana hetu jAne ke lie sUryAbhadeva eka lAkha yojana vistAra vAle divya vimAna me ArUDha hotA hai| isa vimAna kI racanA baDI adbhuta thii| isame saikaDo stambha bane hai| una stambho para aneka prakAra kI putaliyA~ banI hai| toraNo para ratnamaya aSTa magala tathA aneka prakAra ke citra Adi bane hue hai| vimAna ke madhya kI vedikA tathA pagathiyA vajra ratno aura aneka raga-birage divya maNiyo Adi se suzobhita hai| vimAna ke madhya me sUryAbhadeva eka divya sihAsana para baiThA hai| usake paripArzva me bhadrAsano para agramahiSiyA~, unake pIche sAmAnika deva, Atma-rakSaka deva Adi vizAla deva-parivAra baiThA hai| isa atyanta vizAla divya vimAna me parivAra sahita baiThakara sUryAbhadeva bhagavAna mahAvIra ke darzana karane ke lie prasthita huaa| -sUtra 25-65, pRSTha 36-64 DIVINE DESIGN OF THE VIMAN To go to behold and offer homage to Bhagavan Mahavir, Suryabh Dev boards a divine Viman of one lac yojans spread The design of this Viman is unique It has hundreds of pillars These pillars are adorned with a variety of dancing dolls The decorative entrances are embellished with numerous illustrations including those of eight auspicious symbols The platform and the steps in the middle of the Viman are studded with diamonds and other colourful and shining gem stones Suryabh Dev sits on a divine throne at the center of the Viman At his flanks are seated his chief queens on comfortable seats At his back are seated Samanik gods, security gods and a large number of other gods of his divine retinue Suryabh Dev along with his family proceeded in this large divine Viman to behold and offer salutations to Bhagavan Mahavir -Sutras 25-65, p 36-64

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anya deva-deviyA~ dakSiNa dizA ke sopAno se caDhate hai aura apane-apane pUrva nizcita bhadrAsano para - yathAkrama baiTha jAte hai| caDhane-utarane ke lie alaga-alaga mArgo kI vyavasthA aura baiThane ke lie sihAsana va bhadrAsano kI pada anukrama se racanA sabhA-maryAdA aura sabhA-sthala kI vyavasthA kA eka atyanta vikasita ucca sabhyatA va zreSTha saskRti kA paricaya detI hai| Elaboration-In the two aphorisms, the order in which Suryabh Dev and the other gods and goddesses of equal status in his command entered the aerial vehicle is worthy of special consideration. Suryabh Dev enters from the east and accepts the mounted throne, thereafter the gods of om identical status follow the steps in the north and other gods and you goddesses the steps in the south and occupy their respective seats. The proper arrangement for riding and getting down the vehicle, the earmarking of separate routes, the location of seats according to status, the * proper decorum in the vehicle depicts a fully developed code and presents a picture of culture of highest order. vimAna kA prasthAna varNana 58. tae NaM tassa sUriyAbhassa devassa taM divvaM jANavimANaM durUDhassa samANassa aTTha-maMgalagA purato ahANupubIe saMpatthitA, taM jahA-sotthiya-sirivaccha jAva dppnnaa| 58. usa divya yAna-vimAna para sUryAbhadeva Adi deva-deviyoM ke ArUDha ho jAne ke pazcAt anukrama se ATha maMgala usake sAmane cle| arthAt sabase Age aSTa maMgala racanA thii| jaise-svastika, zrIvatsa yAvat drpnn| DESCRIPTION OF DEPARTURE OF THE AERIAL VEHICLE (VIMAN) 58. When Suryabh Dev and other gods and goddesses occupied * their seats in the aerial vehicle the eight auspicious symbols started moving in their respective order. Swastik was the first and mirror sett was the last among them. 59. tayaNaMtaraM ca NaM puNNakalasabhiMgAra divvA ya chattapaDAgA sa cAmarA daMsaNaratiyA-AloyadarisaNijjA vAudghayavijayavejayaMtIpaDAgA UsiyA gagaNatalamaNulihaMtI purato ahANupubIe sNptthiyaa| 59. ATha maMgala dravyoM ke anantara pUrNa kalaza, bhRgAra-(mAMgalika jhArI) cAmara sahita divya chatra, patAkA tathA inake sAtha gagana tala kA sparza karatI huI atizaya sundara, AlokadarzanIya-(prasthAna karate samaya mAMgalika hone ke kAraNa darzanIya) aura vAyu se Hot phaharAtI huI eka bahuta U~cI vijaya-vaijayaMtI nAmaka patAkA anukrama se usake Age clii| sUryAbha varNana Description of Suryabh Dev parist.sks.ske.skeke.ds.ke.saksi.ke.sisekesaks.ske.ske.ske.ke.ke.ke.ske.seks.ke.sktos.ke.ske.sakssistan (59) TO MOD ON** ** XXX

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* 59. After the eight auspicious symbols the full pitcher, the auspicious jar (bhringar), celestial umbrella with its chamar, the flag and with all these the extremely beautiful, worth seeing and a fluttering very high Vijay Vaijayanti flag touching the sky moved ahead in the respective order. 60. tayaNaMtaraM ca NaM veruliyabhisaMtavimaladaMDaM palambakoraMTamalladAmovasobhitaM caMdamaMDalanibhaM samussiyaM vimalamAyavattaM pavarasIhAsaNaM ca maNirayaNabhatticittaM sapAyapIDhaM sapAuyAjoyasamAuttaM bahukiMkarAmarapariggahiyaM purato ahANupubIe sNptthiyN| 60. vijaya-vaijayaMtI patAkA ke pIche vaiDUryaratnoM se nirmita dIpyamAna pAdukAdvaya (khar3AU~ kI joDI se) yukta pAdapITha sahita-uttama siMhAsana jo aneka sevaka devoM dvArA vahana kiyA jA rahA thA, vaha Age claa| nirmala daNDa vAle koraMTa puSpoM kI mAlAe~ laTaka rahI thiiN| vaha candramaMDala ke samAna nirmala, zveta-dhavala U~ce maNiratnoM se bane hue belabUToM se zobhita thaa| ___60. After Vijay Vaijayanti flag there was unique throne made of Vaidurya gems having a couple of slippers and the foot-rest. It was the being driven by many serving gods. Garlands of korant flowers were hanging, the throne was clean, white and decorated with embroiderd creepers studded with jewels like lunar (constellation) orbit. 61. tayaNaMtaraM ca NaM vairAmayabaTTalaTThasaMThiyasusiliTThaparighaTTamaTThasupatiTThae visiTTe aNegavarapaMcavaNNa-kuDabhIsahassussie parimaMDiyAbhirAme vAudghayavijaya-vejayaMtI paDAgacchattAtticchattakalite tuMge gagaNatalamaNulihaMtasihare joaNasahassamUsie mahatimahAlae, mahiMdajjhae ahANupubIe sNptthie| 61. tatpazcAt vajra ratnoM se nirmita dIpyamAna golAkAra kamanIya, manojJa, gola dAMDe vAlA, anya dhvajAoM meM viziSTa evaM dUsarI bahuta-sI manorama choTI-baDI aneka prakAra kI raga-biraMgI paMcaraMgI dhvajAoM se vibhUSita, vAyu vega se phaharAtI haI vijaya-vaijayaMtI patAkAoM se zobhita, chatrAtichatra se yukta, AkAzamaMDala ko sparza karane vAlA hajAra yojana U~cA eka bahuta baDA indradhvaja nAmaka dhvaja anukrama se usake Age claa| 61. Thereafter was the excellent flag (Indra Dhvaj). Its pole was made of strong gems and was round in shape and attractive. It was decorated with many beautiful buntings of different colours of the " rAyapaseNiyasUtra (60) Rar-paseniya Sutra * O

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he different sizes and was the last among all other flags. It was looking attractive due to fluttering Vijay Vaijayanti flags. It had umbrellas one above the other. It was touching the sky and was a thousand yojans high. 62. tayaNaMtaraM ca NaM surUvaNevatthaparikacchiyA susajjA savvAlaMkArabhUsiyA mahayA bhaDacaDaga-pahakAreNaM paMca aNIyAhivaIo purato ahANupubIe sNptthiyaa| 62. indradhvaja ke sAtha sundara veza-bhUSA se susajjita, samasta AbhUSaNa-alaMkAroM se vibhUSita aura atyanta prabhAvazAlI subhaToM ke samudAyoM ko sAtha lekara paoNca senApati (azva, gaja, ratha, padAti aura vRSabha senAoM ke adhipati) anukrama se Age cle| 62. Following the Indra Dhvaj (the excellent flag), there were five commanders of the army (chiefs of horsemen, the elephant ridden, 9 the chariot ridden, the bullock ridden army and infantry) in their respective order. They were well dressed and decorated with all the medals and ornaments and were extremely impressive. 63. tayaNaMtaraM ca NaM bahave AbhiogiyA devA devIo ya saehiM saehiM rUvehi, saehiM saehiM visesehiM, saehiM saehiM viMdehi, saehiM saehiM NejjAehiM, saehiM saehiM NevatthehiM purao ahANupubIe sNptthiyaa| 63. tadanantara bahuta se Abhiyogika deva aura deviyA~ apanI-apanI yogya-viziSTa prakAra kI veza-bhUSAo aura vizeSatAdarzaka apane-apane pratIka cinhoM se sajadhajakara - apane-apane parivAra, apane-apane nejA aura apane-apane kAryoM ke lie upayogI upakaraNoM-sAdhanoM ko sAtha lekara anukrama se Age cle| 1963. Thereafter were many Abhiyogic gods and goddesses in their proper dress bearing their distinguishing symbols and decorations. They were accompanied by the members of their family and were having various arms necessary in enabling them to perform their duties. 64. tayaNaMtaraM ca NaM sUriyAbhavimANavAsiNo bahave vemANiyA devA ya devIo ya sabaDDIe jAva raveNaM sUriyAbhaM devaM purato pAsato ya maggato ya smnnugcchNti| 64. tatpazcAt sabase anta meM usa sUryAbha vimAna meM rahane vAle bahuta se vaimAnika deva aura deviyA~ apanI-apanI samasta Rddhi ke sAtha zakha Adi vAdyoM kI pratidhvani karate hue usa sUryAbhadeva ke Age-pIche, AjU-bAjU meM sAtha-sAtha cle| . sUryAbha varNana ATOPAKODA80248094ROPOK reOSTEDO (61) Description of Suryabh Dev

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OM 64. In the end, there were many gods and goddesses residing in the celestial heaven with their entire richness making sound with conch and other musical instruments. They were moving in front, at sides and behind Suryabh Dev. sUryAbhadeva kA AmalakappA nagarI kI ora prasthAna 65. tae NaM se sUriyAbhe deve teNaM paMcANIyaparikkhitteNaM vairAmayavaTTalaTThasaMThieNaM jAva joyaNa sahassamUsieNaM mahatimahAlaeNaM mahiMdajjhaeNaM purato kaDijjamANeNaM cAhiM sAmANiyasahassehiM jAva solasahiM AyarakkhadevasAhassIhiM annehi ya bahUhiM OM sUriyAbhavimANavAsihiM vemANiehiM devehiM devIhi ya saddhiM saMparibuDe sabbiDDIe jAva raveNaM OM sodhammassa kappassa majjhamajjheNaM taM divaM deviDDhiM divyaM devajutiM divvaM devANubhAvaM uvalAlemANe uvalAlemANe uvadaMsemANe uvadaMsemANe paDijAgaremANe paDijAgaremANe jeNeva sohammassa kappassa uttarille NijjANamagge teNeva uvaagcchti|| joyaNasayasAhassiehiM viggahehiM ovayamANe vIIvayamANe tAe ukkiTThAe jAva tiriyaM asaMkhijjANaM dIvasamuddANaM majhamajjheNaM vIivayamANe vIivayamANe jeNeva naMdIsaravare dIve, jeNeva dAhiNapurathimille ratikarapavvae, teNeva uvaagcchti| uvAgacchittA taM divvaM deviDDhiM jAva divvaM devANubhAvaM paDisAharemANe paDisAharemANe paDisaMkhevemANe paDisaMkhevemANe jeNeva jaMbuddIve dIve jeNeva bhArahe vAse jeNeva AmalakappA nayarI jeNeva aMbasAlavaNe ceie jeNeva samaNe bhagavaM mahAvIre teNeva uvaagcchi| uvAgacchittA samaNaM bhagavaM mahAvIraM teNaM divveNaM jANavimANeNaM tikkhutto AyAhiNaM payAhiNaM karei, karittA samaNassa bhagavao mahAvIrassa uttarapuritthime disibhAge taM divyaM jANavimANaM IsiM cauraMgulamasaMpattaM dharaNitalaMsi tthvei| ThavittA cauhiM aggamahisIhiM saparivArAhiM, dohiM aNIyAhiM, taM jahA-gaMdhavyANieNa ya NaTTANieNa ya saddhiM saMparivur3e tAo divAo, jANavimANAo purathimilleNaM tisovANapaDirUvaeNaM pccoruhti|| tae NaM tassa sUriyAbhassa devassa cattAri sAmANiyasAhassIo tAo divAo jANavimANAo uttarilleNaM tisovANapaDirUvaeNaM paccoruhaMti avasesA devA ya devIo yaha tAo divvAo jANavimANAo dAhiNilleNaM tisovANapaDirUvaeNaM pccoruhNti| rAyapaseNiyasUtra (62) ___Rar-pasentya Sutra

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65. tatpazcAt vaha sUryAbhadeva pA~ca anIkAdhipatiyoM dvArA parirakSita vajraratnamayI gola manojJa-AkAra vAle yAvat eka hajAra yojana lambe atyanta U~ce mahendradhvaja ko Age karake cAra hajAra sAmAnika devoM yAvat solaha hajAra AtmarakSaka devoM evaM sUryAbha vimAnavAsI 2 aura dUsare vaimAnika deva-deviyo ke sAtha samasta Rddhi yAvat vAdyaninAdoM sahita divya devaRddhi, divya devadhuti, divya devAnubhAva-prabhAva kA anubhava, pradarzana aura avalokana karate hue saudharmakalpa ke madhya bhAga meM se nikalakara saudharmakalpa ke uttaradigvartI niryANa mArga-nikalane ke mArga ke pAsa aayaa| OM vahA~ se eka lAkha yojana pramANa vistAra vAlI yAvat utkRSTa divya devagati se nIce utarakara gamana karate hue tirache, asakhyAta dvIpa samudroM ke bIcoMbIca se hotA huA nandIzvara dvIpa aura usakI dakSiNa-pUrva dizA (AgneyakoNa) meM sthita ratikara parvata para phuNcaa|| vahA~ Akara usa divya devaRddhi yAvata divya devAnubhAva Adi ko dhIre-dhIre sakucita aura saMkSipta karake jahA~ jambUdvIpa nAmaka dvIpa aura usakA bharata kSetra thA eva usa bharata kSetra meM bhI jahA~ AmalakappA nagarI tathA AmrazAlavana caitya thA aura usa caitya meM jahA~ zramaNa bhagavAna mahAvIra virAjamAna the, vahA~ aayaa| vahA~ Akara usa divya yAna-vimAna ke sAtha zramaNa bhagavAna mahAvIra kI tIna bAra * pradakSiNA karake zramaNa bhagavAna mahAvIra ke uttara-pUrva digbhAga-IzAnakoNa meM le jAkara ka bhUmi se cAra aMgula Upara adhara rakhakara usa divya yAna-vimAna ko khar3A kiyaa| usa divya yAna-vimAna ko khaDA karake vaha saparivAra cAroM agramahiSiyoM, gaMdharva aura nATya donoM prakAra ke anIkoM-senAoM ko sAtha lekara pUrva dizAvartI trisopAna dvArA usa divya yAna-vimAna se nIce utraa| / tatpazcAt sUryAbhadeva ke cAra hajAra sAmAnika deva uttaradigvartI trisopAna dvArA usa divya yAna-vimAna se nIce utare tathA inake atirikta zeSa dUsare deva aura deviyA~ dakSiNa dizA ke trisopAna pratirUpaka dvArA usa divya yAna-vimAna se utre| DEPARTURE OF SURYABH DEV TOWARDS AAMAL-KAPPA ____65. Thereafter Suryabh Dev came out from the centre of Saudharma heaven to the exit in the north. He had five commanders of the army for his security. One thousand yojans highes gem-studded round-shaped Mahendra Dhvaj (the celestial flag) was moving ahead of him. Four thousand gods of equal status, sixteen hthousand gods serving as security guards and many other gods and " sUryAbha varNana (63) Description of Suryabh Dev ** XX**

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GAO90098ODA SAROSAROL Montegoddesses residing in Suryabh vehicle and outside it were accompanying him with their entire splendour. They were playing their musical instruments and exhibiting the celestial richness, glory, excellence and grace. Thereafter Suryabh Dev's vehicle moved with celestial speed crossing one lakh yojans area, passed through innumerable continents and oceans and arrived at Nandishvar Dveep. It halted * at Ratikar mount in the south-east corner of Nandishvar Dveep. * Suryabh Dev, then slowly and gradually folded the celestial *e grandeur and celestial richness and came to Aamal-kappa town of Bharat area in Jambu Dveep. He then came to Aamrashalvan garden where Bhagavan Mahavir was seated. He then went round Bhagavan Mahavir three times along with his celestial aerial vehicle. He then took his vehicle in the north* east direction and stationed it there four angul above the ground. He then got down the aerial vehicle, his family members, four chief-queens, the two armies namely those of musicians and dancers, also came down through the staircases in the east. To Thereafter, four thousand gods of equal status got down from the heart north. The remaining gods and goddesses came down through the staircase in the south. sUryAbhadeva kA samavasaraNa meM Agamana 66. tae NaM se sUriyAbhe deve cauhi aggamahisIhiM jAva solasahiM AyarakkhadevasAhassIhiM aNNehi ya bahUhiM sUriyAbhavimANavAsIhiM vemANiehiM devehi devIhi ya saddhiM saMparibuDe sabbiDDIe jAva NAiyaraveNaM jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchati, uvAgacchittA samaNaM bhagavaMtaM mahAvIraM tikkhutto AyAhiNa-payAhiNaM karei karittA vaMdaMti namaMsati vaMdittA namaMsittA evaM vayAsI 'ahaM NaM bhaMte ! sUriyAbhe deve devANuppiyANaM vaMdAmi namasAmi jAva pjjuvaasaami|' 66. isake pazcAt vaha sUryAbhadeva saparivAra cAra agramahiSiyoM yAvat solaha hajAra * AtmarakSaka devo tathA anyAnya bahuta se sUryAbha vimAnavAsI deva-deviyoM ke sAtha samasta * Rddhi-vaibhava yAvat vAdya ninAdo sahita calatA huA zramaNa bhagavAna mahAvIra ke samIpa Danlesskskskssaiks.ke.ske.sis.ke.ske.ke.ke.ke.ke.ske.ke.in.sait sakesis.siksak siske seks ke sakselection or lar 685858698 0 rAyapaseNiyasUtra (64) Rai-paseniya Sutra

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" aayaa| Akara zramaNa bhagavAna kI dAhinI ora se prArambha kara tIna bAra pradakSiNA kii| pradakSiNA karake vandana-namaskAra kiyA aura vandana-namaskAra karake bolA____ "he bhate / mai sUryAbhadeva Apa devAnupriya ko vandana karatA hU~, namana karatA hU~ yAvat ApakI paryupAsanA karatA huuN|" ARRIVAL OF SURYABH DEV IN THE SAMAVASARAN 66. Thereafter, Suryabh Dev accompanied by his entire family, including four chief-queens, sixteen thousand gods meant for his security, other gods and goddesses residing in the celestial abode, the entire paraphernalia and the musicians came near Shraman Bhagavan Mahavir. He went round three times starting from the right side of the Lord. He then bowed to the Lord in respect and said ___ "Reverend Sir ! I, Suryabh Dev bow to you, honour you, greet you and worship you." bhagavAna dvArA bandanA kI svIkRti 67. 'sUriyAbhA' i samaNe bhagavaM mahAvIre sUriyAbhaM devaM evaM vayAsI_ 'porANameyaM sUriyAmA ! jIyameyaM sUriyAmA ! kiccameyaM sUriyAmA ! karaNijjameyaM sUriyAbhA ! AiNNameyaM sUriyAmA ! abbhaNuNNAyameyaM sUriyAmA ! jaM NaM bhavaNavai-vANamaMtara-joisa-vemANiyA devA arahate bhagavaMte vaMdati namasaMti, vaMdittA namaMsittA tao pacchA sAiM sAiM nAma-gottAiM sAhiti, taM porANameyaM sUriyAmA ! jAva abbhaNuNNAyameyaM sUriyAbhA !' 67. zramaNa bhagavAna mahAvIra ne 'he sUryAbha !' isa prakAra se sabodhita kara usa sUryAbhadeva se kahA___ "he sUryAbha / yaha purAtana hai| he sUryAbha / yaha jIta (paramparAgata) vyavavahAra hai| he sUryAbha / yaha kRtya hai| he sUryAbha ! yaha karaNIya hai| he sUryAbha ! yaha pUrva paramparA se Acarita hai| he sUryAbha / yaha abhyanujJAta-sarva sammata hai ki bhavanapati, bANavyantara, jyotiSka aura vaimAnika deva arihata bhagavanto ko vandana karate hai, namana karate hai aura vandana-namaskAra karane ke pazcAt ve apane-apane nAma aura gotra kA uccAraNa karate hai| ataeva he sUryAbha | tumhArI yaha sArI pravRtti purAtana hai yAvat sarva sammata hai|" * sUryAbha varNana (65) Description of Suryabh Deventer "*" *

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* ACCEPTANCE OF GREETINGS BY THE LORD ___67. Shraman Bhagavan Mahavir addressed to Suryabh Dev as under____ "O Suryabh ! It is an ancient custom. It is an old tradition. It is worthy of performance It has been followed in the past as a rule. It is accepted by all that gods of all the four categories namely Bhavanpati, Vanavyantar, Jyotishk and Vaimanik at first bow to Arihants, greet Him, honour Him and thereafter, they mention their name and status. So, 0 Suryabh ! Your action is in accordance with ancient tradition being observed by all." 68. tae NaM se sUriyAbhe deve samaNeNaM bhagavayA mahAvIreNaM evaM vutte samANe haTTa jAva samaNaM bhagavaM mahAvIraM vaMdaMti namasaMti, vaMdittA namaMsittA naccAsaNe nAtidUre sussUsamANe NamaMsamANe abhimuhe viNaeNaM paMjaliuDe pjjuvaasti| 68. taba vaha sUryAbhadeva zramaNa bhagavAna mahAvIra ke isa kathana ko sunakara atIva harSita * huA aura zramaNa bhagavAna mahAvIra ko vandana-namaskAra karake na to unase adhika nikaTa aura na adhika dUra kintu yathocita sthAna para sthita hokara zuzrUSA karatA huA, namaskAra " karatA huA sAmane vinayapUrvaka dono hAtha joDakara aMjali karake paryupAsanA karane lgaa| ___68. Suryabh Dev felt very much pleased at the word of the Lord. He bowed to Him in respect and took his seat at proper place neither very near nor very far from Bhagavan, humbly clasped his The hands in his honour and started serving him exhibiting his & devotion. 69. tae NaM samaNe bhagavaM mahAvIre sUriyAbhassa devassa tIse ya mahatimahAlitAe parisAe jAva dhammaM prikhei| parisA jAmeva disiM pAunbhUA tAmeva disiM pddigyaa| 69. tatpazcAt zramaNa bhagavAna mahAvIra ne sUryAbhadeva ko aura usa upasthita vizAla pariSad ko dharmadezanA sunaaii| dezanA sunakara pariSad jisa dizA se AI thI vApasa usI ora lauTa gii| 69. Thereafter Bhagavan Mahavir delivered spiritual discourse to Suryabh Dev and the entire assembly of devotees present. After The listening to the discourse, the assembly dispersed. rAyapaseNiyasUtra Rar-paseniya Sutra (66) ANCHERRHEROVEODIGORATORYGORITOMEONI OS R Magara

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kA samavasaraNa ma sUryAbhadeva Se e

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citra paricaya - 3 sUryAbhideva kA samavasaraNa meM Agamana samavasaraNa me Akara sUryAbhadeva ne uttarAsaga karake tIna bAra pradakSiNA dekara zramaNa bhagavAna mahAvIra ko vandanA kI - "he bhante / mai sUryAbhadeva devAnupriya ko vandananamana karake ApakI paryupAsanA karatA huuN|" 1 prabhu ne kahA- 'he sUryAbha | yaha tumhArA karttavya hai, AcAra hai / " Illustration No. 3 - sUtra 66-67, pRSTha 65 ARRIVAL OF SURYABH DEV IN THE SAMAVASARAN After arriving in the Samavasaran, Suryabh Dev covered his mouth with his scarf, went around Shraman Bhagavan Mahavir three times, bowed before him and offered him salutations--"Bhante I, Suryabh Dev, bow before you, honour you, greet you and worship you " For Private Personal Use Only Bhagavan said - "O Suryabh Dev 1 This is part of duty and conduct " your -Sutras 66-67, p 65 hosta

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vivecana - mahatimahAlitAe - yaha pariSad kA vizeSaNa hai jisakA artha yaha hai ki bhagavAna kI dezanA sunane ke lie sUryAbhadeva, seya rAjA, dhAriNI Adi rAniyo ke sivAya RSi pariSadA (aneka RSigaNa), muni pariSadA, yati pariSadA, deva pariSadA ke sAtha hajAro nara-nArI, unake samUha aura una samUho me bhI bahuta se apane-apane sabhI pArivArika jano sahita upasthita the| bhagavAna ke samavasaraNa me upasthita vizAla pariSadA aura dharmadezanA Adi kA aupapAtikasUtra me vistAra se varNana kiyA gayA hai| yaha varNana bahuta sundara hai| bhAvapUrNa tathA sArayukta hai| jaise "bhagavAna kI divya dezanA me loka kA, jIva-ajIva kA svarUpa batAyA gayA / phira dharma kA svarUpa batAkara dharma ke do prakAra - AgAradharma ( zrAvakadharma) tathA anagAradharma (munidharma) kA svarUpa btaayaa| yaha dharmadezanA sunakara aneka bhavya AtmAo ne sayama - dIkSA grahaNa kI tathA aneka gRhastho ne zrAvadharma agIkAra kiyaa| bhagavAna kI dezanA sunakara pariSadA dvArA prakaTa kiyA gayA pramoda bhAva bahuta hI bhAvapUrNa hai / jaise "he bhate ! Apa dvArA suAkhyAta, suprajJapta, nirgrantha pravacana anuttara hai| dharma kI vyAkhyA karate hue Apane upazama-krodhAdi kI zAnti kA upadeza diyA hai, upazama ke upadeza ke prasaga me Apane viveka kA vyAkhyAna kiyA hai| viveka kI vyAkhyA karate hue Apane prANAtipAta Adi se virata hone kA nirUpaNa kiyA hai| pApa-viramaNa kA upadeza dene ke prasaga meM Apane pApakarma nahI karane kA vivecana kiyA hai| Apase bhinna dUsarA koI zramaNa yA brAhmaNa isa prakAra kA upadeza nahI kara sakatA hai, to phira isase dharma ke upadeza kI bAta kahA~ ?" Elaboration-Mahtimahalitaye-It is an adjective for the spiritual gathering. It means that in order to listen to the Lord, Suryabh Dev, king Seya, queen Dharni, other queens, group of saints, rishis, yatis, gods, thousands of men and women including members of their family were present. A detailed description is available in Aupapatik Sutra about the huge gathering in the congregation and spiritual discourse of Bhagavan in the Samavasaran. The gist of spiritual discourse was as under "In the the spiritual discourse, the real picture of universe, soul and matter was explained Thereafter, the true nature of Spirituality (Dharma) was mentioned. It was told that it is of two types-one for householder and the other for saints. The nature of these two-Anagaar Dharma and Anagaar Dharma was told in detail. After listening to the spiritual discourse, many true devotees accepted monkhood and many accepted vows of the householder." sUryAbha varNana (67) For Private Personal Use Only Description of Suryabh Dev

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The ecstatic pleasure exhibited by the listeners after hearing the spiritual discourse is really thought provoking. It is as under "O the Reverend ! Your spiritual discourse is detailed, full of deep knowledge, without any attachment and unique. While commenting on Dharma, you have instructed that anger must be pacified. In this context you mentioned about discrimination. With reference to discrimination, you advised that one should keep himself away from eighteen types of sins namely violence and others. Further you described in detail that sins should not be committed. No other Shraman or Brahmin can deliver such a thought-provoking spiritual discourse. So there cannot be any spiritual discourse better than this sUryAbhadeva kI jijJAsA aura samAdhAna 70. tae NaM se sUriyAbhe deve samaNassa bhagavao mahAvIrassa aMtie dhammaM soccA nisamma haTTa jAva hayahiyae uTThAe uTTheti uTThittA samaNaM bhagavaMtaM vaMdai namasai vaMdittA namaMsittA evaM vayAsI 'ahaM NaM bhaMte ! sUriyAbhe deve kiM 1. bhavasiddhie abhavasiddhie, 2. sammadiTThI micchAdiTThI, 3. parittasaMsArie anaMtasaMsArie, 4. sulabhabohie dullabhabohie, 5. ArAhae virAhae, 6. carime acarime ?' 70. sUryAbhadeva ne zramaNa bhagavAna mahAvIra se dharma-zravaNa kara hRdaya meM dhAraNa kiyA aura harSita satuSTa evaM AhlAdita huA / apane Asana se khaDe hokara usane zramaNa bhagavAna mahAvIra ko vandana - namaskAra kiyA aura isa prakAra prazna pUchA "bhagavan ! maiM sUryAbhadeva (1) bhavasiddhika- (bhavya ) haeNU athavA abhavasiddhika- (abhavya ) hU~ ? (2) samyagdRSTi hU~ yA mithyAdRSTi haeNU ? (3) paritta saMsArI - (parimita kAla taka saMsAra meM bhramaNa karane vAlA) haeNU athavA ananta sasArI - ( ananta kAla taka saMsAra me bhramaNa karane vAlA) hU~? (4) sulabhabodhi- (saralatA se samyagjJAna-darzana kI prApti karane vAlA) haeNU athavA durlabhabodhi hU~ ? (5) ArAdhaka - ( jJAna - darzana - cAritrabodhi kI ArAdhanA karane vAlA) hU~ athavA virAdhaka hU~ ? (6) caramazarIrI haeNU athavA acaramazarIrI haeNU ?" QUESTION OF SURYABH DEV AND ITS ANSWER 70. After listening to the spiritual discourse of Bhagavan Mahavir, Suryabh Dev drooled on it, felt pleased, satisfied, overjoyed and accepted it. He then got up from his seat, bowed to Bhagavan Mahavir in respect and asked rAyapaseNiyasUtra (68) For Private Personal Use Only Rai-paseniya Sutra

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* * * * NAI POPALOVAC . Het "O Reverend Sir !(1) Am I, Suryabh Dev, fit for salvation or am I not so ? (2) Am I observer of true belief or of false belief ? (3) Am I going to have specified number of births before attaining liberation ram I going to have unlimited births? (4) Am I going to have true o knowledge easily or with extremely great difficulty ? (5) Am I a true follower of the order or not? (6) Is the present life-span my last life in this mundane world or am I going to have rebirth in this world ?" vivecana-prastuta prazno me bhavya jIvo kI carama lakSya prApta karane kI bhAvanA kA nidarzana hai| yadyapi MMO sasArI jIva anAdikAla se sasAra me paribhramaNa karate A rahe hai. paranta cAhate yahI hai ki hama aisI sthiti prApta kare ki jisake pazcAt na to punarjanma ho aura na punaHmaraNa ho| kintu yaha AkAkSA usI kI saphala hotI hai jisa jIva me mukta hone kI yogyatA ho aura yogyatA usI me pAI jAtI hai jo bhavya ho arthAt kAlAntara me kabhI na kabhI jise mukti avazya prApta hogii| vipula Rddhi aura vaibhava prApta karake bhI sUryAbhadeva ke antara hRdaya meM inase saMtuSTi nahIM hai| vaha ina bhogo se virakta hokara mukti pAne ke lie utsuka thaa| isalie usane bhagavAna se apanI AtmA ke kalyANa se sambandhita chaha prazna pUche hai| sUryAbhadeva ne sarvaprathama bhagavAna ke samakSa yahI jijJAsA vyakta kI ki "he a bhagavan / mai mukti prApta karane kI yogyatA vAlA-bhavya hU~ athavA nahI hU~ ?' usakI yaha jijJAsA hI usake bhavya hone kI sUcaka hai, kyoki abhavya jIva ke mana me to saMsAra se * mukti pAne kI AkAkSA hI utpanna nahIM hotI hai| ___ yogyatA hone para bhI mukti tabhI prApta ho sakatI hai jaba samyak zraddhA ho| samyak zraddhA ke binA bhavya * jIva bhI mukti prApta nahI kara sktaa| isa tathya ko samajhane ke lie sUryAbhadeva ne dUsarA prazna pUchA-"mai * samyagdRSTi hU~ athavA nahI hU~ ?' * samyagdRSTi jIva bhI ananta kAla taka sasAra me paribhramaNa karane vAle ho sakate hai| isI tathya ko * jAnane ke lie vaha pUchatA hai-"he bhagavan / mai parimita kAla taka sasAra bhramaNa karane vAlA hU~ athavA * ananta kAla taka mujhe saMsAra me bhramaNa karanA paDegA?'' * sulabhabodhi hone para bhI aneka jIva samyagjJAna Adi kI yathAvidhi ArAdhanA karane me samartha nahI ho pAte hai| ve lokaiSaNAo, parISaha, upasargo Adi ke kAraNa ArAdhanA se vicalita hokara sasAra me bhaTaka jAte hai| ataH sUryAbhadeva ne bhagavAna se pUchA-"mai dharma kA ArAdhaka hI rahU~gA athavA dharmamArga se bhaTaka jAU~gA?" aura sabase anta me apanI samasta jijJAsAo kA niSkarSa jAnane ke lie utsukatA se pUchA hai ki ) "bhavya, sulabhabodhi, ArAdhaka Adi hone para bhI mujhe kyA mukti-prApti kI kAla-labdhi (upayukta samaya) prApta ho cukI hai ? saMsAra me rahane kA merA isake bAda kA bhava antima hai athavA aura dUsare bhI bhavAntara zeSa hai?" ye sabhI prazna sUryAbhadeva kI dharma-ruci aura mokSa-prApti kI tIvra abhilASA prakaTa karate hai| * sUryAbha varNana (69) Description of Suryabh Dev ON DSXXX * M 500

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Elaboration-In the above said questions, the keen desire of the blessed souls to attain their goal of salvation is exhibited Although the mundane souls are passing through the cycle of birth and death in this world since beginning-less period, yet they wish to attain such a state whereafter they should not have rebirth in this world leading again to death. But this desire can be fulfilled only of those who have fitness to obtain liberation Such fitness can be noticed only in those who are Bhavya. In other words who in the later period, may be after many-many births are certainly going to attain liberation. Suryabh Dev possessed great wealth and a big family. Yet he was not satisfied in his mind. He was keen to get detached from worldly enjoyments and obtain beatitude. So he made six queries to the Lord about his welfare. Suryabh Dev, first of all raised the question--"Whether he is fit to obtain liberation or not?" His, this very query, indicates that he is Bhavya-he has requisite fitness. The souls that are unfit to obtain liberation (Abhavya) never have any desire to attain liberation from this mundane world. Even if one has requisite fitness, one can attain liberation only if he has right faith. Without right faith even Bhavya souls cannot attain salvation. In order to seek clarification on this issue, Suryabh Dev put up the second question "Whether he has right faith or is a victim of false faith?" Even the souls having right faith can pass through the cycle of birth and death for unlimited period. In order to be clear on this issue, Suryabhdev further asks-"Whether he is going to pass through worldly cycle of birth and death for a limited period or for an unlimited period ?" All the souls who grasp true spiritual knowledge easily, cannot put it into practice strictly according to the order. They become a prey to worldly desires, unforeseen troubles and therefore they go astray from the true path. So Suryabh Dev asked-"Whether he shall remain a true follower of Dharma or he shall go astray In the end, in order to know the final goal of his queries, he curiously asks-"If being fit for liberation (Bhavya), prone to attain true spiritual knowledge easily (Sulabhbodhi) and true follower of spiritual path, he had actually reached the time period wherein he shall certainly attain liberation. He asks whether it is his last span of worldly life or whether still he has to undergo several life-spans before attaining salvation ?" yyp All these questions indicate intense desire of Suryabh Dev for spiritual study and attaining liberation. rAyapaseNiyasUtra (70) For Private Personal Use Only Rai-paseniya Sutra

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bhagavAna mahAvIra dvArA samAdhAna 71. 'sUriyAbhA' i samaNe bhagavaM mahAvIre sUriyAbhaM devaM evaM vayAsIsUriyAmA ! tumaM NaM bhavasiddhie no abhavasiddhie jAva carime No acrime| 71. sUryAbhadeva ko sambodhita kara zramaNa bhagavAna mahAvIra ne isa prakAra uttara diyA "he sUryAbha ! tuma bhavasiddhika ho, abhavasiddhika nahIM ho yAvat caramazarIrI ho arthAt isa bhava ke pazcAt kA tumhArA manuSyabhava antima hogA, acaramazarIrI nahIM ho|" REPLY OF BHAGAVAN MAHAVIR TO THE QUERIES ___71. Bhagavan Mahavir addressed Suryabh Dev as under "O Suryabh Dev ! You are fit for liberation (Bhavsiddhik), you are not unfit for it; ultimately you are Charam Shareeri (passing through final celestial life-span). In other words after this life-span, your human birth shall be the final one. You are not going to undergo any further mundane worldly lives." sUryAbhadeva dvArA manobhAvanA kA nivedana 72. tae NaM se sUriyAbhe deve samaNeNaM bhagavayA mahAvIreNaM evaM vutte samANe hadvatuTTha cittamANadie paramasoNassie samaNaM bhagavaMtaM mahAvIraM vaMdati namaMsati, vaMdittA namaMsittA evaM vayAsI tubhe NaM bhaMte ! savvaM jANaha, sav pAsaha, savvaM kAlaM jANaha, sab kAlaM pAsaha, sabve bhAve jANaha, save bhAve paash|| jANaMti NaM devANuppiyA ! mama puS ivA pacchA vA mama eyArUvaM divyaM deviDDhi divyaM devajuI divvaM devANubhAvaM laddhaM pattaM abhisamaNNAgayaM ti| taM icchAmi NaM devANuppiyANaM bhattiyuvvagaM goyamAiyANaM samaNANaM niggaMthANaM divvaM deviDDhi divvaM devajuiM divvaM devANubhAvaM divvaM battIsaibaddhaM naTTavihiM uvdNsitte| ___72. zramaNa bhagavAna mahAvIra ke isa kathana ko sunakara sUryAbhadeva ne harSita, santuSTa citta, Anandita aura parama prasanna hote hue zramaNa bhagavAna mahAvIra ko vandana-namaskAra kiyA aura vandana-namaskAra karake isa prakAra nivedana kiyAsUryAbha varNana Description of Suryabh Dev (71) BEHSOBVGOVERYGODHEORGAVADAVROAVAOAVAOAVAIVAON M MM"*"*

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"he bhadanta ! Apa saba jAnate hai aura saba dekhate haiM, sarvatra loka-aloka meM vidyamAna samasta padArthoM ko jAnate haiM aura dekhate haiN| sarva kAla-bhUta, bhaviSya, vartamAna ko Apa jAnate aura dekhate haiM; sarva bhAvo (paryAyoM) ko Apa jAnate aura dekhate haiN| kI ataeva he devAnupriya / pUrva ke aura Age ke bhava ko Apa jAnate haiM tathA mujhe jo yaha OM divya devaRddhi Adi prApta eva adhigata huI hai, isako bhI jAnate aura dekhate haiN| ataeva * Apa devAnupriya kI bhaktivaza hokara mai cAhatA hU~ ki gautama Adi nirgranthoM ke samakSa isa divya devaRddhi (aizvarya-sampadA), divya devadyuti (zarIra va AbhUSaNoM kI dIpti-kAMticamaka), divya devAnubhAva-(teja aura adbhuta-zakti-sAmarthya) tathA battIsa prakAra kI divya nATyavidhi-nATyakalA ko pradarzita kruuN|' REQUEST OF SURYABH DEV 72. At this reply of Bhagavan Mahavir Suryabh Dev was pleased, satisfied, overjoyed and in a fit of ecstatic pleasure, he bowed to Bhagavan Mahavir. Thereafter, he requested as under___"O the Reverend Sir | You are omniscient, you know every thing, you know and see all the substances in the world (Lok) and the world beyond (Alok). You know and see all the events and state in the past, present and future. You know all the modes. ____Therefore, O the beloved of gods (Devanupriya) ! You know my previous life-span and the future life-span You also know the cause of my present celestial state and grandeur. So, expressing my deep devotion towards you, I wish to exhibit before Gautam and other saints (Nirgranths) of the order, the celestial wealth, godly ghtness (of celestial bodies and ornaments) heavenly strength and thirty two types of theatrical performances." 73. tae NaM samaNe bhagavaM mahAvIre sUriyAbheNaM deveNaM evaM vutte samANe sUriyAbhassa devassa eyamaDhe No ADhAti, No pAriyANati, tusiNIe sNcitttthti| 73. sUryAbhadeva ke isa prakAra nivedana karane para zramaNa bhagavAna mahAvIra ne sUryAbhadeva ke isa kathana kA Adara nahI kiyaa| usakI anumodanA nahI kI, kintu ve mauna rhe| 73. Bhagavan Mahavir did not pay any attention to this request of Suryabh Dev. He did not support it. He remained silent. rAyapaseNiyasUtra (72) Rar-paseniya Sutra

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* vivecana-sUryAbhadeva bhagavAna mahAvIra ke darzana karane ke lie apanI samasta devaRddhi va vaibhava ke sAtha AtA hai aura Akara apanA paricaya dekara bhagavAna kI vandanA karatA hai| bhagavAna ise usakA paramparAgata AcAra, vyavahAra batAkara eka prakAra se anumodana karate hai, parantu jaba vaha bhagavAna ke samakSa apanI umaDatI bhakti kA pradarzana karane ke lie apanI Rddhi, vaibhava, sAmarthya batAne ke lie nATya sagIta kalA kA sahArA letA hai aura battIsa prakAra ke nATaka pradarzita karane kI anumati mAMgatA hai to bhagavAna usake isa kathana kA anumodana yA sanmAna nahI karake mauna rahate hai| ___ bhakti ke do rUpa haiM-eka Abhyantara bhakti, jo ArAdhya ke caritra kA athavA usake upadezo kA anusaraNa karane kA mArga hai| dUsarA bAhya bhkti| aise bhakta ArAdhya ke ArAdhaka nahI kevala prazasaka hote hai, ve bhakti kA bAhya pradarzana karake hI satoSa mAnate hai| ___yadi sUryAbhadeva bhakti me DUbakara tyAga pratyAkhyAna karane ko tatpara hotA to anya prasaMgo kI taraha bhagavAna usakA anumodana karate aura kahate-"jahA suhaM devANuppiyA mA paDibaMdha kreh|''- "he devAnupriya / jaisA sukha ho vaisA karo, zubha kArya me vilamba mata kro|" kintu jahA~ tyAga ke sthAna para zakti va aizvarya ke pradarzana kA prasaga AtA hai vahA~ bhagavAna kisI bhI bhakta ko usake pradarzana kI anumati nahI dete, na hI usakI anumodanA karate hai, yaha tathya yahA~ dhyAna dene yogya hai| Elaboration--Suryabh Dev comes to Bhagavan Mahavir with his entire celestial wealth and encourage in order to see him He bows to Bhagavan and introduces himself Bhagavan accepts it as his traditioned behaviour and conduct and therefore supports his action But when, in order to exhibit his deep devotion, he mentions his celestial family, his wealth, his strength and seeks permission to present thirty two types of dramatic arts, Bhagavan Mahavir does not support his conduct and remains silent. Two Facets of Devotion-Inner Devotion--This devotion impels one to follow the conduct and the teaching of his Lord The second one is External Devotion. Such devotees are not true followers. They just praise the Lord They remain contented just by exhibiting their devotion to the public In case Suryabh Dev, in his deep devotion, offered himself for any restraints, Bhagavan Mahavir would have supported his conduct as he had done at other occasions. He would have said--"O the Blessed ! what pleases you Do no delay in translating noble words into action." But when instead of restraints, the request is for exhibiting strength or wealth, Bhagavan, does not grant permission for it to any devotee. He does not even support it. This fact is worth consideration. 74. tae NaM se sUriyAbhe deve samaNaM bhagavaM mahAvIraM doccaM pi taccaM pi evaM vayAsI K meM sUryAbha varNa (73) Description of Suryabh Dev

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tubbhe NaM bhaMte ! savvaM jANaha jAva uvadaMsittae tti kaTTa samaNaM bhagavaM tikkhutto AyAhiNaM payAhiNaM karei, karittA vaMdati namasati, vaMdittA namaMsittA uttarapurathimaM disIbhAgaM avakkamati, avakkamittA veubviyasamugdhAeNaM samohaNati, samohaNittA saMkhijjAI joyaNAI daMDaM nissirati, ahAbAyare puggale parisAu~ti, parisADittA ahAsuhume puggale pariyayaMti, pariyAittA doccaM pi viubbiyasamugghAeNaM jAva bahusamaramaNijjaM bhUmibhAgaM viuvvti| se jahAnAmae AliMgapukkhare i vA jAva maNINaM phaaso| __tassa NaM bahusamaramaNijjassa bhUmibhAgassa bahumajjhadesabhAge picchAgharamaNDavaM viuvvati aNegakhaMbhasayasaMnividdhaM vnnnno| aMto bahusamaramaNijjaM bhUmibhAgaM ulloyaM akkhADagaM ca maNipeDhiyaM ca viuvyti| tIse NaM maNipeDhiyAe uvari sIhAsaNaM saparivAraM jAva dAmA citttthnti| ___74. tatpazcAt sUryAbhadeva ne dUsarI aura tIsarI bAra bhI punaH isI prakAra se zramaNa bhagavAna mahAvIra se nivedana kiyA "he bhagavan ! Apa saba jAnate hai Adi (sUtra 72 ke anusAra) yAvat nATyavidhi pradarzita karanA cAhatA huuN|" isa prakAra kahakara usane dAhinI ora se prArambha kara zramaNa bhagavAna mahAvIra kI tIna bAra pradakSiNA kii| pradakSiNA karake vandana-namaskAra kiyA aura vandana-namaskAra karake uttara-pUrva dizA meM gyaa| vahA~ jAkara vaikriya samudghAta karake saMkhyAta yojana lambA daNDa nikaalaa| yathAbAdara (asAra) pudgalo ko dUra karake yathAsUkSma (sArabhUta) pudgaloM ko grahaNa kiyaa| isake bAda punaH dubArA vaikriya samudghAta karake yAvat atyanta sama aura ramaNIya bhUmibhAga kI racanA kii| jo pUrva varNita AliMga puSkara Adi ke samAna sarva prakAra se samatala yAvat rUpa, rasa, gaMdha aura sparza vAle maNiyoM se suzobhita thaa| (sUtra 31 se 44 taka ke varNana ke anusAra) usa atyanta sama aura ramaNIya bhUmibhAga ke madhya meM eka prekSAgRha maMDapa-(nATakazAlA) kI racanA kii| vaha aneka saikar3oM stambho para sthita thA ityAdi varNana pUrva ke samAna jAnanA caahie| (sUtra 45-46 ke anusAra) usa prekSAgRha maMDapa ke andara atIva samatala, ramaNIya bhUmibhAga, candevA (cA~danI), raMgamaca aura maNipIThikA kI vikurvaNA kii| usa maNipIThikA ke Upara usane pAdapITha, chatra Adi se yukta siMhAsana kI racanA kI yAvat usakA UparI bhAga muktAdAmoM (motiyoM ke jhumakoM) se zobhita ho rahA thaa| (sUtra 47 se 52 ke anusAra) rAyapaseNiyasUtra Rai-paseniya Sutra * * * * * * * (74)

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74. Thereafter, Suryabh Dev repeated his request second time and again the third time. He humbly uttered "O the Reverend Sir ! You know (as already mentioned in aphorism 72 ) upto that I want to exhibit my dramatic skill." He then went round three times starting from the right side of Bhagavan, bowed to him, honoured him and then went in northeast direction. He then performed emanation of soul-particles in order to create fluid form (Vaikriya Samudghat) in the shape of a stick numerable yojans long. He removed gross molecules and collected subtle molecules. He again resorted to Vaikriya Samudghat and created extremely levelled and beautiful piece of land. It was Aaling Pushkar (already mentioned in aphorisms 31 to 44), levelled from all sides and studded with jewels of unique shine, smell, taste and touch. He created a theatre in the middle of that completely levelled and beautiful land. It was supported on several hundred pillars. Its description may be considered similar to the one earlier mentioned in aphorisms 45-46. He then created a completely levelled attractive space, a canopy, a stage and a platform studded with gems (mani-peethika) at the place for spectators. He further created a seat and umbrella bearing throne on that platform. Its upper part was decorated with pearl garlands (as in aphorisms 47 to 52). nRtya-racanA 75. tae NaM se sUriyA deve samaNassa bhagavao mahAvIrassa Alo paNAmaM karei, karitA 'aNujANa me bhagavaM', ti kaTTu sIhAsaNavaragae titthayarAbhimuhe saMNisaNNe / tae NaM se sUriyAbhe deve tappaDhamayAe nAnA- maNi - kaNaga- rayaNa vimala - mahAriha - niuNa oviya - misi - misiMta - viraiya - mahAbharaNa - kaDaga - tuDiyava bhUsajjalaM pIvaraM palaMbaM dAhiNaM bhuyaM pasAreti / tao NaM sarisayANaM sarittayANaM sarivvayANaM sarisalAvaNNa - rUva - jovvaNaguNovaveyANaM egAbharaNa - vasaNagahia - NijjoANaM duhato saMvelliyaggaNiyatthANaM uppIliyacittapaTTa pariya-rasapheNakAvattaraiya- saMgayapalaMbavatthaMta - cittacillalaga - niyaMsaNANaM sUryAbha varNana (75) For Private Personal Use Only Description of Suryabh Dev

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Ghw ra *'Sko *. PAS egAvali-kaNTha-raiya-sobhaMtavaccha-parihattha-bhUsaNANaM aTThasayaM NaTTasajjANaM OM devakumArANaM nniggcchti| 75. tatpazcAt usa sUryAbhadeva ne zramaNa bhagavAna mahAvIra kI ora dekhakara praNAma kiyA 2 aura praNAma karake kahA-"he bhagavan ! mujhe AjJA diijiye|'' phira tIrthakara kI ora mukha * karake usa zreSTha siMhAsana para sukhapUrvaka baiTha gyaa| isake pazcAt nATyavidhi prArambha karane ke lie usa sUryAbhadeva ne sarvaprathama nipuNa zilpiyoM dvArA banAye gaye aneka prakAra kI vimala maNiyoM, svarNa aura ratnoM se nirmita bhAgyazAliyoM ke yogya, dedIpyamAna, kaDe-bAjUbaMda Adi zreSTha AbhUSaNoM se vibhUSita ujjvala puSTa dIrgha dAhinI bhujA ko phailaayaa| * usa dAhinI bhujA se eka sau ATha devakumAra nikle| ve samAna zarIra-AkAra, samAna * raga-rUpa, samAna vaya, samAna lAvaNya, yuvocita guNo vAle, eka jaise AbharaNoM, vastroM aura * nATya upakaraNoM se susajjita the| kandhoM ke donoM ora laTakate palloM vAle uttarIya vastra (dupaTTe) oDhe hue the aura zarIra para raMga-biraMge vastra pahane hue jhAlarayukta citra-vicitra dedIpyamAna, laTakate adhovastroM (cogA) ko dhAraNa kiye hue the, jo havA kA jhoMkA lagane para phena jaisA pratIta ho rahA thaa| kaNTha eva vakSasthala ekAvalI Adi AbhUSaNoM se " zobhAyamAna ho rahe the| ve nRtya karane ke lie tatpara hue| DANCE CREATION 75. Thereafter Suryabh Dev turning towards Bhagavan Mahavir, saluted him and said--"O Reverend Sir ! Kindly allow me." He then sat on the throne facing Bhagavan Mahavir. Thereafter, in order to start the dancing activity, Suryabh Dev first of all spread his shining, well-built right arm. It was bearing shining thick bangles (Kare) and other ornaments prepared by expert jewellers. They were studded with gems, gold and jewels and were worthy of being worn by the fortunate ones. * One hundred eight young gods emanated from that right hand. * They were identical in physical outlook size, colour, beauty, age and youth pertaining qualities. They were wearing ornaments, clothes and theatrical articles of same type. They were having pieces of cloth hanging down fun both the shoulders. They were wearing clothes of different colours. Their gowns were having marginal lace kiskiraKAKHS557 rAyapaseNiyasUtra (76) Rar-paseniya Sutra ex

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and embroidered pictures. At the movement of the wind, the gown was looking like foam. They were ready for dancing performance. 76. tayaNaMtaraM ca NaM nAnAmaNi jAva pIvaraM palaMbaM vAmaM bhuyaM psaareti| ___ tao NaM sarisayANaM, sarittayANaM, sarivvayANaM, sarisalAvaNNa-rUvajovvaNaguNovaveyANaM, egAbharaNa-vasaNagahia NijjoANaM duhato saMvelliyaggaNiyatthANaM AviddhatilayAmelANaM piNaddhagevejja-kaMcuINaM nAnAmaNi-rayaNabhUsaNa virAiyaMgamaMgANaM caMdaddhasamanilADANaM caMdAhiyasomadaMsaNANaM ukkA iva ujjovemANINaM siMgArAgAracAruvesANaM saMgayagaya-hasiya bhaNiya-ciTThaya vilAsa-laliyasaMlAvaniUNa-juttovayArakusalANaM, gahiyAujjANaM aTThasayaM naTTasajjANaM devakumAriyANaM nniggcchi| 76. pazcAt sUryAbhadeva ne aneka prakAra kI maNiyo Adi ke AbhUSaNoM se vibhUSita * yAvat pIvara-puSTa evaM lambI bAyI bhujA ko phailaayaa| usa bhujA se samAna zarIra vAlI, samAna raga, samAna vaya, samAna lAvaNya-rUpa-yauvana guNo vAlI, eka jaise AbhUSaNo va dono ora laTakate palleyukta uttarIya vastroM aura * nATyopakaraNoM se susajjita, lalATa para tilaka, mastaka para Amela (phUloM se bane mukuTa * jaise zirobhUSaNa), gale meM graiveyaka aura kacukI vastroM ko dhAraNa kiye hue aneka prakAra ke 0 maNi-ratno ke AbhUSaNo se zobhita sundara aga-pratyago vAlI candramukhI, candra ke samAna lalATa vAlI, candramA se bhI adhika saumya dikhAI dene vAlI, ulkA ke samAna camakatI, + zRgAra ke ghara ke samAna cAru-sundara veza vAlI, haeNsane-bolane Adi me paTu, nRtya karane ke * lie tatpara eka sau ATha devakumAriyA~ nikliiN| 76. Thereafter Suryabh Dev stretched his left arm which was wearing ornaments studded with many types of gems. It was long and well-built. He emanated with fluid molecules one hundred eight fairies, who were expert in talking, dancing and creating humour. They were identical in physical outlook, complexion, age, beauty youth like qualities and were wearing same type of ornaments and a dancing apparel. They were having vermillion mark on forehead, to the head ornament, the necklace, the bodice and orriaments studded with gems and jewels on various parts of their body. They were having moon-like face and forehead and were looking more Rels.ske.sksikssaiks.kesakseskie.ke.ske.ske.ke.ske.ke.ske.ke.ke.sekseeks.ke.ske.ke.ske.ske.ske.skosskssaks.odesaks.skrian ra sUryAbha varNana (77) Description of Suryabh Dev

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attractive than the moon. They were shining like sparks of fire. They were dressed beautifully like a bride. vAdyoM aura vAdyavAdakoM kI racanA 77. tae NaM se sUriyAbhe deve aTThasayaM saMkhANaM viuvyti| aTThasayaM saMkhavAyANaM viuvvai; a. siMgANaM vi., a. siMgavAyANaM vi., a. saMkhiyANaM vi., a. sakhiyavAyANaM vi., a. kharamahINaM vi., a. kharamahivAyANaM vi., a. peyANaM vi., a. peyAvAyagANaM vi., a. pIripIriyANaM vi., a. pIripIriyAvAyagANaM viuvvti| __evamAiyAiM egUNapaNNaM AujjavihANAI viubbi| ____ a. pada se 'aTThasayaM' zabda kA saMketa kiyA hai tathA vi. pada 'viuvvati' zabda kA bodhaka hai| 77. tatpazcAta usa sUryAbhadeva ne eka sau ATha zaMkho kI aura eka sau ATha zaMkhavAdako kI vikurvaNA kii| isI prakAra se eka sau ATha-eka sau ATha zRMgoM-raNasiMgoM aura unake bajAne vAloM kI, zaMkhikAoM (choTe zaMkhoM) aura unake vAdakoM kI, kharamukhiyoM aura unake - vAdakoM kI, peyoM (nagAr3oM) aura unake vAdakoM kI, piripirikAoM aura unake vAdakoM kI vikurvaNA kii| isa taraha kula milAkara unacAsa prakAra ke vAdyoM aura unake bajAne vAlo kI vikurvaNA kii| CREATION OF MUSICIANS AND MUSICAL INSTRUMENTS 77. Thereafter Suryabh Dev created one hundred eight conches and conch blowers, one hundred eight horns and horn blowers, one hundred eight small conches and their blowers, one hundred eight musical instruments (Kharmuheenam) and their players, the drums and the drummers, one hundred eight special music instruments (Piripirikas) and their players. Thus he created forty nine types of musical instruments and the musicians for each of them. vivecana-prastuta sUtra me piripirikA paryanta vAdyo ke nAmo kA ullekha hai| zeSa ke nAma yathAsthAna * Age ke sUtroM me Aye haiM ve isa prakAra hai (1) zaMkha, (2) zRga (raNasigA), (3) zakhikA (choTe zakha), (4) kharamukhI, (5) peyA (nagADA), (6) piripirikA, (7) paNava-Dhola, (8) paTaha-nagADA, (9) bhaMbhA, (10) horambha, (11) bherI, 6 (12) jhAlara, (13) dundubhi, (14) muraja, (15) mRdaga, (16) nandImRdaMga, (17) Aliga, KINKINKS - rAyapaseNiyasUtra (78) Rai-pasentya Sutra

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Kia Kim 69000069-800MRODA GDH " (18) kustubA, (19) gomukhI, (20) mAdalA, (21) vINA, (22) vipacI, (23) vallakI, (24) SaDbhrAmarI vINA, (25) bhrAmarI vINA, (26) vadhvIsA, (27) parivAdinI vINA, (28) sughoSa ghaTA, (29) nandIghoSa ghaTA, (30) sau tAra kI vINA, (31) kAchavI vINA, (32) citra vINA, (33) AmoTa, (34) jhajhA, (35) nakula, (36) tUNa, (37) tuMba vINA-tambUrA, (38) mukunda-muraja sarIkhA eka vAdya vizeSa, (39) huDukka, (40) vicikkI, (41) karaTI, (42) DiDima, (43) kiNika, (44) kaDaba, (45) dardara, (46) dardarikA, (47) kalazikA, (48) maDakka, (49) tala, (50) tAla, (51) kAsya tAla, (52) riMgarisikA, (53) lattikA, (54) makarikA, (55) zizumArikA, OM (56) vAlI, (57) veNu, (58) parilI, (59) bddhk| yadyapi mUla sUtra pATha me vAdyo kI sakhyA unacAsa batAI hai, parantu gaNanA karane para unakI sakhyA unasaTha hotI hai| TIkAkAra ne isakA samAdhAna karate hue likhA hai- "ina vAdyoM ke mUla bheda to unacAsa hI hai| zeSa unake avAntara bheda hai|" __Upara diye gaye vAdya nAmo me se kucha eka ke nAma spaSTa jJAta nahI hote hai ki vartamAna me unakI kyA sajJA hai ? TIkAkAra AcArya ne bhI lokagamya kahakara inakI vyAkhyA nahIM kI hai| ina vAdyo ke nAmo kA ullekha Agama sAhitya me aneka sthAno para milatA hai| jaise jambUdvIpa prajJapti (vijayadeva prakaraNa) sUtrakRtAga Adi tathA zArgadhara ke sagIta ratnAkara va bharata nATyam me va mahAbhArata " me bhI aneka prakAra ke vAdyo kA varNana milatA hai| kalyANa mAsika ke hindU saskRti aka me bhI ina * vAdyo ke viSaya me acchI jAnakArI dI gaI hai| isa varNana se patA calatA hai ki prAcInakAla me bhArata me * sagIta eva nRtyakalA bahuta ucca-stara para vikasita thI aura aneka prakAra ke vAdya yatro kA nirmANa karane K me yahA~ ke kArIgara siddhahasta the| Elaboration--In the present aphorism, the names of musical instruments upto Piripirika have been mentioned. The names of other musical instruments have been mentioned at their respective places in The other aphorism. They are as under ___ (1) Conch, (2) Horn, (3) Small conch, (4) Kharmukhi, (5) Drum, (6) Bamboo flute, (7) Small drum, (8) Pateh, (9) Dhaphali (Bhambha), (10) Horambh, (11) Drum (Bheri), (12) Jhalar (a musical instrument narrow in the middle but flat and round at the two ends), (13) Dundubhi (a big drum), (14) Muraj, (15) Mridang (drum), (16) Nandi-mridang TE (a kind of drum), (17) Tabor (Aaling), (18) Kutumb (Harmonium like), (19) Wind instrument (Gomukhi), (20) Maadala, (21) Lute, (22) Vipanchi (stringed musical instrument), (23) Vallaki (lute type), (24) Shat-bhramari, (25) Bhramari, (26) Vadhveesa, (27) Parivadini (lutes), (28) Sughosh, (29) Nandighosh bells, (30) Hundred stringed lute, (31) Kachhavi, 9 (32) Guitar (Chitt), (33) Aamot, (34) Jhanjha, (35) Nakul, (36) Toon, 8 (37) Tamboora, (38) Mura], (39) Huhukk, (40) Vichikki (drums), OFQOYAT OURPoli - sUryAbha varNana Description of Suryabh Deve (o (79) POHORIPOTOHORTHORTHAN emergency Tom R

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* Goo c acion VAO (41) Karti, (42) Dindim (small drum), (43) Kinik, (44) Kadamb, (45) Dardar, (46) Dardrika, (47) Kalashika, (48) Madakk, (49) Tal, (50) Taal (cymbals), (51) Kansya Taal, (52) Ringrisika. (53) Lattika R (cymbals). (54), Makrika, (55) Shishumarika, (56) Vali, (57) Venu, (58) Parili, (59) Vadhhak In the aphorism the musical instruments are mentioned of forty nine types But on actual counting their number is fifty nine The commentator has resolved this difference by pointing out that "Basically they are of forty nine types and the remaining are sub-types" Out of the above mentioned names. It is not known about of some of them what instruments represent them at present. The commentator is also silent on this issue. The names of these musical instruments appear at several places in the scriptures (Agam) for instance in Vijay Dev chapter of Jambu Dveep Prajnapti, in Sutrakritanga and others Many types of musical instruments find mention in Sangeet Ratnakar by Shaar-gandhar, in Bharat Natyam and in Mahabharat. A good and valuable information about such musical instruments is available in the issue of Hindu Culture of Kalyan-a monthly magazine. This description indicates that the knowledge in the field of music and dance was of a high order and very much developed in ancient India. Further the experts then were well trained in preparing musical instruments of various types sUryAbhadeva dvArA nRtya-gAna-vAdana kA Adeza ___78. tae NaM te bahave devakumArA ya devakumAriyAo ya sddaaveti| ___tae NaM te bahave devakumArA ya devakumArIo ya sUriyAbheNaM deveNaM saddAviyA samANA haTTa jAva jeNeva sUriyAbhe deve teNeva uvAgacchaMti, teNeva uvAgacchittA sUriyAbhaM devaM karayalapariggahiyaM jAva vaddhAvittA evaM vayAsI-"saMdisaMtu NaM devANuppiyA ! jaM amheMhi kaayvvN|' 78. taduparAnta sUryAbhadeva ne una devakumAro tathA devakumAriyo ko apane pAsa bulaayaa| ve devakumAra aura devakumAriyA~ harSita hokara yAvat sUryAbhadeva ke pAsa Aye aura dono hAtha joDakara abhinandana kara sUryAbhadeva se vinayapUrvaka bole-"he devAnupriya / hame jo OM karanA hai, usakI AjJA diijiye|" rAyapaseNiyasUtra (80) Ral-paseniya Sutra PRODROPRODARO9-09-20906940980PATOPAROSAROPAROPARDARDAROPARBA

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UNT samavasaraNa meM nATya pradarzana HAK-62 THAN AAP ANCIAS %DR % 3D - .- : : bhagavAna ko vandanA - -.TTY -- Harhi STER M tA INE

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| citra paricaya-4 / Illustration No. 4 samavasaraNa meM nATya-pradarzana zramaNa bhagavAna mahAvIra kI dharmadezanA sunane ke pazcAt sUryAbhadeva ne nivedana kiyA-"bhante / mai * ApakI bhaktivaza gautamAdi zramaNo ke samakSa apanI divya devaRddhi tathA battIsa prakAra kI nATyakalA kA pradarzana karanA cAhatA huuN|" bhagavAna mauna rhe| mauna ko svIkRti mAnakara bhagavAna ke sammukha eka sihAsana para baiThakara apanI dAhinI bhujA phailAkara eka sau ATha deva kumAra nikaale| phira bAyI bhujA se eka sau ATha deva kumAriyA~ ka nikaalii| sabhI eka samAna rUpa-lAvaNya zobhAyukta thiiN| usake pazcAt nRtya-gAyana vAditra me upayogI vividha upakaraNa Adi kI vikurvaNA karake deva kumAro va deva kumAriyoM ko AjJA dI- "bhagavAna mahAvIra tathA gautamAdi zramaNa nirgrantho ko tIna pradakSiNAyukta vandanA karake battIsa prakAra kI nATyakalA kA pradarzana kro|'' AjJA pAkara sabhI deva kumAra eva deva kumAriyA~ tIna bAra jhukakara phira sIdhe khaDe hokara bhagavAna mahAvIra tathA zramaNo ko vandanA karate hai| -sUtra 72-81, pRSTha 71-81 ame.ke.ske.ske.ske.ke.ske.kesaks.ske.ke.ske.ske.ske.odeos.ske.ke.ske.sis.ke.ske.ke.sks.ske.ke.siseksiks.ke.sakse.st THEATRICAL PERFORMANCE IN THE SAMAVASARAN After listening to the discourse of Bhagavan Mahavir, Suryabh Dev said-"Bhante ! I wish to exhibit before Gautam and other saints the celestial wealth and thirty two types of theatrical performances" Bhagavan remained silent Taking his silence to be his consent, Suryabh Dev sat on a throne facing Bhagavan, extended his right arm and produced one hundred and eight young gods He then extended his left arm and produced one hundred and eight divine damsel's They were all equally beautiful and charming Thereafter he created a variety of musical instruments and instructed the young gods and damsels-"Pay homage to Bhagavan Mahavir, Gautam and other Shramans after going around them three times and then present thirty two types of performances" At this command all the young gods and damsels bow and get straight three times and offer salutations to Bhagavan Mahavir and the Shramans -~-Sutras 72-81, p 71-81

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ORDERS OF SURYABH DEV FOR DANCE, SINGING AND MUSIC 78. Thereafter Suryabh Dev called the young gods and goddesses. The gods and goddesses came to him cheerfully. They folded their hands humbly in his honour and sought his orders for assigning than their duties. ___ 79. tae NaM se sUriyAbhe deve te bahave devakumArA ya devakumArIo ya evaM vayAsI gacchaha NaM tubbhe devANuppiyA ! samaNaM bhagavaMtaM mahAvIraM tikkhutto AyAhiNa-payAhiNa, kareha, karittA vaMdaha namaMsaha, vaMdittA namaMsittA goyamAiyANaM samaNANaM niggaMthANaM taM divya deviDDhiM divvaM devajutiM divvaM devANubhAvaM, divvaM battIsaibaddhaM NaTTavihiM uvadaMseha, uvadaMsittA khippAmeva eymaannttiy| ___79. taba sUryAbhadeva ne una devakumAroM aura devakumAriyoM se isa prakAra kahA "he devAnupriyo / tuma sabhI zramaNa bhagavAna mahAvIra ke pAsa jAo aura unakI __AdakSiNa-pradakSiNA kro| vandana-namaskAra kro| vandana-namaskAra karake gautamAdi zramaNa nirgrantho ke samakSa divya devaRddhi, divya devadhuti, divya devAnubhAva vAlI battIsa prakAra kI divya nATyavidhi kA pradarzana kro| zIghra hI merI isa AjJA kA pAlana kara mujhe sUcita kro|" 79 Then Suryabh Dev addressed them as under___ "O the blessed ! All of you go to Shraman Bhagavan Mahavir,er move around him in his honour, bow to him and thereafter presente thirty two types of celestial dances fully exhibiting celestial wealth and grace in the presence of Gautam and other saints (Nirgranths). After executing these orders, you inform me." 80. tae NaM te bahave devakumArA devakumArIo ya sUriyAbheNaM deveNaM evaM vuttA samANA haTTha jAva karayala jAva pddisunnNti| ___ paDisuNittA jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchaMti, uvAgacchittA samaNaM bhagavaMtaM mahAvIraM jAva namaMsittA jeNeva goyamAdiyA samaNA niggaMthA teNeva uvaagcchNti| 80. taba ve sabhI devakumAra aura devakumAriyaoN sUryAbhadeva kI AjJA ko sunakara harSita hue| donoM ne hAtha joDakara AjJA ko svIkAra kiyaa| panie.sks is als.ske.siseaks wission is sks is always keepikcars.ske. vdscale anistakesake.esaka.skekeseksiksakas sUryAbha varNana (81) Description of Suryabh Deve

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svIkAra karake zramaNa bhagavAna mahAvIra ke pAsa aaye| Akara zramaNa bhagavAna mahAvIra ko namaskAra karake jahA~ gautama Adi zramaNa nirgrantha virAjamAna the, vahA~ aaye| 80. All the gods and goddesses felt pleased at this command and accepted the orders with folded hands. Thereafter they came to Bhagavan Mahavir, bowed to him and arrived at the place where Gautam was seated. 81. tae NaM te bahave devakumArA devakumArIo ya samAmeva samosaraNaM kareMti, karittA samAmeva avaNamaMti avaNamittA samAmeva unmNti| evaM sahiyAmeva onamaMti evaM sahiyAmeva unnmNti| sahiyAmeva uNNamittA saMgayAmeva onamaMti saMgayAmeva unnamaMti unnamittA thimiyAmeva oNamaMti thimiyAmeva unnmNti| samAmeva pasaraMti pasarittA, samAmeva AujjavihANAI gennhNti| samAmeva pavAeMsu " pagAiMsu pnncciNsu| 81. isake pazcAt ve sabhI devakumAra aura devakumAriyA~ paMktibaddha hokara eka sAtha a mile| milakara saba eka sAtha nIce name aura eka sAtha hI apanA mastaka Upara kara sIdhe a khar3e hue| isI krama se punaH sabhI eka sAtha milakara nIce name aura phira mastaka U~cA kara sIdhe khaDe hue| isI prakAra sIdhe khaDe hokara (punaH tIsarI bAra) nIce name aura phira sIdhe khar3e OM hue| khar3e hokara dhIme se kucha name aura phira sIdhe khar3e hue| phira khaDe hokara eka sAtha alaga-alaga phaila gaye aura phira yathAyogya nRtya-gAna Adi ke upakaraNoM, vAdyoM ko lekara eka sAtha hI bajAne lage, eka sAtha hI gAne lage aura eka sAtha nRtya karane lge| 81. Thereafter all of them stood in a row, bowed collectively in 9 respect and then raised their heads and stood erect. They repeated this benediction twice. Thereafter, while standing, they moved apart, took their respective musical instruments and started playing them in symphany. They also started singing and dancing together. nRtya-gAna Adi kA svarUpa 82. kiM te ? rAyapaseNiyasUtra (82) Rar-paseniya Sutra

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ureNaM maMdaM sireNa tAraM kaMTeNa vitAraM tivihaM tismyreyg-riyN| guMjA'vaMka-kuharovagU rattaM tiThANa-karaNasuddhaM sakuhara-guMjata vaMsa-taMtI-talatAla-laya-gahasusaMpauttaM mahuraM samaM salaliyaM maNoharaM miuribhiyapayasaMcAraM surai suNai varacArurUvaM divvaM NaTTasajjaM geyaM pagIyA vi hotthaa| 82. unakA saMgIta kisa prakAra kA thA? __ (unakA saMgIta) hRdayasthala se nikalate hue Adi meM manda-manda mUrdhA meM Ane para tAra* ucca svara vAlA aura kaMTha sthAna meM vizeSa tAra svara (uccatara dhvani) vAlA ho gayA thaa| * isa taraha tristhAna-samudgata (tIna sthAnoM se uThane vAlA) vaha saMgIta trisamaya recaka se * racita hone para trividha rUpa thaa| se saMgIta kI madhura pratidhvani se samasta prekSAgRha maNDapa gUMjane lagatA thaa| geya rAga-rAginI ke anurUpa thaa| tristhAna trikaraNa se zuddha thA, arthAt ura, sira evaM kaNTha me svara saMcAra 2 rUpa kriyA se zuddha thaa| gUMjatI huI bA~surI aura vINA ke svaroM se eka rUpa milA huA thaa| eka-dUsare kI bajatI hathelI (tAla) ke svara kA anusaraNa karatA thaa| muraja aura kazikA Adi vAdyoM kI jhaMkAroM tathA nartakoM ke pAdakSepa-Thumaka se barAbara mela khAtA thaa| vINA ke laya ke anurUpa thaa| vINA Adi vAdya dhunoM kA anukaraNa karane vAlA thaa| koyala kI kuhU-kuhU jaisA madhura tathA sarva prakAra se sama, salalita, manohara, mRdu, ribhita pada-saMcAra se yukta, zrotAoM ko ratikara, sukha dene vAlA aisA una nartakoM kA nRtyayukta viziSTa prakAra kA uttamottama saMgIta thaa| DESCRIPTION OF DANCE AND MUSIC 82. Of what type was that music ? Their music, starting from the heart was at a very low pitch in the beginning, of high pitch when it reached the head and still higher when it arrived at the throat. Thus the music was arising from three parts in the body. That music was in three steps and so * it was three-tier. The entire hall meant for spectators started echoing with sweet music. The tone was in accordance with the song and the musical instruments. It was purified as it was arising from three places namely heart, head and throat in respective order. It was in 9 harmony with the flute and the sitar (stringed instrument) being * sUryAbha varNana (83) Description of Suryabh Deve

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shoolololorsk.co. played. It was following the sound of striking palms of the hands. It was in harmony with the music of Muraj and Kanshika-the musical instruments. It was in line with Veena-the stringed musical instrument. It was in line with movement of the feet and their striking sound. It was sweet like the coo-coo sound of a nightingale. It was completely harmonious, sweet, pleasant, soft, systematic, attractive to the listeners. The music was of the excellent grade and was in line with the performance of the dancers. 83. kiM te ? uddhumaMtANaM saMkhANaM siMgANaM saMkhiyANaM kharamuhINaM peyANaM piripiriyANaM, AhammaMtANaM paNavANaM paDahANaM, apphAlijjamANANaM bhaMbhANaM horaMbhANaM, tAlijjatANaM bherINaM jhallarINaM duhINaM, AlavaMtANaM murayANaM muigANaM naMdImuiMgANaM, uttAlijjaMtANaM AliMgANaM kutuMbANaM gomuhINaM maddalANaM, mucchijjaMtANaM vINANaM vipaMcINaM vallakINaM / kuTTijjaMtANaM mahaMtINaM kacchabhINaM cittavINANaM, sArijjaMtANaM baddhIsANaM sughosANaM naMdighosANaM, phuTTijjaMtINaM bhAmarINaM chabbhAmarINaM parivAyaNINaM, chippaMtINaM tUNANaM tuMbavINANaM / AmoDijjaMtANaM AmotANaM jhaMjhANaM naulANaM, acchijjaMtINaM muguMdANaM huDukkINaM vicikkINaM, vAijjatANaM karaDANaM DiMDimANaM kiNiyANaM kaDambANaM / tADijjaMtANaM daddarigANaM daddaragANaM kutuMbANaM kalasiyANaM maDDayANaM, AtADijjaMtANaM talANaM tAlANaM kaMsatAlANaM, ghaTTijjaMtANaM riMgirisiyANaM lattiyANaM magariyANaM susumAriyANaM, phUmijjaMtANaM vaMsANaM velUNaM vAlINaM parillINaM baddhagANaM / 83. ve kyA karate the ? (madhura saMgIta - gAna ke sAtha-sAtha nRtya karane vAle una devakumAra aura kumArikAoM meM se) zaMkha, zRMga, zaMkhikA, kharamukhI, peyA, piripirikA ke vAdaka unheM uddhamAnita karatephU~kate; paNava aura paTaha para AghAta karate, bhabhA aura horaMbha para TaMkAra mArate. bherI, jhallarI aura dundubhi ko tADita karate ( bajAte), muraja, mRdaga aura nandImRdaMga kA AlApa te; Aliga, kustumba, gomukhI aura mAdala para uttADana karate; vINA, vipacI aura vallakI ko mUrcchita karate / rAyapaseNiyasUtra (84) For Private Personal Use Only Rai-paseniya Sutra

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mahatI vINA (sau tAra kI vINA), kacchabhI vINA aura citra vINA ko kUTate; baddhIsa, sughoSa, nandIghoSa kA sAraNa karate - bhAmarI - SaD bhAmarI aura parivAdanI vINA kA sphoTana karate, tUNa, tumba vINA kA sparza karate / AmoTa, jhAMjha, kumbha aura nakula ko AmoTate - paraspara TakarAte - khanakhanAte, mRdaMga, huDukka, vicikkI ko dhIme se chUte, karaDa, DiMDima, kiNita aura kaDamba ko bajAte / dardaraka, dardarikA, kutuMbaru, kalazikA, maDDa ko jora-jora se tAr3ita karate; tala, tAla, kAsya tAla ko dhIre se tAr3ita karate; riMgirisikA, lattikA, makarikA aura zizumArikA kA ghaTTana karate ( paraspara bhir3Ate); vaMzI, veNu, vAlI, parillI tathA baddhakoM ko phU~kate the / isa prakAra ve sabhI apane-apane vAdyoM ko bajA rahe the| 83. What were they doing ? (Out of the gods and goddesses, those who were dancing in tune with the sweet music.) There were those who were blowing conch, Phorn small conch, kharmukhi, drum, bamboo flute; some were beating big drums and some were playing drums of buffoon, beating * ardhafali; some were beating_drum (bheri), jhalar (musical Kinstrument ) narrow in the middle, dundubhi (a big drum), muraj, mridang, nandi-mridang (a kind of drum); some were playing on gtabor, kurumb, wind instruments, maadala; some were attached to lute, stringed instrument (vipanchi), lute like instrument (vallaki). Some were playing lute of hundred strings (mahati veena), a special type of lute (kachhabhi), a wonderful guitar with six strings (chitt veena); some were being playing special type of musical instrument (baddheesa ), emitting the sweet sound (sughosh), the deep sound of various types of lute namely bhamari--shat bhamari, oparivadini veena, toon and tumb veena. Some were twisting a little aamot, jhanjh, pitcher and nakul; some were slightly touching various types of drums namely amridang, huhukk, vichikki ; some were playing karad, small drum, kinit and kadamb. Some were beating dardarak, dardarika, kutumbaru, kalashika *M and mudd with force; some were playing softly tal, cymbals (taal), xbronze cymbals (kansya taal); some were softly striking ringi-risika, cymbals * ( lattika), magriya, crocodile shaped instrument sUryAbha varNana Description of Suryabh Dev (85) For Private Personal Use Only

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(shishumarika); some were blowing flutes of various types namely Evansha, venu, valee, parilli. Thus all of them were playing their respective instruments. 84. tae NaM se divye gIe, divva vAie, divce naTTe evaM abbhue siMgAre urAle maNunne * maNahare gIe maNahare naTTe maNahare vAie uppiMjalabhUe kahakahabhUe divve devaramaNe pavatte yA vi hotthaa| 84. isa prakAra vAdyoM ke sAtha vaha divya saMgIta, divya vAdana aura divya nRtya * AzcaryakArI-adbhuta, zRMgAra rasa se paripUrNa viziSTa guNayukta hone se darzakoM ke manonukUla * thaa| vaha manamohaka gIta, manohara nRtya aura manohara vAdya-vAdana sabhI ke citta meM spardhA-IrSyA * utpanna kara rahA thaa| darzakoM ke kahakahoM vAha-vAha ke kolAhala se nATyazAlA gUMja rahI thii| isa prakAra ve sabhI devakumAra aura kumArikAe~ divya deva krIr3A meM pravRtta ho rahe the| 84. Thus the grand music, instrumental and vocal and the dance was full of ecstatic dramatic skill and was in accordance with the taste of spectators. That unique performance was producing a feeling of competition and even jealousy in the entire audience. The theatre was resounding with the slogans of the audience in applause of the performance. Thus all the dancing gods and goddesses were engaged in celestial unique performance of their skill. nATyAbhinayoM kA pradarzana 85. tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao * mahAvIrassa sotthiyasirivaccha-naMdiyAvatta-vaddhamANaga-bhaddAsaNa-kalasa-maccha dappaNa " maMgallabhatticittaM NAmaM divvaM naTThavidhiM uvdNseNti| 85. tatpazcAt una devakumAroM aura kumArikAoM ne zramaNa bhagavAna mahAvIra evaM gautamAdi zramaNa nirgranthoM ke samakSa-(1) svastika, (2) zrIvatsa, (3) nandAvarta, (4) vardhamAnaka, (5) bhadrAsana, (6) kalaza, (7) matsya, aura (8) darpaNa, ina ATha maMgala dravyoM kA AkAra banAkara divya abhinaya kiyaa| 1 PRESENTATION OF DRAMATIC SKILLS 85. Thereafter the gods and goddesses made sketches of eight auspicious things namely--(1) svastik (an angular auspicious sign), O rAyapaseNiyasUtra Rai-paseniya Sutra (86) a *" HIS TITIO

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zrI vatsAkRti .. . / PHAR in - GAON SANYAINir SEXHDS . aTa mAlAkRti meM nATya abhinaya / ARRORENT ka sIna darpaNa AkRti --" R yasa svastika-racanA .... GITAL ALLERS kalaza-racanA Baah 4 R STAR " LOD 5 La

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citra paricaya-5 | Illustration No. 5 aSTa maMgalAkRti meM nATya-racanA sUryAbhadeva kI AjJAnusAra deva kumAra eva deva kumAriyA~ hAtho me vividha prakAra ke vAdya yatra lekara gAte, bajAte, thirakate hue aneka prakAra ke nRtya nATikAe~ racAte hai| phira aSTa magala kI AkRti banAkara atyanta ramya-manamohaka divya abhinaya karane lagate hai| kucha bhadrAsana kI AkRti me, kucha kalazAkRti me, kucha svastikAkRti me, kucha zrIvatsa kI AkRti me to kucha darpaNa Adi anya AkRtiyo me adbhuta zarIra lAghava dikhAte hue abhinaya karate hai| -sUtra 81-85, pRSTha 82-87 PERFORMANCE IN FORMATION OF EIGHT AUSPICIOUS SYMBOLS Following the order of Suryabh Dev the young gods and damsels take up musical instruments in their hands and present a variety of dance, dramas, playing the instruments and dancing After this they present spellbinding performance information of eight auspicious symbols Some of them forming into comfortable seat, others into urn, swastika, shrivatsa, mirror and other shapes present theatrical performances with astonishing skill of body movement _Sutras 81-85, p 82-87

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(2) srivats, (3) nandavart (an auspicious mark with nine angles), ** * (4) vardhmanag, (5) bhadrasan (an auspicious seat), (6) kalash (pitcher), (7) matsya (fish), and (8) darpan (mirror) and danced accordingly. 86. tae NaM te bahave devakumArA ya devakumArIo ya samameva samosaraNaM kareMti karittA taM ceva bhANiya jAva dibbe devaramaNe pavatte yA vi hotthaa| 86. isake pazcAt nATyavidhi dikhAne ke lie ve devakumAra aura devakumAriyA~ punaH ekatrita huIM aura ekatrita hone se lekara divya devaramaNa meM pravRtta hone paryanta kA pUrvokta * sabhI varNana sUtra 81 ke anusAra jAnanA caahie| 86. Thereafter they again gathered to exhibit their dancing skill " (Further description is similar to that in Aphorism 81). 87. tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa AvaDa-paccAvaDa-seDhi-paseDhi-sotthiya-pUsamANava-vaddhamANaga-macchaNDa-magaraMDajAra-mAra-phullAvali-paumapatta-sAgara-taraMga-vasaMtalatA-paumalayabhatticittaM NAma div NaTTavihiM uvdNseNti| 87. tadanantara una devakumAroM aura devakumAriyoM ne zramaNa bhagavAna mahAvIra eva gautamAdi zramaNa nirgranthoM ke sAmane Avarta, pratyAvarta, zreNi, prazreNi, svastika, sauvastika, puSyamANavaka, vardhamAnaka, matsyANDaka, makarANDaka, jAra, mAra, puSpAvali, padmapatra, sAgara, taraMga, vAsantIlatA aura padmalatA ke AkAra kI racanA karake divya nATyavidhi kA 9 abhinaya kiyaa| ___87. Thereafter, the dancing gods and goddesses stood in the shape of a circle, a circle in front of another, a row, a row in front of another row, an angular figure (svastik), srivats, poos-manag, a person lifting another on his shoulders (vaddh-manag), egg of a fish (machhand), egg of a crocodile (makarand), jaar, cupid (maar), a row of blooming flowers (phullavali), a lotus leaf, an ocean, a wave of the ocean, a spring creeper, a lotus creeper. Then they danced accordingly in front of Bhagavan Mahavir, Gautam and other saints. vizeSa zabdArtha-Avarta-(cakrAkAra ghUmanA), pratyArta-(vApasa lauTanA), zreNi-prazreNi-(sIdhI pakti, Upara-nIce aneka sIdhI paktiyA~), matsyANDaka-(machalI ke aNDe kI AkRti), makarANDaka-(makara ke sUryAbha varNana Description of Suryabh Dev (87)

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dlers aNDe kI AkRti), puSyamANavaka-jAra-mAra-maNi vizeSa kI aakRti| yo vividha prakAra kI AkRtiyA~ banAkara nRtya karane lge| Meanings of certain words-Aavart---To move in a circle; PratyavartTo return to original position; Shreni--A straight row; Pra-shreni-Many ne above the other, Matsyaandak-Shape of egg of a fish; Makaraandak-Shape of crocodile's egg; Pushya-maanavak-jaar-maarShapes of certain gems; Thus making different shapes, they danced. 88. evaM ca ekkikkiyAe NaTTavihIe samosaraNAdiyA esA vattavvayA jAva divye devaramaNe pavatte yA vi hotthaa| 88. isI prakAra pratyekanATyavidhi ko dikhAne ke pazcAt dUsarI prArambha karane ke bIca *me una devakumAroM aura kumAriyo ke eka sAtha milane, jhukane Adi divya devakrIDA kA sampUrNa kathana (sUtra 81 ke anusAra) kahanA caahie| 88. Similarly after every dancing performance and before starting the next performance, the description relating to those gods and goddesses regarding their getting together bowing to Bhagavan and their celestial acrobats be considered similar to the done mentioned in Aphorism 81. 89. tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa IhAmia-usabha-turaga-nara-magara-vihaga-vAlaga-kinnara-ruru-sarabha-camarakuMjara-vaNalaya-paumalayabhatticittaM NAmaM divvaM NaTTavihiM uvdNseNti| 89. tadanantara una sabhI devakumAro aura devakumAriyoM ne zramaNa bhagavAna ke samakSa IhAmRga, vRSabha, turaga-azva, nara-mAnava, magara, vihaga-pakSI, vyAla-sarpa, kinnara, ruru, sarabha, camara, kujara, vanalatA aura padmalatA kI AkRti, racanA, rUpa divya nATyavidhi kA abhinaya dikhaayaa| 99 89. Thereafter all the said gods and goddesses, turned into athe shapes of deer, bullock, horse, man, crocodile, bird, snake, kinnar, ruru, deer, rhinoceros, chamar deer (resembling a buffalo), can elephant, a wild creeper and a lotus creeper respectively. They performed their dance in front of Bhagavan Mahavir in that shape, creating that shape and thus exhibited their unique dancing skill. areenlaoodleoldolodkolkaldoblasskool40000000000000000000000000000000000000000000000000000000/ d rAyapaseNiyasUtra (88) Rar-paseniya Sutra FrontMORVADIVORYFORVORIEODY C GPATHORMORE * * * * * * * *

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* 90. egato vaMkaM egao ckkvaalN| duhao cakkavAlaM cakkaddhacakkavAlaM NAmaM divyaM paTTavihiM uvdNseNti| 90. isake bAda ekatovakra-(jisa nATaka meM eka hI dizA meM dhanuSAkAra zreNI banAI jAtI hai), ekatazcakravAla-(eka hI dizA meM cakrAkAra zreNI bane), dvighAtazcakravAla(paraspara sammukha do dizAo meM gola cakra bane) aisI cakrArdha-cakravAla nAmaka divya nATyavidhi kA abhinaya kiyaa| 90. Thereafter they performed dance in which bow-like shape is * made on one side, a dance in which circular shape is made in one direction, a dance in which two circles are made in two sides facing each other, a dance in which a semi-circle is formed, a dance in which shape of wheel of a cart is depicted. 91. caMdAvalipavibhattiM ca sUrAvalipavibhattiM ca valayAvalipavibhattiM ca haMsAvalipa. ca egAvalipa. ca tArAvalipa. ca muttAvalipa. ca kaNagAvalipa. ca rayaNAvalipa. ca NAmaM divyaM paTTavihiM uvdNseNti| ('pa' se 'pavibhattiM' zabda samajheM) 91. isI prakAra anukrama se unhoMne candrAvali, sUryAvali (candra-sUrya maNDala kI * AkRti), valayAvali (golAkAra), haMsAvali (haMsoM kI paMkti), ekAvali (ekAvalI hAra kI AkRti), tArAvali (tArAoM kI AkRti), muktAvali, kanakAvali aura ratnAvali (ina viziSTa prakAro ke hAroM kI AkRti) kI utkRSTa-viziSTa racanAoM se yukta divya nATyavidhi kA abhinaya pradarzita kiyaa| 9 91. Thereafter they created one after the other the shapes in which the particular position of moon, particular position of sun, a circular shape, a row of swans, a garland, a row of stars, a garland of pearls, kanakavali, ratnavali garlands are depicted and danced accordingly. 92. caMduggamaNapavibhattiM ca sUruggamaNapa. ca uggamaNuggamaNapa. ca NAmaM drivvaM NaTTavihiM uvdNseNti| 92. tatpazcAt una devakumAroM aura kumAriyoM ne ukta krama se candrodgama pravibhakti, sUryodgama pravibhaktiyukta arthAt candramA aura sUrya ke udaya hone kI racanA vAlI udgamanodgamana nAmaka divya nATyavidhi kA pradarzana kiyaa| sUryAbha varNana (89) Description of Suryabh Dev

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92. Thereafter they exhibited their dancing skill depicting the rising moon, the rising sun. 93. caMdAgamaNapa. ca sUrAgamaNapa. ca AgamaNAgamaNapa. ca NAmaM uvadaMseMti / 93. isake pazcAt candrAgamana, sUryAgamana kI racanA vAlI candra-sUrya Agamana nAmaka divya nATyavidhi kA abhinaya kiyaa| 93. Thereafter they danced depicting in a unique way the arrival of moon and later the arrival of sun. 94. caMdAvaraNapa. ca sUrAvaraNapa. ca AvaraNAvaraNapa. NAmaM uvadaMseMti / 94. tatpazcAt candrAvaraNa - sUryAvaraNa arthAt candragrahaNa aura sUryagrahaNa hone para (athavA sUrya para bAdala chA jAne para) jagat aura gaganamaNDala meM hone vAle vAtAvaraNa kI darzaka AvaraNAvaraNa nAmaka divya nATyavidhi ko pradarzita kiyaa| 94. Thereafter they danced exhibiting the state of environment at the time of lunar eclipse and subsequently all the environment at the time of solar eclipse when the clouds cover the sun. 95. caMdatthamaNapa. ca sUratthamaNapa. ca atthamaNa'tthamaNapa. NAmaM uvadaMseMti / 95. isake bAda candra ke asta hone, sUrya ke asta hone kI racanA se yukta arthAt candra aura sUrya ke asta hone ke samaya ke dRzya se yukta astamayana pravibhakti nAmaka nATyavidhi kA abhinaya kiyaa| 95. Thereafter they depicted in their dance the scene of setting of the moon and later that of setting of the sun. 96. caMdamaMDalapa. ca sUramaMDalapa. ca nAgamaMDalapa. ca jakkhamaMDalapa. ca bhUtamaMDalapa. ca rakkhasa - mahoraga - gandhavvamaMDalapa. ca maMDalamaMDalapa. nAmaM uvadaMseMti / 96. tadanantara candramaNDala, sUryamaNDala, nAgamaNDala, yakSamaNDala, bhUtamaNDala, rAkSasamaNDala, mahoragamaNDala aura gandharvamaNDala kI racanA se yukta arthAt inake maNDaloM ke bhAvoM kA pradarzaka maNDala pravibhakti nAmaka nATya abhinaya pradarzita kiyaa| 96. Thereafter they depicted in the dances the central idea underlying the lunar system, solar system, the circles of Naag Kumar gods, the circles of Yaksha- a type of demi-gods, circles of Bhoot demi-gods, circles of Rakshas demi-gods, circles of Mahorag and circles of Gandharv demi-gods. rAyapaseNiyasUtra (90) For Private Personal Use Only Rai-paseniya Sutra

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97. usabhamaMDalapa. ca sIhamaMDalapa. ca hayavilaMbiyaM gayavi. hayavilasiyaM gayavilasiyaM mattahayavilasiyaM mattagajavilasiyaM mattahayavilaMbiyaM mattagayavilaMbiyaM dutavilaMbiyaM NAmaM vihiM uvadaMseMti / 97. tatpazcAt vRSabhamaNDala, siMhamaNDala kI lalita gati, azva gati aura gaja kI vilambita - dhImI gati, azva aura hastI kI vilasita gati ( mastI bharI cAla), matta azva aura mattagaja kI vilasita gati, matta azva kI vilambita gati, matta hastI kI vilambita gati (vibhinna pazuoM kI bhinna-bhinna prakAra kI gati) kI darzaka racanA se yukta drutavilambita (zIghra aura dhImI) pravibhakti nAmaka divya nATyavidhi kA pradarzana kiyaa| 97. Thereafter they exhibiting the dramatic performance depicted the slow and fast gait of different types of animals, namely bullock, lion, horse, elephant --their slow motion, their romantic motion, the unbridled gait of horse and elephant by their dance known as Drut-vilambit pravibhakti dance. 98. sAgarapavibhattiM ca nAgarapa vi. ca sAgara - nAgarapa. ca NAmaM uvadaMseMti / 98. isake bAda sAgara pravibhakti, nagara pravibhakti arthAt samudra aura nagara sambandhI racanA se yukta sAgara - nAgara pravibhakti nAmaka nATyavidhi kA abhinaya kiyaa| 98. Thereafter they performed the dance depicting ocean, city and their division. 99. NaMdApa vi. ca caMpApa vi. ca nandA - caMpApa vi. ca NAmaM uvadaMseMti / 99. tatpazcAt nandA pravibhakti - nandA puSkariNI kI suracanA se yukta, campA pravibhakticampaka vRkSa kI racanA kI bhA~ti nandA - campA pravibhakti nAmaka divya nATya kA abhinaya dikhaayaa| 99. Thereafter they in their dance created Nanda Pushkarni (lake) and Champak tree. 100. macchaMDApa vi. ca mayaraMDApa vi. ca jArapa vi. ca mArapa vi. ca macchaDAmayaraMDA - jArA-mArApa ca NAmaM uvadaMseMti / 100. tatpazcAt matsyANDaka, makarANDaka, jAra, mAra kI AkRtiyoM kI suracanA se yukta matsyANDa, makarANDa, jAra, mAra pravibhakti nAmaka divya nATyavidhi dikhalAI / sUryAbha varNana (91) For Private Personal Use Only Description of Suryabh Dev

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* * 9 100. Thereafter they performed the dance depicting egg of a fish, egg of crocodile, jaar, maar (cupid). 101. 'ka' tti kakArapa vi. ca, 'kha' tti khakArapa ca, 'ga' ti gakArapa ca, 'gha' tti dhakArapa ca, 'Ga' tti GakArapa ca, kakAra-khakAra-gakAra-ghakAra-kArapa. ca NAmaM uvadaMseMti, evaM cakAravaggo pi TakAravaggo vi takAravaggo vi pakAravaggo vi| 101. tadanantara una devakumAroM aura devakumAriyo ne kramazaH 'ka' akSara kI AkRti-racanA karake kakAra pravibhakti, 'kha' akSara kI AkRti-racanA karake khakAra pravibhakti, 'ga' akSara kI AkRti-racanA dvArA gakAra pravibhakti, 'gha' akSara ke AkAra kI racanA ghakAra pravibhakti aura 'Da' akSara ke AkAra kI racanA dvArA ukAra pravibhakti; isa prakAra kakAra, khakAra, gakAra, ghakAra, GakAra pravibhakti nAma kI divya nATyavidhiyo kA pradarzana kiyaa| * isI taraha se cakAra, chakAra, jakAra, jhakAra, JakAra kI racanA karake cakAra varga pravibhakti nAmaka divya nATyavidhi kA abhinaya dikhaayaa| * cakAra varga ke pazcAt kramazaH Ta, Tha, Da, Dha, Na ke AkAra kI suracanA dvArA TakAra varga vibhakti nAmaka divya nATyavidhi kA pradarzana kiyaa| anantara anukrama se takAra, thakAra, dakAra, dhakAra, nakAra kI racanA karake takAra varga vibhakti nAmaka nATyavidhi ko dikhlaayaa| phira pa, pha, ba, bha, ma ke AkAra kI racanA karake pakAra varga pravibhakti nAma kI divya nATyavidhi kA abhinaya dikhaayaa| 101. Thereafter they danced in the shape of letters of Devanagari script namely k, kha, ga, gha, anga; then of letters cha, chha, ja, jha, *jna; then of letters ta, tha, da, dha, ana; then of letters ta, tha, da, dha, na; then of letters pa, pha, ba, bha, ma. vivecana-yahA~ lipi sambandhI abhinayo ke ullekha me kakAra se pakAra paryanta pA~ca vargo ke 25 akSaro ke abhinayo kA hI saketa kiyA hai, usame svaro tathA ya, ra, la, va, za, Sa, sa, ha, kSa, tra, jJa akSaro ke abhinayo kA ullekha nahIM hai| isakA koI aitihAsika kAraNa hai yA anya, yaha vicAraNIya hai| athavA sambhava hai ki devo kI lipi me kakAra se lekara pakAra taka ke akSara hote ho jisase unhI kA abhinaya pradarzita kiyA hai| vRttikAra kA kathana hai-ina lipi sambandhI abhinayo me 'ka' vagairaha kI jo mUla AkRtiyA~ brAhmI lipi meM batAI haiM, una AkRtiyo ke sadRza abhinaya yahA~ samajhanA caahie| jaise ki brAhmI lipi meM 'ka' kI '+' aisI AkRti hai, ataeva isa AkRti ke anurUpa sthita hokara abhinaya karake batAnA 'ka' kI rAyapaseNiyasUtra (92) Ral-paseniya Sutra Xx*

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AkRti kA abhinaya kahalAyegA / isI prakAra lipi sambandhI zeSa dUsare sabhI abhinayo ke lie bhI samajha lenA caahie| devanAgarI, prAcIna jaina lipi tathA brAhmI lipi ke ukta akSaro kI AkRti nimna citra me batAI ( gaI hai devaka svaga gha Da ca cha ja jha Ja Ta Tha Da Dha Na ta tha da dha na pa pha ba bha ma ya ra la va za Sa sa ha nAgarI a a jaina ka kha ga gha Ga ca Ja Ta Tha ma Ta ta da dha na pa pha ba ma ya ra la va za Sa sa ha kharoSTrI 7 4 5 5 \ * Y= Y Y 4 } 7 9479575 } |S|P 3970491 70 7 brAhmI + 2^WE d PhCOPGINOSD 6 6 0 H 8 J{ TEL Elaboration-Here there is mention of dances in the shape of 25% consonants only of Devanagari script. There is no mention of vowels and ya, ra, la, va, sha, sha, sa, ha, ksha, tra, jna. Is there any historical background or any other reason for it-it is yet to be found out. It is also possible that in the script used by gods there may be only the said 25 consonants. So they exhibited only the said twenty five in their dance. 7/ The commentator has observed that the dances should be understood according to the original shape of these letters in Bhrahmi script. Fort instance in Brahmi 'k' is written as '+'. So the dance depicting this symbol shall be considered as the dance depicting 'ka'. Same is the case with other letters. l The above chart indicates the letters and their counterparts in Devanagari, Jain and Brahmi scripts. 102. asoyapallavapa. ca, aMbapallavapa. ca, jaMbUpallavapa. ca, kosaMbapallavapa. 'ca, pallavapa. ca NAmaM uvadaMseMti / 102. tatpazcAt azokapallava (azoka vRkSa kA pattA), Amrapallava, jambU (jAmuna) pallava, kozAmrapallava ina vRkSoM ke pattoM kI AkRti - jaisI racanA karake pallava pravibhakti nAmaka divya nATyavidhi pradarzita kii| 102. Thereafter they performed the dance exhibiting the shapes of leaves of Ashok tree, Mango tree, Jamun tree, Koshamra trees respectively. 103. paumalayApa. jAva sAmalayApa. ca layApa. ca NAmaM uvadaMseMti / sUryAbha varNana (93) For Private Personal Use Only Description of Suryabh Dev.

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103. tadanantara padmalatA yAvat nAgalatA, azokalatA, campakalatA, AmralatA, vanalatA, vAsaMtIlatA, atimuktakalatA aura zyAmalatA kI suracanA vAlA latA pravibhikti nAmaka nATyAbhinaya pradarzita kiyaa| 103. Thereafter they depicted in their dancing performance creepers of Lotus, Naag, Ashok, Champak, Aamra, Van, Vasanti, Atimuktak and Shyamalata. 104. duyaNAmaM uvdNseNti| vilaMbiyaM NAmaM uva. / duyavilaMbiyaM NAmaM uv.| aMciyaM, ribhiyaM, aMciyaribhiyaM, ArabhaDaM, bhasolaM aarbhdd-bhsolN| ___ uppaya-nivayapavattaM, saMkuciyaM pasAriyaM rayAraiyaM bhaMtaM saMbhaMtaM NAmaM divvaM NaTTavihiM uvdNseNti| . 104. isake pazcAt anukrama se druta (caMcala gati), vilaMbita (maMda gati), druta-vilaMbita (kabhI capala, kabhI maMda), aMcita (tirachI gati), ribhita (dhvani karate hue), aMcita-ribhita (tirachA hokara ghoSa karate hue), ArabhaTa (zarIra ko moDate hue), bhasola 2 aura ArabhaTa-bhasola nAmaka nATyavidhiyoM kA abhinaya pradarzita kiyaa| ___ tadanantara utpAta-nipAta (Upara-nIce uchalane-kUdane-girane), saMkucita-prasArita (bhaya aura harSa dikhAte hue zarIra ke aMgopAMgoM ko sikoDanA aura phailAnA) rayAraiya, bhrAnta aura saMbhrAnta sambandhI kriyAoM viSayaka divya nATya abhinayoM ko dikhaayaa| _____104. Thereafter, in respective order, they performed dances at a fast speed, at slow speed, at fast and slow speed, in slotting direction, dance making sound, dance making sound and turning the body, dance while twisting the body, Bhasol dance, Bhasol dance to twisting the body. Thereafter they performed dances in which there is jumping, falling, exhibiting of fear, of happiness by squeezing and spreading parts of the body and smaller limbs. They also did dance depicting state of doubt and deeper agony pertaining to doubt. vivecana-sUtra 92 se 104 taka sUryAbhadeva dvArA prastuta saMgIta, vAdya aura nATyavidhiyoM kA jo vistRta varNana hai, vaha Aja vartamAna meM pUrNa rUpa meM samajha pAnA kaThina hai| bahuta se vAdyo ke nAma to * jIvAbhigamasUtra, jambUdvIpaprajJapti, sthAnAgasUtra Adi kI TIkAo me milate hai, anekoM nAma rAmAyaNa tathA mahAbhArata meM bhI hai tathA bharatanATya zAstra eva sagIta ratnAkara nAmaka granthoM me kucha nAma milate hai| kintu unakI vizeSa jAnakArI tathA mudrAe~ upalabdha nahIM haiN| una vAdyo, nATako kI AkRti kaisI hotI thI * isakA varNana nahI milatA hai| rAyapaseNiyasUtra (94) Rar-paseniya Sutra

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tata, vitata, ghana aura zuSira, ye vAdyo ke cAra mukhya prakAra batAye gaye hai| 'tata' ke antargata ATha prakAra kI vINA kA ullekha hai| 'vitata' vAdyo me camaDe se maDhe hue mRdaga, Dholaka, paTala, DiDima Adi kA samAveza kiyA gayA hai| tata-vINA AnandadAyaka madura vAdya hai| 'vitata' utsAhavardhaka vIrocita jozIlA vAdya hai| 'ghana' ke antargata dhAtu se bane Apasa meM TakarAne se dhvani karane vAle vAdyo kI ginatI hai, jaisekaratAla, jhallarI, majIrA aadi| bharatanATya zAstra ke anusAra-bA~sa se bane phUMkakara bajAye jAne vAle vAdya 'zuSira' kahe jAte hai| zaMkha Adi isI me sammilita hai| nATyavidhi meM varNita nATako kI racanA kucha to unake nAma se hI spaSTa ho jAtI hai, jaise-kakAra, cakAra Adi varNoM kI AkRti kI rcnaa| svastika, zrIvatsa, nandyAvarta Adi kI bhA~ti pAtro ko pakti me khaDA karanA, jhukAnA, hAtho Adi se unake AkAra kA pradarzana krnaa| hasa, cakravAka Adi pakSiyoM kI bhaoNti zarIra ko mor3anA, jhukAnA, sUrya, candra, tArAmaNDala kI bhA~ti paMktiyA~ banAkara khaDe honA, nRtya karanA tathA siha, hAthI, mRga, vRSabha, azva Adi kI taraha vibhinna prakAra kI AkRti va gati kA pradarzana karanA yaha adhikatara nAma se hI patA calatA hai| 'ArabhaTI' nRtya karane vAle golAkAra banakara, kamara para hAtha rakhakara, kamara va grIvA ko maTakAte hue jo nRtya karate hai, jise 'rAsa' bhI kahA jAtA hai| yA gujarAtI 'DADiyA' nRtya bhI kaha sakate hai| acita, ribhita Adi nRtya kI mudrAe~ hai, jinameM kisI me tirachA, kisI meM sIdhA, kisI me uchalate hue, kisI me zokAtura mudrA banAnA Adi kA pradarzana kiyA jAtA hai| TIkAkAra AcArya malayagiri ne likhA hai___"nATyavidhi prAbhRta nAmaka pUrva meM ina nATya-vAdya Adi kA varNana thA, parantu pUrvo kA jJAna viccheda hone se Aja isa sambandha me adhika batAnA sambhava nahI hai|'' kintu isa varNana se itanA to spaSTa hI hai ki prAcInakAla me saMgIta-vAdya nATya kalA va abhinaya kalA bahuta hI utkRSTa rUpa se vikasita thI aura usake saikaDo prakAra va saikaDo prakAra ke yaMtra va upakaraNa banAye jAte the| inakA ullekha bauddha grantho va para bharatanATya zAstra Adi grantho me bhI milatA hai| Elaboration-The detailed description of music, dance and theatrical performances as mentioned in aphorisms 92 to 104 and presented by Suryabh Dev is very difficult to be understood fully in the present age. Many names of these musical instruments are available in commentaries of Jeevabhigam Sutra, Jambu Dveep Prajnapti, Sthanang Sutra. Some names find mention in Ramayana, Mahabharat, Bharat Natyam (Treatise) Shastra and Sangeet Ratnakar. But the detailed process and postures are not mentioned therein. The description of style of those dances is not available there. ____Four main types of musical sounds are Tat, Vitat, Ghan and Shushir. "Tat includes eight types of flute sound. In Vitat there are sounds of leather covered drums-mridang, dholak, patal, didam and suchlike. Tat is pleasure-giving music. 'Vitat' is music to instal courage and heroism. 'Ghan' includes such substances that create music while striking against each other, for instance kartaal, cymbals, manjeera. According to Bharat Natyam Shastra, the musical instrument made of bamboo. The e sUryAbha varNana (95) Description of Suryabh Deve* ory " Y *"

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instruments that are blown to produce music are called "Shushir". Conch is in this category. Some of the dancing techniques are evident from their very names for instance dances creating shapes of alphabets of a script, to stand in the shape of svastik, shrivats, angular shape of Nandavart, toot bend down to make such shapes with movement of their hands, to twister* the body like a swan, chakravak, birds and to bend down accordingly, stand in a circle like sun, moon, constellation of stars and dance accordingly, to exhibit movements of lion, elephant, bullock, deer, horse and to exhibit their shapes in the dances can be known from the very * names of these dances. Those who perform Aarbhati dance, form a circle, place their hands on waist, then twist their waist and neck while dancing. It is also called Raas and in Gujarat it is known as Daandia.com Anchit, ribhit are such postures in the dance in which sometimes * slanting, sometimes straight, sometimes jumping, sometimes sad po adopted. Commentator Acharya Malayagiri has stated "The dancing style were mentioned in the Poorva named Natyav Prabhrit. But the knowledge of all the (fourteen) Poorvas has since been lost. So it is not possible to locate more details about these dances" B this description certainly clarifies that in the ancient period, the art of music, dance and theatrical performance was fully developed. It was of hundreds of types. Musical instrument of several hundred types we manufactured for this purpose. Such description is also availab] Buddhist literature and Bharat Natya Shastra. 105. tae NaM te bahave devakumArA ya devakumArIo ya samAmeva samosaraNaM kareMti jAva divve devaramaNe pavatte yAvi hotthaa| 105. pUrvokta prakAra kI nATyavidhiyoM kA pradarzana karane ke pazcAt caritra se kI sambandhita abhinaya kiyA, jaise ve sabhI devakumAra aura devakumAriyA~ eka sAtha eka sthAna para ekatrita hue yAvat divya devaramaNa (deva-krIDA) karane lge| 105. After exhibiting the dancing skills, they depicted their arte relating to conduct. They collected at one place and played games of gods and goddesses. bhagavAna mahAvIra ke jIvana-prasaMgoM kA abhinaya 106. tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa 1. puvabhavacariyaNibaddhaM, 2. cavaNacariyaNibaddhaM ca, 3. saMharaNacariyanibaddhaM / ca, 4. jammaNacariyanibaddhaM ca, 5. abhiseacariyanibaddhaM ca, 6. bAlabhAvacariyanibaddhaM / rAyapaseNiyasUtra (96) Rai-paseniya Sutra In

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Hot ca, 7. jovaNacariyanibaddhaM ca, 8. kAmabhogacariyanibaddhaM ca, 9. nikkhamaNa cariyanibaddhaM ca, 10. tavacaraNacariyanibaddhaM ca, 11. NANuppAyacariyanibaddhaM ca, 12. titthapavattaNacariyaM ca, 13. parinivvANacariyanibaddhaM ca, 14. carimacariyanibaddhaM ca NAmaM divvaM NaTTavihiM uvdNseNti| 106. isake bAda una saba devakumAroM evaM devakumAriyoM ne zramaNa bhagavAna mahAvIra ke (1) pUrvabhavoM ke caritra se jur3e evaM vartamAna jIvana sambandhI prasaMga, (2) cyavanacaritra (cyavana se sambandhita), (3) garbhasaMharaNa se sambandhita, (4) janma, (5) janmAbhiSeka, (6) bAla-krIr3A se sambandhita, (7) yauvanacaritra (vivAha ke prasaMga), (8) kAma-bhogacaritra (gRhasthAvasthA se sambandhita vivAha Adi kA dRzya), (9) abhiniSkramaNacaritra nibaddha (dIkSA-mahotsava se sambandhita), (10) tapazcaraNacaritra nibaddha (sAdhanAkAlIna vividha dRzya aura dhyAna mudrAe~), 6 (11) kevalajJAna utpatti ke dRzya (kaivalya mahotsava kA dRzya), (12) tIrtha pravartana sambandhI dRzya, (13) parinirvANacaritra (mokSa prApta hone ke samaya kA dRzya), tathA (14) caramacaritra nibaddha (nirvANa prApta ho jAne ke pazcAt devoM Adi dvArA kiye jAne vAle mahotsava se sambandhita dRzya) nAmaka antima divya nATya-abhinaya kA pradarzana kiyaa| DRAMATIC PRESENTATION FROM LIFE OF BHAGAVAN MAHAVIR _____106. Thereafter all the said gods and goddesses presented sceness relating to life of Bhagavan Mahavir (1) both present and earlier life-spans, (2) the scene relating to his entering the womb (of his earlier mother), (3) the removal of foetus for transfer, (4) the scenes Ke relating to his birth, (5) his birth festivities, (6) his play activities, (7) his marriage, (8) his family life with his wife, (9) his renunciation, (10) his austerities, his various poses, and postures in meditation, (11) his attainment of omniscience (celebrations of his attaining omniscience, (12) his founding the four fold religious ford, (13) his salvation, (14) the festivities arranged by gods to celebrate his salvation. vivecana-devo dvArA zramaNa bhagavAna mahAvIra evaM gautama Adi zramaNa nirgrantho ke samakSa pradarzita battIsa prakAra ke nATya-abhinayo me se antima (battIsavA~ abhinaya) zramaNa bhagavAna mahAvIra kI jIvana-ghaTanAo ke mukhya-mukhya prasago se sambandhita hai| yaha saba paDhakara tatkAlIna abhinaya kalA kI parama prakarSatA kI kalpanA kI jA sakatI hai| Elaboration--The last of all the thirty two dramatic presentations by the gods in presence of Shraman Bhagavan Mahavir, Gautam and other Nirgranths was the one relating to major incidents from the life of one * sUryAbha varNana (97) Description of Suryabh Deu

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Bhagavan Mahavir After going through this account, one can imagine the excellence of dramatic skills of that period OM nRtya-abhinaya kI samApti 107. taNaM NaM te bahave devakumArA ya devakumArIo ya cauvihaM vAittaM vAeMti, taM jhaa-ttN-vittN-ghnnN-jhusirN| 107. divya nATvidhiyo ko pradarzita karane ke pazcAt ve sabhI devakumAra aura ra devakumAriyA~ tata-vINA Adi, vitata-Dhola-nagADe Adi, ghana-jhAMjha Adi aura zuSira zaMkha, bA~surI Adi ye cAra prakAra ke vAditra-bajAne lge| * THE END OF DRAMATIC PERFORMANCE ____107.After exhibiting the various dramatic skills, all the gods and goddesses started playing four types of musical instruments namely--lute and others of Tat category, drums and others of a Vitat' category, cymbals and others of 'Ghan' category and conch, flute and others of "Shushir' category. 108. tae NaM te bahave devakumArA ya devakumAriyAo ya cauvihaM geyaM gAyaMti, taM jahA-ukkhittaM-pAyaMtaM-maMdAyaM-roiyAvasANaM c| 108. vAdya bajAne ke bAda ve saba devakumAra aura devakumAriyA~ utkSipta, pAdAnta (pAdavRddha), madaka aura rocitAvasAna nAmaka cAra prakAra kA saMgIta gAne lge| ___108. After playing musical instruments, the gods and goddesses started singing four types of vocal music namely-utkshipt (with * raised voice), padaant, mandak and rochitavasan. 109. tae NaM te bahave devakumArA ya devakumAriyAo ya cauvvihaM NaTTavihiM uvadaMseMti, al taM jahA-aMciyaM-ribhiyaM-ArabhaDaM-bhasolaM c| 109. usake pazcAt una sabhI devakumAra aura devakumAriyoM ne aMcita, ribhita, ArabhaTa eva bhasola nAmaka cAra prakAra kI nRtyavidhiyoM kA pradarzana kiyaa| ____109. Thereafter they presented four types of dramatic skills namely-anchit, ribhit, aarbhat and bhasol. 110. tae NaM te bahave devakumArA ya devakumAriyAo ca cauvvihaM abhiNayaM abhiNaeMti, taM jahA-dilRtiyaM-pADiyaMtiyaM-sAmanaoviNivAiyaMaMtomajjhAvasANiyaM c| rAyapaseNiyasUtra (98) Rar-paseniya Sutra *

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110. tatpazcAt una sabhI devakumAro aura devakumAriyoM ne cAra prakAra ke abhinaya pradarzita kiye, jaise- dAntika, prAtyaMtika, sAmAnyatovinipAtanika aura antarmadhyAvasAnika ( lokamadhyAvasAnika) / 110. Thereafter they exhibited four types of acting namelydaarshtantik, pratyantic, samanyatovinipatnik and antarmadhyavasanik. vivecana-sUtra sakhyA 107- 110 paryanta nATako kA pradarzana karane ke pazcAt upasahAra rUpa cAra prakAra ke vAdyo ko bajAne, sagIto ko gAne eva nRtya aura abhinaya ko karane kA ullekha kiyA hai| vAdyAdi abhinaya paryanta cAra-cAra prakAro kA ullekha karane kA kAraNa yaha hai ki ye una sagIta Adi ke mUla srota hai| arthAt vAdyo, rAga-rAginiyo va abhinayo Adi ke alaga-alaga nAma hone para bhI ve sabhI mukhya - gauNa rUpa se ina cAra prakAro ke hI vikasita vividha rUpa hai| prastuta me tata Adi se vAdyo ke bheda, utkSipta Adi se sagIta ke prakAra aura acita Adi se nRtya ke cAra-cAra prakAra aura unake sAmAnya artha samajha lie jA sakate hai| isI prakAra abhinaya ke jo cAra prakAra batalAye hai uname se zabdo ke artha to samajhe jA sakate hai, parantu una abhinayo kI zailI aura AkRtiyo kA rahasya samajhane ke lie sagIta tathA abhinaya vizArado eva nATyazAstra se jAnakArI prApta karanA caahie| Elaboration-After depicting dramatic performances as in aphorisms 107 to 110, there is mention of playing four types of musical instruments, singing four types of music, dancing of four types and acting of four types The reason for such performances in the end is that these are the main source of music, dance etc. In other words although there are distinct names for various types of music, music tunes, dances and acting, yet these are in fact developed forms of the four types of each mentioned in the end directly or indirectly. In the present context, Tat and others in this category represent musical sounds, utkshipt and others represent the types of music, anchit etc represent four types of dances. The meaning of words mentioned for four types of acting can be understood but in order to understand the style and postures in such acting and the secret behind it, one has to approach experts in acting and the literature thereof. 111. tae NaM te bahave devakumArA ya devakumAriyAo ya goyamAdiyANaM samaNANaM niggaMthANaM divvaM deviDiM divyaM devajutiM divvaM devANubhAvaM divva battIsaibaddhaM nADyaM uvadaMsittA sUryAbha varNana (99) For Private Personal Use Only Description of Suryabh Dev

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samaNaM bhagavaMtaM mahAvIraM tikSutto AyAhiNapayAhiNaM kareMti, karittA vaMdaMti namaMsaMti, vaMdittA namaMsittA jeNeva sUriyAbhedeve teNeva uvaagcchNti| __uvAgacchittA sUriyAbhaM devaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTu jaeNaM vijaeNaM vaddhAti vaddhAvittA evaM ANattiyaM pccppinnNti| 111. isake bAda una sabhI devakumAroM aura devakumAriyoM ne gautama Adi zramaNa nirgranthoM ke samakSa apanI divya devaRddhi, divya devadyuti, divya devAnubhAva pradarzaka battIsa prakAra kI divya nATyavidhiyoM kA pradarzana kara zramaNa bhagavAna mahAvIra ko tIna bAra AdakSiNa* pradakSiNA kii| pradakSiNA karake vandana-namaskAra karane ke pazcAt sUryAbhadeva ke samakSa aaye| ___ vahA~ Akara donoM hAtha joDakara sira para AvarttapUrvaka mastaka para aMjali karake 'jaya * vijaya ho' zabda ghoSoM ke sAtha sUryAbhadeva ko badhAyA aura badhAkara AjJAnusAra battIsa prakAra kI nATyavidhi pradarzita karane kI sUcanA dii| 111. After performing all the thirty two types of theatrical performances their last depicting celestial wealth, celestial brightness, celestial emotions in excellence, the gods and goddesses went round Bhagavan Mahavir three times, paying their respects. They then bowed to him and thereafter came to Suryabh Dev. They then folded their hands, placed them at their forehead and praised Suryabh Dev by saying that he may always be successful. They then informed him that they had given presentation of thirty two types of dramatic skills. sUryAbhadeva kA vApasa jAnA 112. tae NaM se sUriyAbhe deve taM divvaM deviDi, divvaM devajuI, divvaM devANubhAvaM paDisAharai, paDisAharettA khaNeNaM jAte ege egbhuue| tae NaM se sUriyAbhe deve samaNaM bhagavaMtaM mahAvIraM tikkhutto AyAhiNa payAhiNaM karei, vaMdati namaMsati, vaMdittA namaMsittA niyagaparivAlasaddhiM saMparivuDe tameva divvaM jANavimANaM durUhati durUhittA jAmeva disiM pAnbhUe tAmeva disiM pddige| 112. tatpazcAt sUryAbhadeva ne apanI saba divya devaRddhi, divya devadhuti aura divya * devAnubhAva-prabhAva ko sameTa liyA (apane zarIra meM praviSTa kara liyA aura zarIra meM praviSTa 0 karake) kSaNabhara meM aneka hone se pUrva jaisA akelA thA vaisA hI ekAkI bana gyaa| 0 rAyapaseNiyasUtra Rar-paseniya Sutra (100) D "* "* "*" "*

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* isake bAda sUryAbhadeva ne zramaNa bhagavAna mahAvIra ko tIna bAra pradakSiNA kI, vandana-namaskAra kiyaa| vandana-namaskAra karake apane parivAra sahita jisa yAna-vimAna se * AyA thA usI divya yAna-vimAna para ArUDha hokara jisa ora se AyA thA, usI ora " lauTa gyaa| RETURN OF SURYABH DEV ___112. Thereafter Suryabh Dev brought back into his body all the celestial wealth, celestial brightness and celestial grandeur that he had emanated earlier. He thus became one again instead of many Strategy by this fluid process. Thereafter Suryabh Dev went round Bhagavan Mahavir three times, bowed to him in respect and went back with his family in the same celestial aerial vehicle in which he had come. gautama svAmI kI jijJAsA 113. 'bhaMte' tti bhayavaM goyame samaNaM bhagavaMtaM mahAvIraM vaMdati namaMsati, vaMdittA namaMsittA evaM vayAsI___ sUriyAbhassa NaM bhaMte ! devassa esA divvA deviDDI divvA devajjutI divve devANubhAve karhi gate ? kahiM aNuppaviDhe ? 113. sUryAbhadeva ke vApasa cale jAne ke pazcAt gautama svAmI ne zramaNa bhagavAna * mahAvIra ko vandana-namaskAra karake vinayapUrvaka pUchAna (prazna) "he bhagavan ! sUryAbhadeva kI vaha saba pUrvokta divya devaRddhi, divya devadyuti, divya devAnubhAva-kahA~ calA gayA? kahA~ praviSTa ho gayA? kahA~ samA gayA?" ENQUIRY OF GAUTAM SWAMI ____113. After the departure of Suryabh Dev, Gautam Swami bowed to Bhagavan Mahavir and asked humbly. "Reverend Sir ! Suryabh Dev had grand celestial wealth, The celestial brightness, celestial aura-Where has all that gone ? Where has all that entered ? Where has all that disappeared ? * bhagavAna mahAvIra kA samAdhAna 114. goyamA ! sarIraM gate sarIraM annuppvitu| Panke.sistake. saks.ske.ske.ske.shetakeske ke.ske.ske.ke.ske.ske.ske.sissile.ske.wike.ske.ske.saks.ske.siseksis.ke.sks.ke.sistar sUryAbha varNana (101) Description of Suryabh Dev

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__ 114. (uttara) "he gautama ! sUryAbhadeva dvArA racita vikriyA kI huI vaha saba divya devaRddhi Adi usake zarIra me calI gaI, zarIra meM praviSTa ho gaI-antarlIna ho gii|" / BHAGAVAN MAHAVIR'S CLARIFICATION 114. "O Gautam ! The celestial wealth and others created by Suryabh Dev from fluid process has all gone into his body. It has absorbed therein." 115. se keNaTeNaM bhaMte ! evaM buccai sarIraM gate, sarIraM aNuppavidve ? 115. (prazna) "he bhadanta ! kisa kAraNa Apa aisA kahate haiM ki zarIra meM calI gaI, zarIra meM antarlIna ho gaI ?' ___115. Gautam said-"Sir ! On what basis you state that it has gone into and absorbed in his body ?" 116. goyamA ! se jahAnAmae kUDAgArasAlA siyA-duhato littA guttA guttaduvArA NivAyA NivAyagaMbhIrA, tIse NaM kUDAgArasAlAe adUrasAmaMte ettha NaM mahege jaNasamUhe ciTThati, tae NaM se jaNasamUhe egaM mahaM abbhabaddalagaM vA vAsabaddalagaM vA mahAvAyaM vA ejjamANaM vA pAsati, pAsittA taM kUDAgArasAlaM aMto aNuppavisittA NaM ciTThai, se teNaTeNaM goyamA ! evaM vuccati-'sarIraM annusspvitu|' 116. "he gautama / (kalpanA kareM) jaise koI eka gaharI, vizAla kUTa AkAra-parvata ke zikhara ke AkAra vAlI zAlA ho| vaha bhItara-bAhara gobara Adi se lipI-putI, bAhara parakoTe-se ghirI huI, majabUta kivADo se yukta gupta dvAra vAlI jisameM vAyu kA praveza bhI kaThina ho, usa kUTAkArazAlA ke nikaTa eka vizAla janasamUha baiThA ho| usa samaya vaha janasamUha AkAza meM eka bahuta bar3e meghapaTala-saghana bAdaloM ke samUha ko athavA jalavRSTi karane yogya bAdalo ko athavA pracaNDa oNdhI ko AtA huA dekhe to jaise vaha usa kUTAkArazAlA ke bhItara praveza kara jAtA hai, usI prakAra he gautama ! sUryAbhadeva kI vaha saba divya devaRddhi (deva mAyA) Adi usake zarIra meM praviSTa ho gaI-antarlIna ho gaI hai, isa kAraNa maine kahA ki "vaha usake zarIra meM hI praviSTa ho gii|" 116. "O Gautam ! Imagine a house situated on the summit of a mountain. On both sides, it is plastered with cow-dung. It is surrounded with boundary wall. It has strong door. It has secret enterance and it is difficult even for the air to enter into it. A huge 6 gathering of people is sitting near it. Imagine that the gathering * * rAyapaseNiyasUtra (102) Rar-paseniya Sutra

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* sees a collection of dark clouds, water bearing dark clouds in the sky; or a dreadful storm is coming in that direction. The gathering met then immediately enters that house. Similarly the celestial wealth etc. entered in the body of Suryabh Dev and absorbed therein. So, O Gautam, I have said that it entered in his body." sUryAbhadeva ke vimAna kA sthAna aura svarUpa 117. kahi NaM bhaMte ! sUriyAbhassa devassa sUriyAbhe nAmaM vimANe patnatte ? 117. "he bhagavana ! usa sUryAbhadeva kA 'sUryAbha' nAmaka vimAna kahA~ para batAyA hai ?'' LOCATION OF THE AERIAL VEHICLE OF SURYABH DEV AND ITS DESCRIPTION 117. (Gautam asked) "Reverend Sir ! Where is 'Suryabh' aerial e vehicle of Suryabh Dev located." 118. goyamA ! jaMbuddIve dIve maMdarassa pavvayassa dAhiNeNaM imIse rayaNappabhAe puDhavIe bahusamaramaNijjAo bhUmibhAgAo uDDhaM caMdima-sUriya-gahagaNa-nakkhattatArArUvANaM bahUI joyaNasayAiM evaM-sahassAiM-sayasahassAiM, bahuIo joyaNakoDIo, joyaNasayakoDIo, joyaNasahassakoDIo, bahuIo joyaNasayasahassakoDIo bahuIo joyaNa-koDAkoDIo uDDhaM dUraM vIIvaittA ettha NaM sohamme nAmaM kappe pnntte| ___ pAINa-paDINAyae udINa-dAhiNa-vitthiNNe, addhacaMdasaMThANasaMThie, accimAlika bhAsarAsi vaNNAbhe, asaMkhejjAo joyaNakoDAkoDIo AyAmavikkhaMbheNaM, asaMkhejjAo joyaNakoDAkoDIo parikkheveNaM, ettha NaM sohammANaM devANaM battIsaM vimANAvAsayasahassAI bhavaMti iti, mkkhaayN| te NaM vimANA sabarayaNAmayA acchA jAva pddiruuvaa| tesiM NaM vimANANaM bahumajjhadesabhAe paMca vaDiMsayA pannattA, taM jahA-1. asogavaDiMsae, 2. sattavaNNavaDiMsae, 3. caMpagavaDisae, 4. cUyavaDisae, 5. majhe sohmmvddiNse| te NaM vaDiMsagA sabarayaNAmayA acchA jAva pddiruuvaa| ___ tassa NaM sohammavaDiMgasagassa mahAvimANassa purathimeNaM tiriyaM asaMkhejjAI joyaNasayasahassAI vIivaittA ettha NaM sUriyAbhassa devassa sUriyAbhe vimANe pnnnntte| addhaterasa joyaNasayasahassAiM AyAmavikkhaMbheNaM, auNayAlIsaM ca sayasahassAI bAvannaM ca sahassAiM aTTha ya aDayAla joyaNasae prikkhevennN| sUryAbha varNana (103) Description of Suryabh Dev

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118. (bhagavAna ne uttara diyA) "he gautama ! isa jambUdvIpa nAmaka dvIpa ke mandara (sumeru) parvata se dakSiNa dizA meM isa ratnaprabhA pRthvI ke ramaNIya samatala bhUbhAga se Upara, Urdhva dizA meM candra, sUrya, grahagaNa nakSatra aura tArAmaNDala se Age bahuta U~cAI meM, bahuta se saikaDoM yojanoM, hajAroM yojanoM, lAkhoM, karoDoM yojanoM aura saikar3oM karoDa, hajAro karor3a, lAkhoM karoDa yojanoM, karoDoM karor3a yojanoM ko pAra karane ke bAda saudharmakalpa nAma kA kalpa hai arthAt saudharma nAmaka svargaloka hai| kI vaha saudharmakalpa pUrva-pazcima dizA meM lambA aura uttara-dakSiNa dizA meM vistRta-cauDA hai| ardhacandra ke samAna usakA AkAra hai| sUrya kiraNoM kI taraha apanI dyuti-kAnti se sadaiva camacamAtA rahatA hai| asaMkhyAta koTAkoTi yojana pramANa usakI lambAI-cauDAI tathA OM asaMkhyAta koTAkoTi yojana pramANa usakI paridhi hai| yahA~ saudharma devoM ke battIsa lAkha OM vimAna batAye haiN| ve sabhI vimAna sampUrNa rUpa meM ratnoM se bane hue sphaTika maNi kI bhaoNti OM svaccha yAvat atIva manohara haiN| una vimAnoM ke madhya bhAga meM-ThIka bIcoMbIca-pUrva, dakSiNa, pazcima aura uttara ina cAra dizAoM me anukrama se (1) azoka-avatasaka, (2) saptaparNa-avataMsaka, (3) caMpaka-avataMsaka, (4) Amra-avatasaka, tathA (5) madhya meM saudharma-avataMsaka, ye pA~ca avataMsaka (zreSTha bhavana) bane hue haiN| ye pA~coM avataMsaka bhI ratnoM se nirmita, nirmala yAvat - pratirUpa-atIva manohara haiN| usa saudharma-avataMsaka mahAvimAna kI pUrva dizA meM tirachI dizA meM asaMkhyAta lAkha yojana Age jAne para sUryAbhadeva kA sUryAbha nAmaka vimAna hai| usakA AyAma viSkabha (lambAI-cauDAI) sADhe bAraha lAkha yojana aura paridhi unatAlIsa lAkha bAvana hajAra ATha sau aDatAlIsa yojana kI hai|" / 118. (Bhagavan replied) "O Gautam ! In the southern direction of Sumeru Mountain of this Jambu Dveep, at a high altitude from the 9 roof of this Ratnaprabha earth, there are moon, sun, planets and stars. Further higher and higher hundreds. thousands. millions. trillions, hundred trillions, thousand trillions, million trillions, trillion trillions yojans higher is Saudharm Devlok. This Saudharm Devlok is very spacious and is very long in eastwest direction and very wide in north-south direction. Its shape is that of semi-circle. It always remains shining due to brightness of its ownself like rays of the sun. Its length and breadth is rAyapaseNiyasUtra A - (104) Rai-paseniya Sutra

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e innumerable million multiplied by 100 million yojans each and its circumference is innumerable million multiplied by 100 million yojans. Thirty two lakh celestial abodes (Viman) of Saudharm gods are located there. All of them are made of jewels. They are clean like Sphatik gems. They are very attractive. In the centre of the said thirty two lakh (3.2 million) Vimans, a there is (1) Asok-avatansak celestial abode in the east, (2) Saptaparn-avatansak in the south, (3) Champak-avatansak Ke in the west, (4) Aamra-avatansak celestial abode in the north of Saudharm heavenly abode, and (5) in the centre is Saudharmavatansak celestial abode. These are abodes of unique grandeur. All the five abodes are jewel-studded, clean, shining and worth seeing. At a distance of innumerable yojans towards east of Saudharmavatansak celestial gigantic abode in the oblique direction is the Suryabh celestial abode of Suryabh Dev. It is 1.25 million yojans long, 1.25 million yojans wide and its circumference is 3.952848 a million yojans." * vizeSa prastuta Agama me sUryAbhadeva ke vimAna, vanakhaNDa, padmavaravedikA Adi kA samasta varNana jIvAbhigamasUtra pratipatti uddezaka 1 me Aye varNana se prAya. milatA-julatA hai| tulanA ke lie dekhe gaNitAnuyoga-tiryakloka, khaNDa 125 se 200 tk| Elaboration--The description of celestial abode, the piece of land (Vanakhand), Padmavarvedika and others in this scripture concerning Suryabh Dev is almost similar to that in first Uddesak of Jeevabhigam Sutra For comparison see Gantanuyog Tiryaklok, Part 125 to 200. 119. se NaM egeNaM pAgAreNaM sabao samaMtA sNprikkhitte| se NaM pAgAre tiNNi joyaNasayAI uDDhaM uccatteNaM mUle egaM joyaNasayaM vikkhaMbheNaM, majjhe pannAsaM joyaNAI vikkhaMbheNaM, uppiM paNavIsaM joyaNAiM vikkhNbhennN| mUle vitthiNNe, majjhe. saMkhitte uppiM taNue, gopucchasaMThANasaMThie sabbarayaNAmae acche jAva paDirUve / 119. vaha sUryAbha vimAna cAroM ora se eka prAkAra-parakoTe se ghirA huA hai| yaha parakoTA tIna sau yojana U~cA hai, mUla meM isakA viSkambha (cauDAI) eka sau yojana, madhya meM pacAsa yojana aura Upara paccIsa yojana hai| isa taraha yaha prAkAra mUla meM caur3A, madhya meM - sUryAbha varNana (105) Description of Suryabh Deu * MARY TEXT * *

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* saeNkaDA aura sabase Upara patalA hone se gopuccha ke AkAra jaisA banA hai| yaha parakoTA ralo se banA hai, sphaTika maNi ke samAna nirmala hai yAvat atizaya manohara hai| 119. That Suryabh Viman has a boundary wall on all sides which as is 300 yojans high. The boundary wall is 100 yojans at the base, 50 yojans in the middle and 25 yojans at the top. So it appears like a cow-tail. It is jewel-studded. It is pure like Sphatik gem and very unique. 120. se NaM pAgAre NANAvihapaMcavaNNehiM kavisIsaehiM uvasobhite, taM jahAkaNhehi ya nIlehi ya lohitehiM hAliddehiM sukkillehiM kvisiisehiN|| teNaM kavisIsagA egaM joyaNaM AyAmeNaM, addhajoyaNaM vikhaMbheNaM, desUNaM joyaNaM uDDhe uccatteNaM savvarayaNAmayA acchA jAva pddiruuvaa|| 120. vaha parakoTA kRSNa, nIla, lohita-lAla, hAridra-pIle aura zveta ina pA~ca varNoM vAle kapizIrSakoM (kaMgUroM) se suzobhita hai| ye pratyeka kapizIrSaka (kagUre) eka-eka yojana lambe, Adhe yojana caur3e aura kucha kama eka yojana U~ce haiM tathA ye saba ratnoM se bane hue, nirmala yAvat ramaNIya haiN| 120. This boundary wall has black, blue, red, yellow and white holes adding to its beauty. Every hole resembling the head of a monkey is one yojan long, half yojan wide and a little less than one yojan high. All these are made of jewels, are clean and grand. sUryAbha vimAna ke dvAroM kI zobhA kA varNana 121. sUriyAbhassa NaM vimANassa egamegAe bAhAe dArasahassaM dArasahassaM bhavatIti akkhaayN| te NaM dArA paMca joyaNasayAI uDDhaM uccatteNaM aDDhAijjAiM joyaNasayAI vikkhaMbheNaM tAvaiyaM ceva paveseNaM, seyA varakaNagathUbhiyAgA iihaamiy-usbh-turg-nnr-mgrvihg-vaalg-kinnr-ruru-srbh-cmr-kuNjr-vnnly-pumlybhtti-cittaa| ___ khaMbhuggayavara-vayara-veiyA-parigayAbhirAmA, vijjAharajamala-juyala-juMtajuttA viva, accIsahassamAlaNIyA rUvagasahassakaliyA, bhisamANA bhibhisamANA, cakkhulloyaNalesA, suhaphAsA sassirIya ruuvaa| rAyapaseNiyasUtra (106) Rai-paseniya Sutra

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pAnA vanno dArANaM tesiM hoi taM jahA-vairAmayA NimmA, riTThAmayA paiTThANA, veruliyamayA khaMbhA, jAyasavovaciya-pavaraM pacavanna-maNirayaNa-koTTimatalA, haMsabbhamayA eluyA, gomejjamayA iMdakIlA, lohiyakkhamaIo ceDAo, joIrasamayA uttaraMgA, lohiyakhamaIo sUIo, vayarAmayA saMdhI, nANAmaNimayA samuggayA, vayarAmamayA aggalA-aggalapAsAyA, rayayAmayAo aavttnnpeddhiyaao| ___ aMkuttarapAsagA, niraMtariyaghaNakavADA bhittIsu ceva bhittiguliyA chapannA tiNNi hoMti gomANasiyA tattiyA nnaannaamnni-rynnvaalruuvgliiltttthio-saalbhNjiyaagaa| vayarAmayA kUDA, rayayAmayA ussehA, sabbatavaNijjamayA ulloyA, NANAmaNirayaNajAlapaMjara-maNivaMsagalohiyakkhapaDivaMsagarayayabhomA, aMkAmayA pakkhA-pakkhabAhAo, joIrasAmayA vaMsA-vaMsakavelluyAo, rayayAmaIo paTTiyAo, jAyarUvamaIo ohADaNIo, vairAmaIo uvaripuMchaNIo, sabaseyarayayAmaye chAyaNe, aMkamayakaNagakUDatavaNijjathUbhiyAgA, seyA saMkhatalavimalanimmaladadhiSaNa-gokhIrapheNarayaNaNigarappagAsA tilagarayaNaddhacaMda cittA nANAmaNidAmAlaMkiyA, aMto bahiM ca saNhA tavaNijjavAluyA patthaDA, suhaphAsA, sassirIyarUvA, pAsAIyA darisaNijjA abhirUvA pddiruuvaa| __121. sUryAbhadeva ke usa vimAna kI eka-eka bAjU meM cAroM dizAoM meM eka-eka hajAra dvAra batAye gaye haiN| ve dvAra pA~ca-pA~ca sau yojana U~ce haiM, aDhAI sau yojana cauDe hai aura utane hI (aDhAI sau yojana) inakA pravezana-gamanAgamana ke lie praveza karane kA sthAna hai| dvAra zveta varNa ke hai| uttama svarNamayI stUpikAoM-zikharoM se zobhita haiN| una para IhAmRga, vRSabha, azva, nara, makara, vihaga, sarpa, kinnara, ruru, sarabha, aSTApada, camara, hAthI, vanalatA, padmalatA Adi ke citra bane hue hai| ___ stambhoM para banI huI vajra ranoM kI vedikA se yukta hone ke kAraNa (ye dvAra) ramaNIya dikhAI par3ate haiN| samazreNI meM sthita vidyAdharoM ke yugala yaMtra dvArA calate hue se dIkha paDate haiN| hajAro kiraNoM se vyApta aura hajAro rUpako-citroM se yukta hone se ve dvAra dIpyamAna aura atIva dedIpyamAna hai| dekhate hI darzakoM ke netroM ko AkRSTa kara lete haiN| unakA sparza sukhaprada hai| rUpa darzanIya hai| . RoPAROPAROSARO248000000000000000000 Sharestastess.kastasisastessists LATOVATOSARDAROBARODROpep " * * sUryAbha varNana (107) Description of Suryabh Dev * r

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una dvAroM kA svarUpa isa prakAra haiOM una dvAroM ke nema (bhUbhAga se Upara nikale pradeza kursI-pliMtha) vajra ratnoM ke haiN| pratiSThAna (mUla pAye yA dehalI) riSTa ratnoM se, stambha vaiDUrya maNiyoM se tathA tala bhAga (pharza) paMcaraMge maNi ratnoM se bane hue haiN| inakI dehaliyoM kI caukhaTa haMsagarbha ratnoM kI, indrakIliyA~ (daravAjoM ko banda karane vAlI kIleM) gomeda ratnoM kI, dvArazAkhAe~ (daravAje kI caukhaTa) lohitAkSa ratnoM kI, uttaraMga (otaraMga-dvAra ke Upara pATane ke lie tirachA rakhA pATiyA) jyotirasa ratnoM ke, do pATiyoM ko jor3ane ke lie ThokI gaI kIliyA~ lohitAkSa ratnoM kI haiM aura unakI sA~dhe vajra ratnoM se bharI huI haiN| samudgaka (kIliyoM kA UparI hissA-TopI) * vividha maNiyoM ke hai| argalAyeM argalApAzaka (kuMdA) vajra ratnoM ke haiN| Avartana pIThikAe~ (indrakIlI kA sthAna jinameM caTakanI lagatI haiM) cA~dI kI haiN| uttarapArzvaka (venI kiMvADoM kA pichalA bhAga) aMka ratnoM ke haiN| inameM lage kivADa itane saTe hue sadhana haiM ki banda karane para thoDA-sA bhI antara nahIM rahatA hai| pratyeka dvAra kI donoM bAjuoM kI bhItoM meM eka sau aDasaTha-eka sau aDasaTha saba milAkara tIna sau chattIsa bhittigulikAe~-(dekhane ke lie gola-gola gupta jharokhe yA ba~TiyA~) haiM aura utanI hI * gomAnasikAe~ (zayyA jaisA lambA oTA) haiM-pratyeka dvAra para aneka prakAra ke maNi ratnamayI vyAlarUpoM-sau-se krIDA karatI huI sAlabhaMjikAe~-putaliyA~ banI huI haiN| inake kUTa-(mAr3a) vajra ratnoM ke aura mADa ke zikhara caoNdI ke haiM aura dvAroM ke UparI * bhAga lAla-svarNa ke haiN| dvAroM ke jAlIdAra jharokhe bhaoNti-bhaoNti ke maNi ratnoM se bane hue haiN| ki maNiyoM ke baoNsoM kA chappara hai aura baoNsoM ko bA~dhane kI khapacciyA~ lohitAkSa ratnoM kI haiN| " rajatamayI bhUmi hai arthAt chappara para cA~dI kI parata bichI huI hai| unakI pAkheM aura pAkhoM kI bAjue~ aMka ratnoM (zveta ratna) (hIre jaisA zveta ratna) kI haiN| chappara ke nIce sIdhI aura * ADI lagI huI valliyA~ tathA kabelU jyotirasa ratnamayI haiN| unakI pATiyA~ caoNdI kI haiN| avaghATaniyA~ (kabeluo ke Dhakkana) svarNa kI banI huI haiN| Upara procchaniyA~-(TATiyA~) vajra ratnoM kI haiN| TATiyoM ke Upara aura kabeluoM ke nIce ke AcchAdana zveta-dhavala aura rajatamaya haiN| unake zikhara aMka ratnoM ke haiM aura una para tape hue svarNa kI stUpikAe~ (prAsAda " ke Upara kA zikhara) banI huI haiN| ye dvAra zaMkha ke samAna vimala, dahI evaM dugdhaphena aura caoNdI ke Dhera ke samAna zveta prabhA vAle haiN| una dvAroM ke UparI bhAga meM tilaka ratnoM se " nirmita aneka prakAra ke ardha-candrAkAra citra bane hue haiN| aneka prakAra kI maNiyoM kI mAlAoM se alaMkRta haiN| ve dvAra andara aura bAhara atyanta snigdha aura sukomala haiN| vahA~ * rAyapaseNiyasUtra (108) Rai-paseniya Sutra taAON MOON MYXVDO

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para sone ke samAna pIlI bAlukA bichI huI hai| sukhada sparza vAle rUpa-zobhA-sampanna, mana 3 ko prasanna karane vAle, dekhane yogya, manohara aura atIva ramaNIya haiN| DESCRIPTION OF THE GRANDEUR OF GATES OF SURYABH VIMAN 121. In each of the four wings of that Viman of Suryabh Dev, there are one thousand gates each in all the four directions. Those gates are 500 yojans high, 250 yojans wide and 250 yojans is the entrance. They are of white colour. They are shining due to golden summits. Many paintings namely those of tiger, bullock, horse, man, crocodile, bird, snake, kinnar, ruru, sarabh, ashtapad, chamar, elephant, vanlata, padmalata on them are adding to their beauty. Since the pillars are having jewelled summits the gates are looking grand. The pairs of Vidyadhar in a straight line and mechanically propelled are looking as if moving. As the gates are Homemitting thousands of rays and are having thousands of paintings, they are looking bright and extremely grand. They catch the eye of the spectators at the very first look. Their touch is pleasing. They are worthy to be looked at. The description of those gates is as under The plinth of the gates is made of hard jewels. The foundation is made of Risht jewels, the pillars are of Vaidurya jewels and the floor is studded with gems of five colours. The threshold of the doors is of Hansgarbh jewels, the door-bolls are of Gomed gems. The chaukhat is of Lohitaksh jewels, the hanging bowl at the doors is of Jyotiras gems, the pegs joining the pots are of Lohitaksh jewels, the strong covering upon mattress ceiling is full of Vajra jewels. The tops of pegs are of various types of gems. The place for bolt joint is of silver. The back side of the doors is of Ank jewels. The doors are of such a fitting that there is not even the slightest space in between when they are closed. On both the sides of the gates there are 168 secret round holes each. In other words there are 336 holes and 336 verandah. Many jewel-studded dolls playing with tigers and snakes are made on the gates. The sides are of Vajra gems, the summits of the sides are of silver. The upper parts of the gates are red and golden. The ventilators are ra sUryAbha varNana ( 109 ) Description of Suryabh Dev *

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de foe of various types of gems and jewels. The poles of the roof (Chhappar) are of gem-studded bamboos. The joints to the bamboos are of Lohitaksh jewels. The roofs is silver-plated. Its sides are of white jewels such as diamonds. The supports for the roof are of Jyotiras gems. Their backs are of silver and covers of gold. The roofs are of Vajra gems. The covers are white and silvery. The tops are of Ank gems. The top of palace is of purified gold. The gates are as clean as conch, as white as curd or milky foam and are shining like a pile of montesilver. Many semi-circular paintings made of Tilakratna are in the y upper part of the gates. The gates are extremely plain from inside and outside It is decorated with garlands of gems of many types. Golden sand is scattered there. They are very pleasing bright, worth seeing, grand and extremely beautiful. 122. tesi NaM dArANaM ubhao pAse duhao nisIhiyAe solasa solasa caMdaNakalasaparivADIo pnnttaao| te NaM caMdaNakalasA varakamala-paiTThANA surabhivaravAripaDipuNNA, caMdaNakayacaccAgA, AviddhakaMThe guNA, paumuppalapihANA sabarayaNAmayA acchA jAva paDirUvagA mahayA mahayA * iMdakuMbhasamANA pannattA samaNAuso! 122. una dvAroM kI donoM bAjuoM kI dono nizIdhikAoM (baiThakoM) meM solaha-solaha candana-kalazo kI paMktiyA~ sthApita haiN| __ ye candana-kalaza zreSTha uttama kamaloM para rakhe haiM, uttama sugandhita jala se bhare hue hai, candana ke lepa se carcita, vibhUSita haiM, unake kaMTho meM lAla sUta kalAvA ba~dhA huA hai aura mukha padmakamala ke DhakkanoM se Dhake hue haiN| he AyuSman zramaNo ! ye sabhI kalaza sampUrNa ratnamaya hai, nirmala yAvat bRhat indrakubha jaise vizAla evaM atizaya ramaNIya haiN| 9 122. On both sides of the gates, there are rows of sixteen sandal wood pitchers each. The sandal wood pitchers are kept on lotus of best quality. They are full of fragrant water of best quality. They are covered with sandal paste and are decorated. Red thread is tied at the neck of the pitchers and their mouth is covered with padma lotus. O the Shramans ! All these pictures are completely studded with gems. They are clean and huge and extremely beautiful. rAyapaseNiyasUtra (110) Rai-paseniya Sutra * D N * * * * *" *"

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dvAroM kI khUTiyA~ 123. tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa-solasa NAgadaMtaparivADIo pnnttaao| te NaM NAgadaMtA muttAjAlaMtarusiyahemajAla-gavakkhajAla-khiMkhiNIghaMTAjAlaparikkhittA abbhuggayA abhiNisiTThA tiriyaM susaMpariggahiyA ahepannagaddhavA, * pannagaddhasaMThANasaMThiyA, savvavayarAmayA acchA jAva paDirUvA mahayA mahayA gayadaMtasamANA panattA smaannaauso| 123. una dvAro kI donoM bAjuoM kI donoM nizIdhikAo meM solaha-solaha nAgadantoM (hAthI ke dAMta ke AkAra kI khUTI) kI paktiyA~ haiN| kI "he AyuSman zramaNo ! ye nAgadanta (TiyA~) motiyoM aura sone kI mAlAoM meM laTakatI * huI gavAkSAkAra (gAya kI A~kha) jaisI AkRti vAle ghugharuoM se yukta, choTI-choTI 9 ghaMTikAo se pariveSTita haiN| inakA Age kA bhAga kucha Upara kI ora uThA aura dIvAla se 9 bAhara nikalatA huA hai eva pichalA bhAga andara dIvAla meM acchI taraha se ghusA huA hai aura OM sarpa ke adhobhAga (pichale bhAga) jaise AkAra kA hai| agra bhAga kA saMsthAna sarpArdha ke samAna hai| ve vajra ratno se bane hue haiN| baDe-bar3e gajadanto jaise ye nAgadanta atIva svaccha, nirmala yAvat atizaya zobhAjanaka haiN|" THE PEGS OF THE GATES ____123. In both the seats at the two sides of the gates, there are sixteen tusklike pegs each. "O the blessed saints ! The rosaries of pearls and gold beads are *hanging from those pegs. They are having small bells and small ringing stones. The front part is a little raised and is protruding from the wall. The other portion is tightly stuck into the wall and is serpentine in shape. The front portion is like half-snake. They are made of Vajra jewels. They are like huge tusk. They are exquisitely pure clean and attractive." 124. tesu NaM NAgadaMtaesu bahave kiNhasuttabaddhA vagdhAritamalladAmakalAvA NIla-lohita-hAlidda-sukkilasuttabaddhA vgdhaaritmlldaamklaavaa| te NaM dAmA tavaNijjalaMbUsagA, suvanapayaragamaMDiyA nANAvihamaNirayaNaviviha-hArauvasobhiyasamudayA jAva sirIe aIva aIva uvasobhemANA cittuNti| * sUryAbha varNana (111) Description of Suryabh Dev *

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124. una nAgadantoM para bahuta se kAle sUta se gu~thI huI tathA isI prakAra nIle, lAla, pIle aura sapheda Dore se gu~thI huI lambI-lambI mAlAe~ laTaka rahI | ve mAlAe~ sone ke jhumakoM aura sone ke pattoM se parimaMDita tathA nAnA prakAra ke maNi-ratnoM se racita vividha prakAra ke zobhanIka hAroM - ardhahAroM ke samudaya se apanI zrIzobhA se atIva - atIva upazobhita haiN| 124. Many long garlands knitted with black, blue, red, yellow ard white thread are hanging from the pegs. Those garlands are studded with golden rings and golden leaves. The pegs are shining due to gems and jewels-studded garlands and semi-circular garlands and rosaries hanging from them adding to their beauty. 125. tesi NaM NAgadaMtANAM uvari annAo solasa- solasa nAgadaMtaparivADIo pannattA, te NaM NAgadaMtA taM caiva jAva gayadaMtasamANA pannattA samANAuso / tesu NaM NAgadaMtasu bahave rayayAmayA sikkagA pannattA, tesu NaM rayayAmaesu sikkaesu bahave veruliyAmaIo dhUvaghaDIo pnnnnttaao| tAo NaM dhUvaghaDIo kAlAguru- pavarakuMdarukka turukka dhUvamaghamaghaMtagaMdhuddhayAbhirAmAo sugaMdhavaragaMdhiyAo gaMdhavaTTibhUyAo orAleNaM maNuNNeNaM maNahareNaM ghANamaNa - NivvuikareNaM gaMdheNaM te padese savyao samaMtA ApUremANA ApUremANA jAva ciTThati / he 125. ina nAgadaMtoM ke bhI Upara anya dUsarI solaha - solaha nAgadantoM kI paMktiyA~ haiM / AyuSman zramaNo ! pUrva varNita nAgadaMtoM kI taraha ye nAgadaMta bhI ramaNIya vizAla gajadaMtoM ke samAna haiN| ina nAgadantoM para bahuta se rajatamaya zIMke ( chIMke) laTake haiN| ina pratyeka rajatamaya zIMko meM vaiDUryamaNiyoM se banI huI dhUpa ghaTikAeN (dhUpadAniyA~) rakhI haiN| ye dhUpaghaTikAe~ kAle agara, zreSTha kundaruSka, turuSka (lobhAna) aura sugaMdhita dhUpa ke jalane se utpanna maghamaghAtI manamohaka sugandha ke uDane evaM uttama surabhigaMdha kI adhikatA se gaMdhavartikA (agarabattI) ke jaisI pratIta hotI haiM tathA sarvottama, manojJa, manohara gaMdha se nAsikA aura mana ko tRpti detI huI usa pradeza ko saba tarapha se suvAsita kara rahI haiN| 125. Above those pege there are rows of sixteen - sixteen pegs each. These pegs are also shining like pegs described earlier and are looking like huge tusks. rAyapaseNiyasUtra (112) For Private Personal Use Only Rai-paseniya Sutra

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e On the pegs are hanging many silvery swings. In every swing there are incense stands made of Vaidurya gems. The incense vessels are looking like fragrant incense sticks due to attractive fragrance and excellent pleasing smell caused in abundance by burning of black agar, best kundrushk (a fragrant substance used as incense), benzoin and fragrant dhoop. It is pleasant to the mind and nose due to excellent, grand and pleasing small. It is spreading its fragrance in that area. dvAra para sthita putaliyA~ 126. tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa sAlabhaMjiyA-parivADIo pnnttaao| __tAo NaM sAlabhaMjiyAo lIlaTThiyAo, supaiTThiyAo, sualaMkiyAo, NANAviharAgavasaNAo, NANAmallapiNaddhAo, muTThigijjhasumajjhAo, Amelagajamalajuyala-vaTTiya-anbhunnaya pINaraiyasaMThiya-pIvarapaoharAo, rattAvaMgAo, asiyakesIo miuvisayapasattha-lakkhaNasaMvelliyaggasirayAo IsiM asogavarapAyavasamuTThiyAo vAmahatthaggahiyaggasAlAo IsiM addhacchikaDakkhaciTThaeNaM lUsamANIo viva cakkhulloyaNalesehi ya annamannaM khijjamANIo viva puDhavipariNAmAo, sAsayabhAvamuvagayAo, caMdANaNAo caMdaddhasamaNiDAlao, caMdAhiyasomadaMsaNAo, ukkA viva ujjovemANAo, vijjaghaNamiriyasUradippaMta-teyaahiyayarasannikAsAo siMgArAgAra-cAruvesAo pAsAiyAo jAva cittuNti| 126. una dvAroM kI donoM bAjuoM kI nizIdhikAo (baiThakoM) meM solaha-solaha putaliyoM (zAlabhaMjikA) kI paMktiyA~ banI huI haiN| ye putaliyA~ vividha prakAra kI lIlAe~-(krIDAe~) karatI huI pratIta hotI haiN| ve saba prakAra ke AbhUSaNoM-alaMkAroM se zRMgArita manojJa rUpa se sthita haiN| aneka prakAra ke raMga-birage paridhAno-vastroM evaM mAlAo se zobhAyamAna, muTThI pramANa (muTThI meM samA jAne yogya) kRza-patale kaTi pradeza vAlI, zira para U~cA aMbAr3A-jUr3A bA~dhe hue aura samazreNi meM sthita haiN| ve paripuSTa-maoNsala, pIvara-sthUla puSTa payodharoM vAlI, kucha lAlimAyukta nayanoM vAlI, sukomala, atIva nirmala, zobhanIka saghana ghugharAlI kAlI-kAlI kajarArI kezarAzi vAlI, uttama azoka vRkSa kA sahArA lekara khar3I huI aura bAyeM hAtha se Age kI zAkhA ko * " * sUryAbha varNana (113) Description of Suryabh Dev

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pakaDe hue, ardha-nimIlita netroM se kiMcit vakra kaTAkSa-rUpa ceSTAoM dvArA devoM ke manoM ko haraNa karatI huI-sI aura eka-dUsare ko dekhakara paraspara kheda-khinna hotI huI-sI haiN| miTTI se banI hone para bhI zAzvata-nitya vidyamAna, ardha-candratulya lalATa vAlI, candra se bhI adhika saumya kAMti vAlI, ulkA-khirate tAre ke prakAza-puMja kI taraha udyota vAlIcamakIlI, vidyut (megha kI bijalI) kI camaka evaM sUrya ke dedIpyamAna teja se bhI adhika prakAza vAlI, apanI sundara vezabhUSA se zRMgAra rasa ke gRha-jaisI aura mana ko prasanna karane | vAlI yAvat atIva ramaNIya haiN| THE PUPPETS AT THE GATES _____126. On both sides of the gates there are rows of sixteen dolls each. I Those puppets are appearing as if they are performing aerobats. * They are properly decorated with ornaments of many types and are looking pleasant to the mind. They are having multi-coloured dresses and garlands. Their waist is so thin that it could be completely held in a hand. They are having high bunch of hair well a tied. They are in a row. They are well-built. They are having thick light breasts. Their eyes are having a little luster. Their hair are me soft, very clean, thick, curly and black. They are standing with the support of unique Ashok tree and holding the front branch in their left hand. Their eyes are half-closed and appear to make aromatic look to attract gods. Casting their look at each other they appear to be a bit dejected. They are made of earth. But they are everlasting, having forehead like a semi-circle. They are more bright than the moon. They shine like dropping star. They are brighter than the lightening and the mid-day sun. Due to their beautiful dress they are epitome of beauty, pleasant to the mind and extremely attractive. 127. tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa jAlakaDagaparivADIo pannattA, te NaM jAlakaDagA sabbarayaNAmayA acchA jAva pddiruuvaa|| 127. ina dvAroM kI donoM bAjuoM kI donoM niSIdhikAoM meM solaha-solaha jAlakaTaka (jAlI jharokhe yA yavanikA) haiM, ye jharokhe sarvaratnamaya, nirmala yAvat ramaNIya haiN| 127. There are jewel-studded and clean sixteen barred windows 9 in the two places for study at the sides of the doors. rAyapaseNiyasUtra Rai-paseniya Sutra (114) ex *

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128. tesi NaM dArANaM ubhao pAse duhao nisIhiyAe solasa solasa ghaMTAparivADIo pannattA, tAsi NaM ghaMTANaM imeyArUve vannAvAse pannatte, taM jahA jaMbUNayAmaIo ghaMTAo, vayarAmayAo, lAlAo NANAmaNimayA ghaMTApAsagA, tavaNijjAmaiyAo saMkhalAo, rayayAmayAo rajjUo / tAo NaM ghaMTAo ohassarAo, mehassarAo, haMsassarAo, koMcassarAo, sIhassarAo, duMduhissarAo, dighosAo, maMjussarAo, maMjughosAo, sussarAo, sussaraghosAo urAleNaM maNutreNaM maNahareNaM kannamaNa- nivvuikareNaM saddeNaM te padese savvao samaMtA ApUremANAo ApUremANAo jAva ciTThati / 128. ina dvAroM kI donoM bAju kI donoM niSIdhikAoM meM solaha-solaha ghaMTAoM kI paMktiyA~ banI haiN| una ghaTAoM kA varNana isa prakAra hai ve pratyeka ghaMTe jAmbUnada svarNa se bane hue haiM, unake lolaka (peMDulama ) vajra ratnamaya haiM, bhItara aura bAhara dono bAjuoM me vividha prakAra ke maNi jaDe haiM, laTakAne ke lie baeNdhI huI saoNkaleM sone kI aura rassiyA~ cA~dI kI haiN| una ghaMTAoM kA madhura ghoSa aisA hai jaise megha kI gaDagar3AhaTa, haMsa ke svara, krauMca ke svara, siha kI garjanA, dundubhinAda, vAdyasamUhaninAda aura nandighoSa ho / usa maMjusvara, maMjughoSa ( manohara dhvani aura manohara nAda), susvara, susvara ghoSa jaisI dhvani vAle ve ghaMTe apanI zreSThasundara manojJa, manohara kAna aura mana ko priya, sukhakArI jhanakAroM se usa pradeza ko cAroM ora se vyApta karate hue zobhAyamAna ho rahe haiN| 128. In the two places for study of scriptures on both the sides of the gates, their are rows of sixteen bells each. The description of the bells is as under Every bell is made of gold. They have Vajra jewelled pendulum. Gems are studded both in the inner and outer side. The pegs are of gold and strings are of silver against which they are hanging. The sweet sound of the bells is like that of thundering clouds, the voice of the swan or cronch, the roaring of the lion, the sound of the lute, the sound emitted by a collection of musical instruments and the bell of Stanit Kumar god. That pleasant tune, pleasant sound, auspicious voice, auspicious sound produced by those bells is excellent, pleasing loveable to the ears and the mind and is causing sUryAbha varNana Description of Suryabh Dev (115) For Private Personal Use Only

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WOODY OYOY * OPALOVA happiness when it rings. It fills that area from all sides. So the bells het are graceful. 129. tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa vaNamAlAparivADIo pnnttaao| tAo NaM vaNamAlAo NANAmaNimaya-dumalayakisalayapallavasamAulAo chappayaparibhuJjamANasohaMta sassirIyAo pAsAIyAo, darisaNijjAo abhiruvAo pddiruuvaao| 129. una dvAroM kI donoM bAjuoM kI donoM niSIdhikAoM meM solaha-solaha ra vanamAlAoM kI paMktiyA~ banI huI haiN| ye vanamAlAyeM aneka prakAra kI maNiyoM se nirmita vRkSoM, paudhoM, latAoM, kisalayoM aura pallavoM-patto se vyApta haiN| madhupAna ke lie bArambAra-bhramaroM ke dvArA sparza kiye jAne se suzobhita ye vanalatAyeM mana ko prasanna karane vAlI, darzanIya, * abhirUpa evaM pratirUpa haiN| 129. On both sides of the gates, in Nisheedhikas (the places for study) there are rows of sixteen Van-maala each. They are made of gemmed trees, plants, creepers, leaves. Since been came to them to suck honey. Several times, these Vanlatas are pleasant to the mind a worth-seeing and very beautiful. 130. tesi NaM dArANaM ubhao pAse duhao NisIhiyAe solasa solasa pagaMThagA * pnnttaa| te NaM pagaMThagA aDDAijjAiM joyaNasayAI AyAmavikkhaMbheNaM, paNavIsaM joyaNasayaM * bAhalleNaM, savvavayarAmayA acchA jAva pddiruuvaa| 130. ina dvAroM kI ubhaya pArzvavartI donoM niSIdhikAoM meM solaha-solaha prakaMThaka(vedikA rUpa pITha vizeSa cabUtarA) banA hai| ye pratyeka prakaThaka (cabUtarA) aDhAI sau yojana lambe, aDhAI sau yojana cauDe aura savA sau yojana moTe hai tathA sampUrNa ratnoM se bane hue, nirmala yAvat atIva ramaNIya hai| ___130. There is a terrace at the backside of the gates and they are having sixteen small square platforms each. __Every platform is 250 yojans long, 250 yojans wide and 125 yojans thick. All of them are studded with gems. They are dustless a and beautiful. rAyapaseNiyasUtra (116) Rar-paseniya Sutra

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131. tesi NaM pagaMThagANaM uvariM patteyaM patteyaM pAsAyavaDeMsagA pannattA / te NaM pAsAyavaDeMsagA aDDhAijjAI joyaNasayAI uDDhaM uccatteNaM, paNavIsaM joyaNasayaM vikkhaMbheNaM, abbhuggayamUsia - pahasiyA viva, vivihamaNirayaNabhatticittA / vAyavijaya - vejayaMta paDAgacchattAichattakaliyA, tuMgA, gagaNatalamaNulihaMtasiharA, jAlaMtararayaNapaMjarummiliyavva, maNikaNagathubhiyAgA, viyasiyasayavattapoMDarIyatilagarayaNaddhacaMdacittA, nnaannaamnnidaamaalNkiyaa| aMto bahiM ca saNhA tavaNijjavAluyA - patthaDA suhaphAsA sassirIyarUvA pAsAdIyA darisaNijjA jAva dAmA / 131. una prakaNThakoM (cabUtaro ) ke Upara eka - eka prAsAdAvataMsaka ( sundara mahala ) banA hai| ye prAsAdAvataMsaka U~cAI meM aDhAI sau yojana U~ce aura savA sau yojana cauDe haiM, cAroM dizAoM meM vyApta apanI prabhA se ha~sate hue se pratIta hote hai / vividha prakAra ke maNi-ratnoM se inameM citra-vicitra racanAe~ banI huI haiN| ve vAyu se phaharAtI huI, vijaya ko sUcita karane vAlI vaijayantI - patAkAoM evaM eka-dUsare ke Upara rahe hue chatroM se zobhita haiM / atyanta U~ce hone se inake zikhara mAno AkAzatala ko chU rahe haiN| viziSTa zobhA ke lie jAlI - jharokhoM meM ratna jaDe hue haiM / ve ratna aise camakadAra hai mAno abhI-abhI piTAroM se nikAle hue hoM / maNiyoM aura svarNa se inakI stUpakAe~ - zikhara bane haiM tathA sthAna-sthAna para vikasita zatapatra evaM puDarIka kamaloM ke citra aura tilaka ratnoM se racita ardha-candra ke citra bane hue haiN| ve nAnA prakAra kI maNimaya mAlAoM se alaMkRta haiN| bhItara aura bAhara se cikane - kamanIya haiN| A~gana meM svarNamayI bAlukA bichI huI hai, inakA sparza sukhaprada hai| rUpa zobhA - sampanna hai / dekhate hI citta meM prasannatA hotI hai / yAvat muktAdAmoM Adi se suzobhita haiN| 131. One beautiful palace is on each of those platforms. These palaces are 250 yojans high and 125 yojans wide. Their brightness is spreading in all the four sides and they appear smiling. Many pictures made of gems are on them. They are shining due to fluttering Vaijayanti flags and umbrella are one above the other indicating their success. Since they are sUryAbha varNana Description of Suryabh Dev (117) For Private Personal Use Only

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extremely high, their top appears to be touching the sky. Barred windows are studded with gems to increase their beauty. The jewels have such a shine as if they have just been taken out from the box. Their summits are made of gems and gold. The paintings of blossoming hundred-leaved lotus and Pundareek lotus, tilak gemmed half-moon are at several places. They are beautified by jewelled garlands of several types. They are slippery and loveable both from inside and outside. Golden sound is spread in the courtyard whose touch is pleasant. Their shape is grand and attracts the heart at the very first look. This description should be considered upto that of Muktadama (garland of pearls). vivecana - 'jAva dAmA' pada se yaha sUcita kiyA hai ki yAna vimAna ke prasaMga me jisa taraha usakI antarbhUmi, prekSAgRha maDapa, raMgamaca, sihAsana, vijaya - dUSya, vajrAkuza eva muktAdAmo kA varNana pichale sUtro me kiyA hai, usI prakAra samasta varNana yahAeN bhI samajha lenA caahie| Elaboration-The words 'Jaav dama' indicates that the description here should be considered to be similar to the one mentioned in earlier aphorisms about celestial aerial vehicle regarding its ground inside, the space for spectators, the hall, the stage, the throne, the cloth of success, the Vajra rod and garlands of pearls dvAroM ke ubhaya pArzvavartI toraNa 132. ( 1 ) tesi NaM dArANaM ubhao pAse solasa solasa toraNA pannattA, NANAmaNimayA NANAmaNimaesu khaMbhesu uvaNiviTThasanniviTThA jAva pum-htthgaa| 132. (1) una dvAroM ke dakSiNa aura vAma- donoM bAjuoM meM solaha-solaha toraNa haiM / ve sabhI toraNa nAnA prakAra ke maNi-ratnoM se bane hue haiM tathA vividha prakAra kI maNiyoM se nirmita stambhoM ke Upara acchI taraha ba~dhe haiM yAvat padma-kamaloM ke jhumakoM-gucchoM se zobhita haiN| FESTOONS ON BOTH SIDES OF VIMAN 132. (1) There are sixteen festoons each on both the sides (right and left) of the gates. All those festoons are made of gems and jewels and are tied well on pillars studded with gems. They are shining with bunches of Padma lotus. (2) tesi NaM toraNANaM patteyaM purao do-do sAlabhaMjiyAo pannattAo, jahA heTThA taheba | rAyapaseNiyasUtra (118) For Private. Personal Use Only Rai-paseniya Sutra

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tesi NaM toraNANaM purao nAgadaMtA pannattA, jahA hedvA jAva daamaa| (2) una toraNoM meM se pratyeka ke Age do-do putaliyA~ sthita haiN| putaliyoM kA varNana sUtra 118 ke anusAra jAnanA caahie| ___ una toraNoM ke Age do-do nAgadaMta (khUTe) haiN| muktAdAma paryanta inakA varNana pUrva varNita nAgadantoM ke samAna jAnanA caahie| (2) There are two puppets in front of each of the said festoons. The description of puppets may be considered similar to that in aphorism 118. There are two big pegs in front of each of these festoons. The description upto 'Mukta dama' in the present case should be considered similar to the earlier described pegs. (3) tesi NaM toraNANaM purao do-do hayasaMghADA, gayasaMghADA, narasaMghADA, kinnarasaMghADA, kiMpurisasaMghADA, mahoragasaMghADA, gaMdhavasaMghADA, usabhasaMghADA, sabarayaNAmayA acchA jAva paDirUvA, evaM paMtIo vIhI mihunnaaii| tesi NaM toraNANaM do-do paumalayAo jAva sAmalayAo, NiccaM kusumiyAo savvarayaNAmayA acchA jAva pddiruuvaa| tesi NaM toraNANaM purao do-do disA-sovatthiyA pannattA, savvarayaNAmayA acchA jAva pddiruuvaa| (3) una toraNoM ke Age do-do azva, gaja, nara, kinnara, kiMpuruSa, mahoraga, gandharva aura vRSabha saMghATa-(yugala) bane haiN| ye sabhI ratnamaya, nirmala yAvat asAdhAraNa rUpa-saundarya vAle haiN| isI prakAra se inakI paMkti (zreNI) vIthi aura unake sAmane mithuna-strI-puruSayugala bane hue haiN| ____ una toraNoM ke Age do-do padmalatAyeM yAvat aneka prakAra kI zyAmalatAe~ haiN| ye sabhI latAyeM puSpoM se ladI huI aura ratnamaya yAvat manohara haiN| ___una toraNoM ke agra bhAga meM do-do dizA-svastika rakhe haiM, jo sarvAtmanA ratnoM se bane hue, nirmala yAvat atIva manohara haiN| (3) In front of those festoons, there are horses, elephants, men, 3 kinnar, kimpurush, mahorag, gandharv (the demon gods) and en * sUryAbha varNana (119) Description of Suryabh

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bullocks-two each made of gems. They are clean unique and very beautiful. Similarly their row is made and before them are men and women, in sexual activities. In front of the festoons, there are Padmalatas two each and Shyamlatas of many types. All these creepers are laden with flowers. They are gemmed and grand. In the front part of the festoons, there are two Swastiks each. They are fully made of gems and are dirtless. (4) tesi NaM toraNANaM purao do - do caMdaNakalasA patrattA, te NaM caMdaNakalasA varakamalapaTThANA tava / siNaM toraNANaM purao bhiMgArA pannattA, te NaM bhiMgArA varakamalapaiTThANA jAva mahayA mattagayamuhAgitisamANA patrattA samaNAuso / tesi NaM toraNANaM purao do-do AyaMsA patrattA, tesi NaM AyaMsANaM imeyArUve vannAvAse pannatte, taM jahA - tavaNijjayA pagaMThagA, aMkamayA maMDalA, aNugghasitanimmalAe chAyAe samaNubaddhA, caMdamaMDalapaDiNikAsA, mahayA mahayA addhakAyasamANA pantrattA samaNAuso / tesi NaM toraNANaM purao do-do vairanAbhathAlA pannattA, acchaticchaDiyasAlitaMdula hasaM - diTThapaDipunnA iva ciTThati savvajaMbUNayamayA jAva paDirUvA mahayA mahayA rahacakkavAlasamANA patrattA samaNAuso / (4) una toraNoM ke Age do-do candanakalaza haiN| ye candanakalaza zreSTha kamaloM para sthApita haiM, ityAdi varNana pUrvavat samajha lenA caahie| he AyuSman zramaNo ! una toraNoM ke Age do-do bhRMgAra (jhArI) haiN| ye bhRMgAra bhI uttama kamaloM para rakhe hue haiM yAvat matta gajarAja kI mukhAkRti ke samAna vizAla AkAra vAle haiN| he una toraNoM ke Age do-do Adarza-darpaNa rakhe haiN| ina darpaNoM kA varNana isa prakAra haiAyuSman zramaNo ! inakI pAdapITha sone kI hai, pratibimba maNDala aMka ratna ke haiM aura anaghase hone ( ghise nahIM jAne) para bhI ye darpaNa apanI svAbhAvika nirmala prabhA se yukta haiN| candramaNDala sarIkhe ye nirmala darpaNa U~cAI meM kAyArdha (Adhe zarIra) jitane bar3e-bar3e haiN| rAyapaseNiyasUtra (120) For Private Personal Use Only Rai-paseniya Sutra

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una toraNoM ke Age vajramaya nAbhi vAle (jinakA madhya bhAga vajra ratnoM se nirmita hai) do-do thAla rakhe haiN| ye sabhI thAla masala Adi se tIna bAra chA~Te gaye, zodhe gaye, svaccha nirmala akhaNDa tadula-cAvaloM se paripUrNa-bhare hue se pratibhAsita hote haiN| ye thAla jambUnada svarNa se bane hue yAvat atizaya ramaNIya aura ratha ke pahiye jitane vizAla gola AkAra (4) In front of the festoons, there are sandal pitchers two each placed in lotus of best quality. The description may be considered similar to that earlier mentioned. 0 blessed Shramans ! In front of those festoons, there are auspicious jars two each. These jars are also placed on lotus flowers of best quality. In shape they are huge like mouth of an intoxicated elephant. There are two mirrors each in front of those festoons, their eyes description is as under-O blessed saints ! Their back is of gold. The margin is of Ank gems. Although the mirrors are not refined, yet they possess natural clear shine. They are as clean as moon circle and as big as half the size of man. ___ In front of the festoons, there are two plates, each gem-studded in the middle. All the plates have been properly straightened thrice with hammer, purified and appear to be completely filled with rice. They are made of pure gold and are very beautiful. They are as big as wheel of chariot and are circular in shape. (5) tesi NaM toraNANaM purao do-do pAIo, tAo NaM pAIo sacchodagaparihatthAo, NANAvihassa phalahariyagassa bahupaDipunnAo viva ciTuMti, sabbarayaNAmaIo acchA jAva paDirUvAo mahayA mahayA gokaliMjaracakkasamANIo pannattAo smnnaauso| __tesi NaM toraNANaM purao do-do supaiTThA pannattA NANAvihabhaMDaviraiyA iva ciTThati savvarayaNAmayA acchA jAva pddiruuvaa| __tesi NaM toraNANaM purao do-do maNoguliyAo panattAo, tAsu NaM maNoguliyAsu bahave suvanna-ruppamayA phalagA panattA, tesu NaM suvannaruppamaesu phalagesu bahave vayarAmayA nAgadaMtayA pannattA, tesu NaM vayarAmaesu NAgadaMtaesu bahave vayarAmayA sikkagA panattA, tesu sUryAbha varNana (121) Description of Suryabh Dev **

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NaM vayarAmaesu sikkagesu kiNhasuttasikkagavacchiyA NIlasuttasikkagavacchiyA, lohiyasuttasikkagavacchiyA hAliddasuttasikkagavacchiyA, sukkillasuttasikkagavacchiyA bahave vAyakaragA pattA savvaveruliyamayA acchA jAva paDirUvA / (5) una toraNoM ke Age do-do pAtriyA~ (bartana) rakhI haiN| ye pAtriyoM svaccha nirmala jala se bharI huI haiM aura vividha prakAra ke tAje hare phaloM se bharI huI-sI pratibhAsita hotI haiN| ye sabhI pAtriyA~ ratnamayI, nirmala yAvat atIva manohara haiM aura inakA AkAra bar3e-bar3e gokaliMjaroM - gAya ko ghAsa rakhane ke TokaroM ke samAna gola haiN| una toraNoM ke Age do-do supratiSThaka pAtra (prasAdhana - maMjUSA yA zRMgAradAna) rakhe haiN| prasAdhana-zRMgAra kI sAdhanabhUta auSadhiyoM Adi se bhare hue bhAMDoM se suzobhita haiM aura sarvAtmanA ratnoM se bane hue, nirmala yAvat atIva manohara haiN| una toraNoM ke Age do-do manogulikAe~ (baiThane kI pIThikA - kursI) haiN| ina manohara manogulikAoM para aneka sone aura cA~dI ke pATiye jaDe hue haiM aura una sone aura cA~dI ke pATiyoM para vajra ratnamaya nAgadanta (khU~Te ) lage hai evaM una nAgadantoM ke Upara vajra ratnamaya chIMke TaeNge haiN| una chIMkoM para kAle, nIle, lAla, pIle aura sapheda sUta ke jAlIdAra vastra khaNDa se Dha~ke hue vAtakaraka ( jala se rahita, kore ghaDe) rakhe haiM / ye sabhI vAtakaraka vajra ratnamaya, nirmala yAvat atizaya sundara haiN| (5) Two small vessels each are in front of the festoons. They are full of pure clean water and appear to be filled with fresh green fruit of various types. These vessels are jewel-studded, clean and extremely beautiful. They are as round as big baskets meant for feeding grass to the cow. There are decoration-boxes-two each in front of the festoons. They are full of small containers having articles for decorating the body. All of them are jewel-studded and upto extremely beautiful. Two chairs each are in front of the festoons. Many gold and silver plates are studded on those beautiful chairs and silver pegs are fixed on them. Jewelled bunches are hanging from those pegs. Unused pitchers are placed in these bunches and they are covered with meshed cloth made of black, blue, red, yellow and white yarn. All these pitchers are jewel-studded, clean and extremely beautiful. rAyapaseNiyasUtra (122) For Private Personal Use Only Rai-paseniya Sutra

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(6) tesi NaM toraNANaM purao do-do cittA rayaNakaraMDagA pannattA, se jahANAmae ranno cAuraMtacakkavaTTissa citte rayaNakaraMDae veruliyamaNi-phalihapaDalapaccoyaDe sAte pahAte te padese sabbato samaMtA obhAsati ujjoveti tavati pabhAsati evameva te vi cittA rayaNakaraMDagA sAte pabhAte te paese sambao samaMtA obhAsaMti, ujjoti, tavaMti pbhaasNti| tesi NaM toraNANaM purao do-do hayakaMThA, gayakaMThA, narakaMThA, kinnarakaMThA, / kiMpurisakaMga, mahoragakaMThA, gaMdhavyakaMThA, usabhakaMThA savvarayaNAmayA acchA jAva pddiruuvaa| ___ tesi NaM toraNANaM purao do-do puSphacaMgerIo, mallacaMgerIo, cunnacaMgerIo, * gaMdhacaMgerIo, vatthacaMgerIo, AbharaNacaMgerIo, siddhatthacaMgerIo, lomahatthacaMgerIo pannattAo sabbarayaNAmayAo acchAo jAva pddiruuvaao| (6) una toraNo ke Age citrAmoM se yukta do-do (ratnakaraMDaka-ratnoM ke piTAre) rakhe haiN| jisa taraha cAturaMta cakravartI rAjA kA vaiDUrya maNi se banA huA evaM sphaTika maNi ke paTala se DhaMkA huA adbhuta-Azcaryajanaka ratnakaraMDaka apanI prabhA se usa pradeza ko pUrI taraha se prakAzita, udyotita, tApita (garmI detA hai) aura prabhAsita karatA (camakAtA) hai, usI prakAra ye ratnakaraMDaka bhI apanI prabhA-kAMti se apane nikaTavartI pradeza ko Alokamaya banA dete, prakAzita, udyotita (camakatA), tApita (garmI denA) aura prabhAsita (dIpta) karate haiN| una toraNoM ke Age do-do azvakaMTha (kaMTha paryanta ghoDe kI mukhAkRti, jaise1 ratna-vizeSa), gajakaMTha, narakaMTha, kinnarakaMTha, kiMpuruSakaMTha, mahoragakaMTha, gaMdharvakaMTha, vRSabhakaMTha (inakI mukhAkRti ke ratna) rakhe haiN| ye saba azvakaMThAdika sarvathA ratnamaya, svaccha, nirmala 2 yAvat asAdhAraNa sundara haiN| ra una toraNoM ke Age do-do puSpa-caMgerikAe~ (phUlo se bharI choTI-choTI TokariyA~ DaliyA~), mAlyacagerikAe~ (mAlA kI TokariyA~), cUrNa (sugandhita cUrNa) caMgerikAe~, gandha cagerikAe~, vastra caMgerikAe~, AbharaNa (AbhUSaNa) caMgerikAe~, siddhArtha (sarasoM) kI caMgerikAe~ evaM lomahasta (mayUrapiccha) caMgerikAe~ rakhI hai| ye sabhI TokariyA~ ranoM se banI huI, nirmala yAvat pratirUpa-atIva manohara haiN| ___(6) Two jewel boxes each are in front of the festoons. The unique jewel box of Chakravarti (king Emperor) is made of Vaidurya jewels. It is covered with plate studded with crystal gems. It Prastake.sks.ke.sksksksksksksks.ke.slesskelesslesakssakesidese.ske.sie. sessisakese.ske.siksewis ke. sin sUryAbha varNana (123) Description of Suryabh Dev

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provides brightness, shine and warmth to the entire area. Similarly these jewel boxes with their luster brighten the entire area and Hot provide warmth and shine to it. Two horse shaped jewels each are in front of the festoons. There are also two jewels each of the shape of neck of an elephant, a man, of kinnar, of kimpurush, of mahorag, of gandharv and of bullock. All the said jewels are totally studded, pure, clean and unique. ___In front of the festoons, there are flower-baskets, garlanda basket, fragrant powder-baskets, fragrant-baskets, baskets containing clothes, containing ornaments, containing mustard and baskets containing mops made of peacock feather two each. They are all gem-studded, clean and upto extremely attractive. (7) tesi NaM toraNANaM purao do-do pupphapaDalagAI jAva lomahatthapaDalagAI savvarayaNAmayAiM acchAI jAva pddiruuvaaii| tesi NaM toraNANaM purao do-do sIhAsaNA paNNattA, tesi NaM sIhAsaNANaM vaNNao jAva daamaa| tesi NaM toraNANaM purao do-do ruppamayA chattA pannattA, te NaM chattA veruliyavimaladaMDA, jaMbUNayakaniyA, vairasaMdhI, muttAjAlaparigayA, aTThasahassavarakaMcaNasalAgA, daharamalayasugaMdhisavvouyasurabhisIyalacchAyA, maMgalabhatticittA, cNdaagaarovmaa| tesi NaM toraNANaM purao do-do cAmarAo pannattAo, tAo NaM cAmarAo caMdappabhaveruliyavayaranAnAmaNirayaNakhaciyacittadaNDAo suhumarayayadIhavAlAo saMkhaMkakuMdadagarayaamayamahiyapheNapuMjasannigAsAo, sabbarayaNAmayAo, acchAo jAva pddiruuvaao| tesi NaM toraNANaM purao do-do tellasamuggA, pattasamuggA, coyagasamuggA, * tagarasamuggA, elAsamuggA, hariyAlasamuggA, hiMgulayasamuggA, maNosilAsamuggA, Hot aMjaNasamuggA, savvarayaNAmayA acchA jAva pddiruuvaa| (7) una toraNoM ke Age do-do puSpapaTalaka (phUloM ke piTAre) yAvat mayUrapicchapaTalaka OM rakhe haiN| ye saba paTalaka (piTAre) ratnamaya, svaccha, nirmala yAvat pratirUpa haiN| * rAyapaseNiyasUtra Rai-paseniya Sutra (124) **

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una toraNoM ke Age do-do sihAsana haiN| ina siMhAsanoM kA varNana muktAdAmaparyanta sUtra 48, 49, 50 tathA 51 ke samAna kahanA caahie| una toraNoM ke Age cA~dI ke do-do chatra haiN| ina rajatamaya chatroM ke daNDa vaiDUrya maNiyoM ke haiM, karNikAe~ (bIca kA kendra) sone kI haiM, saMdhiyA~ (jor3a) vajra kI haiM, motI piroI huI ATha hajAra sone kI salAiyA~ (tAneM) haiM tathA daddara candana (daddara nAmaka parvata kA candana) aura sabhI RtuoM ke puSpoM kI surabhi se yukta zItala kAnti vAle haiN| ina para maMgalarUpa svastika Adi ke citra bane haiN| inakA AkAra candramaNDalavat gola hai| una toraNoM ke Age do-do cAmara haiN| ina cAmaroM kI DaMDiyA~ candrakAMta vaiDUrya aura vajra ratnoM kI haiM aura una para aneka prakAra ke maNi-ratnoM dvArA vividha citra-vicitra racanAe~ banI haiM, zaMkha, akaM ratna, kuMda puSpa, jalakaNa aura kSIrodadhi ke mathe hue puMja ke samAna phena-puMja zveta-dhavala hai, patale lambe bAla haiN| ye sabhI cAmara sarvathA ratnamaya, nirmala yAvat pratirUpa-anupama zobhAzAlI haiN| una toraNoM ke Age do-do telasamudgaka (sugandhita tela se bhare pAtra-Dibbe), koSTha kA (sugandhita dravya) samudgaka, patra-(tamAla ke patte) ke samudgaka, coyasamudgaka-(candana aura devadAra ke burAde se bane sugaMdhita dravya kA pAtra), tagarasamudgaka (sugandhita vRkSoM kI chAla se bhare pAtra), elA (ilAyacI) samudgaka, haratAlasamudgaka, hiMgalukasamudgaka, mainasilarAmudgaka, ajanasamudgaka rakhe haiN| ye sabhI samudgaka ratnoM se bane hue, nirmala yAvat atIva manohara haiN| (7) In front of the festoons, there are baskets of flowers and upto basket containing mops of peacock feathers two each. All these 19 baskets are jewel-studded, clean, dirtless and very beautiful. There are two thrones in front of each of the festoons. The description of thrones may be understood similar to that in aphorisms 48, 49, 50 and 51 upto garland of flowers. There are two silver umbrellas each in front of the festoons. The silvery umbrellas are of Vaidurya gems. The central part is of gold. The joints are of Vajra jewels. It has eight thousand gold rods having pearls. The umbrellas are of strong sandal wood and are having fragrance and quiet beauty of the flowers of all seasons. The auspicious Swastikas are painted on them. They are as round as the moon. ra sUryAbha varNana (125) Description of Suryabh Deu ***

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There are two chamaras in front of each of the festoons. They have handles of Vaidurya jewels. Many sketches have been made on them with gems of various types. They are as white as conch, Ank jewels, kund flowers (Lilies), water drops and churned milky ocean. They have thick long hair. All these chamaras are studded with jewels, clean and upto having unique grandeur. There are two tins each, full of fragrant oil in front of the festocns. There are also two tins each of tamal leaves, sandle wood and deodar wood powder, of busk of fragrant trees of curdaman, of yellow orpiment, of vermilion, of arsenic and of collyrium. All these tins are studded with jewels, clean and upto extremely attractive. dvArastha dhvajAoM kA varNana 133. sUriyAbhe NaM vimANe egamege dAre aTThasayaM cakkajjhayANaM, aTThasayaM migajjhayANaM, garuDajjhayANaM, chattajjhayANaM, picchajjhayANaM, sauNijjhayANaM sIhajjhayANaM, usabhajjhayANaM, aTThasayaM seyANaM cauvisANANaM nAgavarakeUNaM / evameva sapuvvAvareNaM sUriyA vimANe egamege dAre asIyaM asIyaM keusahassaM bhavati iti makkhAyaM / 133. sUryAbha vimAna ke pratyeka dvAra ke Upara cakra, mRga, garur3a, chatra, mayUrapiccha, pakSI, siMha, vRSabha, cAra dA~ta vAle zveta hAthI aura uttama nAga (sarpa) ke cinhoM vAlI eka sau ATha-eka sau ATha dhvajAyeM (pratyeka cihna kI) phaharA rahI haiM / isa taraha saba milAkara eka hajAra assI-eka hajAra assI dhvajAyeM usa sUryAbha vimAna ke pratyeka dvAra para phaharA rahI haiN| DESCRIPTION OF FLAGS AT THE GATES 133. One hundred eight flags flutter at each of the gates of Suryabh Viman. These flags bear the Suryabh wheel, deer, eagle, umbrella, mop of peacock feathers, bird, lion, bullock, elephant having four tusks and unique snake. Thus in all one thousand eighty flags are fluttering at each of the gates of Suryabh Viman. dvAravartI bhaumoM kA varNana 134. tesi NaM dArANaM egamege dAre paNNA paNNaTThi bhomA pannattA / tesi NaM bhomANaM bhUmibhAgA, ulloyA ca bhANiyavvA / tesi NaM bhomANaM ca bahumajjhadesabhAge patteyaM patteyaM sIhAsaNe, sIhAsaNavantrao saparivAro, avasesesu bhomesu patteyaM patteyaM bhaddAsaNA pannattA / rAyaseNiyasUtra (126) For Private Personal Use Only Rai-paseniya Sutra

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134. una dvAroM ke eka-eka dvAra para paiMsaTha-paiMsaTha bhauma (daravAje ke Upara kA bhavana-meDI) batAye haiN| yAna vimAna kI taraha hI ina bhaumoM ke sama ramaNIya bhUmi bhAga aura ulloka (candevoM) kA varNana karanA caahie| OM ina bhaumoM ke bIcoMbIca meM eka-eka siMhAsana rakhA hai| yAna vimAnavartI siMhAsana kI taraha usakA saparivAra varNana samajhanA cAhie, arthAt usake parivAra rUpa sAmAnika Adi devoM ke bhadrAsanoM sahita ina siMhAsano kA varNana jAnanA caahie| zeSa AsapAsa ke bhaumoM meM bhadrAsana rakhe haiN| DESCRIPTION OF STORAGE ABOVE THE GATES ___134. There are sixty five storeys above each of the gates. The description of the levelled floors and cloth ceilings of these storeys should be considered as that of celestial aerial vehicle. 19 In the middle of these floors is a throne each. Its description should be considered similar to that of celestial aerial vehicle and its details. In other words, like the seals of gods of equal status and the family, the description of the thrones may be understood. In nearby other pieces of land, Bhadrasans have been placed. 135. tesi NaM dArANaM uttamAgArA solasavihehiM rayaNehiM uvasobhiyA, taM jahArayaNehiM jAva rittehiN| __ tesi NaM dArANaM uppiM aTThamaMgalagA sajjhayA jAva chttaatichttaa| ___ evameva sapuvAvareNaM sUriyAbhe vimANe cattAri dArasahassA bhavaMtIti mkkhaayN| 135. una dvAroM ke otaraMga (UparI bhAga para lagA kASTa) solaha prakAra ke ratnoM se zobhita haiN| una ratnoM ke nAma isa prakAra haiM-karketana ratna yAvat vajra, vaiDUrya, lohitAkSa, masAragalla, haMsagarbha, pulaka, saugandhika, jyotirasa, aMka, aMjana, rajata, aMjanapulaka, jAtarUpa, sphaTika aura riSTa rtn|| una dvAro ke Upara svastika Adi ATha-ATha maMgala aMkita haiM jina para dhvajAe~ aura tIna chatra zobhita haiN| * isa prakAra sUryAbha vimAna meM saba milakara cAra hajAra dvAra suzobhita ho rahe haiN| OM 135. The wood of the upper part of these gates is shining with jewels of sixteen types. The names of those jewels are Karket, Vajra, sUryAbha varNana (127) Description of Suryabh Dev *

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Lohitaksh, Masargalla, Hansagarbh, Pulak, Saugandhik, Jyotiras, Ank, Anjan, Rajat, Anjan-pulak, Jaatroop, Crystal (Sphatik) and Rist jewels. Eight auspicious symbols namely Swastik and others are drawn on the gates. Three flags and three umbrellas and adding to their beauty. Thus in all four thousand gates are beautifying Suryabh Viman. vimAna ke khaMDoM kA varNana 136. sUriyAbhassa vimANassa cauddisiM paMca joyaNasayAiM abAhAe cattAri vaNasaMDA pannattA, taM jahA - asogavaNe, sattavaNNavaNe, caMpagavaNe, cUyagavaNe / puratthimeNaM asogavaNe, dAhiNaM sattavannavaNe, paccatthimeNaM caMpagavaNe, uttareNaM cUyagavaNeM / te NaM vaNakhaMDA sAiregAI addhaterasa joyaNasayasahassAiM AyAmeNaM, paMca joyaNasayAI vikkhaMbheNaM, patteyaM patteyaM pAgAraparikkhittA / kahA kiNhobhAsA, nIlA nIlobhAsA, hariyA hariyo bhAsA, sIyA sIyobhAsA, niddhA niddhabhAsA, tivvA tivvobhAsA, kiNhA kiNhacchAyA, nIlA nIlacchAyA, hariyA hariyacchAyA, sIyA sIyacchAyA, niddhA niddhacchAyA, ghaNakaDitaDiyacchAyA, rammA mahAmehanikuruMbabhUyA / te NaM pAyavA mUlamaMto vaNakhaMDavannao / 136. usa sUryAbha vimAna ke cAroM ora pA~ca sau - pA~ca sau yojana kI dUrI para cAro dizAoM meM cAra vanakhaMDa haiM - ( 1 ) pUrva dizA meM azokavana, (2) dakSiNa dizA meM saptaparNavana, (3) pazcima dizA meM caMpakavana, aura (4) uttara dizA meM Amravana / ye pratyeka vanakhaMDa sAr3he bAraha lAkha yojana se kucha adhika lambe aura pA~ca sau yojana caur3e haiN| pratyeka vanakhaDa eka-eka parakoTe se pariveSTita hai| ye sabhI vanakhaMDa atyanta ghane hone ke kAraNa kAle aura kAlI AbhA vAle, nIle aura nIlI AbhA vAle, hare aura harI kAti vAle, zIta sparza aura zIta AbhA vAle, snigdhakamanIya aura kamanIya kAMti dIpti-prabhA vAle, tIvra prabhA vAle tathA kAle aura kAlI chAyA vAle, nIle aura nIlI chAyA vAle, hare aura harI chAyA vAle, zItala aura zItala chAyA vAle, snigdha aura snigdha chAyA vAle haiN| vRkSo kI zAkhA - prazAkhAeN Apasa meM eka-dUsarI se milI hone ke kAraNa apanI saghana chAyA se bar3e hI ramaNIya tathA mahAmeghoM ke samUha jaise suhAvane dikhate haiN| rAyapaseNiyasUtra ( 128 ) For Private Personal Use Only Rai-paseniya Sutra

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___ina vanakhaDoM ke vRkSa jamIna ke bhItara gaharI phailI huI jaDoM se yukta haiM, ityAdi vRkSoM kA 5 samagra varNana aupapAtikasUtra ke anusAra yahA~ karanA caahie| 9 DESCRIPTION OF FOREST-REGIONS OF THE VIMAN _____136. At a distance of 500 yojans on each side of Suryabh Viman, a there are four forest-regions namely--(1) Ashok forest in the east, (2) Saptaparn forest in the south, (3) Champak forest in the west, and (4) Aamra forest in the north. ____Each of these forest-regions is a little more than 1.25 million one yojans long and 500 yojans wide. Every forest-region is covered with a boundary wall. All the forest-regions are extremely thick and therefore appear to be black having black luster, blue having blue luster, green having green luster, of cool touch and cool aura, of smooth pleasing touch and smooth shadow. The branches and sub-branches of the trees are interlinked and therefore, because of thick shadow they appear very pleasant and good looking like cluster of clouds. The trees of these forest-regions have deep widely spread roots. The description of the trees may be considered similar to that in Ka Aupapatik Sutra vivecana-aupapAtikasUtra me vanakhaDa ke vRkSo kA jo varNana kiyA gayA hai yaha varNana-udyAnavijJAna aura vanaspativijJAna kI dRSTi se bhI mahattvapUrNa hai| saMkSepa me vaha varNana isa prakAra hai____ "ina vanakhaDo ke vRkSa jamIna ke andara vistRta gahare phaile hue mUla, kanda, skandha, tvacA, zAkhA, prazAkhA, pravAla. patra, puSpa, phala.bIja se yakta hai| chatarI ke samAna inakA ramaNIya gola AkAra hai| inake skandha Upara kI ora uThI huI aneka zAkhA-prazAkhAo se zobhita hai aura itane vizAla eva vRttAkAra (gola) hai ki aneka puruSa milakara bhI apane phailAye hue hAtho se unhe ghera nahI paate| patte itane ghane hai ki bIca me jarA bhI antara dikhalAI nahI detA hai| patra-pallava sadaiva navIna jaise dikhate hai| kopale atyanta komala hai aura sadaiva sarva Rtuo ke puSyo se vyApta hai tathA jhuke hue, vizeSa jhuke hue, puSpita, pallavita gulmita, gucchita (gucche bane hue), vinamita, praNamita jhuke hue hokara majarI rUpa zirobhUSaNo se alakRta rahate hai| totA, mayUra, mainA, koyala, nadImukha, tItara, baTera, cakravAla, kalahasa, batakha, sArasa Adi aneka pakSI-yugalo ke madhura svaro se gUMjate rahate hai| aneka prakAra ke gucchoM aura gulmo (belo) se nirmita maDapa Adi se suzobhita hai| nAsikA aura mana ko tRpti dene vAlI sugadha se mahakate rahate hai| isa prakAra ye sabhI vRkSa suramya, prAsAdika darzanIya, manohara eva viziSTa zobhA-saMpanna hai|" sUryAbha varNana (129) Description of Suryabh Dev

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Elaboration--The description of trees of the forest-region in Aupapatik * Sutra is very important in the context of science of horticulture and botany. In brief, the description is as follows "The trees of these forest-region are very deep having widely spread roots They are having bulbous, roots, trunk, bark, branches, subbranches, leaves, flowers, fruit and seeds They are round in shape like an umbrella Their trunk is full of branches and sub-branches, projecting upwards. Their trunk is so big and round that even men with their joined hands cannot surround it Leaves are so thick that no space appears to be in existence between them The leaves and buds always look fresh. The buds are extremely soft. They are always having flowers of all seasons. They are bent downwards, specially bent, flowered, budded, bunched and being bent they look like having head-ornaments. They are echoing with the sounds made by parrots, peacocks, maina, nightingale, nandimukh, quails, partridges, charawal, kal swan, duck, cranes and others. Many natural covered spaces have been formed due to bunches and creepers. They are fragrant with sweet and healthy smell. Thus all the bright pleasant worth-seeing, grand and attractive. 137. tesi NaM vaNasaMDANaM aMto bahasamaramaNijjA bhUmibhAgA paNNattA, se jahAnAmae AliMgapukkhare ti vA jAva NANAviha paMcavaNNehiM maNIhi ca taNehi ya uvasobhiyA, tesi kaNaM gaMdho phAso Neyavvo jhkkm| 137. una vanakhaMDoM ke madhya me ati sama ramaNIya bhUmibhAga (samatala maidAna) hai| ve maidAna Aliga puSkara (mRdaga nAmaka bAje ke muMha para maeNDhe camaDe ke samAna) samatala yAvat nAnA prakAra ke raga-birage paMcarage maNiyoM aura tRNo se upazobhita hai| ina maNiyoM ke gaMdha aura sparza yathAkrama se pUrva meM kiye gaye maNiyo ke gadha aura sparza ke varNana ke samAna jAnanA caahie| " 137. In the centre of the forest-regions, there are level grounds. Those grounds are finely levelled like leather on the face of a drum. They are shining with coloured jewels and grass. The fragrance and touch of these gems may be considered as those described earlier. maNiyoM aura tRNoM kI dhvaniyA~ 138. (prazna) tesi NaM bhaMte ! taNANa ya maNINa ya puvAvara-dAhiNuttarAgatehiM vAehiM maMdAyaM maMdAyaM eiyANaM beiyANaM kaMpiyANaM cAliyANaM phaMdiyANaM ghaTTiyANaM khobhiyANaM udIriyANaM kerisae sadde bhavati ? rAyapaseNiyasUtra (130) Rai-paseniya Sutra

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138. "he bhadanta / pUrva, pazcima, dakSiNa aura uttara dizA se Ate vAyu ke sparza se * maMda-mada hilane-Dulane se kaeNpane, DagamagAne, pharakane, TakarAne, kSubhita-vicalita aura * udIrita-prerita hone para una tRNo aura maNiyoM kI kaisI zabda-dhvani hotI haiM ?' THE SOUNDS OF GEMS AND GRASS (TRIN) 138. "Reverend Sir ! What type of sound is emitted by the morning, trembling, fluttering, blowing gems and grass when the wind from east, south, west and north touches it ?" 139. (uttara) goyamA ! se jahAnAmae sIyAe vA, saMdamANIe, vA rahassa vA sacchattassa sajjhayassa, saghaMTassa, sapaDAgassa, satoraNavarassa sanaMdighosassa, sakhikhiNi-hemajAlaparikkhittassa, hemavayacittatiNisa-kaNagaNijjuttadAruyAyassa, susaMpaniddhacakkamaMDaladhurAgassa, kAlAyasasukayaNemijaMtakammassa aainnnnvrturgsusNputtss| kusalaNaraccheyasArahi-susaMpariggahiyassa, sarasabattIsatoNaparimaMDiyassa sakaMkaDAvayaMgassa, scaav-sr-phrnn-aavrnnbhriy-jodhjujjhsjjss| rAyaMgasi vA rAyaMteuraMsi vA rammaMsi navA maNikuTTimatalaMsi abhikkhaNaM abhikkhaNaM abhighaTTijamANassa vA niyaTTijamANassa vA orAlA maNuNNA maNoharA kaNNamaNa-nivuikarA saddA sabao samaMtA abhinnissvNti| bhaveyArUve siyA ? No iNaDhe smddhe| 139. "he gautama ! jisa taraha zivikA-(DolI, pAlakI) athavA syandamAnikA (bahalI-sukhapUrvaka eka vyakti ke baiThane yogya ghoDA jutA yAna-vizeSa) athavA vaha ratha, jo * chatra, dhvajA, ghaTA, patAkA aura uttama toraNoM se suzobhita ho, mile hue bAjoM ke zabda-ninAda karane vAle ghughuruoM evaM svarNamayI mAlAoM se pariveSTita ho, himAlaya meM * utpanna ati nigar3a-(saghana) uttama tiniza (baiMta) kASTha se nirmita eva suvyavasthita rIti se lagAye gaye AroM se ukta pahiyoM aura dhurA se susajjita ho, sudRDha uttama lohe ke paTToM se * surakSita paTTiyoM vAle, zubha lakSaNoM aura guNoM se yukta kulIna azva jisameM jute ho| ___ ratha-saMcAlana-vidyA meM ati kuzala, dakSa sArathI dvArA saMcAlita ho, eka sau-eka sau bANa vAle battIsa tUNIro (tarakasoM) se parimaMDita ho, kavaca se AcchAdita agra-zikhara * sUryAbha varNana (131) Description of Suryabh Deve

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the bhAga vAlA ho, dhanuSa, bANa, praharaNa, kavaca Adi yuddhopakaraNoM se bharA ho aura yuddha ke OM lie tatpara-sannaddha yoddhAoM ke lie sajAyA gayA ho| aisA ratha bAraMbAra maNiyoM aura ratnoM se banAye gaye pharza vAle rAjaprAMgaNa, aMtaHpura athavA ramaNIya pradeza meM AvAgamana kare to sabhI dizA-vidizA me cAroM ora uttama, manojJa, manohara, kAna aura mana ko AnandakAraka madhura zabda-dhvani phailatI hai|" ___ "he bhadanta ! kyA ina rathAdiko kI dhvani jaisI hI una tRNoM aura maNiyo kI dhvani hai?' ___ "gautama ! nahIM, yaha upamA sahI nahIM hai (unakI dhvani to inase bhI vizeSa madhura hai)|" ___139. "O Gautam ! Just as a palanquin or a horse-ridden cart or a chariot decorated with umbrella, flag, bell, buntings and bright festoons, is decorated with small bells making sweet sound of musical instruments and golden garlands. Its wheel are made of cane of best quality and the wooden pegs are properly fastened upto the centre of the wheels. The wheels are covered with strong iron of voor best quality. The horses driving it are having auspicious marks and Top quality belonging to a good breed. The charioteer is expert and dext in the mechanics of driving the chariot. It is having thirty two quivers each having hundred arrows. The front top part is covered with iron dress. It is full of arrows, bows, iron coat, shields and other weapons used in war. It is described with warriors ready for the battle. When such a chariot moves again and again on jewelled and gem-studded courtyard of the palace, the royal harems or a a picturesque regions, the excellent, pleasant, sweet, lovable, unique Har sound spreads in all directions." "Reverend Sir ' Is the sound of these chariots similar to that of * the said gems and grass ?" ___ "Gautam ! No. This illustration is not proper (Their sound is much more sweet than that of the chariot)." 140. se jahANAmae veyAliyavINAe utaramaMdA mucchiyAe aMke supaiTTiyAe kusalanaranAri-susaMpariggahiyAe caMdaNa sAranimmiyakoNaparighaTTiyAe puvarattAvarattakAlasamayaMmi maMdAyaM maMdAyaM veiyAe, paveiyAe, caliyAe, ghaTTiyA, * rAyapaseNiyasUtra (132) Rav-paseniya Sutra

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D khobhiyAe, udIriyAe orAlA, maNuNNA, maNaharA, kaNNamaNa-nivvuikarA saddA savvao samaMtA abhinissvNti| ___ bhaveyArUve siyA ? No iNaDhe smddhe| 140. "bhadanta ! kyA una maNiyoM aura tRNoM kI dhvani aisI hai jaisI ki vAdanakuzala nara yA nArI madhya rAtri athavA rAtri ke antima prahara me caMdana ke sAra bhAga se racita koNa (vINA bajAne kA daMDa, DAMDI) ke sparza se uttara-maMda mUrcchanA vAlI vaitAlika vINA ko goda meM lekara maMda-maMda tAr3ita, kampita, prakaMpita, cAlita, gharSita, kSubhita aura udIrita kiye jAne para sabhI dizAo evaM vidizAoM me cAro ora udAra, sundara, manojJa, manohara, * karNapriya evaM manamohaka dhvani gUMjatI hai?' "gautama ! nahIM, yaha upamA sahI nahIM hai| una maNiyoM aura tRNoM kI dhvani isase bhI adhika madhura hai|" ____140. "Reverend Sir ! Is the sound of gems and grass comparable to the expert musicians at mid night or in the last quarter of the night, who are having Vaitalik lute in their lap, strike against the lute made of best sandal wood that is able to produce soft sound with its touch. When the musician beats the lute softly and plays on it with his perfect skill, touching it properly and skillfully, it o produces beautiful, attractive, pleasant, heartening sound in all the directions." ___ "Gautam ! No. This illustration does not befit here. The sound of jewels and grass is sweeter than that sound of lute." 141. se jahAnAmae kinnarANa vA, kiMpurisANa vA, mahoragANa vA, gaMdhavvANa vA, bhaddasAlavaNagayANaM vA, naMdaNavaNagayANaM vA, somaNasavaNagayANaM vA, paMDagavaNagayANaM vA, himavaMtamalayamaMdara-giriguhAsamanAgayANaM vA, egao sannihiyANaM samAgayANaM sannisannANaM samuvaviTThANaM pamuiya-pakkIliyANaM gIyarai gaMdhavahasiyamaNANaM gajaM pajjaM, katthaM, geyaM * payabaddhaM, pAyabaddhaM ukkhittaM pAyaMtaM maMdAyaM roiyAvasANaM sattasarasamannAyaM chuddosavippamukkaM ekkArasAlaMkAraM aTThaguNovaveyaM, guMjA'vaMka-kuharovagUDhaM rattaM tiTThANakaraNasuddhaM pagIyANaM, bhaveyArUve ? 141. "bhagavan ! to kyA unakI dhvani isa prakAra kI hai, jaise ki bhadrazAlavana, nandanavana, saumanasavana athavA pAMDukavana yA himavana, malaya athavA madara giri kI guphAoM * sUryAbha varNana (133) Description of Suryabh Deva

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me gaye hue evaM eka sthAna para ekatrita, samAgata, baiThe hue aura apane - apane samUha ke sAtha upasthita, harSollAsapUrvaka krIr3A karane meM tatpara saMgIta, nRtya, nATaka, hAsa, parihAsapriya kinnaroM, kipuruSoM, mahoragoM athavA gaMdharvo ke gadyamaya, padyamaya, kathanIya, geya, padabaddha, pAdabaddha, utkSipta, pAdAnta, maMda-maMda gholanAtmaka, jinakA anta rucikara aura sukhakara ho aise rocitAvasAna- sukhAnta, manamohaka sapta svaroM se samanvita, SaDdoSoM se rahita, gyAraha alaMkAroM aura ATha guNoM se yukta, guMjArava se dUra-dUra ke konoM ko kampita karane vAle rAga-rAginI se yukta tri-sthAna-karaNa zuddha gIto ke madhura bola hote haiM ?" 141. "O Lord ! When kinnar, kimpurush, mahorag and gandharv-the demon-gods go into the caves of Bhadrashal forest, the Nandan forest, the Saumanas forest or the Panduk forest, the Him forest or in the caves of Malay mount or Mandar mountain, or sit together, join together or come together along with their group, and are ready to play in a spirit of joy or to engage themselves in music, dance, dramatic activities or buffoonery, they create music. Their music is prose, poetic, worth-mentioning, worth-singing, harmonious, according to time, raised up and properly concluded and pleasant. It is properly timed with seven musical notes making it attractive. It is devoid of six mistakes. It possess eleven ornamented qualities and eight virtues. It echoes from a great distance. It contains music and musical notes that are pleasant to the ears. The pure musical notes rise from three places in harmony. Please tell me if the music of gems and grass is of this type?" 142. haMtA siyA / 142. gautama ! hoN| aisI hI madhurAtimadhura dhvani una maNiyoM aura tRNoM se nikalatI hai| 142. "Gautam ! Yes. The musical note produced by gems and grass is sweet like this and sweeter also." vivecana - yahA~ sUryAbhadeva ke vimAna ke vanakhaNDo meM biche ramaNIya ratno aura tRNo kI hone vAlI dhvaniyo kA atyanta alakArapUrNa rasamaya varNana kiyA hai| upamAoM se batAyA hai ki una maNiyo va tRNo madhura dhvani kaisI hotI hai ? yahAeN tIsarI upamA kinnaro, gaMdharvo ke sagIta se dI gaI hai| cAra devanikAyo kinnara, kipuruSa, mahoraga aura gadharva vyataranikAya ke deva hai| ye sabhI prazasta gIta, saMgIta, nRtya eva nATya-kalAo ke premI hote hai / bAlasulabha krIDA aura hAsa-parihAsa, kolAhala karane meM inheM AnandAnubhUti hotI hai| puSpo se banAye hue mukuTa, kuMDala Adi inake priya AbhUSaNa hai / sarva Rtuo ke sundara sugadhita puSpo dvArA nirmita vanamAlAo se inake vakSasthala zobhita rahate hai / ye aneka prakAra ke rAyapaseNiyasUtra (134) For Private Personal Use Only Rai-paseniya Sutra

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* citra-vicitra raga-birage pacarage paridhAna pahanate hai| ye sabhI prAya sumeru parvata aura himavata Adi parvato ke ramaNIya pradezo me nivAsa karate hai| prastuta sUtra me sagIta ke svara, doSa aura guNo kI sakhyA kA saketa karane ke lie 'sattasarasamannAgayaM, chaddosavippamukkaM aTThaguNovaveyaM' pada diye hai| svaro Adi ke nAma anuyogadvArasUtra ke prathama bhAga me svara maDala sUtra 260 Aye hai| pAThaka vahA~ dekhe| Elaboration --The musical sounds produced by jewels and grass scattered on the forest-region of the Viman of Suryabh Dev has been described in a completely picturesque and beautiful manner. By illustration, it has been stated how sweet is the sound produced by t jewels and grass The third illustration is of the music of musician godskinnars and gandharvas Out the gods of four types, the kinnar, kimpurush, mahorag and gandharv belong to Vyantar gods category. They are lovers of music, vocal music and dance of good quality They feel ecstatic pleasures in childlike games, in jokes and in making noise Their ornaments are mukut made of flowers, ear-rings and others. They wear garalnds of fragrant beautiful flowers of all seasons at their chest. They are dressed up in multi-coloured clothes of many types-prevalent or newly drawn out Normally all of them reside at beautiful places in Sumeru and Himvant mountains In the present aphorism, the words 'Sattasar samannagayam, chhaddosavippamukkam atthagunovaveyam' have been used to point out the number of musical notes, their faults and their qualities The names of the musical notes can be seen in Anuyogdvar Sutra, Part I in Sutra 260 dealing with musical notes vanakhaMDavartI vApikAoM Adi kA varNana 143. tesi NaM vaNasaMDANaM tattha tattha tahiM tahiM dese dese bahUIo khuDDA khuDDiyAo vAvIyAo, pukkhariNIo, dIhiyAo, guMjAliyAo, sarapaMtiyAo, sarasarapaMtiyAo, bilpNtio| ___ acchAo saNhAo rayayAmayakUlAo, samatIrAo vayarAmaya-pAsANAo tavaNijjatalAo, suvaNNasujjharayaya-vAluyAo veruliyamaNi-phAliyapaDalapaccoyaDAo, suhoyArasuuttArAo, nnaannaamnni-titsubddhaao| _ caukkoNAo, ANupubba-sujAtavappagaMbhIra-sIyalajalAo, saMchannapattabhisamuNAlAo, bahuuppala-kumuya-naliNa-subhagasogaMdhiyapoMDarIyasayavattasahassapatta-kesaraphullovaciyAo Home * sUryAbha varNana (135) VAONVAONVA Description of Suryabh Deve DAN * * * X X *

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chappaya - paribhujjamANakamalAo, acchavimala-salilapuNNAo, paDihatthabhamaMtamacchakacchabhaaga saNa - mahuNa - pavicaritAo / patteyaM patteyaM paumavaravediyAparikkhittAo, patteyaM patteyaM vnnsNddprikkhittaao| appegaiyAo AsavoyagAo, appegaiyAo vAruNoyagAo, appegaiyAo khIroyagAo, appegaiyAo ghaoyagAo, appegaiyAo khodoyagAo, appegaiyAo pagatIe uyagaraseNaM pnnnnttaao| pAsAdIyAo darisaNijjAo abhirUvAo pddiruuvaao| 143. una vanakhaDoM meM jahA~-tahA~ sthAna-sthAna para aneka choTI-choTI caurasa vApikAyeM - bAvar3iyA~, gola puSkariNiyA~, dIrghikAyeM (sIdhI bahatI nadiyA~), guMjAlikAyeM (TeDhI-tirachI - baoNkI bahatI nadiyA~), phUloM se Dha~kI huI sarovaroM kI paMktiyoM, sara-sara paMktiyA~ (pAnI ke pravAha ke lie nahara dvArA eka-dUsare se juDe hue tAlAboM kI paMktiyoM) evaM bila paMktiyA~ - kuoM kI katAreM banI huI haiN| ina sabhI vApikAoM Adi kA bAharI bhAga sphaTika maNi kI bhA~ti atIva nirmala, snigdha - kamanIya hai / inake taTa rajatamaya haiM aura taTavartI bhAga atyanta sama - caurasa haiN| ye sabhI jalAzaya vajraratnarUpI pASANoM se bane hue haiN| inake talabhAga ( bhUtala - di saraphesa oNpha di artha ) tapanIya lAla svarNa se nirmita haiM tathA una para zuddha svarNa aura caoNdI kI bAlU bichI hai| taToM ke samIpavartI U~ce pradeza (muMDera) vaiDUrya aura sphaTika maNi-paTaloM ke bane hai| inameM utarane aura nikalane ke sthAna sukhakArI haiN| ghAToM para aneka prakAra kI maNiyA~ jaDI huI haiN| cAra konoM vAlI vApikAoM aura kuoM meM anukrama se nIce-nIce pAnI agAdha evaM zItala hai tathA kamalapatra, bhisa - ( kamalakaMda) aura mRNAloM se DhakA huA hai| ye sabhI jalAzaya vikasita-khile hue utpala, kumuda, nalina, subhaga, saugaMdhika, puMDarIka, zatapatra tathA sahasra-patra Adi nAnA jAti ke kamaloM se suzobhita haiM aura una para parAga-pAna ke lie bhramaro ke samUha gujArava kara rahe haiN| ye svaccha-nirmala jala se bhare hue haiN| kallola karate hue magaramaccha, kachuA Adi berokaToka idhara-udhara ghUma-phira rahe haiM aura aneka prakAra ke pakSisamUha vahA~ Ate-jAte vihAra karate rahate haiM / ye sabhI jalAzaya eka - eka padmavaravedikA aura eka-eka vanakhaDa ( bagIcoM) se pariveSTita haiN| rAyapaseNiyasUtra (136) For Private Personal Use Only Rai-paseniya Sutra

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ina jalAzayoM meM se kisI meM Asava (madirA) jaisA, kisI meM vAruNodaka (vAruNa samudra ke jala) jaisA, kisI meM kSIrodaka (kSIra samudra ke jala) jaisA, kisI meM ghI jaisA, kisI me ikSurasa jaisA aura kisI-kisI meM prAkRtika - svAbhAvika pAnI jaisA svAda vAlA pAnI bharA hai| ye sabhI jalAzaya mana ko prasanna karane vAle, darzanIya, abhirUpa aura pratirUpa haiM / DESCRIPTION OF LAKES IN FOREST-REGIONS 143. Small square-type lakes, round pushkarnies straight flowing canals, oblique, slanting channels of water, the rows of tanks covered with flowers, the rows of tanks joined with one another and to the canal for proper flow of water and the rows of wells are in the forest-region at many places. All the lakes are crystal clear and exquisitely clean and smooth from outside. Their bank is of silver and the bank portion is levelled and squre-like. All these water closets are made of gem type stones. The surface of the earth is of burnt red gold. The pure silver dust and gold dust is scattered (spread) on it. The raised sides of the banks are of Vaidurya gems. The places for going down and coming out are easy. Many jewels are studded at the bathing places (ghaat). The water in the four cornered lakes and circular wells is deeper and deeper as one goes down and is also cool. It is covered with lotus leaves, lotus filament and lotus stem. All these water tanks are looking bright due to various types of lotus namely blue lotus, white lotus, ordinary lotus, subhag, fragrant lotus, special type of white lotus, hundred-leaved lotus, thousand-leaved lotus and of other types. The bees move around to taste their fragrant dust. The wells are full of pure clean water. The crocodiles, tortoise and other such animals, freely move hither and other enjoying it. Many flocks of birds come there while flying from distance. All these lakes are surrounded by platform and orchard one each. Some of these lakes have wine-like water, some sea water, some sweet milky water, some ghee-like water, some sugar-cane juice type water and some have water of natural taste. gerter aufer (137) For Private Personal Use Only Description of Suryabh Dev

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All these lakes and wells are pleasant to the mind, worth-seeing and beautiful. 144. tAsi NaM vAvINaM jAva bilapaMtINa patteyaM patteyaM cauddisiM cattAri tisopANapaDirUvagA paNNattA, tesi NaM tisopANapaDirUvagANaM ayameyArUve vaNNAvAse paNNatte, taM jahA-vairAmayA nemA" toraNANaM chattAichattA ya nneyvvaa| 144. una pratyeka vApikAoM yAvat kUpa-paktiyoM kI cAroM dizAo meM tIna-tIna sundara sopAna bane hue haiN| ina trisopAna pratirUpakoM (tIna pagathiyoM kI sundara nisainI) kA varNana isa prakAra hai, jaise-unakI nemeM (vedikA kA UparI bhAga kursI) vajra ratnoM kI haiM ityAdi toraNoM, dhvajAoM aura chatrAtichatroM paryanta inakA varNana pUrvavat samajhanA caahie| ___ 144. Three stairs each are in all the four sides of the lake. Their description is as follows-Their seats are gem-studded. The description of festoons, flags, umbrellas be considered similar to that mentioned earlier. 145. tAsi NaM khuDDAkhuDDiyANaM vAvINaM jAva bilapaMtiyANaM tattha-tattha tahiM-tahiM bahave uppAyapavyayagA, niyaipabvayagA, jagaIpavvayagA dAruijjapavayagA, dagamaMDavA, dagamaMcagA, dagapAsAyagA, dagamAlagA, usaDDA khuDDakhuDDagA aMdolagA pakkhaMdolagA savvarayaNAmayA acchA jAva pddiruuvaa| 145. una choTI-choTI vApikAoM yAvat kUpa-paktiyoM ke bIca ke pradezoM meM bahuta se utpAtArvata, niyatiparvata, jagatIparvata, dAruparvata tathA kitane hI U~ce-nIce, choTe-bar3e al dakamaMDapa, dakamaMca, dakamAlaka, dakaprAsAda bane hue haiM tathA kahIM-kahIM para jhUlane ke lie * jhUle-hiMDole par3e haiN| ye sabhI parvata Adi sarvaratnamaya atyanta nirmala yAvat asAdhAraNa rUpa " se sampanna haiN| 145. In the area between those several lakes and rows of wells, there are many utpat mountains, niyati mountains, jagati mountains, daru mountains and high and low, small and big, * platforms, benches, pleasure-gardens, water-palaces. At some places there are swings also. All these mountains look totally dirtfree, unique and gemmed. vivecana-sUtra meM vApikAoM Adi ke antarAlavartI sthAno me Aye hue jina parvato Adi kA varNana meM kiyA hai, unakA spaSTIkaraNa isa prakAra hai * rAyapaseNiyasUtra Rar-paseniya Sutra (138) GOVERNORTHDIMEGEGORNORMERMEOPHTOP ON ** *

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utpAtaparvata-aise parvata jahA~ sUryAbha vimAnavAsI deva-deviyA~ vividha prakAra kI citra-vicitra * krIDAo ke nimitta apane-apane uttara vaikriya zarIro kI racanA karate hai| niyatiparvata-ina parvato para sUryAbha vimAnavAsI deva-deviyA~ apane-apane bhavadhAraNIya (mUla) vaikriya O zarIro se krIDA karate hai| jagatIparvata-ina parvato kA AkAra koTe-parakoTe jaisA hotA hai| dAruparvata-dAru arthAt kaasstth-lkddii| lakaDI se bane parvata jaise AkAra vAle kRtrima prvt| dakamaMDapa-sphaTika maNiyo se nirmita maDapa athavA aise maDapa jiname phuvvAro dvArA kRtrima varSA kI rimajhima-rimajhima phuhAre barasatI rahatI hai| dkpraasaad-jl-mhl| dakamAlaka-sphaTika maNiyo se bane hue ghara ke UparI bhAga me bane hue kmre-maaliye| Elaboration--The clarification about the mountains mentioned at the intervening spaces between the lakes is as under Utpat Mountains-Such mountains where gods of Suryabh Viman create bodies to participate in various types of sports. Niyati Parvat-On these mountains the gods of Suryabh Dev sport veryone with their original body. Jagati Parvat-The shape of these mountains is that of a boundary wall Daru Parvat-These mountains are like artificial mountains made of wood. Dak-Mandap-Ground made of crystal jewels or such areas where fountains create artificial rain and it rains slowly ____Dak-Prasad-Water-palace. Dak-Malak-Rooms in the upper storey of this house made of crystal gems. utpAta parvatoM Adi kI zobhA 146. tesu NaM uppAya-pavvaesu pakkhaMdolaesu bahUI haMsAsaNAI, koMcAsaNAI, garulAsaNAI, uNNayAsaNAI, paNayAsaNAI, dIhAsaNAI, bhaddAsaNAI, pakkhAsaNAI, magarAsaNAI, usabhAsaNAI, sIhAsaNAI, paumAsaNAI, disAsovatthiyAiM sabbarayaNAmayAI acchAiM jAva pddiruuvaaiN| pale.ke.ske.ske.ske.ske.ke.ske.sakse.kesakekesake.ke.ke.ke.ske.ke.ke.ke.skelesske.skesks.ske.ske.ske.slels.se.sistant * sUryAbha varNana (139) Description of Suryabh Dev *

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146. una utpAtaparvatoM va pakSihiMDoloM Adi para sarvaratnamaya, nirmala yAvata atIva manohara aneka hasAsana (haMsa jaisI AkRti vAle Asana), krocAsana, garuDAsana, unnatAsana (Upara kI ora uThe hue Asana), praNatAsana (nIce kI ora jhuke hue Asana), dIrghAsana (zayyA jaise lambe Asana). bhadrAsana, pakSyAsana, makarAsana, vRSabhAsana, sihAsana, padmAsana aura dizAsvastika Asana pakSI, magara, vRSabha, siha, kamala aura svastika ke citrAmoM se suzobhita athavA tadanurUpa AkRti vAle Asana rakhe hue haiN| THE GRANDEUR OF UTPAT MOUNTAINS AND OTHERS ____146. On the utpat mountains and swings for birds are many swan-shaped, cronch-shaped, eagle-shaped, raised, uplifted, bending down, long bed-like, bhadrasan, seats for birds, for crocodiles, for bullocks, for lions, lotus seats and swastik seats. They are decorated with pictures or sketches of birds, crocodiles, bullocks, lion, lotus and swastik. All of them are studded with gems, are clean and upto very pleasing to the mind. vanakhaMDavartI gRhIM kA varNana 147. tesu NaM vaNasaMDesu tattha tattha tahiM tahiM dese dese bahave AliyagharagA, mAliyagharagA, kayaligharagA, layAgharagA, acchaNagharagA, picchaNagharagA, majjaNagharagA, pasAhaNagharagA, gabbhagharagA, mohaNagharagA, sAlagharagA, jAlagharagA, kusumagharagA, cittagharagA, gaMdhavagharagA, AyaMsagharagA sabarayaNAmayA acchA jAva pddiruuvaa| 147. una vanakhaMDoM meM yathA yogya sthAnoM para bahuta se AligRha (vanaspati-vizeSa se bane hue gRha, jaise-maMDapa), mAligRha (vanaspati-vizeSa se bane hue gRha), kadalIgRha (kele ke ra maMDapa), latAgRha (latA maMDapa), AsanagRha (vizrAma karane ke lie baiThane yogya AsanoM se yukta ghara), prekSAgRha (prAkRtika zobhA ke avalokana hetu bane vizrAmagRha athavA nATyagRha), majjanagRha (snAnaghara), prasAdhanagRha (zRMgAra-sAdhanoM se susajjita sthAna), garbhagRha (bhItara kA ghara), mohanagRha (ratikrIDA karane yogya sthAna), zAlAgRha, jAlI vAle gRha, kusumagRha, citragRha-(citroM se sajjita sthAna), gaMdharvagRha (saMgIta-nRtyazAlA), AdarzagRha (darpaNoM se 9 bane hue bhavana) suzobhita ho rahe hai| ye sabhI gRha ratnoM se bane hue adhikAdhika nirmala yAvat - asAdhAraNa manohara haiN| DESCRIPTION OF HOUSES IN FOREST-REGIONS ___147. At proper places in the forest-regions, there are many OM houses made of vegetation (Aaligrih), many houses made of special rAyapaseNiyasUtra Rar-paseniya Sutra (140)

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vegetation, many made of plantain trees, many made of creepers, many made of proper platforms for rest, many to see the scenery or theatrical performances, many for taking bath, many for decorating the body, many underground, many for amorous activities, many 9 made of pine trees, many houses with barred windows, many flower-houses, many houses decorated with paintings, many houses for dances and music, many houses made of glass. All these houses are made of gems are very clean and upto extra-ordinarily attractive. 148. tesu NaM Aliyagharagesu jAva AyaMsagharagesu tahiM tahiM gharaesu haMsAsaNAI jAva disAsovatthiAsaNAI sabbarayaNAmayAiM jAva pddiruuvaaii| 148. una AligRhoM yAvat AdarzagRhoM meM sarvaratnamaya yAvat atIva manohara haMsAsana yAvat dizA-svastika Asana rakhe haiN| 148. In all the said houses made of vegetation upto glass-houses, open there are very nice seats having signs of swan upto signs of swastik. vanakhaMDavartI maMDapoM kA varNana 149. tesu NaM vaNasaMDesu tattha tattha dese tahiM tahiM bahave jAtimaMDavagA, jUhiyAmaMDavagA, malliyAmaMDavagA, NavamAliyAmaMDavagA, vAsaMtimaMDavagA, dahivAsuyamaMDavagA, sUrilliyamaMDavagA, taMbolimaMDavagA, muddiyAmaMDavagA, NAgalayAmaMDavagA, 9 atimuttayalayAmaMDavagA, apphoyAmaMDavagA, mAluyAmaMDavagA, acchA sabarayaNAmayA jAva pddiruuvaa| 149. una vanakhaMDo meM vibhinna sthAnoM para bahuta se jAtimaMDapa (jAI ke kuMja), yUthikAmaMDapa (jUhI kI bela ke maDapa), mallikAmaMDapa, navamallikAmaMDapa, vAsaMtImaMDapa, dadhivAsukAmaDapa (vanaspati-vizeSa), sUrillimaMDapa (sUrajamukhI ke maMDapa), nAgarabelamaDapa, mRdvIkAmaDapa (agUra kI bela ke maDapa), nAgalatAmaMDapa (pAnoM kI bela ke maDapa), atimuktaka latAmaMDapa (mAdhavIlatA ke maMDapa), apphoyAmaMDapa (sugandhita phUloM vAlI latAkuMja) aura mAlukAmaMDapa bane hue haiN| ye sabhI maMDapa atyanta nirmala, sarvaratnamaya yAvat atIva manohara haiN| DESCRIPTION OF PAVILIONS IN FOREST-REGIONS 149. At many places in the forest-regions, there are many pavilions of jati creepers, of jasmine creepers, mallika creepers, navmallika creepers, vasanti creepers, dadhivasuka creepers, sunsUryAbha varNana Description of Suryabh Deu (141) *

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a flower plantation, betel-leave creepers, creepers of grapes, naglata, madhavi creepers, fragrant aphoya flower creepers and of maluka creepers. All these pavilions are very clean, gem-studded and extremely attractive. 150. tesu NaM jAtimaMDavaesu jAva mAluyAmaMDavaesu bahave puDhavisilApaTTagA haMsAsaNasaMThiyA jAva disAsovatthiyAsaNasaMThiyA, aNNe ya bahave varasayaNAsaNavisiTThasaMThANasaMThiyA puDhavisilApaTTagA paNNattA samANAuso ! AINagarUya-bUra-NavaNIya-tUlaphAsA, sabbarayaNAmayA acchA jAva pddiruuvaa| 150. he AyuSman zramaNo ! una jAtimaMDapoM (jUhI ke kuMja) yAvat mAlukAmaMDapoM (saghana vRkSo ke kuMja) meM kitane hI haMsAsana sadRza AkAra vAle yAvat kitane hI krocAsana, kitane hI garuDAsana, kitane hI unnatAsana, kitane hI praNatAsana, kitane hI dIrghAsana, kitane hI bhadrAsana, kitane hI pakSyAsana, kitane hI makarAsana, kitane hI vRSabhAsana, kitane hI a siMhAsana, kitane hI padmAsana, kitane hI dizA svastikAsana jaise AkAra vAle pRthvIzilApaTTaka (pRthvIzilA rUpa lambA paTTa) tathA dUsare bhI bahuta se zreSTha zayanAsana (zayyA, at palaMga) sadRza viziSTa AkAra vAle pRthvIzilApaTTaka rakhe hue haiN| ye sabhI pRthvIzilApaTTaka * carma-nirmita vastra athavA mRgachAlA, ruI, bUra, navanIta, tUla, semala yA Aka kI ruI ke * sparza jaise sukomala, kamanIya, sarvaratnamaya, nirmala yAvat atIva ramaNIya hai| ____150. O the blessed saints ! Out of the said jasmine pavilions and upto pavilions of maluka creepers (of thick trees), many seats are swan-shaped, and upto cronch-shaped and eagle-shaped, many seats are rasied, many seats are lowered, many have long bed-like seat, many have bhadrasan, many seats have sketches of yaksha, many of crocodile, many of bullocks, many of lions, many of lotus, many of disha swastika. Many stone slabs and other bed-like stone platforms are lying there. They are all as soft as leather clothes or deer-skin or cotton, boor, vegetation, butter simble cotton. All of them are attractive, grand and very clean. 151. tattha NaM bahave vemANiyA devA ya devIo ya AsayaMti, sayaMti, ciTuMti, nisIyaMti, tuyaTaeNti, ramaMti, lalaMti, kIlaMti, kiTRti, moheMti, purA porANANaM suciNNANa suparikkaMtANa subhANa kaDANa kammANa kallANANaM kallANaM phalavivAgaM * paccaNubhavamANA vihrNti| rAyapaseNiyasUtra (142) Rai-paseniya Sutra

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" " Anastasiestellentest short fi 151. una haMsAsano Adi para bahuta se sUryAbha vimAnavAsI deva aura deviyA~ sukhapUrvaka baiThate haiM, sote haiM, zarIra ko lambA kara leTate haiM, vizrAma karate haiM, Thaharate haiM, karavaTa lete haiM, ramaNa karate haiM, kelikrIr3A karate haiM, icchAnusAra bhoga-vilAsa bhogate haiM, manovinoda karate haiM, rAsalIlA karate haiM aura ratikrIr3A karate haiN| isa prakAra ve apane-apane puruSArtha se pUrvopArjita zubha, kalyANamaya, zubhaphalaprada, maMgalarUpa puNya karmoM ke kalyANarUpa phalavipAka kA anubhava karate hue samaya bitAte haiN| 151. Many gods and goddesses of Suryabh Viman sit comfortably on those swan pictured seats, they sleep there, they stretch their body, they take rest, they move to one side while lying, they enjoy, they sport, they humour, they dance, they do amorous activities and sex on those seats. Thus they enjoy the fruit of their auspicious, pleasure giving karmas (actions) performed earlier. banakhaMDavartI prAsAdAvataMsaka 152. tesi NaM vaNasaMDANaM bahumajhadesabhAe patteyaM patteyaM pAsAyavaDeMsagA pnnnnttaa| teNaM pAsAyavaDeMsagA paMca joyaNasayAI uThaM uccatteNaM, aTTAijjAiM joyaNasayAiMsa vikkhaMbheNaM, abbhuggayAmUsiyapahasiyA iva taheva bahusamaramaNijjabhUmibhAgo, ulloo, sIhAsaNaM sprivaarN| ____ tattha NaM cattAri devA mahiDDiyA jAva paliovamaTThiiyA parivasaMti, taM jahA-asoe sattapaNNe caMpae cuue| 152. una vanakhaMDoM ke madhyAtimadhya bhAga (bIcoMbIca) meM pratyeka eka-eka prAsAdAvataMsaka (prAsAdoM meM mukuTa maNi kI taraha zreSTha prAsAda) kahe haiN| __ ye prAsAdAvataMsaka pA~ca sau yojana U~ce aura aDhAI sau yojana cauDe haiM aura apanI ujjvala prabhA se ha~sate hue se pratIta hote haiN| inakA bhUmibhAga atisama evaM ramaNIya hai| inake cadevA, sAmAnika Adi devoM ke bhadrAsanoM sahita siMhAsana kA varNana pUrvavat samajhanA caahie| ina prAsAdAvatasakoM meM mahAn RddhizAlI yAvat atIva sukha-sampanna eka palyopama kI sthiti vAle cAra deva nivAsa karate hai| unake nAma isa prakAra haiM-azokadeva, saptaparNadeva, caMpakadeva aura aamrdev| THE GRAND PALACES IN FOREST-REGIONS 152. A grand palace exists in the centre of each forest-region. sUryAbha varNana 2009-RDAROP10098699 * * Gkooooo KA l mfatest test test test test * 55080-46990980 (143) Description of Suryabh Dev

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These palaces are 500 yojans high, 250 yojans wide and appear or to the smiling due to their great lustre. Their earth-region is levelled and good looking. The description of their cloth-ceiling, seats of gods of equal status and suchlike may be considered as described earlier, In these grand palaces, four gods who are very prosperous and upto who enjoy a happy life and whose life-span is one palyopam reside. The names of those gods are Ashok, Saptaparn, Champak and Aamra god. vivecana-sUtra meM mAtra sUryAbha vimAna ke caturdigvartI vanakhaNDo me nivAsa karane vAle devoM ke nAma " aura unakI Ayu kA ullekha kiyA hai| inake viSaya me vizeSa jJAtavya yaha hai ye cAro deva apane-apane nAma vAle vanakhaMDa ke svAmI hai tathA sUryAbhadeva ke sadRza mahAn Rddhi-sampanna hai eva apane-apane sAmAnika devo, saparivAra agramahiSiyo, tIna pariSadAo, sapta * anIko-senAo aura senApatiyo, AtmarakSaka devo kA Adhipatya, svAmitva Adi karate hue nRtya, gIta, # nATaka aura vAdyaghoSo ke sAtha vipula bhogopabhogoM kA bhoga karate hue apanA samaya bitAte hai| ina vanakhaDAdhipati devoM kI Ayu kI sthiti batalAne ke lie 'palyopama' zabda kA prayoga kiyA hai| 4 palyopama kA vistRta varNana anuyogadvArasUtra, bhAga 2 me diyA gayA hai| Elaboration - In the aphorism, only the names and life-span of four gods residing in four forest-regions of Suryabh Viman has been mentioned. Further details about them are as under All the four gods are the masters of their respective regions named after them. They are as prosperous as Suryabh Dev. They administer their gods of equal status, their families, their chief wives (queens), the three assemblies, seven armies and their army chiefs and the gods performing the duty of body-guards. While controlling them, they dance, sing, perform dramatic activities, play on musical instruments and thus spend their time in enjoining life to their fill. ___The word 'palyopam' is used to describe the life-span of these gods The detailed description about it can be seen in Part II of Anuyogdvar Sutra. upakArikAlayana kA varNana 153. sUriyAbhassa NaM devavimANassa aMto bahusamaramaNijje bhUmibhAge paNNatte, taM jahA-vaNasaMDa-vihUNe jAva bahave vemANiyA devA devIo ya AsayaMti jAva vihrNti| priodeosdowlodkakkese.ssss.ke.skeske.ske.ke.ke.ke.ke.ke.ke.ke.ke.ske.ske.ke.saksesonskskskskalan rAyapaseNiyasUtra (144) Rai-paseniya Sutra *

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___tassa NaM bahusamaramaNijjassa bhUmibhAgassa bahumajjhadese ettha NaM mahege uvagAriyAlayaNe paNNatte, egaM joyaNasahayasahassaM AyAmavikkhaMbheNaM, tiNi joyaNasayasahassAI solasa sahassAI doNNi ya sattAvIsaM joyaNasae tini ya kose aTThAvIsaM ca dhaNusayaM terasa ya aMgulAI addhaMgulaM ca kiMcivisesUNaM parikkheveNaM, joyaNa bAhalleNaM savvajaMbUNayAmae acche jAva pddiruuve| 153. sUryAbha nAmaka devavimAna ke andara atyanta samatala evaM atIva ramaNIya bhUmibhAga hai| zeSa bahuta se vaimAnika deva aura deviyoM ke baiThane se lekara vicaraNa karane taka kA varNana pUrvavat samajhanA caahie| kintu yahA~ vanakhaMDa kA varNana choDa denA caahie| usa atIva sama ramaNIya bhUmibhAga ke bIcoMbIca eka upakArikAlayana (prAsAda meM Upara jAne ke lie caDhane kI pIThikA-cabUtarA) banA huA hai| jo eka lAkha yojana lambA-caur3A hai aura usakI paridhi (kula kSetra kA gherAva) tIna lAkha solaha hajAra do sau sattAIsa yojana tIna kosa eka sau aTThAIsa dhanuSa aura kucha adhika sAr3he teraha aMgula hai| isakI eka yojana moTAI hai| yaha vizAla layana pUrA kA pUrA svarNa kA banA huA, nirmala yAvat atIva ramaNIya hai| DESCRIPTION OF SMALL PLATFORM TO ASCEND THE PALACE 153. There is an extremely levelled and very beautiful earthregion in Suryabh celestial Viman. The detailed account of sitting and upto moving about of most of the remaining Vaimanik gods and goddesses may be understood similar to that mentioned earlier. But here the account of forest-region may be ignored. In the middle of that perfectly levelled earth-region, there is a small platform to ascend the palace. It is 0.1 million yojan long, 0.1 million yojan wide and its circumference is 0.316227 million yojan 3 kos 128 dhanush 13.5 anguls. Its thickness is one yojan. This entire platform is made of gold, is clean and very attractive. 154. se NaM egAe paumavaraveiyAe egeNa ya vaNasaMDeNa ya savvato samaMtA sNprikkhitte| 154. vaha upakArikAlayana sabhI dizA-vidizAoM me-saba ora se eka padmavaravedikA (vanakhaMDoM kI sImA para sthita eka stambha jisa para kamala Adi khude hue haiM OM athavA kamalAkRti meM banI vedikA) aura eka vanakhaMDa (udyAna) se ghirA huA hai| (hema. abhi. 4/59) sUryAbha varNana (145) Description of Suryabh Dev * " "* "*

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154. That platform (it is used to see the administrative activities) is surrounded by padmavarvedika (a pillar at the boundary line of the forest-region which is in the shape of a lotus and on which lotus etc. are carved) and is surrounded with a garden. padmavaravedikA kA varNana 155. sA NaM paumavaraveiyA addhajoyaNaM uDuM uccatteNaM, paMca dhaNusayAI vikkhaMbheNaM uvakAriNasabhA parikkheveNaM / tIse NaM paumavaraveiyAe imeyArUve vaNNAvAse paNNatte, taM jahA - vayarAmayA NimmAriTThAmayA patiTThANA veruliyAmayA khaMbhA, suvaNNa-ruppamayA phalayA, nANAmaNimayA kalevarasaMghADagA NANAmaNimayA rUvA NANAmaNimayA rUvasaMghADagA aMkAmayA pakkhA, pakkhabAhAo, joIrasAmayA vaMsA vaMsakavelluyAo, rayayAmaIo paTTiyAo jAyarUvamaIo ohADaNIo vairAmaIo uvaripucchaNI, savvarayaNAmae acchAyaNe / sA NaM paumavaraveiyA egamegeNaM hemajAleNaM, ega. gavakkhajAleNaM, ega. khiMkhiNIjAleNaM, ega. ghaMTAjAleNaM, ega. muttAjAleNaM, ega. maNijAleNaM, ega. kaNagajAleNaM, ega. paumajAleNaM savvato samaMtA saMparikkhittA, teNaM jAlA tavaNijjalaMbUsagA jAva ciTThati / tIse NaM paumavaraveiyAe tattha tattha dese tarhi tarhi bahave hayasaMghADA jAva usabhasaMghADA savvarayaNAmayA acchA jAva paDirUvA pAsAdIyA jAva vIhIo paMtIyo mihuNANi layAo / 155. vaha padmavaravedikA Adhe yojana U~cI, paoNca sau dhanuSa cauDI aura upakArikAlayana jitanI paridhi vAlI hai| usa padmavaravedikA kA varNana isa prakAra hai, jaise ki vajraratnamaya nemA - ( nIMva kA Upara kA bhAga) hai| riSTaratnamaya isake pratiSThAna - mUla pAye haiM / vaiDUryaratnamaya stambha haiN| svarNa aura rajatamaya isake phalaka-pATiye haiM / lohitAkSa (lAla) ratnoM se banI sUciyA~ - kIleM haiM / isakA kalevara - DhaoNcA vividha maNi - ratnamaya ( candrakAnta Adi maNi tathA hIre, mANika) Adi ratna haiM tathA isakA kalevara saghAta - bhItarI - bAharI DhA~cA vividha prakAra kI maNiyoM se banA huA hai / aneka prakAra ke maNi-ratnoM se isa para citra bane hue haiN| nAnA maNi-ratnoM se isameM rUpaka saghAta, bela-bUToM, citro Adi ke samUha bane haiN| aMkaratnamaya isake pakSa - sabhI hisse haiM aura aMkaratnamaya hI isake pakSabAhA - ( ghara kI bAjU meM barAmade kA bAhara nikalA bhAga -chajjalI) / rAyapaseNiyasUtra (146) For Private Personal Use Only Rai-paseniya Sutra

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projaksana jyotirasaratnamaya isake vaMza-baoNsa, valA aura vazakavelluka (sIdhe rakhe baoNsoM ke donoM ora rakhe tirache baoNsa evaM kavelU) haiN| rajatamaya inakI paTTiyA~ (baoNsoM ko lapeTane ke lie Upara-nIce lagI paTTiyA~ lAgeM) haiN| svarNamayI avaghATaniyA~ (daravAjA banda karane kI DhakanI) aura vajraratnamayI upariproMchanI (nariyA~) haiN| sarvaratnamaya AcchAdana (tirapAla) haiN| ___ vaha padmavaravedikA sabhI dizA-vidizAoM meM cAroM ora se eka-eka hemajAla (sanahalI mAlAoM kA jAla) se, AvAsajAla (gAya ke A~kha kI AkRti vAle ratna-vizeSa ke mAlAsamUha) se, kiMkaNI (ghugharU), ghaMTikA, motI, maNi, kanaka, ratna aura padma (kamala) kI lambI-lambI mAlAo se pariveSTita hai arthAt usa para lambI-lambI mAlAyeM laTaka rahI hai| ye sabhI mAlAe~ sone ke laMbUsakoM (geMda kI AkRti, jaise-AbhUSaNoM, manakoM) Adi se alabUta haiN| ___ usa padmavaravedikA ke yathAyogya una-una sthAnoM para azvasaMghAta (eka samAna AkRti vAle azvayugala) yAvat vRSabhayugala suzobhita ho rahe haiN| ye sabhI ratnoM se bane hue, nirmala yAvat pratirUpa, mana ko praphullita karane vAle haiM yAvat isI prakAra inakI vIthiyA~ (choTI galiyA~), paMktiyA~, mithuna (yugala) evaM latAe~ haiN| DESCRIPTION OF PADMAVARVEDIKA ____155. That padmavarvedika (pillar at the boundary line) is halfst yojan high, quarter yojan wide and its circumference is the same as that of upkarikalayan (the platform to ascend the palace). The boundary pillar is described as under--The uppar part of its foundation (Nema) is of Vajra jewels. Its foundation at the base is of Risht gems. Its pillars are of Vaidurya jewels. Its planks are of silver and gold. Its pegs are of red gemes (Lohitaksh). Its structure is studded with many types of gems and jewels (Chandrakant gem, diamonds, rubies). Its inner and outer structure is made of many types of gems. Many paintings studded with gems and jewels are on this pillar. Many scenes, creepers, plants, pictures are carved on it. All the parts of this pillar are white gem-studded. The terrace projection is also of Ank ratna (white gems). The bamboos fixed in straight and slanting position in its roof are of Jyotiras jewels. The joints on the bamboos are of silver. The door-closers are of gold (Its contrivances to close the doors are of gold). Its strong covering on mattresses is of Vajra jewels. Its roof covering is all of gems. * sUryAbha varNana (147) Description of Suryabh Dev *

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" * That padmavarvedika (boundary pillar) is covered from all sides with golden garlands (Hemjal) garlands of cow-eye shaped gems (Aavasjal), small bells and long garlands of pearls, gems, gold, jewels and lotus. All those rosaries (garlands) are having ball-like gold beads. At proper places on that boundary pillar there are pair of identical horses and upto bullock pairs. All of them are made of jewels, they are clean upto attractive and pleasant to the mind. Their lames, rows, coupling and creepers are also of the same type. 156. se keNaTeNaM bhaMte ! evaM buccati paumavaraveiyA par3amavaraveiyA ? 156. gautama svAmI ne zramaNa bhagavAna mahAvIra se pUchA- "he bhadanta ! aisA kyoM kahA jAtA hai ki yaha padmavaravedikA hai ? arthAt isa vedikA ko padmavaravedikA kahane kA kyA kAraNa hai?" ___156. Gautam Swami asked Bhagavan Mahavir-"Reverend Sir ! Why is it called padmavarvedika ?" 157. goyamA ! paumavaraveiyAe NaM tattha tattha dese tahiM tahiM veiyAsu, veiyAbAhasu ya veiyaphalaesu va veiyapuDaMtaresu ya khaMbhesu, khaMbhavAhAsu, khaMbhasIsesu, khaMbhapuDaMtaresu, sUIsu, sUImukhesu, sUIphalaesu, sUIpuDaMtaresu, pakkhesu, pakhabAhAsu, pakkhaperatesu, pakkhapuDaMtaresu bahuyAI uppalAiM-paumAiM-kumuyAI-NaliNAI-subhagAI sogaMdhiyAI-puMDarIyAI-mahApuMDarIyANi-sayavattAI-sahassavattAI savarayaNAmayAI acchAiM paDirUvAiM mahayA vAsikkachattasamANAI paNNattAI smnnaauso| se eeNaM aTeNaM goyamA ! evaM buccai paumavaraveiyA 'pumvrveiyaa'| 157. bhagavAna ne uttara diyA- "he gautama ! padmavaravedikA ke AsapAsa kI bhUmi meM, vedikA-pATiyoM meM, vedikAyugala ke antarAlo meM, stambhoM, stambhoM ke bAjuoM, stambhoM ke zikharoM, stambhayugala ke antarAloM, kIliyoM, kIliyoM ke UparI bhAgoM, kIliyoM se jur3e hue phalakoM, kIliyo ke antarAlo, pakSoM, pakSo ke prAnta bhAgoM (kinAroM) aura unake antarAloM Adi-Adi meM varSAkAla ke barasate meghoM se bacAva karane ke lie chatra ke samAna aise aneka prakAra ke baDe-baDe vikasita, sarvaratnamaya sundara, nirmala atIva sundara, utpala, padma; kumuda, nalina, subhaga, saugaMdhika, puMDarIka, mahApuMDarIka, zatapatra aura sahasrapatra Adi vividha jAtiyo ke kamala padma) zobhita ho rahe haiN| isIlie he AyuSmAn ! isa padmavaravedikA ko padmavaravedikA kahate haiN|' * rAyapaseNiyasUtra (148) Rar-paseniya Sutra

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HE 157. Bhagavan replied--"O Gautam ! In the land adjoining e padmavarvedika there are small rooms, spaces between two rooms, 1 pillars, sides of the pillars, tops of pillars, spaces between two pillars, pegs, peg-tops, planks attached to the pegs, spaces between two pegs, roofs, edges of the roofs and spaces in between. In order to provide protection from raining clouds during rainy season, many fully developed all jewelled, beautiful, pure and extremely charming blue lotus, lotus, white lotus, special lotus, subhag, fragrant lotus, pundreek, mahapundreek, hundred leaved lotus, thousand leaved lotus and lotuses serving as umbrella like cover are decorating all the earlier mentioned places and spaces in between. So, O the blessed ! This padmavarvedika has been so called." 158. paumavaraveiyA NaM bhaMte ! kiM sAsayA, asAsayA ? goyamA ! siya sAsayA, siya asaasyaa| se keNaTeNaM bhaMte ! evaM buccai siya sAsayA, siya asAsayA ? goyamA ! dabaTTayAe sAsayA, vanapajjavehi, gaMdhapajjavehi, rasapajjavehiM, phAsapajjavehiM asAsayA, se eeNaTeNaM goyamA ! evaM buccati siya sAsayA, siya asaasyaa| paumavaraveiyA NaM bhaMte ! kAlao kevaciraM hoi ? goyamA ! Na kayAvi NAsi, Na kayAvi Natthi, Na kayAvi na bhavissai, bhuviM ca havai ya, bhavissai ya, dhuvA NiyayA sAsayA akkhayA abbaya avaDiyA NiccA pumvrveiyaa| 158. "he bhaMte ! vaha padmavaravedikA zAzvata hai athavA azAzvata hai?" "he gautama / (kisI apekSA) zAzvata-nitya bhI hai aura (kisI apekSA) azAzvata bhI hai|" ___ "bhagavan ! kisa kAraNa Apa aisA kahate haiM ki kisI apekSA vaha zAzvata bhI hai aura kisI apekSA azAzvata bhI hai ?' * "he gautama ! dravyArthikanaya kI apekSA vaha (pudgala dravya rUpa meM) zAzvata hai, parantu varNa, gadha, rasa aura sparza paryAyoM kI apekSA azAzvata hai| isI kAraNa he gautama ! yaha kahA hai * ki vaha padmavaravedikA zAzvata bhI hai aura azAzvata bhI hai|" ___"he bhaMte ! kAla kI apekSA vaha padmavaravedikA kitane kAla paryanta-kaba taka rahegI?" sUryAbha varNana (149) Description of Suryabh Dev

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ashlessksikseskools.ske.ke.ske.ke.kesekesalke.ske.ke.ske. "he gautama ! vaha padmavaravedikA bhUtakAla meM kabhI nahIM thI, aisA nahIM hai; abhI vartamAna 2 me nahIM hai, aisA bhI nahIM hai aura bhaviSya meM nahIM rahegI, aisA bhI nahIM hai; kintu pahale bhI thI, aba bhI hai aura Age bhI rhegii| isa prakAra tInoM kAla meM rahane ke kAraNa vaha padmavaravedikA dhruva, niyata, zAzvata, akSaya, avyaya, avasthita aura nitya hai|" 158. (Gautum said) "Bhante ! Is that padmavarvedika permanent or is it not permanent ?" (Bhagavan said) "O Gautam ! (From certain point of view) it is permanent and (from another point of view) it is not permanent." (Gautam said) "Bhagavan Sir ! On what basis do you say that it is permanent from a certain point of view and not permanent from ganother point of view ?" (Bhagavan replied) "O Gautam ! From (Dravya) basic point of view it is permanent. But from the point of view of its colour fragrance, taste and touch it is not permanent. So O Gautam ! It is said that the said padmavarvedika is permanent and is also not a permanent." (Gautam asked) "Reverend Sir ! In respect of time period, for how long the padmavarvedika shall exist ?" ___ (Bhagavan replied) "O Gautam ! It is not true that padmavarvedika never existed in the past, that it does not exist at present and that it shall not exist in future. The fact is that it existed earlier, it exists now and it shall remain in future also. Since en it exists in all the three time periods it is permanent always tal existing, undestroyable undiminishable." / 159. sA NaM paumavaraveiyA egeNaM vaNasaMDeNaM savvao sNprikkhittaa| se NaM vaNaMsaDe desUNAI do joyaNAI cakkavAlavikkhaMbheNaM uvayAriyAleNasame * parikkheveNaM, vaNasaMDavaNNao bhANiyavvo jAva vihrNti| 159. vaha padmavaravedikA cAroM ora-sabhI dizA-vidizAoM meM-eka vanakhaMDa se pariveSTita hai| usa vanakhaMDa kA cakravAlaviSkambha (golAkAra-cauDAI) kucha kama do yojana pramANa hai tathA upakArikAlayana kI paridhi jitanI usakI paridhi hai| vahA~ deva-deviyA~ vicaraNa karatI haiM, yahA~ taka vanakhaMDa kA varNana pUrvavat jAnanA caahie| ke.ske.sikse.ke.ke.ladke.sksiks.ke.ske.ske.sikseoko sistan rAyapaseNiyasUtra (150) Rar-paseniya Sutra

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159. That padmavarvedika has forest-region all around in all the four directions. The width of the forest-region is a bit less than two yojans. Its circumference is equal to that of upkarikalayan (platform for ascending). Gods and goddesses more about there. The description till now is as mentioned earlier. vivecana - sUtra sakhyA 136-151 me vanakhaDa kA vistAra se varNana kiyA hai| usI varNana ko yahA~ puna. karane kA saMketa 'vaNaDavaNNao bhANiyavvo jAva viharaMti' pada se kiyA hai| sakSepa me ukta varNana kA sArAza isa prakAra hai "yaha vanakhaDa cAro ora se eka parakoTe se ghirA huA hai tathA vRkSo kI saghanatA se harA-bharA, atyanta zItala aura darzako ke mana ko sukhaprada hai / vanakhaDa kA bhUbhAga atyanta sama tathA aneka prakAra kI maNiyo aura tRNo se upazobhita hai| isa vanakhaDa meM sthAna-sthAna para aneka choTI-baDI bAvaDiyA, puSkaraNiyA~, gu~jAlikAye Adi banI hai / ina sabake taTa rajatamaya hai aura tala bhAga me svarNa rajatamaya bAlukA bichI huI hai| kumuda, nalina, subhaga, saugaMdhika, puDarIka Adi vividha jAti ke kamalo se inakA jala AcchAdita hai| ina vApikAo Adi ke bIca ke sthAno meM jhUlane ke lie jhUle - hiDole lage hai aura bahuta se utpAtaparvata, niyatiparvata, dAruparvata, dakamaDapa (pAnI ke phavvAre), dakamAlaka, dakamaca ( pAnI ke bIca me baiThane ke sthAna) bane hue hai| ina vanakhaNDo me kahI-kahI kadalIgRha, latAgRha, maDapa Adi bane hai aura vizrAma karane ke lie jiname hasAsana Adi aneka prakAra ke Asana tathA zilApaTTaka rakhe hai aura jahA~ bahuta se deva - deviyA~ A-Akara vividha prakAra kI krIDAeN karate hue pUrvopArjita puNyakarmo ke phalavipAka ko bhogate hue AnandapUrvaka vicaraNa karate hai / " isa varNana ko paDhakara lagatA hai Aja ke Adhunikatama vikasita aura samRddha dezo me bhI isa prakAra kA manorama, sundara aura sarva suvidhA sampanna upavana, sarovara kahI nahI hogaa| varNana kI manohara zailI se anumAna kiyA jA sakatA hai ki varNana karane me bhI zAstrakAra ne kitanA yathArtha saTIka zabda-zilpa prastuta kiyA hai| Elaboration -- Detailed description of forest-region is in aphorisms 136 to 151. The same description should be considered here is the purport of 'Vansand vannao bhaniyavvo jaav viharanti.' In brief the said description is as under "The forest has a boundary wall all around. It is green because of thickly grown trees. It is very cool and pleasant to the visitors. The forestregion is perfectly levelled and is shining bright due to jewels and grass of various types. sUryAbha varNana ( 151 ) For Private Personal Use Only Description of Suryabh Dev

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OSTRO PROPOPRO 02 O At many place in the forest-regions there are small lakes, pushkarni and gunjalikas. Their banks are of silver. Silvery and golden sand issues spread at their bottom. Their water is covered with lotus of various types namely kumud, nalin, subhag, fragrant lotus, pundreek and others. There are swings here and there in the middle of lakes. Many rising a grounds, niyati mounts, wood mounts, fountains, platforms are made there. Here and there in the forest-regions there are plantain pavilions, creeper pavilions and others. There are seats bearing sketches of swans and others and stone platforms in the pavilions for taking rest. Many gods and goddesses come there to sport and enjoy the fruit of their good karmas (activities) of the past They take pleasure in such sports." After going through this description one feels that there is no such lake and garden even in prosperous and fully developed countries of the present world. It surpasses in grandeur, beauty and comforts. From the style of description, it can be estimated that the writer has really used proper words to describe details. 160. tassa NaM uvayAriyAleNassa cattAri tisovANapaDirUvagA paNNattA, vaNNao, toraNA, jhayA, chttaaicchttaa| tassa NaM ukyAriyAlayaNassa uvari, bahusamaramaNijje bhUmibhAge paNNatte jAva maNINaM phaaso| 160. usa upakArikAlayana kI cAroM dizAoM meM cAra trisopAnapratirUpaka (tIna-tIna sIDhiyoM kI paMktiyA~) bane haiN| yAna-vimAna ke sopAnoM ke samAna ina trisopAna-pratirUpakoM kA varNana bhI toraNoM, dhvajAoM, chatrAtichatroM Adi paryanta yahA~ karanA caahie| ____ usa upakArikAlayana ke Upara atisama, ramaNIya bhUmibhAga hai| yAna-vimAnavat maNiyoM ke sparza-paryanta isa bhUmibhAga kA varNana yahA~ karanA caahie| ___160. In all the four sides of upkarikalayan (platforms to ascend), there is a row of three staircases. Like the staircase of aerial Viman (vehicle), the description of staircases, festoons, flags, umbrellas, and umbrellas above others is identical to the earlier one. There is very much levelled and attractive earth-region above ex the upakarikalyan. Its description is like that of aerial vehicle upto a touch of gems. RoROPRODRO90018 EPISODEEPREo rAyapaseNiyasUtra (152) Rai-paseniya Sutra

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mukhya prAsAdAvataMsaka kA varNana 161. tassa NaM bahusamaramaNijjassa bhUmibhAgassa bahumajjhadesabhAe ettha NaM mahege mUlapAsAyavaDeMsae pnnnntte| se NaM mUlapAsAyavaDeMsae paMca joyaNasayAI uDDhaM uccatteNaM, aDDhAijjAI joyaNasayAI vikkhaMbheNa, abbhuggymuusiy-vnnnno| bhUmibhAgo ulloo sIhAsaNaM saparivAraM bhANiyavaM, aTThaTThamaMgalagA jhayA chttaaicchttaa| 161. usa atyanta samatala ramaNIya bhUmibhAga ke ThIka madhya meM eka vizAla mukhya * prAsAdAvataMsaka hai| ___ vaha prAsAdAvataMsaka pA~ca sau yojana U~cA aura aDhAI sau yojana caur3A hai tathA apanI cAro tarapha phaila rahI prabhA se ha~satA huA pratIta hotA hai| isI varNana ke sAtha usa prAsAda ke bhItara ke bhUmibhAga, ulloka-caMdevA, parivAra rUpa anya bhadrAsanoM Adi sahita siMhAsana, o ATha maMgala, dhvajAoM aura chatrAtichatroM kA kathana yahA~ samajhanA caahie| DESCRIPTION OF THE MAIN PALACE ___161. In the centre of that levelled attractive earth-region, there is a spacious main palace of god. That palace is 500 yojans high, 250 yojans wide and due to its spreading area, it appears to be laughing. The description of the inner part of the palace its cloth ceiling, the main seats and other seats, auspicious eight symbols, flags and umbrellas one above the other may be considered as mentioned earlier. 162. (ka) se NaM mUlapAsAyavaDeMsage aNNehiM cauhiM pAsAyavaDeMsaehiM taya ccattappamANamettehiM sabato samaMtA saMparikkhitte, te NaM pAsAyavaDeMsagA aDDhAijjAI joyaNasayAI uDDhaM uccatteNaM, paNavIsaM joyaNasayaM vikkhabheNaM jAva vnnnno| (kha) te NaM pAsAyaDiMsayA aNNehiM cauhiM pAsAyavaDisaehiM tayadhucyattappamANamettehiM sabao samaMtA sNprikkhittaa| teNaM pAsAyavaDeMsayA paNavIsaM joyaNasayaM uDDhaM uccatteNaM bAsaDhi joyaNAI addhajoyaNaM ca vikkhaMbheNaM abbhuggayamUsiya vnnnno| bhUmibhAgo ulloo sIhAsaNaM saparivAraM bhANiyabbaM aTTha maMgalagA jhayA chttaaticchttaa| * sUryAbha varNana TODANER PAR (153) Description of Suryabh Dev SOMEPOSPHEROEPORPIGATORYTORITORIAOMIOVOTIONARTHA MS *

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(ga) te NaM pAsAyavaDeMsagA aNNehiM cauhiM pAsAyavaDeMsaehiM tadbhuccattapamANamettehiM sabato samaMtA sNprikkhittaa| te NaM pAsAyavaDeMsagA bAsaddhiM joyaNAI addhajoyaNaM ca uDDhaM uccatteNaM ekkatIsaM joyaNAI kosaM ca vikkhaMbheNaM, vaNNao, ulloo sIhAsaNaM saparivAraM pAsAya uvariM adRTTa maMgalagA jhayA chttaatichttaa| 162. (ka) usa mukhya prAsAdAvataMsaka ke cAro dizAoM meM cAra anya prAsAdAvataMsaka haiM, jo usase Adhe U~ce haiN| arthAt ye cAroM prAsAdAvatasaka DhAI sau yojana U~ce aura cauDAI meM savA sau yojana cauDe haiM, ityAdi varNana pahale kI bhaoNti karanA caahie| (kha) ye cAroM prAsAdAvataMsaka bhI punaH cAroM dizAoM meM apanI U~cAI se AdhI U~cAI vAle anya cAra prAsAdAvataMsakoM se ghire haiN| arthAt ye prAsAdAvataMsaka eka sau paccIsa yojana * U~ce aura sADhe bAsaTha yojana caur3e haiM tathA ye cAro ora phaila rahI prabhA se ha~sate hue se 2 dikhate haiM, yahA~ se lekara bhUmibhAga, caMdevA, saparivAra siMhAsana, ATha-ATha maMgala, dhvajAoM, chatrAtichatroM se suzobhita hai| (ga) ye grAsAdAvataMsaka bhI cAroM dizAoM meM apanI U~cAI se AdhI U~cAI vAle anya cAra prAsAdAvataMsakoM se pariveSTita haiN| ye prAsAdAvataMsaka sAr3he bAsaTha yojana U~ce aura ikatIsa yojana eka kosa cauDe haiN| ina prAsAdoM ke bhUmibhAga, caMdevA, saparivAra siMhAsana, Upara ATha maMgala, dhvajAo, chatrAtichatro Adi kA varNana bhI pUrvavat yahA~ karanA caahie| 162. (a) There are four other palaces in the four sides of the main palace. They are half in height as that of the main palace. In other words they are 250 yojans high and 125 yojans wide. The remaining description be considered as mentioned earlier. (b) All the four palaces are again surrounded by another four palaces on their four sides and half of their height. In other words these palaces are 125 yojans high, 62.5 yojans wide and appear to be laughing due to their lustre all around. Here onwards, the earth region, the cloth ceiling, the seats for the family, eight auspicious a symbols, flags, umbrellas one above the other add to their beauty. (c) These four palaces are again surrounded by another four KET palaces in their four sides and of half of their height. In other words, we these palaces are 62.5 yojans high and 31.25 yojans wide. The description of their earth-region, cloth ceiling seats for family, raised eight auspicious symbols, flags, umbrellas and covering umbrellas may be considered same as mentioned earlier. muvolled earlier. rAyapaseNiyasUtra (154) Rat-paseniya Sutra

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o sudharmA sabhA kA varNana 163. tassa NaM mUlapAsAyavaDeMsayassa uttarapurasthimeNaM ettha NaM sabhA suhammA paNNattA, egaM joyaNasayaM AyAmeNaM, paNNAsaM joyaNAI vikkhambheNaM, bAvattari joyaNAI uDDhe uccatteNaM, aNegakhambha"jAva accharagaNa paasaadiiyaa| 163. usa pradhAna prAsAda ke IzAnakoNa meM eka sudharmA sabhA hai, jo sau yojana lambI, * pacAsa yojana cauDI aura bahattara yojana U~cI hai| yaha sabhA aneka saikar3oM khambhoM para saMsthita yAvat apsarAoM se vyApta atIva manohara hai| DESCRIPTION OF SUDHARMA ASSEMBLY-HALL ___163. In the north-east corner of that main palace is Sudharma o assembly building. It is 100 yojans long, 50 yojans wide and 72 yojans high. It is on hundreds of pillars upto having many fairies Hot and extremely grand. 164. sabhAe NaM suhammAe tidisiM tao dArA paNNattA, taM jahA-purathimeNaM, dAhiNeNaM, uttrennN| teNaM dArA solasa joyaNAI uDDhaM uccatteNaM, aTTha joyaNAI vikkhambheNaM, tAvatiyaM ceva * paveseNaM, seyA varakaNagathUbhiyAgA jAva vnnmaalaao| tesi NaM dArANaM purao patteyaM patteyaM muhamaNDave paNNatte, te NaM muhamaNDavA egaM joyaNasayaM AyAmeNaM, paNNAsaM joyaNAI vikkhaMbheNaM, sAiregAiM solasa joyaNAI uDDhaM uccatteNaM, * vaNNao sabhAe sriso| tesi NaM muhamaNDavANaM tidisiM tao dArA paNNattA, taM jahA-purathimeNaM, dAhiNeNaM, uttrennN| te NaM dArA solasa joyaNAI uDDhaM uccatteNaM, aTTha joyaNAI vikkhaMbheNaM, tAvaiyaM ceva paveseNaM, seyA varakaNagathUbhiyAgA jAva vnnmaalaao| tesi NaM muhamaMDavANaM purato patteyaM patteyaM pecchAgharamaMDave paNNatte, muhamaMDavavattavvayA jAva dArA, bhUmibhAgA, ulloyaa| 164. isa sudharmA sabhA kI tIna dizAoM meM tIna dvAra haiM-pUrva dizA meM, dakSiNa dizA me aura uttara dizA meN| sUryAbha varNana (155) Description of Suryabh Deve* (0. * * * * * * XXE

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ve dvAra U~cAI meM solaha yojana U~ce, ATha yojana cauDe aura utanA hI cauDA unakA praveza mArga hai| ve dvAra zveta varNa ke haiN| zreSTha svarNa se nirmita zikharoM evaM vanamAlAoM se zobhita haiN| Adi varNana pUrvavat karanA caahie| una dvAroM ke sAmane eka-eka mukhamaMDapa (oNgana yA cauka) hai| ye maMDapa sau yojana lambe, pacAsa yojana caur3e aura U~cAI meM kucha adhika solaha yojana U~ce haiN| sudharmA sabhA ke samAna inakA zeSa varNana kahanA caahie| ina maMDapoM kI tIna dizAoM meM tIna dvAra haiM, yathA-eka pUrva dizA meM, eka dakSiNa dizA meM aura eka uttara dizA meN| ye dvAra U~cAI meM solaha yojana U~ce haiM, ATha yojana caur3e aura utanA hI cauDA unakA praveza mArga hai| ye dvAra zveta dhavalavarNa aura zreSTha svarNa se bane zikharoM, vanamAlAoM se alaMkRta haiN| samasta varNana pUrvavat yahA~ karanA caahie| ___ ina mukhamaMDapoM meM se pratyeka ke Age prekSAgRhamaMDapa (darzakoM ko baiThane kA sthAna) banA hai| ina maMDapoM ke dvAra, bhUmibhAga, cA~danI Adi kA varNana mukhamaMDapoM ke samAna jAnanA caahie| ___164. There are three gates at the sides namely east, south and north of this Sudharma Sabha. ___Those gates are 16 yojans high and 8 yojans wide. The enterance " is also 8 yojans wide. The gates are white. They are decorated with garlands hanging upto ankles. They are made of pure gold. The remaining description is same as earlier. In front of each gate, there is a courtyard. It is 100 yojans long, 50 yojans wide and a little more than 16 yojans high. Its description be considered similar to that of Sudharma Sabha. In the three sides namely east, south and north of these gates * there are three gates. They are 16 yojans high, 8 yojans wide and * same is the passage for entrance. These gates are decorated with pure white gold summits and garlands reaching the ankles. The remaining description is as before. In front of each of the platforms before the building, there is a pavilion for spectators. The description of gates of these pavilions, the earth-region and cloth ceiling may be considered similar to that very of platforms in front of the building. 165. tesi NaM bahusamaramaNijjANaM bhUmibhAgANaM bahumajjhadesabhAe patteyaM patteyaM vairAmae akkhADae pnnnntte| rAyapaseNiyasUtra (156) Rai-pasentya Sutra * * * * * * * *

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PROHAR tesi NaM vayarAmayANaM akkhADagANaM bahumajjhadesabhAge patteyaM patteyaM maNipeDhiyA paNNattA, tAo NaM maNipeDhiyAo aTTa joyaNAI AyAma-vikkhaMbheNaM, cattAri joyaNAI bAhalleNaM, savvamaNimaIo acchAo jAva pddiruuvaao| ___ tAsi NaM maNipeDhiyANaM uvari patteyaM patteyaM sIhAsaNe paNNatte, sIhAsaNavaNNao sprivaaro| tesi NaM pecchAgharamaMDavANaM uvariM aTThaTTha maMgalagA jhayA chttaatichttaa| 165. una prekSAgRha maDapoM ke ramaNIya samacaurasa bhUmibhAga ke ThIka madhya meM eka-eka vajra ratnamaya akSapATaka (maMca-akhADA) banA hai| __una vajra ratnamaya akSapATakoM ke bhI bIcoMbIca ATha yojana lambI-cauDI, cAra yojana moTI aura vividha prakAra ke maNi-ratnoM se nirmita, nirmala yAvat asAdhAraNa sundara eka-eka maNipIThikAe~ (maNijaDita caukiyoM) banI huI haiN| una maNipIThikAoM ke Upara eka-eka siMhAsana hai| bhadrAsanoM Adi AsanoM rUpI parivAra sahita una siMhAsanoM kA varNana karanA caahie| ___ una prekSAgRha maDapoM ke Upara ATha-ATha maMgala, dhvajAyeM, chatrAtichatra suzobhita ho rahe haiN| ___165. Exactly in the beautiful square mid-portion of the pavilion material of the house for spectators there is a jewelled verandah (gymnasium) for spectators. A jewelled platform beautiful and unique is in the midst of each Vajra jewelled verandah and it is 8 yojans long, 8 yojans wide and 94 yojans thick. They are made of gems of various types and clean. A seat is constructed on each of the jewelled platform. The description of the seats (simhasan) may be understood similar to that of Bhadrasen and others. Eight auspicious symbols, flags and umbrella one above the other meant for spectators are increasing their grandeur of the pavilion. stUpa-varNana 166. tesiM NaM pecchAgharamaMDavANaM purao patteyaM patteyaM maNipeDhiyAo pnnnnttaao| tAo NaM maNiyeDhiyAo solasa solasa joyaNAI AyAmavikkhaMbheNaM, aTTha joyaNAI bAhalleNaM, savyamaNimaIo acchAo pddiruuvaao| ODACODAROSAROSARODAS oPARODARPARODAR00809209-20PRODR.DR.R.00 KAKixxxxrism sUryAbha varNana RegarPREDIEPEX (157) Description of Suryabh Dev Sa *

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tAsi NaM uvari patteyaM patteyaM thUbhe pnnnntte| te NaM thUmA solasa solasa joyaNAI AyAma vikkhaMbheNaM, sAiregAiM solasa solasa joyaNAI uddhaM uccatteNaM, seyA saMkhaMka savvarayaNAmayA acchA jAva pddiruuvaa| tesi NaM thUbhANaM uvariM aTTha maMgalagA, jhayA chattAtichattA jAva shssptthtthyaa| tesi NaM thUbhANaM patteyaM patteyaM cauddisiM maNipeDhiyAo pnnnnttaao| tAo NaM maNipeDhiyAo aTTha joyaNAI AyAmavikkhaMbheNaM, cattAri joyaNAI bAhalleNaM, - sabamaNimaIo acchAo jAva pddiruuvaao| tAsi NaM maNipeDhiyANaM uvariM cattAri jiNapaDimAo jiNussehapamANamettAo a saMpaliyaMkanisannAo, thUbhAbhimuhIo sannikkhittAo ciTuMti, taM jahA-usabhA, vaddhamANA, caMdANaNA, vaarisennaa| 166. una prekSAgRha maMDapoM ke Age eka-eka maNipIThikA (ratnamaya caukI) hai| ye maNipIThikAe~ solaha-solaha yojana lambI-caur3I, ATha yojana moTI hai| ye sabhI sampUrNa OM maNi-ratnamaya, sphaTika maNi ke samAna nirmala aura pratirUpa haiN| una pratyeka maNipIThoM ke Upara asAdhAraNa ramaNIya stUpa bane haiN| ve solaha-solaha yojana lambe-caur3e, samacaurasa aura U~cAI meM kucha adhika solaha yojana U~ce haiN| zaMkha va aMka ratna ke samAna zveta, sarvAtmanA ratnoM se bane hue svaccha yAvat dekhane yogya haiN| una stUpoM ke Upara ATha-ATha maMgala, dhvajAye, chatra para chatra yAvat sahasrapatra kamaloM ke jhumake suzobhita ho rahe haiN| una stUpoM kI cAro dizAoM meM eka-eka maNipIThikA hai| ye pratyeka maNipIThikAe~ ATha * yojana lambI-caur3I, cAra yojana moTI aura aneka prakAra ke maNi-ratnoM se nirmita, nirmala * yAvat pratirUpa haiN| pratyeka maNipIThikA ke Upara, stUpoM ke sAmane mukha vAlI aisI jinotsedha pramANa vAlI (U~cAI meM jina-bhagavAna ke zarIra pramANa) cAra jina-pratimAe~ paryaMkAsana se virAjamAna haiM, yathA-(1) RSabha (bharata kSetra ke prathama tIrthaMkara), (2) vardhamAna (bharata kSetra ke antima tIrthaMkara), (3) candrAnana (isa avasarpiNI kAla me jambUdvIpa ke airavata kSetra ke prathama tIrthaMkara), tathA (4) vAriSeNa (jambUdvIpa ke airavata kSetra meM isI avasarpiNI kAla meM hue caubIsaveM tiirthNkr)| NATOPATOPA9028090090090050sadishakiki ANSATOTANOTATOPATOPATOPAROPARo9) 98692002090 ra rAyapaseNiyasUtra (158) Rai-paseniya Sutra

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DESCRIPTION OF PILLAR 166. A jewelled raised platform (small table) is in front of each of the pavilions of the house for spectators. These platforms are 16 yojans long, 16 yojans wide and 8 yojans thick. All of them are completely jewelled and clean like crystal. They are grand. On every platform there is unique worth looking mound (Stupa). The mounds are 16 yojans long, 16 yojans wide squire type and their height is a little more than 16 yojans. They are white like a conch or white jewel (Ank jewel). They are all studded with jewels clean upto worth seeing. On each of the Stupa (mound), there are eight auspicious symbols, flags, umbrella one above the other, and upto lotus earrings making them to look. On every side of the Stupa, there is a jewelled platform. These platforms are 8 yojans square, 4 yojans thick, made of gems, neat and upto attractive. On each platform there is a statue of Tirthankar, equal to his size, facing the Stupa with legs crossed and hands on them. They are of - ( 1 ) Rishabh (The first Tirthankar of Bharat area), (2) Vardhman (The last Tirthankar of Bharat area), (3) Chandranan (The first Tirthankar of Airavat area of Jambu Dveep belonging to this 'Avasarpani time-cycle), and (4) Varishen (The twenty fourth Tirthankar of Airavat area of Jambu Dveep belonging to this Avasarpani period). caitya vRkSa 167. tesi NaM thUbhANaM purato patteyaM patteyaM maNipeDhiyAo paNNattAo / tAo NaM maNipeDhiyAo solasa joyaNAI AyAmavikkhaMbheNaM, aTTha joyaNAiM bAhalleNaM, savvamaNimaIo jAva pddiruuvaao| tAsi NaM maNipeDhiyANaM uvariM patteyaM patteyaM ceiyarukkhe paNNatte, te NaM ceiyarukkhA aTTha joyaNAiM ur3DhaM uccatteNaM addhajoyaNaM uvveheNaM, do joyaNAI khaMdhA, addhajoyaNaM vikkhaMbheNaM, cha joyaNAI viDimA, bahumajjhadesabhAe aTTha joyaNAI AyAmavikkhaMbheNaM, sAiregAiM aTTha joyaNAI savvaggeNaM paNNattA / sUryAbha varNana ( 159 ) For Private Personal Use Only Description of Suryabh Dev

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tesi NaM ceiyarukkhANaM imeyArUve vaNNAvAse paNNatte, taM jahA vayarAmayamUla-rayayasupaiTThiyaviDimA, riTThAmayaviula kaMdaveruliyaruilakhaMdhA, sujAyavarajAyasavapaDhamaga visAlasAlA, nANAmaNimaya rayaNavivihasAhappasAhaveruliyapatta-tavaNijjapattabiMTA, jaMbUNaya-rattamauyasukumAlapavAla pallavavaraMkuradharA, vicittamaNirayaNa-surabhikusumaphalabharanamiyasAlA, sacchAyA, sappabhA, sassirIyA, saujjoyA, ahiyaM nayaNa-maNa-NibuikarA, amayarasasamarasaphalA, paasaaiiyaa..| tesi NaM ceiyarukkhANaM uvariM aTTha maMgalagA jhayA chttaaichttaa| 167. una pratyeka stUpoM ke sAmane maNimayI pIThikAyeM banI huI haiN| ye maNipIThikAyeM solaha yojana lambI-caur3I, ATha yojana moTI aura sarvAtmanA maNi-ratnoM se nirmita, nirmala yAvat atIva manohara haiN| una maNipIThikAoM ke Upara eka-eka caitya vRkSa hai| ye sabhI caitya vRkSa U~cAI meM ATha yojana U~ce, jamIna ke bhItara Adhe yojana gahare haiN| inakA skandha bhAga do yojana kA aura * AdhA yojana cauDA hai| skandha se nikalakara Upara kI ora phailI huI zAkhAe~ chaha yojana * U~cI aura lambAI-caur3AI meM ATha yojana kI haiN| kula milAkara inakA sarvaparimANa kucha * adhika ATha yojana hai| OM ina caitya vRkSoM kA varNana isa prakAra kiyA gayA haiOM ina vRkSoM ke mUla (jar3eM) vajra ratnoM ke haiM, zAkhAe~ rajata kI, kaMda riSTa ranoM ke, manorama * skandha vaiDUrya maNi ke, mUlabhUta prathama vizAla zAkhAe~ zobhanIka zreSTha svarNa kI, vividha zAkhA-prazAkhAe~ nAnA prakAra ke maNi-ratnoM kI, patte vaiDUrya rala ke, pattoM ke vRnta (DaMDiyA~) svarNa ke, pravAla aruNa, mRdu, sukomala haiM, pallava evaM aMkura jAmbUnada (lAla sonA) ke haiM aura vicitra maNi-ratnoM evaM surabhigaMdhayukta puSpa-phaloM ke bhAra se namita zAkhAe~ haiM evaM amRta ke samAna madhura rasayukta phala vAle ye vRkSa sundara, manorama chAyA, prabhA, kAnti, zobhA, udyota se sampanna nayana-mana ko zAntidAyaka evaM prAsAdika haiN| una caitya vRkSoM ke Upara ATha-ATha maMgala, dhvajAyeM aura chatrAtichatra suzobhita ho rahe haiN| THE CHAITYA TREE 167. In front of every Stupa, there is a platform. These platforms are 16 yojans long square and 8 yojans thick. They are made of 19 gems. They are clean and attractive. rAyapaseNiyasUtra (160) (160) Raupasenaya Sutra

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On each of the platforms there is a memorial tree. All these trees are 8 yojans high, half a yojan deep. Their trunk is of 2 yojans and width is half a yojan. The branches bursting out from the trunk and spreading upwards are 6 yojans high and 8 yojans long, 8 yojans wide. In brief all of them are a little more than 8 yojans in size. The description of these memorial trees is as under The roots of these tree are of Vajra jewels, the branches are of silver, the bulbous roots are of Right gems, the beautiful trunk is of Vaidurya jewels, first big branches are of pure gold, the other branches and their off-shooting branches are of various types of gems and jewels, the leaves are of Vaidurya gems, the stalks of the leaves are of gold, the sprouts are red, soft and tender and the buds are of red gold, the branches are bending downwards due to fragrant flowers and fruits of strange jewels and gems, the fruit of these trees have nectar like sweet juice, the trees provide beautiful pleasant shade, shine, brightness, aura and light which renders pleasure to the eyes and the mind, they also provide mental peace o and pleasure. There are eight auspicious symbols, flags, umbrellas one above the other on those memorial trees. vivecana-zabda koSa ke anusAra caitya vRkSa ke tIna artha hote hai-(1) jisa vRkSa ke nIce tIrthakara deva ko kevalajJAna prApta hotA hai, vaha vRkss| ise 'bodhi vRkSa' bhI kahA jAtA hai| jaina grantho me 24 tIrthakaro ke 24 caitya vRkSa prasiddha hai| (2) devatAo kI sabhA ke pratyeka dvAra ke sAmane mahA dhvajA aura caitya stambha ke madhyama me sthita vRkSa caitya vRkSa kahA jAtA hai| alaga-alaga devo ke alaga-alaga caitya vRkSa hote hai| (3) kisI vizeSa pavitra mAne jAne vAle vRkSa ko bhI caitya vRkSa kahate hai, jise dekhakara citta prasanna hotA ho| (sacitra ardhamAgadhI koSa, bhAga 2, pR 739, zatAvadhAnI zrI ratanacanda jI mahArAja) Elaboration-According to dictionary, Chaitya has three meanings(1) The tree under which the Tirthankar attains complete knowledge (Kewal-znan) and becomes omniscient It is also known as tree of knowledge (Bodhi Tree). In Jain literature the twenty four such trees of twenty four Tirthankars are well known. (2) In front of each gate of council-hall of gods, there is a tree between the great flag and Chaitya pillar. This is called Chaitya tree. Every god has a separate Chaitya tree. (3) A special holy tree is also called Chaitya tree. The mind becomes pleased at its sight (Illustrated Ardhamagadhi Dictionary, Part II, page 739, Shatavadhani Shri Ratna Chand ji M.) sUryAbha varNana ( 161 ) Description of Suryabh Dev S*

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168. tesi NaM ceiyarukkhANaM purato patteyaM patteyaM maNipeDhiyAo paNNattAo / tAo NaM maNipeDhiyAo aTTha joyaNAI AyAmavikkhaMbheNaM cattAri joyaNAI bAhalleNaM savvamaNimaIo acchAo jAva paDirUvAo / 168. una pratyeka caitya vRkSo ke Age eka-eka maNipIThikA hai| ye maNipIThikAyeM ATha yojana lambI-cauDI, cAra yojana moTI, sarvAtmanA maNimaya nirmala atizaya manorama haiN| 168. In front of every Chaitya tree, there is a platform. These platforms are 8 yojans long square, 4 yojans thick, all gem-studded clean and very attractive mAhendra dhvaja 169. tAsi NaM maNipeDhiyANaM uvariM patteyaM patteyaM mahiMdajjhae paNNatte / te NaM mahiMdajjhayA saTThi joyaNAI uDTaM uccatteNaM, addhakosaM ubveheNaM, addhakosaM vikkhaMbheNaM, vairAmaya - vaTTa - laTTha - saMTiya - susiliTTha - parighaTTa - maTTha- supatiTThievisiTTe - aNegavara - paMcavaNNakuDabhI - sahassussie - parimaMDiyAbhirAme - vAuchuyavijayaveja yaMtI - paDAgacchattAticchattakalite, tuMge gagaNatala - maNulihaMtasiharA pAsAdIyA / siNaM mahiMdajjhAyANaM uvariM aTThaTTha maMgalayA jhayA chattAtichattA / 169. una maNipIThikAo ke Upara eka - eka mAhendradhvaja (indra ke dhvaja ke samAna vizAla dhvaja) phaharA rahA hai / vaha mAhendra dhvaja sATha yojana U~ce, AdhA kosa jamIna ke bhItara U~De - gahare, AdhA kosa cauDe, vajra ratnoM se nirmita, dIptimAna, cikane, kamanIya, manojJa vartulAkAra-gola DaDe vAle anya dhvajAoM se viziSTa hai| hajAro choTI-baDI aneka prakAra kI manorama raga-biragI, pacaragI patAkAo se parimaDita vAyu vega se phaharAtI huI vijaya-vaijayatI patAkA, chatrAtichatra se yukta AkAzamaMDala ko sparza karane vAle aise U~ce uparibhAgo se alaMkRta mana ko prasanna karane vAle hai / ina mAhendra dhvajo ke Upara ATha-ATha magala, dhvajAyeM aura chatrAtichatra suzobhita ho rahe haiN| MAHENDRA DHVAJ 169. On each of those platforms, there is fluttering a great flag (Mahendra Dhvaj). It is 68 yojans high, one-eighth yojan deep, oneeight yojan wide. It is best of all other flags having round long shining smooth, beautiful poles made of Vajra jewels. The upper paNiyasUtra Rai-paseniya Sutra (162) For Private Personal Use Only

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The part of the flag is decorated with thousands of buntings of different * sizes and different colours that surround the vijay-vaijyanti flag. * The flags are having umbrella one above the other touching the sky with their upper portion and provide pleasure to the mind. Above each of the Mahendra Dhvaj (the great flag) there are also eight auspicious symbols, other flags and umbrellas one above the other adding to their beauty. 170. tesi NaM mahiMdajjhayANaM purato patteyaM patteyaM naMdA pukkhariNIo pnnnnttaao| tAo NaM pukkhariNIo egaM joyaNasayaM AyAmeNaM, paNNAsaM joyaNAI vikkhaMbheNaM, dasa joyaNAI uvveheNaM, acchAo jAva vaNNao, egaiyAo udagaraseNaM pnnnnttaao| ___ patteyaM patteyaM paumavaraveiyAparikkhittAo, patteyaM patteyaM vnnsNddprikkhittaao| tAsi NaM NaMdANaM puskhariNINaM tidisiM tisovANapaDirUvagA pnnnnttaa| tisovANapaDirUvagANaM vaNNao, toraNA, jhayA, chttaatichttaa| ____ 170. una pratyeka mAhendra dhvajAoM ke Age eka-eka nandA puSkariNI (bAvaDI) banI ye puSkariNiyA~ sau yojana lambI, pacAsa yojana cauDI, dasa yojana U~cI-gaharI hai aura svaccha-nirmala jala se bharI hai| iname se kitaneka kA pAnI svAbhAvika pAnI jaisA madhura rasa vAlA hai| ye pratyeka nandA puSkariNiyA~ eka-eka padmavaravedikA aura vanakhaDoM se ghirI huI haiN| ina nandA paSkariNiyo kI tIna dizAoM meM atIva manohara trisopAna-paMktiyA~ (tIna-tIna pagathiyA~-pAyadAna) haiN| ina trisopAna-paktiyoM ke Upara toraNa, dhvajAye, chatrAtichatra suzobhita haiN| 170. There is a lake in front of each of the Mahendra Dhvaj (the great flag). These lakes are 100 yojans long, 50 yojans wide and 10 yojans deep. They are full of pure clean water. The water of many of them is as sweet as natural water On each of these Nanda Pushkarnis surrounded with a padmavarvedika and a forest-region. On three sides of every lake (Nanda Pushkarni), there are three very attractive rows of steps (foot mats). They are decorated with festoons, flags and umbrellas one above the other. * * sUryAbha varNana (163) Description of Suryabh Deu *

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3 sudharmA sabhAvartI manogulikAe~ gomAnasikAe~ 171. sabhAe NaM suhammAe aDayAlIsaM maNoguliyAsAhassIo paNNattAo, taM jahA-purathimeNaM solasasAhassIo, paccatthimeNaM solasasAhassIo, dAhiNeNaM aTThasAhassIo, uttareNaM atttthsaahssiio| tAsu NaM maNoguliyAsu bahave suvaNNarUppamayA phalagA pnnnnttaa| tesu NaM suvannarUppamaesu phalagesu bahave vairAmayA NAgadaMtA pnnnnttaa| tesu NaM vairAmaesu NAgadaMtaesu kiNhasutta vaTTavagdhAriyamalladAmakalAvA cittuNti| 171. sudharmA sabhA ke pUrva dizA meM solaha hajAra, pazcima dizA meM solaha hajAra, dakSiNa dizA meM ATha hajAra aura uttara dizA me ATha hajAra, yoM sudharmA sabhA me kula ra aDatAlIsa hajAra manogulikAe~ (choTe-choTe cabUtare) haiN| una manogulikAoM ke Upara aneka svarNa eva rajatamaya phalaka-pATiye aura una svarNa-rajatamaya pATiyoM para aneka vajra ratnamaya nAgadata (khUTiyA~) lage hai| una vajramaya nAgadaMtoM para kAle sUta se banI huI gola lambI-lambI mAlAyeM laTaka rahI haiN| THE SEATS OF SUDHARMA COUNCIL-HALL ___171. There are in all forty eight thousand seats in the Sudharma council-hall sixteen thousand each in east and west and eight thousand each in south and north. Many gold, silver and gemmed boards are on those seats fixed out with many Vajra gemmed pegs. Round long rosaries of black thread they are hanging from those pegs. 172. sabhAe NaM suhammAe aDayAlIsaM gomANasiyAsAhassIo pnnttaao| jaha maNoguliyA jAva nnaagdNtgaa| tesuNaM NAgadaMtaesu bahave rayayAmayA sikkagA pnnnnttaa| tesu NaM rayayAmaesu sikkagesu bahave veruliyAmaio dhUvaghaDiyAo pnnnnttaao| tAo NaM dhUvaghaDiyAo kAlAgurupavara jAva citttthti| 172. sudharmA sabhA me aDatAlIsa hajAra gomAnasikAyeM (zayyA yA palaeNga) rakhI huI haiN| nAgadatoM taka inakA varNana manogulikAoM ke samAna samajha lenA caahie| * rAyapaseNiyasUtra (164) Raz-paseniya Sutra

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+ of seats una nAgadaMto ke Upara bahuta se rajatamaya sIke (chIMke) laTake haiN| una rajatamaya sIMkoM me * bahuta-sI vaiDUrya ratnoM se banI huI dhUpaghaTikAe~ (dhUpa rakhane kA pAtra-dhUpadAniyA~) rakhI hai| ve dhUpaghaTikAe~ kAle agara, zreSTha kundaruSka Adi kI sugandha se mana ko mohita kara rahI haiN| 172. Forty eight thousand beds are in Sudhama council-hall. Their description upto pegs is similar to that of seats. ____Many silvery loops (swings) are hanging from those pegs. Many * incense-pots made of Vaidurya-gems are in those silvery swings. Those incense-pots are giving pleasure to the mind by the fragrance of black substance used as incense (kala guru) and Kundrushk (an incense). mANavaka caitya-stambha 173. sabhAe NaM suhammAe aMto bahusamaramaNijje bhUmibhAge paNNatte jAva maNIhiM uvasobhie maNiphAso ya ulloo y| ___ tassa NaM bahusamaramaNijassa bhUmibhAgassa bahumajjhadesabhAe ettha NaM mahegA maNipeTiyA paNNattA, solasa, joyaNAI AyAmavikkhaMbheNaM aTTha joyaNAI bAhalleNaM savvamaNimayo jAva pddiruuvaa| 173. usa sudharmA sabhA ke bhItara maNiyoM se jar3A huA atyanta ramaNIya sama bhUbhAga (pharza) hai| maNiyoM ke sparza eva caMdevA taka kA saba varNana pUrvavat jAnanA caahie| usa sama ramaNIya bhUmibhAga ke madhyadeza (bIca) meM eka vizAla maNipIThikA banI hai| yaha solaha yojana lambI-cauDI aura ATha yojana moTI tathA ralo se jaTita atIva manorama hai| DIVINE MEMORIAL POST (MANAVAK CHAITYA) 173. There is a gem-studded extremely attractive level earthregion in the Sudharma council-hall. The description of touch of the jewels upto cloth-ceiling may be understood as described earlier. In centre of that level attractive earth-region there is a big platform studded with gems. It is 16 yojans long square and 8 TRIyojans thick. It is studded with jewels and very grand. 174. tIse NaM maNipeDhiyAe uvari ettha NaM mANavae ceiekhaMbhe paNNatte, saddhiM joyaNAI uDDhe uccatteNaM, joyaNaM uvveheNaM, joyaNaM vikkhaMbheNaM, aDayAlIsaMsie, aDayAlIsai koDIe, aDayAlIsai viggahie sesaM jahA mhiNdjjhyss| * sUryAbha varNana (165) Description of Suryabh Dev **

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mANavagassa NaM ceiyakhaM bhassa uvariM bArasa joyaNAI ogAhettA, heTThA vi bArasa joyaNAiM vajjettA, majjhe chattIsAe joyaNesu ettha NaM bahave suvaNNarUppamayA phalagA paNNattA / tesu NaM suvaNNarUppAsu phalaesu bahave vairAmayA NAgadaMtA paNNattA / tesu NaM vairAmaesu nAgadaMtesu bahave rayayAmayA sikkagA paNNattA / tesu NaM rayayAmaesu sikkaesu bahave vairAmayA golavaTTasamuggayA paNNattA / tesu NaM vayarAmaesa golavaTTasamuggaesu bahave jiNasakahAo saMnikkhittAo ciTThati / tAo NaM sUriyAbhassa devassa annesiM ca bahUNaM devANa ya devINa ya accaNijjAo jAva pjjuvaasnnijjaao| mANavagassa ceiyakhaMbhassa uvariM aTThaTTha maMgalagA, jhayA, chattAicchattA / 174. usa maNipIThikA ke Upara eka mANavaka nAmaka caitya-stambha (citta ko AnandadAyI stambha) hai| vaha U~cAI meM sATha yojana U~cA, eka yojana jamIna ke aMdara gaharA, eka yojana cauDA aura aDatAlIsa konoM, ar3atAlIsa dhAroM aura aDatAlIsa AyAmoMpahaluoM vAlA hai| isake atirikta zeSa varNana mAhendra dhvaja jaisA jAnanA caahie| usa mANavaka caitya-stambha ke Upara bAraha yojana aura nIce bAraha yojana choDakara madhya zeSa chattIsa yojana pramANa bhAga me aneka svarNa aura rajatamaya phalaka-pATiye lage hue haiN| una svarNa-rajatamaya phalako para aneka vajramaya nAgadata haiN| una vajramaya nAgadaMtoM para bahuta se rajatamaya sIke laTaka rahe haiN| una rajatamaya sIMkoM meM vajramaya gola-gola samudgaka (maMjUSA - DibbA) rakhe hai / una gola-gola vajra ratnamaya samudgako me bahuta-sI jina - asthiyA~ surakSita rakhI huI hai| ve asthiyA~ sUryAbhadeva eva anya deva - deviyo ke lie arcanIya yAvat paryupAsanIya haiM / usa mANavaka caitya ke Upara ATha-ATha magala, dhvajAeN aura chatrAtichatra suzobhita ho rahe hai| 174. On that platform, there is a divine memorial post (Manavak Chaitya Stambh). It is 60 yojans high, one yojan deep in the ground and one yojan wide. It has 48 corners, 48 edges and 48 sides. The remaining description may be considered similar to that of Mahendra Dhvaj. Many gold and silver boards are fixed in the central 36 yojans of that part, ignoring 12 yojans at the top and 12 yojans in the bottom. rAyapaseNiyasUtra Rai-paseniya Sutra (166)

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* " * On that board, there are many Vajra pegs; many silver swings are hanging on those pegs. Vajra round boxes are in those swings The bones of Tirthankaras are safely preserved in those boxes. Those boxes are worthy of worship for Suryabh Dev and other gods and goddesses and also fit to be adored. On that post, there are eight auspicious symbols, flags and umbrellas one above the other. vivecana-sUtra 166 me maNipIThikA para jinezvaradeva kI cAra jina-pratimAe~ paryakAsana se virAjamAna hone kA ullekha hai| sUtra 167 me caitya vRkSa kA, sUtra 174 me mANavaka nAmaka caitya-stambha kA aura usa caitya-stambha para laTakate hue ratnamaya gola Dibbo me jina-asthiyA~ rakhI hone kA varNana hai| isI prakAra sUtra 177-178 me siddhAyatana kA varNana hai| caitya vRkSa kA artha hama sUtra 167 ke vivecana me kara cuke hai| vidvAno ne 'caitya' zabda ke artha apanI-apanI paramparAgata dhAraNAo ke anusAra bhinna-bhinna kiye hai| kisI ne caitya kA artha pUjanIyavadanIya kiyA hai to kisI ne citta ko prasanna karane vAlA athavA 'kisI citA se sambandhita' artha bhI kiyA hai| jina-pratimA aura jina-asthiyo ke sambandha me zAbdika bheda nahI hai| kintu mUrtipUjaka paramparA ke anusAra ve vandanIya-pUjanIya mAnI jAtI hai jabaki amUrtipUjaka paramparA svarga ke devatAo kA eka jItAcAra, paramparAgata vyavahAra mAtra mAnatI hai| svarga me utpanna hone vAlA devatA apanI paramparA va maryAdA kA gaurava rakhane tathA apane vItarAgadeva ke prati zraddhA aura AdarabhAva pragaTa karane ke lie isa paramparA kA pAlana karate hai| amUrtipUjaka mAnyatA hai ki svarga me ye zAzvata pratimAe~ to hai parantu unakA varNana vimAna ke anya ago kI taraha varNana-zailI kA eka aga mAtra hai| isakA artha yaha nahIM hai ki unakI pUjA-arcanA karane se devatAo kA kalyANa hotA hogaa| isalie mUrtipUjA-samarthaka aura mUrtipUjAvirodhI dono hI inakA apanI-apanI paramparA ke anusAra bhinna-bhinna artha karate hai| Elaboration--In aphorism 166, there is description of existence of four statues of Tirthankaras in cross-legged posture on the platforms studded with gems In aphorism 167, there is description of memorial tree, in aphorism 174 that of memorial post and the round boxes containing remains of the Turthankaras in the swings hanging from that post Similarly in aphorism 177-178, there is description of Siddhayatan We have explained the meaning of memorial tree (Chaitya Vriksh) in the elaboration of aphorism 167 The scholars have interpreted the words 'Chaitya' differently according to their traditional approach Some have interpreted it as worthy of worship, some have interpreted it as pleasant to the heart while some have related it to the burning pyre There is no confusion in interpretive of the words Jin-pratima (the statue of Tirthankar) are Jin-asthies (the remains of Tirthankar) But according to * sUryAbha varNana (167) Description of Suryabh Deu

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the sect believing in statue worship, they are worthy of severence and worthy of worship while the opposite sect (sect not believing in statueworship), it is simply a traditional conduct of gods, their instructive habit. The gods who take birth in heaven pay due regard to their tradition and restricted behaviour. Further, in order to exhibit their faith in and respect for omniscient (Veetarag) they follow this tradition. The sect not believing in statue-worship believe that there are permanent statues in the heaven but their description is simply like the description of other parts of Viman. So the two sects interprets according to their tradition e deva-zayyA 175. tassa mANavagassa ceiyakhaMbhassa purathimeNaM ettha NaM mahegA maNipeDhiyA paNNattA, aTTha joyaNAI AyAma-vikkhaMbheNaM, cattAri joyaNAI bAhalleNaM savvamaNimaI acchA jAva pddiruuvaa| tIse NaM maNipeDhiyAe uvariM ettha NaM mahege sIhAsaNe paNNatte, sIhAsaNavaNNao sprivaaro| tassa NaM mANavagassa ceiyakhaMbhassa paJcatthimeNaM ettha NaM mahegA maNipeDhiyA paNNattA, aTTha joyaNAI AyAmavikkhaMbheNaM, cattAri joyaNAI bAhalleNaM, savyamaNimayA acchA jAva pddiruuvaa| tIse NaM maNipeDhiyAe uvariM ettha NaM mahege devasayaNije pnnnntte| tassa NaM devasayaNijassa imeyArUve vaNNAvAse paNNatte, taM jahA-NANAmaNimayA paDipAyA, sovaniyA pAyA, NANAmaNimayAiM pAyasIsagAI, jaMbUNayAmayAiM gattagAI, vairAmayA saMdhI, NANAmaNimae vice, rayayAmaI tUlI, lohiyakkhamayA bibboyaNA, tavaNijamayA gNddovttttaannyaa| ___ se NaM sayaNije sAliMgaNavaTTie ubhao bibboyaNaM duhao uSNate, majjhe NayagaMbhIre - gaMgApuliNa-vAluyA-uddAlasAlisae, suviraiyarayattANe, uvaciyakhomadugullapaTTapaDicchAyaNe AINaga-rUya-bUra-NavaNIya-tUlaphAsamaue, rattaMsuyasaMvue suramme pAsAdIe pddiruuve| 175. usa mANavaka caitya-stambha ke pUrva digbhAga meM vizAla maNipIThikA banI huI hai, jo ATha yojana lambI-cauDI tathA cAra yojana moTI hai| usa maNipIThikA ke Upara eka vizAla sihAsana rakhA hai| bhadrAsana Adi siMhAsanoM kA varNana pUrvavat jAnanA caahie| rAyapaseNiyasUtra (168) Ral-paseniya Sutra 89*

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usa mANavaka caitya-stambha kI pazcima dizA me ATha yojana lambI-cauDI, cAra yojana moTI, sarvamaNimaya, svaccha-nirmala eka baDI maNipIThikA hai| usa maNipIThikA ke Upara eka zreSTha ramaNIya deva - zayyA rakhI huI hai| usa deva-zayyA kA varNana isa prakAra hai, jaise- isake pratipAda (paoNva rakhane kA sthAnapAyadAna) aneka prakAra kI maNiyoM se bane hue haiN| svarNa ke pAye haiM / pAdazIrSaka (pAyoM ke UparI bhAga) aneka prakAra kI maNiyo ke haiN| gAte (IsAeN, pATiyA) sone kI haiN| sA~dheM vajra ratnoM se bharI huI haiN| bANa (nivAra) vividha ratnamayI hai| tUlI (bichaunA - gAdalA), bibboyaNa ( bar3A takiyA) lohitAkSa ratna kA hai| gaMDopadhAnikA (sirahAne lene kA choTA takiyA) sone kA hai| usa zayyA para zarIra pramANa gaddA bichA hai| usake zirobhAga aura caraNabhAga (sirahAne aura paoNyate) donoM ora takiye lage haiN| vaha donoM ora se U~cI aura madhya meM nata - jhukI huI, gaMbhIra gaharI hai| jaise - gaMgA kinAre kI bAlU meM pA~va rakhane se paoNva dha~sa jAtA hai, usI prakAra baiThate hI nIce kI ora dha~sa jAte haiN| usa para rajastrANa (masaharI) lagI huI hai / kasIdA vAlA kSaumadukUla (ruI kI banI cAdara - baiDasITa) bichI hai| usakA sparza Ajinaka - mRgachAlA, ruI, bUra nAmaka vanaspati, makkhana aura Aka kI ruI ke samAna komala hai| vaha raktAMzukalAla tUsa se DhakA rahatA hai / vaha atyanta ramaNIya, sundara hai / BED OF GODS 175. In the east of that memorial post, there is a great gemstudded platform. It is 8 yojans long square and 4 yojans thick. The description of seats and thrones be understood as described earlier. In the west of that post there is an 8 yojans long square and 4 yojans thick gem-studded platform. It is fully covered with gems and is neat and clean. A grand and attractive bed for gods is on that platform. The description of that bed is as under-Its foot mats are made many types of gems. Its legs are of gold. The upper part of the legs are studded with various types of jewels. The paatees are of gold. The joints are of Vajra gems. The knitting is of various jewels. The mattress and the pillow are of red jewels. The small pillow for side rest is of gold. sUryAbha varNana (169) Description of Suryabh Dev

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A mattress body-size is spread on that bed. The pillars are both at the head and tail of the bed. The bed is higher on both sides and is deep and bent downwards in the middle. Just as the foot goes in when one walks on Gangetic sand, the mattress pushes downwards when one sits on it. A well arranged mesh to protect it from dust was fixed on it. An embroidered, cotton bed sheet was spread on it. Its touch was as soft as deer skin cotton, boor vegetation, butter and cotton of Akad plant. It is Top covered with red toos. It is extremely attractive and beautiful. * AyudhagRha-zastrAgAra 176. tassa NaM devasayaNijassa uttarapurathimeNaM mahegA maNipeDhiyA paNNattA-aTTha joyaNAI AyAma-vikkhaMbheNaM, cattAri joaNAI bAhalleNaM, sabamaNimayI jAva pddiruuvaa| tIse NaM maNipeDhiyAe uvari ettha NaM mahege khuDDue mahiMdajjhae paNNatte, saDhi joyaNAI ukhu uccatteNaM, joyaNaM vikhaMbheNaM vairAmayA vaTTalaTThasaMThiyasusiliTTha jAva pddiruuvaa| uvari / aTuTTha maMgalagA, jhayA, chttaatichttaa| tassa NaM khuDDAgamahiMdajjhayassa paJcatthimeNaM ettha NaM sUriyAbhassa devassa coppAle nAma paharaNakose pannatte, savyavairAmae acche jAva pddiruuve| OM tattha NaM sUriyAbhassa devassa phaliharayaNa-khagga-gayA-dhaNuppamuhA bahave OM paharaNarayaNA saMnikkhittA ciTuMti, ujjalA nisiyA sutikkhadhArA paasaadiiyaa| sabhAe NaM suhammAe uvari aTuTTha maMgalagA, jhayA, chttaatichttaa| * 176. usa deva-zayyA ke uttara-pUrva dizA me ATha yojana lambI-cauDI, cAra yojana * moTI, sarvamaNimaya eka baDI maNipIThikA hai| usa maNipIThikA ke Upara sATha yojana U~cA, eka yojana cauDA, vajra ratnamaya, sundara, gola AkAra vAlA, choTA mAhendra dhvaja phaharA rahA hai| vaha svastika Adi ATha maMgaloM, dhvajAoM aura chatrAtichatroM se zobhita hai| ___usa choTe mAhendra dhvaja kI pazcima dizA meM sUryAbhadeva kA 'coppAla' nAmaka praharaNakoza (AyudhagRha-zastrAgAra) hai| yaha AyudhagRha sampUrNa caoNdI kA banA hai| ___usa zastrAgAra me sUryAbhadeva ke parigha ratna (mUsala, lohe kA mudgara), talavAra, gadA, dhanuSa Adi bahuta se zreSTha astra-zastra surakSita rakhe haiN| ve sabhI zastra atyanta ujjvala, camakIle, tIkSNa dhAra vAle aura mana ko camatkRta karane vAle haiN| rAyapaseNiyasUtra (170) Rar-paseniya Sutra

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___ sudharmA sabhA kA UparI bhAga ATha-ATha maMgalo, dhvajAoM aura chatrAtichatro se suzobhita ho rahA hai| ARMOURY 176. In the north of that bed there is 8 yojans long square and 4 yojans thick, totally jewelled big platform. On that platform, a 60 yojans high, one yojan wide, Vajragemmed, beautiful, round, small Mahendra Dhvaj is fluttering. It is to decorated with eight auspicious symbols namely swastik and 3 others, flags and umbrellas one over the other. In the west of that small Mahendra Dhvaj, there is armoury za (treasure of weapons) called 'Choppaal' of Suryabh Dev. This is all made of silver. ___Many crystalline swords, thunder-bolts, bows and other important weapons of Suryabh Dev are stored there and wellprotected in that Choppaal. All those weapons are bright, shining, sharp-edged and providing satisfaction to the mind. The upper part of the armoury is decorated with eight auspicious a symbols, flags and umbrellas one above the other. siddhAyatana 177. sabhAe NaM suhammAe uttarapurathimeNaM ettha NaM mahege siddhAyataNe paNNatte, egaM joyaNasayaM AyAmeNaM, pannAsaM joyaNAI vikkhaMbheNaM, bAvattari joyaNAI uDDhe uccatteNaM, sabhAgamaeNaM jAva gomANasiyAo, bhUmibhAgA, ulloyA thev| 177. usa sudharmA sabhA ke uttara-pUrva digbhAga (IzAnakoNa) me eka vizAla siddhAyatana (devAlaya) hai| vaha sau yojana lambA, pacAsa yojana cauDA aura bahattara yojana U~cA hai tathA isa siddhAyatana kA gomAnasikAoM paryanta evaM bhUmibhAga tathA caMdevA kA varNana sudharmA sabhA * ke samAna (sUtra 171 ke anusAra) jAnanA caahie| AN ETERNAL TEMPLE (SIDDHAYATAN) 177. In the north-east direction of Sudharma council-hall, there He is a great eternal temple. It is 100 yojans long, 50 yojans wide and 72 yojans high. The description of this temple upto long verandahs, so you earth-region and cloth-ceiling may be considered similar to that of Sudhama council-hall in aphorism 171. ra sUryAbha varNana (171) Description of Suryabh Dev *

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178. tassa NaM siddhAyataNassa bahumajjhadesabhAe ettha NaM mahegA maNipeDhiyA * paNNattA-solasa joyaNAI AyAmavikkhaMbheNaM, aTTha joyaNAI baahllennN| tIse gaM maNipeDhiyAe uvari ettha NaM mahege devacchaMdae paNNatte solasa joyaNAI AyAmavikkhaMbheNaM, sAiregAiM solasa joyaNAI uDTuM uccatteNaM, sabarayaNAmae jAva pddiruuve| ettha NaM aTThasayaM jiNapaDimANaM jiNussehappamANamittANaM saMnikkhittaM sNcitttthti| ___ tAsi NaM jiNapaDimANaM imeyArUve vaNNAvAse paNNatte, taM jahA tavaNijamayA hatthatalapAyatalA, aMkAmayAiM nakkhAiM aMtolohiyakkhapaDisegAI, kaNagAmaIo jaMghAo, kaNagAmayA jANU, kaNagAmayA urU, kaNagAmaIo gAyalaTThIo, tavaNijamayAo nAbhIo, riTThAmaIo romarAIo, tavaNijamayA cucuyA, tavaNijamayA * sirivacchA, silappavAlamayA oTThA, phAliyAmayA daMtA, tavaNijamaIo jIhAo, tavaNijamayA tAluyA, kaNagAmaIo nAsigAo aMtolohiyakkhapaDisegAo, aMkAmayANi * acchINi aMtolohiyakkhapaDisegANi, riTThAmaIo tArAo riTThAmayANi acchipattANi, OM riTThAmaIo bhamuhAo, kaNagAmayA kavolA, kaNagAmayA savaNA, kaNagAmaIo NiDAlapaTTiyAo, vairAmaIo sIsaghaDIo, tavaNijamaIo kesaMtakesabhUmIo, riTThAmayA * uvari muddhyaa| 178. usa siddhAyatana ke ThIka madhya me solaha yojana lambI-cauDI, ATha yojana moTI eka vizAla maNipIThikA banI hai| usa maNipIThikA ke Upara solaha yojana lambA-cauDA aura kucha adhika solaha yojana U~cA maNiyo se banA huA eka vizAla devacchandaka sthApita hai aura usa para jina-zarIra pramANa para tIrthaMkaro kI U~cAI ke barAbara vAlI eka sau ATha jina-pratimAe~ virAjamAna hai| " una jina-pratimAoM kA varNana isa prakAra hai, jaise ki una pratimAoM kI hatheliyA~ aura pagaliyA~ tapanIya (tape hue) svarNa kI hai| madhya meM khacita lohitAkSa ratna se yukta aMka ratna ke nakha (zveta me lAla AbhA vAle) hai| jaMghAe~, jAnue~, ghuTane, piMDaliyA~ aura dehalatA-zarIra kanakamaya haiN| nAbhiyA~ tapanIya (svarNa-lAla AbhA) maya haiN| romarAji riSTa ratnamaya (kRSNa AbhA vAlI) haiN| cUcaka (stana kA agra bhAga) aura zrIvatsa (vakSasthala para banA huA cihna-vizeSa) tapanIyamaya haiN| hoTha pravAla (mUMgA) ke ke bane hue haiM, daMta-paMkti sphaTika maNiyoM aura jihvA evaM tAlu tapanIya svarNa (lAlimAyukta rAyapaseNiyasUtra (172) Rai-paseniya Sutra *

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asleaker sis.siesakce.kesakse.ske.ke.ske.ke. " svarNa) ke hai| nAsikAe~ bIca me lohitAkSa ratna khacita kanakamaya (pIlI-lAla AbhA) haiM aura netroM kI tArikAe~ (kanInikAe~-A~kha ke bIca kA kAlA bhAga), akSipatra-palake tathA bhauMheM riSTa ratnamaya haiN| kapola, kAna aura lalATa kanakamaya hai| zIrSaghaTI (khopaDI) vajra ratnamaya hai| kezAnta kI kezabhUmi-zera kI camaDI tapanIya svarNamaya hai aura keza riSTa ratnamaya haiN| 178. In the middle of that eternal temple, there is a large o platform. It is 16 yojans long square and 8 yojans thick. On that * platform there is a big altar (to place idol) which is 16 yojans long square and a little more than 16 yojans high. It is gem- studded. On it are 108 idols of full size of Tirthankaras. The description of those idols is as under The palms and foot-palms of those idols are of pure gold. In the middle there are white nails spreading red lustre. The thighs, the knees, the knees and the body-structure of the idols is of gold. The naval is of gold emitting red lustre. Their lines of hair are emitting black lustre. The upper part of the teats and the symbol on the achest (Shrivats) is of heated gold. The lips are of coral. The teeth are * of crystalline gems. The tongue and palate (upper part of the * mouth) is of heated gold. The nasals are of yellow-red lustre. The The pupil of eyes, the eye-lids and eye-brows are of Risht jewels. The cheeks, the ears and the forehead are of gold. The head is of Vajra gems. The skin of the head is of heated gold and the hair are of Risht jewels. vivecana-'siddhAyatana' kA artha hai eka zAzvata devAlaya yA jin-mndir| 'jinotsedha' se abhiprAya haijina-bhagavAna ke zarIra pramANa jitnaa| jina-bhagavAna ke zarIra kI adhikatama U~cAI 500 dhanuSa aura jaghanya sAta hAtha pramANa yugAnusAra batAI hai| devacchandaka' kA eka artha hai dharmadezanA ke pazcAt jahA~ para tIrthakara vizrAma karate hai| vaha sthAna, kintu yahA~ para isakA abhiprAya hai-bhUmi se do-tIna hAtha U~cI devamUrti rakhane kI vedI yA vizeSa caukii| Elaboration-Siddhayatan' means an eternal temple: 'Jinotsedh' a means equal in size of the Tirthankar. The maximum size of a Tirthankar Hoteis 500 dhanush and the minimum is seven haath (6 measure). 'Devachhandak' is the place where Tirthankar takes rest after spiritual discourse. But here it means the altar about two to three haath higher from the ground on which the idol is placed. 09.0000000000 ROPATo94869809200204060 * sUryAbha varNana (173) Descripiton of Suryabh Deu *

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179. (ka) tAsi NaM jiNapaDimANaM piTThato patteyaM patteyaM chattadhAragapaDimAo pnnnnttaao| tAo NaM chattadhAragapaDimAo hima-ramaya-kuMdeMduSpagAsAI, sakoraMTamalladAmadhavalAiM AyavattAI salIlaM dhAremANIo dhAremANIo citttthti| (kha) tAsi NaM jiNapaDimANaM ubhao pAse patteyaM patteyaM cAmaradhAraga paDimAo pnnnnttaao| tAo NaM cAmara dhAragapaDimAo caMdappaha vayara veruliya nAnAmaNirayaNakhaciya " cittadaMDAo suhumarayata-dIhavAlAo saMkhaMkakuMda-dagaraya-amatamahiyapheNapuMjasannikAsAo dhavalAo cAmarAo salIlaM dhAremANIo cittuNti| (ga) tAsi NaM jiNapaDimANaM purato do-do nAgapaDimAo jakkhapaDimAo, bhUyapaDimAo, kuMDadhArapaDimAo sabbarayaNAmaIo acchAo jAva cittuNti| (gha) tAsi NaM jiNapaDimANaM purato aTThasayaM ghaMTANaM, aTThasayaM caMdaNakalasANaM, aTThasayaM bhiMgArANaM evaM AyaMsANaM, thAlANaM pAINaM supaiTThANaM, maNoguliyANaM vAyakaragANaM, cittagarANaM .rayaNakaraMDagANaM, hayakaMThANaM jAva usabhakaMThANaM, pupphacaMgerINaM jAva lomahatthacaMgerINaM, pupphapaDalagANaM tellasamuggANaM jAva aMjaNasamuggANaM, aTThasayaM jhayANaM, * aTThasayaM dhUvakaDucchayANaM saMnikkhittaM citttthti| (Ga) siddhAyataNassa NaM uvariM aTTha maMgalagA, jhayA chttaatichttaa| 179. (ka) una jina-pratimAoM meM se pratyeka pratimA ke pIche eka-eka chatradhArakachatra lie khaDI deviyoM kI pratimAe~ hai| ve chatradhAraka pratimAe~ lIlA karatI huI-sI bhAvabhaMgimApUrvaka hima, rajata, kundapuSpa aura candramA ke samAna prabhA-kAti vAle zveta koraTa puSpoM kI mAlAoM se yukta dhavala-zveta Atapatro (chatro) ko apane-apane hAtho meM dhAraNa kie hue khar3I haiN| (kha) pratyeka jina-pratimA ke dono bAjuo meM eka-eka cAmaradhAraka pratimAe~ haiN| ve cAmaradhAraka pratimAe~ apane-apane hAthoM meM vividha maNi-ratno se racita citrAmoM se yukta candrakAnta, vajra aura vaiDUrya maNiyo kI DaDiyo vAle, patale, rajata jaise zveta lambe-lambe bAlo vAle, zakha, aka rala, kundapuSpa, jalakaNa, rajata aura manthana kie hue amRta ke phena samAna zveta-dhavala cAmaroM ko dhAraNa karake lIlApUrvaka bIMjatI huI-sI khar3I haiN| OM (ga) una jina-pratimAoM ke Age do-do nAga-pratimAe~, yakSa-pratimAe~, bhUta-pratimAe~, OM kuMDa (pAtra-vizeSa) dhAraka pratimAe~ khaDI haiN| ye sabhI pratimAe~ ratnamaya anupama zobhA se * sampanna hai| rAyapaseNiyasUtra (174) Raz-paseniya Sutrax

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69.CO 090090090 (gha) una jina-pratimAoM ke Age eka sau ATha-eka sau ATha ghaMTA, candanakalaza, a bhaMgAra (mAMgalika kalaza yA jhArI), darpaNa, thAla, pAtriyoM, supratiSThAna, manogulikAe~ (choTI 2 caukI), vAtakaraka (khAlI ghar3A), citrakAraka, ratnakaraMDaka (rala piTAre), azvakaMTha yAvat vRSabhakaMTha jaisI puSpacaMgerikAe~ (phUloM kI TokariyA~) yAvat mayUrapiccha caMgerikAe~, OM puSpapaTalaka, telasamudgaka (tela kI zIzI) yAvat aMjanasamudgaka (aMjana kI DibbI), eka sau ATha dhvajAe~, eka sau ATha dhUpakaDucchuka (dhUpadAna) rakhe hai| (Da) siddhAyatana kA UparI bhAga svastika Adi ATha-ATha maMgaloM, dhvajAoM aura chatrAtichatro se zobhAyamAna hai| 179. (a) Behind each ri' those idols, there are idols of goddesses in standing posture having an umbrella in their hands. Those the goddesses are dancing, wearing garlands of white flowers emitting 9 bright lustre like that of snow, silver, kund flowers and moon. They are standing holding white umbrellas in their hands. (b) On each of the two sides of the Tirthankar idols there is a a chamar hearing idol. They are holding chamars in their hand, moving them in a sporting manner. The chamar has sticks of Vajra and Vaidurya gems hearing pictures made of gems and jewels. These hair of the chmaries are soft, silvery white and long. The chamaries are as white as conch, white jewel, kund flower, water drop and foam arising due to churning. ___(c) There are idols of demon gods namely naag, yaksh, bhoot and vessel-holding idols all in standing posture. All these idols are gemwith studded and of great grandeur. (d) In front of the Tirthankar idols, there are 108 bells, sandal pots, auspicious pots, mirrors, plates, small pots, earthen pots, small stools, empty pitchers, designers, gem baskets, horse-shaped and bullock-shaped flower baskets, baskets having mops of peacock feathers, flower buds, oil phials (small bottles) and upto smell box of coryllium, 108 flags and 108 incense pots. (e) The upper part of Siddhayatan is decorated with eight auspicious symbols, flags and umbrellas one above the other. ACODACODA8090090050 PAROVARo 90.9Q Kala sUryAbha varNana (175) Description of Suryabh Dev *

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upapAta sabhA 180. tassa NaM siddhAyataNassa uttarapurathimeNaM ettha NaM mahegA uvavAyasabhA paNNattA, jahA sabhAe suhammAe taheva jAva maNipeDhiyA aTTha joyaNAI, devasayaNijjaM taheva sayaNijavaNNao, aTTha maMgalagA, jhayA, chttaatichttaa| 180. isa siddhAyatana ke IzAnakoNa meM eka vizAla zreSTha upapAta sabhA (devatAoM ke utpanna hone kA sthAna) banI huI hai| sudharmA sabhA ke samAna hI isa upapAta sabhA kA varNana * samajhanA caahie| maNipIThikA kI lambAI-cauDAI ATha yojana kI hai aura sudharmA sabhA me ki sthita deva-zayyA ke samAna yahA~ kI zayyA kA UparI bhAga ATha maMgaloM, dhvajAoM aura, * chatrAtichatroM se zobhAyAna ho rahA hai| PLACE OF BIRTH FOR HEAVENLY-BEINGS 180. In the eastern corner of the eternal temple (Siddhayatan) is a large grand place meant for birth for heavenly-beings (upapat sabha). Its description may be considered similar to that of Sudharma Sabha. The length and breadth of its platform is 8 yojans. Like the bed for gods in Sudharma Sabha, the upper part of met the bed here is also decorated with eight auspicious symbols, flags set it and umbrellas one above the other. 181. tIse NaM uvavAyasabhAe uttarapurasthimeNaM ettha NaM mahege harae paNNatte, egaM joyaNasayaM AyAmeNaM, paNNAsaM joyaNAI vikkhaMbheNaM, dasa joyaNAI uvveheNaM, taheva se NaM " harae egAe paumavaraveiyAe, egeNa vaNasaMDeNa savao samaMtA sNprikkhitte| tassa NaM harayassa tidisaM tisovANapaDirUvagA pnnttaa| 181. usa upapAta sabhA ke uttara-pUrva digbhAga-IzAnakoNa meM eka vizAla jalAzayasarovara hai| isakI lambAI eka sau yojana evaM cauDAI pacAsa yojana hai tathA gaharAI dasa yojana hai| yaha sarovara sabhI dizAoM me eka padmavaravedikA evaM eka vanakhaNDa se ghirA huA hai tathA isake tInoM dizAoM meM atIva manorama tIna sIDhiyA~ banI huI haiN| ___181. In the north-east direction of the place of birth is a large lake. It is 100 yojans long, 50 yojans wide and 10 yojans deep. It is surrounded with a padmavarvedika and a forest-region. Beautiful a stairs are in its three sides. * rAyapaseNiyasUtra (176) Rai-paseniya Sutra *

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abhiSeka sabhA 182. tassa NaM harayassa uttarapurathime NaM ettha NaM mahegA abhisegasabhA paNNattA, suhammAgamaeNaM jAva gomANasiyAo maNipeDhiyA sIhAsaNaM saparivAraM jAva dAmA cittuNti| ___ tattha NaM sUriyAbhassa devassa subahu abhiseyabhaMDe saMnikkhitte ciTTai, aTuTTha maMgalagA thev| 182. usa sarovara ke IzAnakoNa meM eka vizAla abhiSeka sabhA hai| sudharmA sabhA ke * anurUpa hI vahA~ para gomAnasikAe~, maNipIThikA, saparivAra siMhAsana yAvat muktAdAma (motI ke jhumake) ityAdi haiN| ____ vahA~ sUryAbhadeva ke abhiSeka yogya sAdhana-sAmagrI se bhare hue bahuta-se bhANDa (pAtra Adi) rakhe hai tathA isa abhiSeka sabhA ke UparI bhAga me ATha-ATha maMgala Adi suzobhita ho rahe haiN| CORONATION-HALL ___182. In the north-east side of that lake is a large hall for coronation. The large verandahs, the platforms, the throne and its ex accessories upto pearl ear-rings are in accordance with the status of Sudharma Sabha. Many vessels containing the material for coronation of Suryabh Dev have been kept there. The upper part of the coronation-hall is decorated with eight auspicious symbols and other suchlike. alaMkAra sabhA 183. tIse NaM abhisegasabhAe uttarapurathimeNaM ettha NaM alaMkAriyasabhA paNNattA, 9 jahA sabhA sudhammA maNipeDhiyA aTTha joyaNAI, sIhAsaNaM sprivaarN| tattha NaM sUriyAbhassa devassa subahu alaMkAriyabhaMDe saMnikkhitte ciTuMti, sesaM thev| 183. usa abhiSeka sabhA ke IzAnakoNa meM eka alakAra sabhA (zRgAra gRha) hai| sudharmA sabhA ke samAna hI isa alakAra sabhA kA tathA ATha yojana kI maNipIThikA evaM saparivAra siMhAsana Adi kA varNana samajha lenA caahie| alaMkAra sabhA meM sUryAbhadeva ke dvArA dhAraNa kie jAne vAle alaMkAroM (AbhUSaNo) se bhare hue bahuta-se alaMkAra-bhAMDa (peTiyA~) " rakhe haiN| * sUryAbha varNana (177) Description of Suryabh Dev Xxx

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* * * * CHAMBER FOR PUTTING ON ORNAMENT 183. In the north-east of coronation-hall, here is a chamber for putting on ornaments. Its description may be considered similar to that of Sudhama Sabha including platform of 8 yojans and throne along with others. Many jewellery boxes full of ornaments for use of Suryabh Dev are in that chamber. vyavasAya sabhA (pustakAlaya) 184. tIse NaM alaMkAriyasabhAe uttarapurasthime NaM tattha NaM mahegA vavasAyasabhA paNNattA, jahA uvavAyasabhA jAva sIhAsaNaM saparivAraM maNipeDhiyA, aTTha mNglgaa| 184. usa alaMkAra sabhA ke IzAnakoNa me eka vizAla vyavasAya sabhA (pustakAlaya) banI hai| upapAta sabhA ke anurUpa hI yahA~ para bhI saparivAra siMhAsana, maNipIThikA, ATha-ATha maMgala Adi zobhita haiN| LIBRARY 184. It north-east direction of the chamber for wearing ornaments, there is a large library. The platform, seats and eight auspicious symbols in it are similar to the place of birth. pustakaratna evaM nandA puSkariNI 185. tattha NaM sUriyAbhassa devassa ettha mahege potthayarayaNe sanikkhitte ciTThai, tassa NaM potthayarayaNassa imeyArUve vaNNAvAse paNNatte, taM jahA riTThAmaIo kaMbiAo, tavaNijamae dore, nANAmaNimae gaMThI, rayaNAmayAiM pattagAI, veruliyamae lippAsaNe, riTThAmae chaMdaNe, tavaNijamaI saMkalA, riTThAmaI masI, vairAmaI lehaNI, riTThAmayAiM akkharAiM, dhammie lekkhe| ___ vavasAyasabhAe NaM uvari aTTha mNglgaa| tIse NaM vavasAyasabhAe uttarapurasthimeNaM ettha NaM naMdA pukkhariNI paNNattA hrysrisaa| tIse NaM gaMdAe pukkhariNIe uttarapurathimeNaM mahege balipIDhe paNNatte savvarayaNAmae acche jAva pddiruuve| 185. usa vyavasAya sabhA meM sUryAbhadeva kA vizAla zreSThatama pustakaratna rakhA hai| usa pustakaratna kA varNana isa prakAra hai * rAyapaseNiyasUtra (178) Rai-paseniya Sutra *

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isake pUThe riSTa (kAle) ratna ke haiN| DorA svarNamaya hai | gA~TheM vividha maNiyoM kI haiN| patra ratnamaya hai| lipyAsana -(davAta) vaiDUryaratna kI hai / usakA Dhakkana riSTa ratnoM kA hai| saoN tapanIya svarNa kI banI huI hai| riSTa ratna se banI huI syAhI hai / vajra ratna kI lekhanI - kalama hai / riSTa ratnamaya akSara hai aura usameM dhArmika lekha likhe haiM / vyavasAya sabhA kA UparI bhAga ATha-ATha magala Adi se suzobhita ho rahA hai| usa vyavasAya sabhA me uttara - -pUrva digbhAga meM eka nandA puSkariNI hai| hrada ke samAna isa nandA puSkariNI kA varNana jAnanA caahie| usa nandA puSkariNI ke IzAnakoNa meM ratnamaya, nirmala eka vizAla balipITha (bali karma karane kA sthAna - vizeSa ) banA hai| THE GREAT BOOK AND NANDA PUSHKARNI 185. In the library, there is the great and best book of Suryabh Dev Its description is as under Its cover is of Risht (black) jewels. The thread is of gold. The knots are of gems of various types. Its leaves are of jewels. The inkpot is of Vaidurya gems. The cover is of Risht (black) gems. The handle is of heated gold. The ink is of Risht (black) gems. The pen is of Vajra gem. The words are of black gems and writings relating to philosophical types are in it. The upper part of the library has eight auspicious symbols. In the north of that library, there is a lake ( Nanda Pushkarni). The description of this Nanda Pushkarni is similar to that of lake. In the north-east of Nanda Pushkarni, there is a jewelled, neat and large seat of Suryabh Dev for offerings. upapAta ke pazcAt sUryAbhadeva kA cintana 186. teNaM kAleNaM teNaM samaeNaM sUriyAbhe deve ahuNovavaNNamittae ceva samANe paMcavihAe pattIe pajattIbhAvaM gacchai, taM jahA - AhArapajjattIe, sarIrapajattIe, iMdiyapattI, ANapANapajjattIe, bhAsA - maNapajjattIe / tae NaM tassa sUriyAbhassa devassa paMcavihAeM pattIe pattIbhAvaM gayassa samANassa imeyArUve ajjhathie ciMtie patthie, maNogae saMkappe samupakhitthA - kiM me pubbiM sUryAbha varNana ( 179 ) For Private Personal Use Only Description of Suryabh Dev

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* * * * karaNijaM ? kiM me pacchA karaNicaM ? kiM me puvviM seyaM ? kiM me pacchA seyaM ? kiM me puTviM pi pacchA vi hiyAe suhAe khamAe NisseyasAe ANugAmiyattAe bhavissai ? 186. usa kAla aura samaya me tatkAla utpanna hokara vaha sUryAbhadeva (1) AhAra paryApti, (2) zarIra paryApti, (3) indriya paryApti, (4) zvAsocchvAsa paryApti, aura (5) bhASA manaHparyApti-ina pA~ca paryAptiyoM se paryApta avasthA ko prApta huaa| ____ pA~ca prakAra kI paryAptiyo se paryApta bhAva ko prApta hone ke pazcAt usa sUryAbhadeva ko isa prakAra kA vicAra, cintana, abhilASA, manogata evaM saMkalpa utpanna huA ki mujhe pahale kyA karanA cAhie aura usake bAda kyA karanA cAhie, mujhe pahale kyA karanA kalyANakara hai aura bAda meM kyA karanA ucita hai? tathA pahale bhI aura pazcAt bhI kyA karanA yogya hai jo mere hita ke lie, sukha ke lie, kSema ke lie, kalyANa ke lie aura anugAmI rUpa se (agale janma ke lie) zubhAnubadha kA kAraNa hogA? THOUGHTS OF SURYABH DEV AFTER HIS BIRTH ____186. In that period at that time, Suryabh Dev in a short span Suryabh Dev completed (1) the process of taking of food, (2) their formation of his body, (3) the formation of sense-organs, (4) the exhaling and inhaling breathing process, and (5) the speaking-cumthinking characteristic, all the five processes for completion of a celestial being. Thereafter, Suryabh Dev started thinking, meditating, brooding, pondering over and deciding what he should do first and what thereafter, performance of which act first is beneficial to him and what should be done later ? He also thought on what is proper for him to do first, what is in his interest, what is beneficial for him, what is for his welfare and what is going to be beneficial for him in the next life? vivecana-isa sUtra me sUryAbhadeva ke utpanna hote hI antarmuhUrta me paryApti-sampanna hone kI carcA hai| paryApti kyA hai, kitanI hai ? isa sambandha me salagna vivecana upayogI hogA___ 'paryApti' jainadarzana kA eka pAribhASika zabda hai| isakA artha hai-AtmA kI viziSTa zakti kI pripuurnntaa| isa viziSTa zakti ke dvArA jIva AhAra-zarIrAdi ke yogya pudgalo ko grahaNa karake unhe AhArAdi ke rUpa me badalatA hai| yaha paryApti zakti pudgalo ke upacaya se milatI hai| jaba koI jIva purAnA zarIra choDakara nayA zarIra dhAraNa karatA hai to usake jIvana yApana ke lie kucha Avazyaka paudgalika sAmagrI kI AvazyakatA hotI hai| isa paudgalika sAmagrI kA nirmANa jIva jisa viziSTa zakti ke dvArA * rAyapaseNiyasUtra (180) Raz-paseniya Sutra **

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* * * sampanna karatA hai vaha zakti-vizeSa 'paryApti' kahalAtI hai| AtmA kI yaha viziSTa zakti 'paryApti nAmakarma' ke udaya se prasphuTita hotI hai| jainAgamo me paryApti ke chaha bheda nirUpita hai| yathA(1) AhAra paryApti, (2) zarIra paryApti, (3) indriya paryApti, (4) zvAsocchvAsa paryApti, (5) bhASA paryApti, (6) mn.pryaapti| jisa zakti se jIva AhAra ke yogya pudgalo ko grahaNa kara unako khala aura rasa rUpa meM pariNata karatA hai aura asAra rUpa me choDa detA hai vaha zakti 'AhAra paryApti' kahalAtI hai| isI prakAra jisa zakti se jIva rasa rUpa meM pariNata AhAra ko rakta, maoNsa, majjA aura vIrya Adi sAta dhAtuo me badalatA hai vaha 'zarIra paryApti'; jisa zakti se jIva sapta dhAtuo ko sparzana, rasana Adi indriyo me badalatA hai vaha 'indriya paryApti'; jisa zakti se jIva zvAsa aura ucchvAsa yogya pudgalo ko grahaNa karatA aura choDatA hai vaha 'zvAsocchvAsa paryApti', jisa zakti se jIva bhASA yogya bhASAvargaNA ke pudgalo ko grahaNa karake bhASA rUpa meM pariNata karake choDatA hai vaha 'bhASA paryApti' tathA jisa zakti ke dvArA jIva manovargaNA ke pudgalo ko grahaNa kara mana rUpa me badalatA aura choDatA hai vaha 'mana paryApti' kahalAtI hai| AhAra paryApti ke pUrNa hone me eka samaya lagatA hai jabaki zarIrAdi paoNca paryAptiyo me se pratyeka ko kula milAkara antarmuhUrta mAtra lagatA hai| isa prakAra AhAra paryApti ke pUrNa hone me kama samaya lagatA hai aura zeSa paryAptiyo ke pUrNa hone se adhika samaya lagatA hai| yaha chaha paryAptiyA~ antarmuhUrta me pUrNa ho jAtI hai| ina chaha paryAptiyo dvArA gRhIta pudgala samAna nahIM hai| sabakI alaga-alaga vargaNAe~ hai| isa bAta kI puSTi Adhunika vijJAna ne bhI kI hai| bhASA kI dhvani tarage alaga hotI hai aura zarIra nirmANa ke pudgala alaga prakAra ke hote hai| ___'paryApti' jIvo kA eka vilakSaNa lakSaNa hai jo kevala jIvo me hI pAyA jAtA hai| paryAptiyo ke dvArA jIvo me vibhinna pudgalo kA grahaNa, pariNamana aura utsarjana hotA rahatA hai| AhAra paryApti ke dvArA jIva AhAra ke yogya pudgalo ko lete hai, unhe AhAra me pariNata karate hai aura mala-mUtra Adi asAra pudgalo ko tyAga dete hai| zarIra paryApti ke dvArA zarIra ke yogya pudgalo ko lete hai| unhe zarIra ke rUpa me pariNata karate hai aura asAra pudgalo ko chor3a dete hai| isI prakAra indriya paryApti, zvAsocchvAsa paryApti, bhASA paryApti va manaHparyApti ke dvArA kramaza indriya yogya, zvAsocchvAsa ke yogya, bhASA ke yogya va mana ke yogya pudgalo ko grahaNa karate hue kramaza inhe indriya ke rUpa me, zvAsocchvAsa ke rUpa me, bhASA ke rUpa me va mAnasa-vicAro ke rUpa meM pariNata karate hai aura asAra pudgalo ko tyAga dete hai| isa prakAra paryAptiyA~ jIvo ke lie atyanta upayogI eva mahattvapUrNa mAnI gaI hai| * ra sUryAbha varNana (181) Description of Suryabh Dev *

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ra * * The * * * sUtra me 'bhAsAmaNapaJjattIe' pada se sUryAbhadeva ko paoNca paryAptiyo se paryApta bhAva ko prApta hone kA saketa isalie hai ki devo ke pA~cavI aura chaThI bhASA aura mana paryAptiyA~ eka sAtha pUrNa hotI hai| isalie yahA~ dono kA eka sAtha ullekha hai aura chaha ke sthAna para paoNca kA kathana hai| Elaboration In this aphorism, it is discussed that Suryabh Dev mpleted the necessary five paryapti (stages of completion of angelic dy) in less than 45 minutes (antar-muhurat). What is paryapti (completion); what is their number ? In this context the following details shall be useful Paryapti' is a special word in Jain philosophy. Its meaning is complete exposition of a particular energy of the soul. With this energy the 'jiva' (living-being), takes the atoms suitable for consumption and later for development of the body etc. The 'jiva' then transforms those items into food (ahaar). This energy is procured by consumption of those atoms. When the mundane soul (jiva) leaves this body frame and procures new body, it needs certain necessary material atoms to lead his life. The special energy with which he builds up that material is called 'Paryapti. This energy develops in the soul with the fruition of Paryapti-naamkarma'. In Jain Agams, Paryapti is of six types-- (1) Ahaar Paryapti (Consumption of the food), (2) Sharir Paryapti (Consumption of initial body), (3) Indriya Paryapti (Consumption of necessary sense-organs), (4) Shvasoshvas Paryapti (Consumption of initial inhaling and exhaling), (5) Bhasha Paryapti (Consumption of requested initial speaking energy), (6) Manah Paryapti (Complete development of initial process of mind formation). Ahaar Paryapti' is that energy with which Jiva' accepts 'physical atoms suitable for initial food, transfers it into juice and waste and then discharges the waste. Similarly 'Sharir Paryapti' is that energy with which jiva (the mundane soul), changes, that juice into blood, marrow and veerya and others in all seven things. 'Indriya Paryapti' is that energy with which jiva transforms the said seven dhatus (things) into sense organs such as of touch, taste and others. The energy with which jiva gains breathing process (inhaling and exhaling) is 'Shvas-uchhvas rAyapaseNyisUtra (182) Rai-paseniya Sutra

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*Paryapti, The energy with which jiva gains atoms suitable for speech and * transforms them into speech is called 'Bhasha Paryapti. The energy with which jiva accepts material particle suitable for transforming into mind and actually concepts them into mind is called 'Manah Paryapti, (completion of mind). One Samaya (infinitesimal unit of time which can never be further sub-divided) is spent in completing Ahaar Paryapti while the after five Paryaptis are completed in a total span of Antar-muhurat (less than 48 minutes). Thus the least time is only in completing Ahaar Paryapti. These six Paryaptis are completed in Antar-muhurat. The atoms accepted in these six Paryaptis are not similar in nature All of them have separate identity. This fact has been accepted even by modern science. The sound waves are of different nature as compared with the atoms required for body-formation. "Paryapti' is an unique syinptom and it is found only in jiva (mundane soul). With the help of Paryaptis jiva accepts, transforms and discharges different types of atoms. With Ahaar Paryaptis, jiva accepts atoms suitable for consumption as food, transforms them nil food and discharges are waste as urine and toilet. By Sharir Paryapti, jiva accepts atoms suitable for formation of body, transforms them into body and discharges the waste. Similar is the case with Indriya Paryapti, Shvasuchhvas Paryapti, Bhasha Paryapti and Manah Paryapti wherein jiva accepts the suitable atoms, transforms them into sense-organs, breathy speech and thought process and discharges the waste. Thus Paryaptis are extremely useful and important in the development of jiva In the word 'Bhasa-man-pajjatiye' in the aphorism, it is pointed out that Suryabh Dev completed five Paryaptis. It is because the gods complete speech and mind together (and not one after the other). So both of them have been maintained together. Thus in their case instead of six, there are five Paryaptis sAmAnika devoM dvArA kRtya saMketa 187. tae NaM tassa sUriyAbhassa devassa sAmANiyaparisovavannagA devA sUriyAbhassa devassa imeyArUvamajjhatthiyaM jAva samuSpannaM samabhijANittA jeNeva sUriyAbhe deve teNeva uvAgacchaMti, sUriyAbhaM devaM karayala-pariggahiyaM sirasAvattaM matthae aMjali kaTu jaeNaM vijaeNaM vaddhAvinti, vaddhAvittA evaM vayAsI * sUryAbha varNana (183) Description of Suryabh Deve

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evaM khalu devANuppiyANaM sUriyAbhe vimANe siddhAyataNaMsi jiNapaDimANaM jiNassehapamANamittANaM aTThasayaM saMnikkhittaM ciTThati, sabhAe NaM suhammAe mANavae ceyakhaMbhe vairAmaesa golabaTTasamuggaesu bahUo jiNasakahAo saMnikkhittAo citi, tAo NaM devANuppiyANaM aNNesiM ca bahUNaM vemANiyANaM devANaM ya devINa ya accaNijjAo jAva pvaasnnijaao| taM evaM NaM devANuppiyANaM puvviM karaNijaM, taM evaM NaM devANuppiyANaM pacchA karaNijjaM / taM evaM NaM devAppiyANaM puvviM seyaM taM evaM NaM devANuppiyANaM pacchA seyaM / taM evaM NaM devAppiyA pipacchA vi hiyAe, suhAe, khamAe, nisseyasAe, ANugAmiyattAe bhavissati / 187. tatpazcAt usa sUryAbhadeva kI sAmAnika pariSad ke deva sUryAbhadeva ke isa manogata vicAra yAvat sakalpa ko acchI taraha se jAnakara sUryAbhadeva ke pAsa Aye aura dono hAtha joDa AvarttapUrvaka mastaka para aMjali karake jaya-vijaya zabdoM se sUryAbhadeva kA abhinandana kiyA, phira isa prakAra kahA "Apa devAnupriya ke sUryAbha vimAna sthita siddhAyatana me jina- zarIra ke pramANa vAlI eka sau ATha jina-pratimAe~ virAjamAna haiM tathA sudharmA sabhA ke mANavaka - caitya-stambha meM vajra ratnamaya gola samudgakoM (DibboM) meM bahuta-sI jina-asthiyA~ vyavasthita rUpa se rakhI huI hai| ve Apa devAnupriya tathA dUsare bhI bahuta se vaimAnika devo evaM deviyo ke lie arcanIya yAvat paryupAsanIya hai| ataeva Apa devAnupriya ke lie unakI paryupAsanA karane rUpa kArya pahale karane yogya hai aura yahI kArya pIche karane yogya hai| Apa devAnupriya ke lie yaha pahale bhI zreya rUpa hai aura bAda me bhI yahI zreya rUpa hai| yahI kArya Apa devAnupriya ke lie pahale aura pIche bhI hitakara, sukhaprada, kSemakara, kalyANakara evaM paramparA se sukha kA sAdhana rUpa hogaa|" POINTING OF NECESSARY DUTY BY GODS OF EQUAL STATUS (SAAMANIK DEV) 187. Thereafter, the gods of equal status belonging to the Saamanik cabinet, knowing the thoughts of Suryabh Dev, fully well, came to him, folded their hands, in respect, went round him, greeted him with words praying for his success and then said "O loveable of gods ! There are 108 idols of Thirthankar, each equal in the bright of respective Thirthankar in the external temple existing in Suryabh Viman. Further in the round boxes of the rAyaseNiyasUtra Rai-paseniya Sutra (184) For Private Personal Use Only

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memorial pillar in Sudharma council-hall. There are many remains (bones) of Thirthankars, properly preserved. They are worthy of worship for you Sir, and other Vaimanik gods and goddesses and are also fit to be adored. Thereafter, O loveable of gods! It is the duty to be performed by you first of all and is also to be performed later. It is worthy of your conduct and welfare initially and later also. The performance of this act is going to provide you happiness, grandeur and success and as a traditional custom, it shall be a process for bringing happiness." 188. tae NaM se sUriyAbhe deve tesiM sAmANiyaparisovavannagANaM devANaM aMtie eyamaTTaM socA - nisamma haTTa - tuTTa jAva hayahiyae sayaNijAo abbhuTTeti, sayaNijAo abbhuTTettA uvavAyasabhAo puratthimilleNaM dAreNaM niggacchai, jeNeva harae teNeva uvAgacchati, uvAgacchittA harayaM aNupayAhiNIkaremANe aNupayAhiNIkaremANe puratthimilleNaM toraNeNaM aNupavisai, aNupavisattA purathimilleNaM tisovANapaDirUvaeNaM pacoruhai, paccarUhittA jalAvagAhaM jahamajaNaM karei, karittA jalakihuM karei, karittA jalAbhiseyaM karei, karittA AyaMte cokkhe paramasUibhUe harayAo paccottarai / pacottarittA jeNeva abhiseyasabhA teNeva uvAgacchati, teNeva uvAgacchittA abhiseyasabhaM aNupayAhiNIkaremANe aNupayAhiNIkaremANe puratthimilleNaM dAreNaM aNupavisai, aNupavisittA jeNeva sIhAsaNe teNeva uvAgacchai, uvAgacchittA sIhAsaNa - varagae puratyAbhimu sannisanne / 188. tatpazcAt vaha sUryAbhadeva una sAmAnika pariSad ke devoM se isa bAta ko sunakara aura hRdaya meM manana kara harSita, satuSTa, prasanna hotA huA zayyA se uThA aura uThakara upapAta sabhA ke pUrva digvartI dvAra se nikalA, nikalakara hada (jalAzaya) para AyA, Akara hada kI pradakSiNA karake pUrva dizAvartI toraNa se hokara usame praviSTa huaa| phira pUrva dizAvartI trisopAna paMkti se nIce utarA, utarakara jala meM avagAhana aura jalamajjana. ( snAna ) kiyA, jalakrIDA kI, jalakrIDA karake jalAbhiSeka kiyA, tatpazcAt Acamana ( kullA Adi ) karake svaccha aura zucibhUta-zuddha hokara hada se bAhara niklaa| hrada se bAhara nikalakara jahA~ abhiSeka sabhA thI vahA~ AyA, phira abhiSeka sabhA kI pradakSiNA karake pUrva dizAvartI dvAra se usameM praviSTa huA, pazcAt siMhAsana ke samIpa AyA aura Akara pUrva dizA kI ora mukha karake usa zreSTha siMhAsana para baiTha gyaa| sUryAbha varNana (185) For Private Personal Use Only Description of Suryabh Dev

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188. After listening to the suggestion of the gods belonging to Samanik council and thinking over it, Suryabh Dev felt happy, satisfied and pleased. He got up from the bed and came out from the eastern door of the place if birth. He then came to the water pool, went round it and after passing through the festoon in the east, he entered there. He came down through three steps in the east, went into the water, took bath and did water sports. Thereafter he bathed with water. He then cleaned his mouth and after becoming spotless, he came out from the water pool. Thereafter, he came to the coronation-hall. He went round and entered it through the door in the east. He then came to his throne and sat on it facing east. sUryAbhadeva kA abhiSeka mahotsava 189. tae NaM sUriyAbhassa devassa sAmANiyaparisovavannagA devA abhiogie deve sahAveMti, saddAvittA evaM vayAsI khippAmeva bho devANuppiyA ! sUriyAbhassa devassa mahatthaM mahagdhaM maharihaM viulaM iMdAbhiseyaM uTThaveha | 189. tadanantara sUryAbhadeva kI sAmAnika pariSad ke devoM ne Abhiyogika (AjJApAlaka) devoM ko bulAyA aura bulAkara unase kahA "devAnupriyo ! tuma loga zIghra hI sUryAbhadeva kA abhiSeka karane hetu mahAn artha vAle (mahAn kArya ke lie upayogI ) mahargha - bahumUlya eva mahApuruSoM ke yogya vipula indrAbhiSeka kI sAmagrI taiyAra kro|" THE CORONATION OF SURYABH DEV 189. Saamanik gods then called the serving gods and ordered them-- "O loveable of gods! Please prepare quickly the material required for coronation of important persons which is useful for this great task and is costly." 190. (1) tae NaM te AbhiogiA devA sAmANiyaparisovavannehiM devehiM evaM vuttA samANA haTTa jAva hiyayA karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTTu 'evaM devo ! taha' tti ANAe viNaNaM vayaNaM paDisuNaMti, paDisuNittA uttarapuratthimaM disIbhAgaM avakkamaMti, uttarapuratthimaM disIbhAgaM avakkamittA veubviyasamugdhAeNaM samohaNaMti / rAyapaseNiyasUtra (186) For Private. Personal Use Only Rai-paseniya Sutra

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samohaNittA saMkhejAI joyaNAI jAva doccaM pi veuvviyasamugdhAeNaM samohaNittA aTThasahassaM sovantriyANaM kalasANaM, aTThasahassaM ruppamayANaM kalasANaM, aTThasahassaM maNimayANaM kalasANaM, aTThasahassaM suvaNNaruppamayANaM kalasANaM, aTThasahassaM suvannamaNimayANaM kalasANaM, aTTasahassaM ruppamaNimayANaM kalasANaM, aTThasahassaM suvaNNaruppamaNimayANaM kalasANaM, aTThasahassaM bhomijANaM kalasANaM evaM bhiMgArANaM, AyaMsANaM, thAlANaM, pAINaM, supatiTThANaM, vAyakaragANaM, rayaNakaraMDagANaM, puSphacaMgerINaM jAva lomahatthacaMgerINaM, pupphapaDalagANaM jAva lomahatthapaDalagANaM, sIhAsaNANaM, chattANaM, cAmarANaM, tellasamuggANaM jAva aMjaNasamuggANaM, jhayANaM, aTThasahassaM dhUvakaDucchuyANaM viuvvaMti / 190. (1) tatpazcAt ve Abhiyogika deva sAmAnika devoM kI isa AjJA ko sunakara harSita yAvat vikasita hRdaya hue| donoM hAtha joDa AvarttapUrvaka mastaka para aMjali karake bole-"deva ! bahuta acchaa| aisA hI kareMge / " yoM vinayapUrvaka AjJA - vacanoM ko svIkAra kiyA / svIkAra karake ve uttara- -pUrva digbhAga meM gaye aura usa uttara-1 -pUrva digbhAga meM jAkara unhone vaikriya samudghAta kiyA / vaikriya samudghAta karake saMkhyAta yojana kA daNDa banAyA / punaH dUsarI bAra bhI vaikriya samudghAta karake eka hajAra ATha svarNakalaza', rupyakalaza 2, maNimayakalaza 3, svarNa-rajatamayakalaza, svarNa - maNimayakalaza', rajata - maNimayakalaza 6, svarNa-rupyamaNimayakalaza, bhaumeya (miTTI ke) kalaza', yoM pratyeka prakAra ke eka hajAra ATha kalazoM kI racanA kI / isI prakAra eka hajAra ATha-eka hajAra ATha bhRgAroM', darpaNoM, thAloM 3, pAtriyoM, supratiSThAnoM" (bAjoTa), vAtakarakoM 6, ratnakaraMDakoM, puSpacaMgerikAoM", mayUrapicchacaMgerikAoM, puSpapaTalako 10, mayUrapicchapaTalako 11, siMhAsanoM 12, chatroM 13, cAmaroM14, telasamudgakoM15, ajanasamudgakoM 16, dhvajAoM 17, dhUpakaDucchakoM 18 (dhUpadAnoM) kI bhI racanA kI / sUtra 13 / 7 ke anusAra samasta varNana smjheN| 99 , 190. (1) The serving gods felt happy and cheerful at these orders of Saamanik gods. They folded their hand, placed them at their foreheads and said - "Respected Sir ! We shall do as directed." They thus accepted the orders humbly. Thereafter they went in northeast direction and performed fluid emanation. While creating the fluid form, they emanated the soul particles in the form of a stick numerable yojans long by the process of fluid sUryAbha varNana Description of Suryabh Dev (187) For Private Personal Use Only

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emanation. Thereafter with fluid emanation process, they created 1008 gold pots, silver pots, jewel pots, silvery gold pots, golden jewelled pots, silvery jewelled pots, silvery golden and jewelled pots, earthen pots-all 1008 each. They then created 1008 auspicious jars, mirrors, plates, small pots, earthen bowls, empty pots, jewel boxes, flower baskets, baskets containing mops of peacock feathers, flower boards, boards having mops of peacock feathers, thrones, a umbrellas, chamaries, oil boxes, coryllium boxes, flags, incense Hd pots-1008 each. The entire description may be considered as in M aphorism 13/7. (2) viuvvittA te sAbhAvie ya veubbie ya kalase ya jAva kaDucchue ya giNhaMti, giNhittA sUriyAbhAo vimANAo paDinikkhamaMti, paDinikkhamittA tAe ukkiTThAe cavalAe jAva tiriyamasaMkhejANaM jAva vItivayamANe vItivayamANe jeNeva khIrodayasamudde teNeva uvAgacchaMti, uvAgacchittA khIroyagaM giNhaMti, jAi tatthuSpalAI tAiM gehaMti jAva OM sayasahassapattAI ginnhNti| giNhittA jeNeva pukkharodae samudde teNeva uvAgacchaMti, uvAgacchittA pukkharodaye gehaMti, jAI tatthuppalAI sayasahassapattAI tAI jAva ginnhNti| ___ (2) (kalazo Adi kI) vikurvaNA karake una svAbhAvika aura vikriyAjanya kalazo yAvat dhUpakaDucchakoM ko apane-apane hAthoM meM liyA aura sUryAbha vimAna se bAhara nikle| * apanI utkRSTa capala, divya, utkRSTa gati se calate hue tiryak loka me asaMkhyAta yojana * pramANa kSetra ko pAra karate hue kSIrodadhi samudra taTa para aaye| vahA~ Akara kalazoM meM kSIrasamudra kA jala bharA tathA vahA~ ke utpala, kumuda, zatapatra, sahasrapatra Adi kamaloM kA cayana kiyaa| ___phira puSkarodaka samudra ke pAsa aaye| puSkarodaka samudra kA jala kalazoM meM bharA tathA vahA~ ke utpala, zatapatra, sahasrapatra Adi kamala liye| (2) After creating pots with fluid emanation process, they held the natural and fluid process created pots in their hands and came out from Suryabh Viman. Moving at their extremely fast, celestial * high speed, they crossed innumerable yojans area in this middle the world and arrived at the bank of Ksheer-odadhi ocean (ocean of the sweet milky water). They then filled their pots with the water of S. rAyapaseNiyasUtra Rar-paseniya Sutra ** (188)

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that ocean and selected lotus of various types namely utpal, kumud, hundred-leaved, thousand-leaved lotus. Then they came to Pushkarodak ocean. They took its water in ML pots and also took lotus of different types of that area as before. (3) giNhittA jeNeva pukkharodae samudde teNeva uvAgacchaMti, uvAgacchittA pukkharodayaM gehaMti, jAI tatthuppalAI sayasahassapattAiM tAI jAva ginnhNti| giNhittA samayakhette jeNeva bharaheravayAiM vAsAiM jeNeva mAgahavaradAma-pabhAsAiM titthAI teNeva uvAgacchaMti, teNeva uvAgacchittA titthodagaM geNhaMti, geNhettA titthamaTTiyaM gehNti| ___ geNhittA jeNeva gaMgA-siMdhu-rattA-rattavaIo mahAnaIo teNeva uvAgacchaMti, uvAgacchittA salilodagaM geNhaMti, salilodagaM geNhittA ubhaokUlamaTTiyaM gennhNti| __ maTTiyaM geNhittA jeNeva cullahimavaMta-siharIvAsaharapavvayA teNeva uvAgacchaMti, teNevara uvAgacchittA dagaM geNhaMti, savvatuyare savvapupphe, savvagaMdhe, savvamalle, sabbosahisiddhatthae giNhaMti, giNhittA jeNeva paumapuMDarIyadahe teNeva uvAgacchaMti, uvAgacchittA dahodagaM gehaMti, geNhittA jAI tattha uppalAI jAva sayasahassapattAI tAiM gennhNti| (3) tatpazcAt manuSya kSetra meM bharata-airavata kSetravartI, mAgadha (lavaNasamudravartI) tIrtha, varadAma (lavaNasamudra aura gagA mahAnadI ke saMgama-sthAna para sthita varadAma devatA kA nivaas-sthaan| yahA~ cakravartI aSTama tapa karate hai) aura prabhAsa tIrtha (prabhAsa devatA ke nivAsa-sthAna vAlA tIrtha jo lavaNasamudra va siMdhu nadI ke saMgama para hai) Aye aura una-una tIrtho ke jala ko bharA; vahA~ kI miTTI lii| isa prakAra tIrthodaka aura mRttikA lekara jahA~ gagA, sindhu, raktA, raktavatI mahAnadiyA~ para thI, vahA~ aaye| vahA~ Akara nadiyoM ke jala aura unake donoM taToM kI miTTI lI tathA zatapatra, sahasrapatra kamala Adi liye| ___usake bAda cullahimavata aura zikharI varSadhara parvata para aaye| vahA~ jala kalazoM meM bharA tathA saba Rtuo ke uttama puSpoM, gaMdha-dravyoM, puSpa-samUho aura sarva prakAra kI auSadhiyoM eva siddhArthakoM (sarasoM) ko liyA aura phira padma draha evaM puMDarIka draha para aaye| yahA~ kalazoM meM draha-jala bharA tathA sundara zreSTha utpala yAvat zatapatra, sahasrapatra kamalo ko liyaa| (3) Thereafter, they came to Magadh Teerth (mundanese pilgrimage spot in Lavan Samudra or Salt sea). Vardaam Teerth (situated at the conjunction of Lavan Samudra and Ganga - sUryAbha varNana Description of Suryabh Dev * (189) CONVOAN MargareGOOGORIGORYSOMEOPOROTION

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river, where Vardaam god resides The Chakravarti undertakes three-day fast here). Thereafter, they came to Prabhaas Teerth ** (situation at conjunction of Lavan Samudra and Indus river where not Prabhaas god resides). They took the water and earth from each of those spots. They then with water and earth of these spots (of mundane per pilgrimage), came to rivers Ganges, Indus, Rakta, Raktawati. They took the water of those river and also earth from both the banks. They then came to Chulla-Hemvant mountain and Shikhari mountain. They took the water of these places in their pots. They also took best flowers of all seasons, the fragrant substances the flower collections and various types of corn and mustard seeds. They then came to Padma lake and Pundreek lake. They took the water of those lakes in their pots and also took beautiful, best utpal, hundred-leaved and thousand-leaved lotuses. vivecana-mAgadha, varadAma aura prabhAsa ye tIna zAzvata tIrtha haiN| cakravartI jaba apanI vijaya-yAtrA prArambha karate hai to ina tIrtho para Akara vahA~ ke adhiSThAyaka deva kI sahAyatA hetu aSTama tapa karake devatA kA AhvAna karate hai| bharata kSetra meM tIna, airavata kSetra me tIna tathA mahAvideha kI pratyeka vijaya me tIna-tIna tIrtha hote hai| (dekhe jambUdvIpa prajJapti, vakSaskAra 3, sUtra 44-49) Elaboration Maagadh, Vardaam and Prabhaas are eternal teerth (places of mundane pilgrimage) The Chakravarti while starting for conquests come to these places and observe three-day fast at each of the B said spots in order to procure help of the master gods of those spots There are three teerth each in Bharat area, Airavat area and every Vijay (content) of Mahavideh. (See Jambu Dveep Prajnapti, Vakshaskaar 3, aphorism 44 to 49) (4) geNhittA jeNeva hemavae eravayAiM vAsAI jeNei rohiya-rohiyaMsAsuvaNNakUla-ruppakUlAo mahANaIo teNeva uvAgacchaMti, salilodagaM geNhaMti, geNhittA ubhaokUlamaTTiyaM giNhaMti, giNhittA jeNeva saddAvAti-viyaDAvAti pariyAgA vaTTaveyaDDapavvayA teNeva uvAgacchaMti, uvAgacchittA savvatUyare thev| jeNeva mahAhimavaMta-ruppivAsaharapabvayA teNeva uvAgacchanti taheva, jeNeva mahApaumamahApuMDarIyaddahA teNeva uvAgacchaMti, uvAgacchittA dahodagaM giNhanti thev|| ** rAyapaseNiyasUtra (190) Rar-paseniya Sutra X

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jeNeva harivAsa - rammagavAsAiM jeNeva harikaMta - nArikaMtAo mahANaIo, teNeva uvAgacchaMti taheva, jeNeva gaMdhAvAi - mAlavaMtapariyAyA vaTTaveyaDDapavvayA teNeva taheva / jeNeva siDha - NIlavaMtavAsadharapavvayA taheva, jeNeva tigiccha - kesariddahAo teNeva uvAgacchaMti, uvAgacchittA taheva / (4) isake pazcAt haimavata aura airaNyavata kSetra para phuNce| vahA~ se una donoM kSetroM kI rohita, rohitAMsA tathA svarNakUlA aura rupyakUlA mahAnadiyoM kA jala bharA tathA nadiyoM ke dono to kI miTTI lii| jala aura miTTI lene ke pazcAt jahA~ zabdApAti, vikaTApAti vRtta vaitADhya parvata the, vahA~ Aye / vahA~ se samasta RtuoM ke uttamottama puSpa Adi liye / 1 vahA~ se ve mahAhimavata aura rukmi varSadhara parvata para Aye aura vahA~ se jala evaM puSpa Adi liye, phira jahA~ mahApadma aura mahApuNDarIka draha the, vahA~ Aye / draha kA jala evaM kamala Adi liye| tatpazcAt jahA~ harivarSa aura ramyakvarSa kSetra the, harikAtA aura nArikAMtA mahAnadiyA~ thIM, gaMdhApAti, mAlyavata aura vRttavaitADhya parvata the, vahA~ Aye aura ina sabhI sthAnoM se jala, miTTI, auSadhiyA~ evaM puSpa liye / isake bAda jahA~ niSadha, nIla nAmaka varSadhara parvata the, jahA~ tigiMcha aura kesarI draha the, vahAeN Aye, vahA~ se usI prakAra jala Adi liyA / (4) Thereafter, they came to Haimvant and Airanyavat areas. They took the water of Rohit and Rohitansa rivers and also of Swarnkoola and Rupyakoola rivers and the earth from both the banks of each river. Thereafter, they came to Shabdapati and Vikatapati round Vaitadhya mountains and took flowers and suchlike from there belonging to all the seasons. They then came to Maha-himvant and Rukmi Varshdhar mountains and took water and flowers from there. They then came to Maha-padma and Maha-pundreek lakes. They took water and lotus from those lakes. They then came to Harivarsh-Ramyakvarsh areas, Harikanta and Naarikanta rivers, Gandhapati, Malyavant and VrittVaitadhiya mountains. They took water, earth, corn and flowers from all such places. sUryAbha varNana ( 191 ) For Private Personal Use Only Description of Suryabh Dev

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They then came to Nishadh and Neel Varshdhar mountains, to Tiginchh and Kesari lakes and took water and other suchlike from all these places. (5) jeNeva mahAvideha vAse jeNeva sItA - sItodAo mahANadIo teNeva taheva / jeNeva savvacakkavaTTivijayA jeNeva savvamAgaha- varadAma- pabhAsAiM titthAI teNeva uvAgacchaMti, teNeva uvAgacchittA titthodagaM gehaMti, geNhittA savvaMtaraNaIo jeNeva savvavakkhArapavvayA teNeva uvAgacchaMti, savvatUyare taheva / jeNeva maMdare pavvae jeNeva bhaddasAlavaNe teNeva uvAgacchaMti savvatayare savvapupphe savvamalle savvasahisiddhatthara ya NhaMti, geNhittA jeNeva naMdaNavaNe teNeva uvAgacchaMti, uvAgacchittA savvatUyare jAva savvosahisiddhatthae ya sarasagosIsacaMdaNaM giNhaMti, giNhittA jeNeva somaNasavaNe teNeva uvAgacchaMti savvatUyare jAva savvosahisiddhatthae ya sarasagosIsacaMdaNaM ca divyaM ca sumaNadAmaM giNhaMti, giNhittA jeNeva paMDagavaNe teNeva uvAgacchaMti, uvAgacchittA savvatUyare jAva savvosahisiddhatthae ca sarasaM ca gosIsacaMdaNaM ca divvaM ca sumaNadAmaM daddaramalayasugaMdhiyagaMdhe giNhaMti / (5) tatpazcAt jahA~ mahAvideha kSetra thA jahA~ sItA, sItodA mahAnadiyA~ thIM vahA~ Aye aura usI prakAra se unakA jala, miTTI, puSpa Adi liye / phira jahA~ sabhI cakravartiyo ke vijaya stambha the, jahA~ mAgadha, varadAma aura prabhAsa Adi tIrtha the, vahA~ aaye| vahA~ Akara tIrtho kA jala liyA aura tIrtha jala lekara sabhI antaravartI nadiyoM kI jala eva miTTI lii| phira vakSaskAra parvata para Aye aura vahA~ se sarva RtuoM ke puSpoM Adi kA cayana kiyaa| tatpazcAt mandara (sumeru) parvata ke Upara bhadrazAlavana me Aye, vahA~ Akara sarva RtuoM ke puSpoM, samasta auSadhiyoM aura siddhArthako ko liyA / vahA~ se nandanavana me Aye, Akara sarva RtuoM ke puSpoM yAvat sarva auSadhiyoM, siddhArthakoM (saraso) aura sarasa gozIrSa candana ko liyA / phira jahA~ saumanasavana thA, vahA~ aaye| vahaoN se sarva RtuoM ke puSpoM yAvat sarva auSadhiyoM, siddhArthakoM, sarasa gozIrSa candana aura divya puSpamAlAoM ko liyA / tatpazcAt pAMDukavana me Aye aura vahA~ Akara sarva Rtuo ke puSpoM yAvat sarva auSadhiyoM, siddhArthakoM, sarasa gozIrSa candana, divya puSpamAlAoM, dardaramalaya candana kI surabhigadha se sugandhita gadha- dravyo ko liyaa| rAyapaseNiyasUtra (192) For Private Personal Use Only Rai-paseniya Sutra

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* d A JAYOO.GHAT (5) Later, they came to Sita and Sitoda rivers in Mahavideh area * and in the manner described earlier, took water, earth and flowers from there. Thereafter, they came to those places where there were Victory Posts of the Chakravartis and where there were Vardaam and Prabhaas Teerth (mundane pilgrimage spots). They took water of those places and also of all other rivers including their earth. Then * they came to Vakshaskaar mountains (mountains situated like shoulders of a horse) and took flowers of all seasons. Then they came to Bhadrashalvan, Sumeru mountain and collected flowers of all seasons, all types of corn and mustard seeds. Thereafter, they came to Nandanvan and selected flowers of all seasons, corns, mustard seeds and go-sheersh sandal wood from there. Later they came to Saumanasvan and collected flowers of all seasons, all types of corns and mustard seeds, the fragrant gosheersh sandal wood and garlands of celestial flowers. Thereafter, they came to Pandukvan and took flowers of all seasons, corns, mustard seeds, go-sheersh sandal wood, garlands of heavenly flowers and fragrant substances affected by the sweet smell of derdarmalaya sandal wood. (6) giNhittA egao milAyaMti milAittA tAe ukkiTAe jAva jeNeva sohamme kappe jeNeva sUriyAbhe vimANe jeNeva abhiseyasabhA jeNeva sUriyAbhe deve teNeva uvAgacchaMti, uvAgacchittA sUriyAbhaM devaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTu jaeNaM vijaeNaM vaddhAviMti vaddhAvittA taM mahatthaM mahagdhaM maharihaM viulaM iMdAbhiseyaM uvtttthveNti|| (6) ina saba vastuo ko lekara ve saba Abhiyogika deva eka sthAna para ekatra mile aura phira utkRSTa divya gati se calakara jahA~ saudharmakalpa thA jahA~ sUryAbhavimAna thA, usameM jahA~ abhiSeka sabhA thI aura usameM bhI jahA~ siMhAsana para sUryAbhadeva sthita thA, vahA~ aaye| donoM hAtha joDa AvarttapUrvaka mastaka para aMjali karake sUryAbhadeva ko 'jaya.ho-vijaya ho' Adi zabdo se badhAyA aura badhAkara usake Age mahAn artha vAlI, mahAmUlyavAn, mahAn puruSoM ke yogya vipula indrAbhiSeka kI sAmagrI upasthita kii| (6) After getting all the things mentioned above the Abhiyogics. (serving) gods collected at one place and moving at highest heavenly be speed came to Suryabh Viman in Saudharm heaven. Then they 299.90.9. sUryAbha varNana (193) Description of Suryabh Dev *

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PROPROCOPA I NA came to the throne in coronation-hall of Suryabh Viman where Suryabh Dev was present. They greeted him with folded hand and touching their foreheads, they also prayed for his success. They then placed before him the material that was of great use, that was very costly and that which was fit for coronation of Suryabh Dev. vivecana - prAcInakAla me rAjyAbhiSeka kI eka vizeSa mAgalika paramparA thii| ise kevala utsava rUpa nahI kintu magala utsava mAnate the / jaise rAjAoM ke abhiSeka kI paramparA thI lagabhaga usI prakAra kA sUryAbhadeva ke abhiSeka mahotsava kA varNana isa sUtra me hai| lagabhaga isI prakAra kA varNana jIvAbhigamasUtra vijayadeva ke abhiSeka kA hai| sarvaprathama sonA, cA~dI, maNi, miTTI Adi ATha prakAra ke eka hajAra ATha kalazo me kSIra samudra, puSkarodaka samudra kA jala bharA / vahA~ se sugandhita kamala Adi liye| phira mAgadha, prabhAsa, varadAma tIrtho kA jala tathA vahA~ kI miTTI lii| isake bAda gagA, sindhu Adi nadiyo kA jala tathA vahA~ ke dono to kI miTTI bhI lii| usake bAda parvato para jAkara vahA~ ke taraha-taraha ke phUla, sugandhita dravya, auSadhiyA~ (vanaspati) tathA saraso (siddhArthaka ) lI aura puDarIka - padma graha kA jala va vahA~ utpanna bhinna-bhinna jAti ke kamala Adi liye / isI prakAra sabhI kSetro kI nadiyA~, parvato ke gadha dravyo kA jala, puSpa, vanaspatiyA~, gozIrSa candana tathA anya sugandhita jala aura nadI taTo kI miTTI Adi lekara Ate haiN| isa varNana se patA calatA hai ki mAgalika dravyo me saraso kI pramukha gaNanA kI gaI hai aura use siddhArthaka (saba kArya siddha karane vAlI ) kahA hai| samudra - nadI jala, nadI taTo kI miTTI, parvato para ugI divya auSadhiyA~ va kamala Adi jala me utpanna hone vAle puSpa va vRkSo para lage puSpa Adi tathA go candana va anya sugandhita dravyo kA abhiSeka, pUjana Adi kriyAo me Aja bhI mahattvapUrNa sthAna hai| isa varNana me yaha bhI mahattva kI bAta hai ki svarga ke devatA bhI apane abhiSeka mahotsavo me manuSya loka ke jala, miTTI, puSpa, vanaspatiyo Adi ko sarvAdhika mAgalika mAnakara unakA upayoga karate hai / Elaboration-In the ancient period, there was an auspicious tradition of coronation. It was not simply a festival but it was considered an auspicious festival Just as the coronation of kings was done as a traditional custom, almost in the same fashion, coronation of Suryabh Dev has been described in this aphorism. Also similar account is that of the coronation of Vijay Dev in Jivabhigam Sutra. First of all, the water of Ksheer sea and Pushkarodak sea was filled in eight types of 1008 pots each namely of gold, silver, gems, earth and others. Then they took fragrant lotus flowers from there. Then they took water and earth from Maagadh, Prabhaas and Vardaam-the places of pilgrimage. Then they took water and the earth from the banks of the rAyapaseNiyasUtra ( 194 ) For Private Personal Use Only Rai-paseniya Sutra

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* river Ganges and river Indus (Sindhu). Thereafter they went to the mountains and collected various types of flowers, fragrant substances, the vegetation and mustard seeds. Then they took water and different kinds of lotus flowers, from Pundreek and Padmadreh lakes ___ In a similar fashion, they collect water, flowers, vegetation, go-sheersh sandal wood and other fragrant waters and earth of the embankment of all rivers and mountains of all the areas and then came with it. This description indicates that mustard seed was considered to be main item amongst all the auspicious substances It was called Siddharth (the substance that brings success in all functions). Even today, the water of rivers and seas, the earth of river banks, the heavenly vegetation of the mountains, lotus and other flowers that grow in water, the flowers growing on trees, go-sheersh sandal wood and other fragrant substances are considered most suited in performance of coronation ceremony and in doing worship. It is also important to note that even the gods in heaven use the water, earth, flowers, vegetation and others of this world (inhabited by humanbeings) in their coronation, considering them of great auspicious value. 191. tae NaM taM sUriyAbhaM devaM cattAri sAmANiyasAhassIo, cattAri aggamahisIo saparivArAo, tinni parisAo, satta aNiyAhivaiNo jAva anevi bahave sUriyAbhavimANavAsiNo devA ya devIo ya tehiM sAbhAviehi ya veuviehiM ya varakamalapaiTThANehi ya surabhivaravAripaDipunnehiM caMdaNakayacacciehiM AviddhakaMTheguNehi paumuppalapihANehiM sukumAlakomalakarapariggahiehiM aTThasahasseNaM sovaniyANaM kalasANaM jAva aTThasahassANaM bhomijjANaM kalasANaM savvodaehiM sabauTTiyAhiM savvatUyarehiM jAva sabbosahisiddhatthaehi ya sabbiDDhIe jAva vAieNaM mahayA mahayA iMdAbhiseeNaM abhisiNcNti| 191. abhiSeka kI sampUrNa sAmagrI A jAne ke bAda cAra hajAra sAmAnika devo tathA parivAra sahita cAra agramahiSiyoM, tIna pariSadAoM, sAta anIkAdhipatiyoM yAvata anya dUsare bahuta se devoM-deviyoM ne una svAbhAvika (manuSyaloka meM utpanna vastue~) evaM devo dvArA vikriyA zakti se banAye gaye zreSTha kamala-puSpoM para sasthApita, sugadhita, zuddha, zreSTha jala se bhare hue, candana-lepa se carcita, pacaraMge sUta kalAve se ba~dhe-lipaTe hue kaTha vAle, padma(sUryavikAsI kamaloM) eva utpala-(candravikAsI kamalo) ke Dhakkano se DhaMke hue, sukumAla * sUryAbha varNana (195) Description of Suryabh Dev *

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* komala hAtho se lie gaye aura sabhI tIrtha sthAno ke jala se bhare hue eka hajAra ATha svarNa-kalazo yAvat eka hajAra ATha miTTI ke kalazoM tathA saba prakAra kI mRttikA eva hi * RtuoM ke puSpo, sabhI sugandhita dravyoM yAvat auSadhiyo aura siddhArthakoM-sarasoM se mahAn OM Rddhi yAvat vAdyaghoSo ke sAtha sUryAbhadeva ko atIva gauravazAlI indrAbhiSeka se abhiSikta kiyaa| 191. After the receipt of the entire material for coronation, 4,000 Saamanik gods, four agra-mahishi (chief queens) with their family members of the three councils, seven army chiefs, upto other gods and goddesses took 1,008 pots each of eight different types namely gold, silver, earth and others. All these pots were made of substances grown in the human world and placed on lotuses created by gods by emanating their fluid energy. They were filled with fragrant pure water. They were pasted with sandal paste. Their necks were tied with five-coloured yarn. They were covered with sunflowers and lotuses developing in moonlight. They were filled with water of all places of pilgrimage. They then held those pots in their soft hands along with all types of earth, flowers of all seasons, all fragrant substances, vegetation and mustard seeds. Then they performed the coronation in a proper grand manner. abhiSeka utsava : svacchatA aura sugaMdha 192. (ka) tae NaM tassa sariyAbhassa devassa mahayA mahayA iMdAbhisee vaTTamANe appegaiyA devA sUriyAbhaM vimANaM naccoyayaM nAimaTTiyaM pavirala-phusiyareNuviNAsaNaM div surabhigandhodagaM vAsaM vaasNti| appegaiyA devA hayarayaM naTTarayaM bhaTTarayaM uvasaMtarayaM pasaMtarayaM kreNti| appegaiyA devA sUriyAbhaM vimANaM AsiyasaMmajjiovalittaM suisamaTTharatthaMtarAvaNavIhiyaM kreNti| __ appegaiyA devA sUriyAbhaM vimANaM maMcAimaMcakaliyaM kreNti| ___ appegaiyA devA sUriyA vimANaM NANAviharAgosiyaM jhayapaDAgAipaDAgamaMDiyaM kreNti| appegaiyA devA sUriyAbhaM vimANaM lAulloiyamahiyaM gosIsa sarasarattacaMdaNa daddaradiNNapaMcaMgulitalaM kreNti| * * rAyapaseNiyasUtra (196) Rai-paseniya Sutra

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_ appegaiyA devA sUriyAbhaM vimANaM uvaciyacaMdaNakalasaM caMdaNaghaDasukaya, toraNapaDiduvAradesabhAgaM kreNti| * appegaiyA devA sUriyAbhaM vimANaM AsattosattaviulavaTTabagdhAriyamalladAmakalAvaM kreNti| __ appegaiyA devA sUriyAbhaM vimANaM paMcavaNNasurabhimukkapuSphapuovayArakaliyaM kreNti| appegaiyA devA sUriyAbhaM vimANaM kAlAgurupavarakuMdarukkaturukkadhUvamaghamaghaMtagaMdhuddhyAbhirAmaM kreNti| ____ appegaiyA devA sUriyAbhaM vimANaM sugaMdhavaragaMdhiyaM gaMdhavaTTibhUyaM kreNti| 192. (ka) jaba sUryAbhadeva kA mahimAzAlI abhiSeka mahotsava ho rahA thA, taba kitane hI devoM ne sUryAbha vimAna meM isa prakAra se jhiramira-jhiramira, virala nanhIM-nanhI bUMdo meM * sugandhita gaMdhodaka kI varSA kI, jisase vahA~ kI saba dhUla-miTTI daba gayI, kintu jamIna para pAnI nahI phailA aura na hI kIcaDa huaa| kitane hI devoM ne sUryAbha vimAna ko jhADa-buhArakara hataraja, naSTaraja, bhraSTaraja, * upazAMtaraja aura prazAntaraja vAlA (dhUla-miTTIrahita) banA diyaa| kitane hI devo ne sUryAbha vimAna kI galiyo, bAjAroM aura rAjamArgoM para pAnI chiDakakara Part kacarA vagairaha jhADa-buhArakara aura gobara-miTTI se lIpa-potakara sApha kara diyaa| kitane hI devoM ne maca banAye aura maco ke Upara maMca banAkara sUryAbha vimAna ko sjaayaa| kitane hI devoM ne vividha prakAra kI raMga-biragI dhvajAoM, patAkAtipatAkAoM se maNDita kiyaa| kitane hI devoM ne sUryAbha vimAna ko lIpa-potakara sthAna-sthAna para sarasa gorocana aura raktadardara candana hAthoM meM lagAkara paoNco a~guliyo ke chApe maare| ___ kitane hI devoM ne sUryAbha vimAna ko carcita kalazo aura candana-kalazo se bane toraNo se sjaayaa| Hot kitane hI devoM ne sUryAbha vimAna ko Upara se nIce taka laTakatI huI lambI-lambI gola Har mAlAoM se vibhUSita kiyaa| ____ kitane hI devo ne pacaraMge sugadhita puSpoM ko bikherakara, mAMDane mADakara (raMgolI karake) * sUryAbha vimAna ko suzobhita kiyaa| * sUryAbha varNana (197) Description of Suryabh Dev

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kitane hI devo ne sUryAbha vimAna ko kRSNa agara, zreSTha kundaruSka, turuSka aura dhUpa kI 1 maghamaghAtI sugadha se manamohaka bnaayaa| kitane hI devoM ne sUryAbha vimAna ko surabhigaMdha ke suvAsa se sugaMdha kI guTikA jaisA banA diyaa| CORONATION CEREMONY : ITS PURITY AND FRAGRANCE 192. (a) When the grand coronation ceremony of Suryabh Dev was in process, many gods rained fragrant gandhodak (sacred fragrant water) in tiny drops in Suryabh Viman, thus the dust settled down * but the water neither spread on the ground nor made it muddy. Many gods cleaned the dust with a broom and made the Suryabh * Viman dust free and devoid of dust. Many gods sprinkled water in lanes, bazaars and highways of Suryabh Viman, removed the wastage and plastered them with cowdung and earth. Many, gods made stages one above the other and decorated Suryabh Viman Many gods decorated it with multicoloured flags and beatings. Many gods after plastering Suryabh Viman, made hand-prints of Saras Go-rochan and Rakt-dardar sandal paste. Many gods decorated it with festoons made of charchit pitchers and sandal wood pots. The Many gods decorated Suryabh Viman with long round garlands hanging from top to the bottom. Many gods scattered flowers of five colours, made coloured circles (Maandle) and thus decorated Suryabh Viman. Many gods made the Suryabh Viman fragrant with many types of incense namely black agar, kundrushk, turushk and dhoop. Many gods converted Suryabh Viman into a big box fragrant with sweet fragrance all around. upahAroM kA AdAna-pradAna (kha) appegaiyA devA hiraNNavAsaM vAsaMti, suvaNNavAsaM vAsaMti, rayayavAsaM vAsaMti, vairavAsaM., pupphavAsaM., phalavAsaM., mallavAsaM., gaMdhavAsaM., cuNNavAsaM., AbharaNavAsaM arifa rAyapaseNiyasUtra ( 198 ) Ral-paseniya Sutra 5*

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appegaiyA devA hiraNNavihiM bhAeMti, evaM suvannavihiM bhAeMti, rayaNavihiM., pupphavihiM., phalavihiM., mallavihiM., cuNNavihiM., vatthavihiM., gaMdhavihiM., tattha appegaiyA devA AbharaNavihiM bhAeMti ! vajra (kha) kitane hI devoM ne caoNdI kI vRSTi kI, to kitaneka ne suvarNa kI, rajata kI, ratnoM kI, puSpoM kI, phaloM kI, mAlAoM kI, sugaMdhita dravyoM kI, sugandhita cUrNa kI aura kitaneka devoM ne AbharaNo kI varSA kii| kitane hI devoM ne Apasa meM eka-dUsare ko bheMTa meM cA~dI ke upahAra diye| isI prakAra kitane hI devoM ne Apasa meM eka-dUsare ko svarNa, ratna, puSpamAlA, sugandhita cUrNa, vastra, gaMdhadravya Adi bheTa meM diye aura kitane hI devoM ne bheMTa me AbhUSaNa diye / EXCHANGE OF PRESENTS (b) Many gods made rain of silver, rain of gold, rain of jewels, rain of Vajra gems, rain of flowers, rain of fruits, rain of garlands, rain of fragrant substances, fragrant powder and of ornaments. Many gods exchanged gifts of silver among themselves. Many gods exchanged gifts of gold, jewels, garlands of flowers, fragrant powder, clothes, fragrant substances and many gods gave ornaments as gifts. nRtya-saMgIta (ga) appegaiyA cauvvihaM vAitaM vAiMti, taM jahA - tataM vitataM ghaNaM jhusiraM / appegaiyA devA cauvvihaM geyaM gAyaMti, taM jahA - ukkhittAyaM pAyattAyaM maMdAyaM yAvANaM / appegaiyA devA duyaM naTTavihiM uvadaMseMti / appegaiyA vilaMbiyaM NaTTavihiM uvadaMseMti / appegaiyA devA duyavilaMbiyaM NaTTavihiM uvadaMseMti evaM appegaiyA aMciyaM naTavihiM uvadaMseMtiM, appegaiyA devA ArabhaDaM bhasolaM ArabhaDa - bhasolaM uppAyanivAyapavattaM saMkuciyapasAriyaM riyAriyaM bhaMtasaMbhaMtaNAmaM divyaM NaTTavihiM uvadaMseMti / appegaiyA devA cauvvihaM abhiNayaM abhiNayaMti, taM jahA - diTThatiyaM pADaMtiyaM sAmaMtovaNivAiyaM loga aMtomajjhAvasANiyaM / (ga) kinhIM devoM ne tata, vitata, ghana aura jhuSira - ina cAra prakAra ke vAdyoM ko bajAyA / sUryAbha varNana (199) For Private Personal Use Only Description of Suryabh Dev

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kinhI devoM ne ukSipta, pAdAnta, maMda aura rocitAvasAna nAmaka cAra prakAra ke saMgIta OM gaaye| kisI deva ne dUta (zIghra capala) natyavidhi dikhAI, kisI ne vilambita (mada-maMda) nRtyavidhi kA pradarzana kiyA, kisI ne aMcita (tirachI cAla) nRtyavidhi dikhalAI aura kitane hI devo ne ArabhaTa, bhasola, ArabhaTa-bhasola, utpAta-nipAtapravRtta (uchalanA-giranA), saMkucita-prasArita (aga sikoDanA-phailAnA), ritArita, bhrAta-sabhrAMta nAmaka divya 9 nRtyavidhiyA~ dikhlaaiiN| kitane dI devoM ne dArTAntika, prAtyAntika, sAmantopanipAtika aura lokAnta ra madhyAvasAnika nAmaka cAra prakAra ke abhinayo kA pradarzana kiyaa| DANCE AND MUSIC (c) Some of the gods played four types of musical instruments, to namely stringed (tat), non-stringed (vitat), ghan (solid bronze) and jhushir (hollow) instruments. Many gods sang four types of songs namely Ucchipt (sung with high pitch), padant, mand (with low pitch) and rochitavasan. The One of the gods danced at a fast pace, another danced at a low Space still another danced in slanting (anchit) manner and some of on the gods danced in different manner namely aarbhat, bhasol, aarbhat-bhasol, utpaat-nipaat (jumping and falling), spreading and squeezing parts of the body, riyariyam (walking carefully and walking carelessly), bhrant-sambhrant dramatic actions. Some of the gods performed four types of dramatic activities namely-darshtantic, pratyantic, saamantopanipaatic and lokant madhyavasanik. harSa-dhvaniyA~ ___ (gha) appegaiyA devA bukkAreMti, appegaiyA devA pINeti, appegaiyA. laaseNti| / ___ appegaiyA. hakkAreMti, appegaiyA. viNaMti, taMDaveMti, appegaiyA vaggaMti apphoDeMti, " appegaiyA. apphoDeMti vagaMti, appegaiyA. tivaI chiMdaMti, appegaiyA. hayahesiyaM kareMti, appegaiyA. hathigulagulAiyaM kareMti, appegaiyA. rahaghaNaghaNAiyaM kareMti, appegaiyA. hayahesiya-hatthigulagulAiya-rahaghaNaghaNAiyaM kreNti| rAyapaseNiyasUtra Rar-paseniya Sutra (200)

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____ appegaiyA. ucchaleMti, appegaiyA. pocchauMti, appegaiyA. ukkiTThiyaM kareMti, appegaiyA ucchaleMti-pocchaleMti, appegaiyA tinni vi| appegaiyA. ovayaMti, appegaiyA. uppayaMti, appegaiyA. parivayaMti, appegaiyA. tinni vi| appegaiyA. sIhanAyaMti, appegaiyA. daddarayaM kareMti, appegaiyA. bhUmicaveDaM dalayaMti, 3 appegaiyA. tinni vi| ___ appegaiyA. gajjaMti, appegaiyA. vijjuyAyaMti, appegaiyA. vAsaM vAsaMti, appegaiyA. tini vi| ___ appegaiyA. jalaMti, appegaiyA. tavaMti, appegaiyA. pataveMti, appegaiyA. tinni vi| ___ appegaiyA. hakkAreMti, appegaiyA. thukkAreMti, appegaiyA. dhakkAreMti, appegaiyA. sAiM sAiM nAmAiM sAti, appegaiyA. cattAri vi| (gha) isake atirikta kitane hI deva harSAtireka se bakare jaisI bukabukAhaTa karane lage, kitane hI devoM ne apane zarIra ko phulAne kA dikhAvA kiyA, kitaneka deva nAcane-gAne lge| kitaneka deva haka-haka kI AvAjeM lagAne lage, kitaneka gunagunAne lage, kitane hI va tAMDava nRtya karane lage, kitane hI uchalane ke sAtha tAla Thokane lage aura kitane hI tAlI bajAkara uchalane lage, kitane hI tIna paira kI dauDa dauDane lage, kitane hI ghoDe kI bhaoNti hinahinAhaTa karane lage, kitane hI hAthI kI taraha gulagulAhaTa karane lage, kitane hI ratho kI ghanaghanAhaTa jaise ghan-ghana kI AvAje nikAlane lage aura kitane hI ghoDoM kI hinahinAhaTa, hAthI kI gulagulAhaTa aura ratho kI ghanaghanAhaTa jaisI (mizrita) AvAjeM karane lge| kitaneka ne U~cI chalaoNgeM lagAI. kitaneka ne aura U~cI chalaoNge lagAI aura kitaneka ne hI harSa-dhvani kii| kitane hI uchale, kitane hI vizeSa U~ce uchale. kitane hI tInoM mizrita chalaoNgeM (uchalanA, kitane hI vizeSa U~ce uchalanA tathA harSa-dhvani karanA) hI karane lge| kitane hI Upara se nIce kUde, kitane hI nIce se Upara kUde aura kitane hI lambe kUde, kitane hI tInoM prakAra se kuude| kitaneka devo ne siMhanAda-siMha jaisI garjanA kI-dahADa lagAI, kitaneka ne eka-dUsare ko raMga-gulAla se raga diyA, kitaneka ne bhUmi ko thapathapAyA aura kitaneka ne tInoMsiMhanAda kiyA, raga-gulAla uDAI aura bhUmi ko thpthpaayaa| panieskosslessfesslesslesale.kolesale.ke.sle.ke.ke.saksesale.ke.saks.ke.kesalese.sle.ke.sleonie.sale..sistan ra sUryAbha varNana ROPPOTHORG Description of Suryabh Dev (201) NFORMAORNMORYHORIORY 98991919 Fory R A *" "*" " " " "

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kitane hI devoM ne meghoM kI gar3agar3AhaTa kI, kitane hI ne bijalI kI camaka jaisA dikhAvA kiyA, kitane hI ne varSA barasAI aura kitane hI devoM ne meghoM ke garajane, bijalI camakane aura barasAta hone-jaise tInoM ke dRzya dikhlaaye| kitane hI devoM ne garmI se Akula-vyAkula hone kA, kitane hI ne tapane kA, kucha eka ne vizeSa rUpa se tapane kA dikhAvA (abhinaya) kiyA aura kitane hI ne tInoM kA pradarzana kiyaa| kitane hI dRk-dRk, kitane hI thuk-thuk, kitane hI dhaka-dhak jaise zabdoM kA uccAraNa karane lage aura kitane hI apane-apane nAmoM kI AvAjeM lagAne lage aura kitane hI devoM 9 ne dRk-dRk Adi cAroM prakAra kI dhvaniyA~ eka sAtha kiiN| ECSTATIC TUNES (d) In addition to the above performance, some of the gods started making bleating joyful sound of a he-goat, some exhibited fattening of their body while some gods started dancing and singing. Some of the gods started smattering, some were murmuring, * some were dancing fiercely, some were jumping while striking *ground in a harmony, some were jumping while clapping, some were running three-legged race, some started neighing like horse, some were trumpeting like elephants, some were making mixed sounds of a moving chariot while some did all the three above said sounds. Some of the gods made high jump, some jumped still higher, 9 some made ecstatic sounds. Some jumped, some jumped still higher, * some made all the three activities of jumping, high jumping and * making ecstatic sounds, some jumped down from higher level, some ** jumped upwards from lower level, some did long jump. Some did all the three types namely high jump, jumping downwards and long o jump. Some of the gods roared like a lion, some played with colours, some patted the ground while some did all the three above said things. Some of the gods made thundering sound of clouds, some exhibited brightness of lightening, some rained while some did all we the three above said activities. * rAyapaseNiyasUtra (202) Rai-paseniya Sutra

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ONT une M ja -P LAN DDHA AMANA MARA sUryAbhadeva kA abhiSeka mahotsava dAra A AGRICK

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| citra paricaya-6 / Mlustration No.6 sUryAbhadeva kA abhiSeka mahotsava sUryAbha vimAnavAsI devo ne apane adhipati sUryAbhadeva ke abhiSeka mahotsava ke lie mAgadha, prabhAsa Adi tIrtho va gagA, sindhu Adi nadiyo kA jala tathA miTTI lI, aneka prakAra ke sugandhita kamala-puSpa Adi liye| abhiSeka yogya vividha prakAra kI sAmagrI lekara deva-deviyA~, sUryAbha vimAna me sihAsana para sthita sUryAbhadeva ke pAsa aaye| jhiramira-jhiramira sugandhita gadhodaka kI varSA kii| pacarage phUlo se maoNDanA moNdde| jalAbhiSeka kara abhiSeka kiyaa| cAra prakAra ke bAje bjaaye| taraha-taraha ke nRtya kiye| kaI deva zakha bajAte hai, kaI phUla varSAte hai, kaI harSa me uchalate hai, kaI aneka prakAra ke upahAra bheTa karate hai| isa prakAra atyanta utsAhapUrvaka sUryAbhadeva kA abhiSeka mahotsava manAte hai|. -sUtra 192, pRSTha 197-203 CORONATION CEREMONY OF SURYABH DEV The gods of the Suryabh Viman collected water and sand from various pilgrimage centers and rivers like Magadh, Prabhas, the Ganges and Indus, and also a variety of fragrant flowers like lotus Taking a variety of things required for anointing, the gods and goddesses approached Suryabh Dev sitting on the throne in the Suryabh Viman They sprinkled perfumed water, decorated the floor with multi-coloured flowers and anointed him by pouring water They played four kinds of musical instruments and performed a variety of dances Some gods blew conch-shells, some showered flowers, some jumped with joy and some presented a variety of gifts. Thus they conducted the coronation ceremony of Suryabh Dev with great enthusiasm -Sutra 192, p 197-203

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Some of the gods exhibited scene of anxiety due to hasking in sun, some exhibited the feeling of heat-affectedness while some depicted experience of extreme heat still some exhibited all the three activities. Some produced drik-drik sound, some produced thuk-thuk sound while some uttered dhak-dhak sound, some of the gods made sound of their names while some gods produced all the four types of sound. (Ga) appegaiyA. devA devasannivAyaM kareMti, appegaiyA. devujjoyaM kareMti, appegaiyA. devukkali kareMti, appegaiyA. devA kahakahagaM kareMti, appegaiyA devA duhaduhagaM kareMti, appegaiyA. celukkhevaM kareMti, appegaiyA. devasannivAyaM - devujjoyaM - devukkaliyaMdevakahakahagaM - devaduhaduhagaM celukkhevaM kareMti, appegaiyA. uppalahatthagayA jAva sayasahassa- pattahatthagayA, appegaiyA. kalasahatthagayA jAva dhUvakaDucchuyahatthagayA haTThatuTTha jAva hiyayAsavvato samaMtA AhAvaMti paridhAvati / (Ga) kitane hI devoM ne milakara ToliyA~ banAIM, kitaneka ne devodyota prakAza kiyA, kitane hI devoM ne ruka-rukakara bahane vAlI vAyu taragoM (havA ke jhakore) kA pradarzana kiyA, kitane hI devo ne kahakahe lagAye, kitane hI devoM ne 'duha - duha' zabda kiyA, kitane hI devoM ne vastroM ko uchAlA aura kitane hI devIM ne hAtho me utpala yAvat zatapatra, sahasrapatra kamaloM ko lekara, kitane hI devoM ne hAtho meM kalaza yAvat dhvajA lekara hRSTa-tuSTa yAvat vikasita hRdaya hote hue idhara-udhara cAroM ora daur3a-daur3a karane lage / (e) Some of the gods joined into groups, some made divine light, some made highly blowing waves of the wind, some made chattering sound, some made 'duh - duh' sound, some gods moved their dress upwards, some of the gods held lotus flowers of different types namely utpal upto hundred leaved and thousand leaved lotus, some of the gods started running around holding pots and upto flags in their hand with a feeling of ecstatic pleasure. maMgala - jayanAda 193. tae NaM taM sUriyAbhaM devaM cattAri sAmANiyasAhassIo jAva solasa AyarakkhadevasAhassIo aNNe ya bahave sUriyA bharAyahANivatthavvA devA ya devIo ya mahayA mahayA iMdAbhisegeNaM abhisiMcaMti abhisiMcittA patteyaM patteyaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTTu evaM vayAsI sUryAbha varNana ( 203 ) For Private Personal Use Only Description of Suryabh Dev

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"jaya jaya naMdA ! jaya jaya bhaddA ! jaya jaya naMdA ! bhaddaM te, ajiyaM jiNAhi, jiyaM ca pAlehi, jiyamajjhe sAhi / iMdo iva devANaM, caMdo iva tArANaM, camaro iva asurANaM, dharaNo iva nAgANaM, bharaho iva maNuyANaM, bahUiM paliovamAI bahUiM sAgarovamAiM bahUiM paliovama - sAgarovamAI cauNhaM sAmANiyasAhassINaM jAva AyarakkhadevasAhassINaM sUriyAbhassa vimANassa annesiM ca bahUNaM sUriyA bhavimANavAsINaM devANa ya devINa ya AhevaccaM jAva mahayA mahayA kAremANe pAlemANe viharAhi / " tti kaTTu jaya jaya saddaM pauMjaMti / 193. tatpazcAt cAra hajAra sAmAnika devoM yAvat solaha hajAra AtmarakSaka devoM tathA aura dUsare bhI bahuta se sUryAbha rAjadhAnI meM nivAsa karane vAle devoM aura deviyoM ne milakara indrAbhiSeka se sUryAbhadeva kA mahAn mahimAzAlI abhiSeka kiyaa| phira pratyeka deva ne dono hAtha joDa AvarttapUrvaka (ghumAkara ) mastaka para ajali karake isa prakAra kahA "he nanda ! tumhArI jaya ho, jaya ho; he bhadra ! tumhArI jaya ho, jaya ho; he jagadAnandakAraka ! tumhArI bArambAra jaya-jayakAra ho, tumhArA kalyANa ho, tuma na jIte huoM ko jIto aura vijito kA pAlana karo, jIte hue ziSTa AcAra-vicAra vAloM ke madhya meM nivAsa karo / tuma devoM meM indra ke samAna, tArAoM meM candra ke samAna, asuro meM camara ke samAna, nAgoM meM dharaNendra ke samAna, manuSyoM meM bharata cakravartI ke samAna, aneka palyopamoM taka, aneka sAgaropamo taka aneka-aneka palyopamo - sAgaropamoM taka cAra hajAra sAmAnika devoM yAvat solaha hajAra AtmarakSaka devoM evaM sUryAbha vimAna aura sUryAbha vimAnavAsI anya bahuta se devo tathA deviyoM kA bahuta-bahuta atizaya rUpa se Adhipatya karate hue, unakA pAlana karate hue vicaraNa kro|" isa prakAra kahakara punaH jaya-jayakAra kiyA / AUSPICIOUS MUSIC OF SUCCESS 193. Thereafter four thousand Saamanik gods upto sixteen thousand society guards and many of the resident gods and goddesses of Suryabh capital jointly performed the coronation ceremony of Suryabh Dev in a grand manner. Then each of the gods clasping his hands and placing them at his forehead in respect said as under-- rAyapaseNiyasUtra (204) For Private Personal Use Only Rai-paseniya Sutra

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"O Reverend Sir ! May success bestow on you, O the noble Lord ! May you always bring success, O the honoured of all ! May you win again and again, may you be blessed with welfare, may you conquer those who have not been conquered so far, may you look after the subdued, may you live in the company of persons of good feelings and good conduct. May you remain the master of four thousand Saamanik gods upto sixteen thousand security guards, Suryabh Viman, resident gods and goddesses of Suryabh Viman effectively and majestically just as Indra among gods, moon among stars, Chamarendra among demon gods (asur), Dharnendra among naag ( serpentine gods), Bharat Chakravarti among human-beings. May you look after them for many Palyopam for many Sagaropam and for many many Palyopam and Sagaropam." Said so may you win again. 194. tae NaM se sUriyAbhe deve mahayA mahayA iMdAbhisegeNaM abhisitte samANe abhiseyasabhAo puratthimilleNaM dAreNaM niggaccha, niggacchittA jeNeva alaMkAriyasabhA teNeva uvAgacchai, uvAgacchittA alaMkAriyasabhaM aNuppayAhiNIkaremANe karemANe alaMkAriyasabhaM puratthimilleNaM dAreNaM aNupavisai, aNupavisittA jeNeva sIhAsaNe teNeva ubAgacchai, uvAgacchittA sIhAsaNavaragae puratthAbhimuhe sannisanne / 194. isa prakAra mahimAzAlI indrAbhiSeka se abhiSikta hone ke pazcAt vaha sUryAbhadeva abhiSeka sabhA ke pUrva dizA vAle dvAra se bAhara nikalA aura nikalakara jahA~ alakAra sabhA thI, vahA~ aayaa| alaMkAra sabhA kI bArambAra anupradakSiNA karake pUrva dizA ke dvAra se alakAra sabhA meM praviSTa huA / jahA~ siMhAsana thA, vahA~ AyA aura pUrva kI ora mukha karake usa zreSTha siMhAsana para baiTha gayA / 194. After the grand coronation ceremony of his coronation, Suryabh Dev came out from the eastern door of the coronation-hall. He then came to chamber reserved for putting on ornaments (Alankar Sabha). He went round and then entered Alankar Sabha through the gate in the east. He came to the throne and then sat on it facing eastwards. sUryAbha varNana (205) For Private Personal Use Only Description of Suryabh Dev

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iiixixit prasAdhana aura paridhAna 195. (ka) tae NaM tassa sUriyAbhassa devassa sAmANiyaparisovavannagA alaMkAriyabhaMDe uvtttthveNti| __tae NaM se sUriyAbhe deve tappaDhamayAe pamhalasUmAlAe surabhIe gaMdhakAsAIe gAyAI lUheti, lUhittA saraseNaM gosIsacaMdaNeNaM gAyAiM aNuliMpati, aNuliMpittA nAsAnIsAsavAyavojhaM cakkhuharaM vannapharisajuttaM hayalAlApelavAtiregaM dhavalaM kaNagakhaciyantakamma AgAsaphAliyasamappabhaM divvaM devadUsajuyalaM niyNseti| 195. (ka) tadanantara usa sUryAbhadeva kI sAmAnika pariSad ke devoM ne usake sAmane alakAra-bhAMDa (zRgAra prasAdhanoM kI maMjUSA) upasthita kiyaa| ___ isake bAda sUryAbhadeva ne sarvaprathama romayukta, sukomala, kASAyika, surabhigaMdha se suvAsita 9 vastra (geruA raMga kA sugaMdhita aMgochA) se zarIra ko poNchaa| poMchakara zarIra para sarasa gozIrSa caMdana kA lepa kiyA, phira nAka kI niHzvAsa se bhI ur3ane vAlI patalI, dIkhane meM AkarSaka, sundara varNa aura sparza vAle ghor3e kI lAra se bhI adhika komala, dhavala, AkAza evaM sphaTika maNi jaisI prabhA vAle divya devadUSya (vastra) yugala ko dhAraNa kiyaa| unake palloM aura kinAroM para sunahare belabUTe bane hue the| ORNAMENTS AND DRESS ____195. (a) Thereafter, the gods of Saamanik council, placed the box of ornaments before Suryabh Dev. Then first Suryabh Dev wiped his body with porous, soft, fragrant, red colour towel. He then put sandal paste of go-sheersh sandal wood on his body. Then he wore heavenly clothes which were so fine that it could move away even with human breathing, which is was very attractive to look at, which was of beautiful colour and touch which was more soft and white than saliva of a horse, which was emitting brightness like sky and crystalline gem. It was embroidered in gold at margins and upper body covering. AbhUSaNa dhAraNa (kha) niyaMsettA hAraM piNaddheti, piNaddhittA advahAraM piNaddhei, egAvaliM piNaddheti, piNaddhittA muttAvaliM piNadvei, piNaddhittA rayaNAvaliM piNadvei, piNaddhittA evaM aMgayAI * * * ra rAyapaseNiyasUtra (206) Rar-paseniya Sutra GOAVam Cos X Rak gr *

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keyUrAI kaDagAI tuDiyAI kaDisuttagaM dasamuddANaMtagaM vacchasuttagaM muraviM kaMTamuraviM pAlaMbaM kuMDalAI cUDAmaNiM mauDaM piNaddhe / gaMthima - veDhima - pUrima- saMghAimeNaM cauvviheNaM malleNaM kapparukkhagaM piva appANaM alaMkiyavibhUsiyaM karei, karittA daddara - malaya - sugaMdhagaMdhiehiM gAyAI bhukhaMDei divvaM ca sumaNadAmaM piNaddhei / (kha) devadUSya yugala dhAraNa karane ke pazcAt gale me hAra pahanA, ardhahAra, ekAvalI, muktAhAra, AbhUSaNa ratnAvalI, ekAvalI Adi hAra phne| phira bhujAoM meM agada, keyUra (bAjUbaMda), kaDA, truTita, karaghanI, hAthoM kI dazoM a~guliyo meM dasa aMgUThiyA~, vakSasUtra (lAkeTa), muravi (mAdaliyA), kaMThamurrAva (kaMThI), prAlaba (jhumake), kAnoM meM kuMDala pahane tathA mastaka para cUr3AmaNi (kalagI) aura mukuTa pahanA / ina AbhUSaNoM ko pahanane ke pazcAt granthima ( gU~thI huI), veSTima (lapeTI huI), pUrima (pUrI bharI huI) aura saMghAtima (sA~dhakara banAI huI), ye cAra prakAra kI mAlAe~ dhAraNa kIM, jinase vaha kalpavRkSa ke samAna alaMkRta - vibhUSita lagane lgaa| tatpazcAt daddara malaya caMdana kI sugaMdha se sugandhita cUrNa (pAuDara) zarIra para bhurakA - chiDakA aura phira divya puSpamAlAe~ pahanIM / DECORATING WITH ORNAMENTS (b) After wearing the godly dress, Suryabh Dev decorated himself with garland, the half-garland, the one-loop garland, the garland of pearls, the ratnawali ornament. He then put on angad, keyoor, bangle, trutit and karghani -- the various types of ornaments. He put on ten rings in his fingers, an ornament on his waist a particular ornament muravee, the necklace and ear-rings. He wore a crown (mukut) and crest on his head. After putting on the ornaments, he wore four types of garland namely-knotted, wrapped, fully beated and well jointed. He then looked like the celestial tree (Kalp Vriksh) bearing ornaments. Then he sprinkled fragrant sandal wood powder on his body. Thereafter he wore unique garlands of flowers. sUryAbhadeva kA vyavasAya sabhA meM praveza 196. ( ka ) tae NaM se sUriyAbhe deve kesAlaMkAreNaM, mallAlaMkAreNaM, AbharaNAlaMkAreNaM, vatthAlaMkAreNaM cauvviheNaM alaMkAreNaM alaMkiya - vibhUsie samANe sUryAbha varNana (207) For Private Personal Use Only Description of Suryabh Dev

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paDipuNNAlaMkAre sIhAsaNAo abhuTeti, anbhuTTittA alaMkAriyasabhAo purathimilleNaM dAreNaM paDiNikkhamai paDiNikkhamittA jeNeva vavasAyasabhA teNeva uvAgacchati, vavasAyasabhaM aNupayAhiNIkaremANe aNupayAhiNIkaremANe purathimilleNaM dAreNaM aNupavisati jeNeva sIhAsaNavaragae jAva snisnne| 196. (ka) tatpazcAt vaha sUryAbhadeva kezAlaMkAroM (kezoM ko sajAne vAle alaMkAra), puSpa-mAlAdi mAlyAlaMkAroM, hAra Adi AbhUSaNAlaMkAroM evaM devadUSyAdi vastrAlakAro-ina cAroM prakAra ke alakAro se vibhUSita hokara siMhAsana se utthaa| uThakara alakAra sabhA ke pUrva digvartI dvAra se bAhara niklaa| vyavasAya sabhA meM AyA eva bArambAra vyavasAya sabhA kI pradakSiNA karake pUrva dizA ke dvAra se usameM praveza kiyaa| praveza kara jahA~ siMhAsana thA vahA~ Akara sihAsana para AsIna huaa| ARRIVAL OF SURYABH DEV IN VYAVASAYA SABHA 196. (a) Thereafter, Suryabh Dev got up from his throne after beautifying himself with four types of decorative material namely the hair decoration, the flower garlands, other garlands ornaments and heavenly clothes. He then came out from the gate in the east. He then came to the library, went round and entered it from the door in the east. Thereafter he came to his assigned seat and sat there. pustakaratna vAcana (kha) tae NaM tassa sUriyAbhassa devassa sAmANiyaparisovavanagA devA potthayarayaNaM uNaveMti, tae NaM se sUriyAbhe deve potthayarayaNaM giNhati, giNhittA potthayarayaNaM muyai, muittA potthayarayaNaM vihADei, vihADittA potthayarayaNaM vAeti, potthayarayaNaM vAettA dhammiyaM vavasAyaM vavasai, vavasaittA potthayarayaNaM paDinikkhavai, sIhAsaNAo abhuTetti, abhuDhettA vavasAyasabhAo purathimilleNaM dAreNaM paDinikkhamittA jeNeva naMdApukkhariNI teNeva uvAgacchati, uvAgacchittA gaMdApukkhariNiM purathimilleNaM toraNeNaM tisovANapaDirUvaeNaM paccoruhai, paccoruhittA hatthapAdaM pakkhAleti, pakkhAlittA AyaMte cokkhe paramasuibhUe egaM mahaM seyaM rayayAmayaM vimalaM salilapuNNaM mattagayamuhAgitikuMbhasamANaM bhigAraM pageNhittA jAI tattha uppalAiM jAva satasahassapattAI tAI geNhati geNhittA gaMdAo pukkhariNIo paccuttariti, paccuttarittA jeNeva siddhAyataNe teNeva pahArettha gmnnaae| * * rAyapaseNiyasUtra (208) Rar-pasenaya Sutra

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S so (kha) tatpazcAt sAmAnika pariSad ke devoM ne vyavasAya sabhA meM rakhA pustakaratna a sUryAbhadeva ke samakSa rkhaa| sUryAbhadeva ne usa pustakaratna ko hAtha me lekara kholA, kholakara baaNcaa| bA~cakara dharmAnugata-dhArmika kArya karane kA nizcaya kiyaa| phira vApasa pustakaratna ko yathAsthAna rakha diyaa| phira siMhAsana se uThA evaM vyavasAya sabhA ke pUrva digvartI dvAra se bAhara nikalakara nandA puSkariNI ke pAsa aayaa| Akara pUrva digvartI toraNa aura trisopAna pakti-(tIna sIDhiyoM) se nandA puSkariNI me utraa| hAtha-paira dhoye| hAtha-paira dhokara aura o Acamana-(kullA) kara pUrNa rUpa se svaccha aura parama zuddha hokara matta gajarAja kI mukhAkRti jaisI eka vizAla zveta-dhavala rajatamaya jala se bharI huI bhaMgAra (jhArI) hAtha meM lii| vahA~ ke utpala yAvat zatapatra-sahasrapatra kamala hAtha me liye| phira nandA puSkariNI se bAhara nikalakara siddhAyatana kI ora calane ke lie kadama bddhaayaa| STUDY OF PUSTAK RATNA (b) Thereafter, the gods of Saamanik council placed jewel-like book of Suryabh gods which deals with the ethics of the gods (Pustak Ratna). Suryabh Dev took that book in his hand, opened and went through it. Thereafter, he decided to perform religious functions as mentioned therein. He then placed Pustak Ratna at its assigned place. He then got up from his seat, came out from the library through the exit in the east. He then came to Nanda pushkarni (lake). He came down from festoons in the east and three ** stairs. He washed his hands and feet. He then cleaned his mouth well with water and after he became completely neat and clean, he took a large white silvery jar full of water in his hand. The jar was like face of an elephant. He then took utpal, hundred-leaved and thousand-leaved lotuses, in his hand. He then came out of Nanda lake and started towards the eternal temple (Siddhayatan). vivecana-isa varNana se patA calatA hai ki AbhUSaNo aura paridhAno-pozAko ke DijAyana aura kalAtmaka nirmANa kI Azcaryajanaka vidhi usa yuga me pracalita thii| zarIra prasAdhana me phUlo kI mAlA aura sugandhita cUrNa (pAuDara) Adi kA upayoga hotA thaa| ___ vyavasAya sabhA kA artha kArya-sacAlana karane kA kendra (kAryAlaya) bhI hotA hai| parantu yahA~ para prasagAnusAra isakA artha pustakAlaya yA granthAgAra hai| isa pustaka me svarga meM utpanna devatAo ke karttavya-maryAdA AcAra vidhi kA varNana rahatA hai| vyavasAya sabhA me praveza ke samaya usakI parikramA 1 karanA, usa sthAna ke prati AdarabhAva prakaTa karanA hai| ina prasago me svargIya devo kA ziSTAcAra vyavahAra OM vizeSa dhyAna dene yogya hai| eksikse.ke.ke.sakse.ke.ske.sie.ke.skeske.ke.ke.ke.desse.skeke.ske.sale.ke.slese.ske.skskskskot sUryAbha varNana (209) Description of Suryabh Deve

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jambUdvIpa prajJapti ke anusAra svarga me eka zAzvata jinAlaya siddhAyatana hotA hai, jahA~ tIrthakaro kI pratimAe~ sthApita kI rahatI hai / vahA~ utpanna hone vAlA deva apanI maryAdAnusAra una pratimAo kI pUjA-arcA karatA hai / yaha una devo kA jIta AcAra-paramparAgata karttavya batAyA hai| Elaboration-A study of this accounts indicates that wonderful expertise of making ornaments and dresses of different types was prevalent in that period To beautify the body, garlands of flowers and fragrant powder and suchlike were used. Vyavasaya Sabha normally means the centre or office for running business. But here it means library. In this book (Pustak Ratna), there is a mention of duties and directions for gods taking birth in heaven. To go round the library before entering it is a mark of respect for it. At this occasion, the ethical conduct is worth consideration. According to Jambu Dveep Prajnapti, there is an eternal temple (Siddhayatan) in the heaven where there are the idols of Tirthankar. The gods taking birth there, worship those idols according to their traditional custom. This is an age-old tradition in those gods according to that book. siddhAyatana kA pramArjana 197. tae NaM te sUriyAbhaM devaM cattAri ya sAmANiyasAhassIo jAva solasa AyarakkhadevasAhassIo atre ya bahave sUriyAbhavimANavAsiNo jAva devIo ya appegatiyA devA uppalahatthagA jAva saya - sahassapatta - hatthagA sUriyAbhaM devaM piTThato samaNugacchaMti / tae NaM taM sUriyAbhaM devaM bahave AbhiogiyA devA ya devIo ya appegatiA kalasahattagA jAva appegatiyA dhUvakaDucchuyahatthagatA haTThatuTTha jAva sUriyAbhaM devaM piTThato samanugacchati / 197. taba usa sUryAbhadeva ke cAra hajAra sAmAnika deva yAvat solaha hajAra AtmarakSaka deva tathA kitane hI anya bahuta se sUryAbha vimAnavAsI deva aura devI bhI utpala, zatapatra-sahasrapatra kamaloM ko hAthoM meM lekara sUryAbhadeva ke pIche-pIche cle| sUryAbhadeva ke bahuta-se Abhiyogika deva aura deviyoM hAtho meM kalaza yAvat dhUpadAnoM ko lekara harSita hote hue sUryAbhadeva ke pIche-pIche cle| CLEANING OF SIDDHAYATAN (ETERNAL TEMPLE IDOLS) 197. Thereafter 4,000 Saamanik gods upto 16,000 body-guard gods and many other resident gods and goddesses of Suryabh Viman, took utpal, hundred-leaved lotus, thousand-leaved lotus in rAyapaseNiyasUtra (210) For Private Personal Use Only Rai-paseniya Sutra

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* Hon their hands and followed Suryabh god. Many abhiyogic (serving) gods and goddesses of Suryabh Dev holding pots and incense stands the one in their hand followed Suryabh Dev in a happy mood. 198. (ka) tae NaM se sUriyAbhe deve cAhiM sAmANigasahassIhiM jAva annehi ya bahUhi ya jAva devehi ya devIhi ya saddhiM saMparibuDe sabbiDDIe jAva NAtiyaraveNaM jeNeva siddhAyataNe teNeva uvAgacchati, uvAgacchittA siddhAyataNaM purathimilleNaM dAreNaM aNupavisati, aNupavisittA jeNeva devacchaMdae, jeNeva jiNapaDimAo teNeva uvAgacchati, 3 uvAgacchittA jiNapaDimANaM Aloe paNAmaM kareti, karittA lomahatthagaM giNhati, giNhittA jiNapaDimANaM lomahatthaeNaM pamajjai, pamajjittA jiNapaDimAo surabhiNA gaMdhodaeNaM bahANei, hANittA saraseNaM gosIsacaMdaNeNaM gAyAiM aNuliMpai, aNuliMpaittA surabhigaMdhakAsAieNaM gAyAiM lUheti, lUhittA jiNapaDimANaM ahayAiM devadUsajuyalAI niyaMsei, niyaMsittA puSphAruhaNaM mallAruhaNaM-gaMdhAruhaNaM-cuNNAruhaNaM-vannAruhaNaMo AbharaNAruhaNaM karei, karittA AsattosattaviulavaTTavagdhAriya malladAmakalAvaM kareti, malladAmakalAvaM karettA kayaggahagahiyakarayalapabhaTTha-vippamukkeNaM dasavaddha-vanneNaM kusumeNaM mukkapuSphapuMjovayArakaliyaM kareti, karittA jiNapaDimANaM purato acchehiM sahehiM rayayAmaehiM accharasAtaMdulehiM aTTha maMgale Alihai, taM jahA-sotthiyaM jAva dppnnN|| 198. (ka) tatpazcAt sUryAbhadeva cAra hajAra sAmAnika devoM yAvat aura dUsare bahuta se devoM aura deviyo se ghirA huA apanI samasta Rddhi, vaibhava ke sAtha vAdyoM kI tumula dhvanipUrvaka siddhAyatana para phuNcaa| usameM pUrva dvAra se praveza karake jahA~ devacchaMdaka (siMhAsana vizeSa) aura jina-pratimAe~ thIM vahA~ aayaa| vahA~ Akara jina-pratimAoM ko dekhate hI usane praNAma karake lomamayI pramArjanI (mayUrapicchI jaisI pU~janI) hAtha meM lI aura pramArjanI l ko lekara jina-pratimAo ko pramArjita kiyaa| pramArjita karake surabhigandhodaka se una jina-pratimAo kA prakSAlana kiyaa| prakSAlana karake sarasa gozIrSa candana kA lepa kiyaa| / surabhigandha se suvAsita bhagavA raMga ke vastra se unako poNchaa| una jina-pratimAoM ko akhaNDa devadUSya yugala-divya (vastroM kA joDA) phnaayaa| phira puSpa, mAlA, gandha, cUrNa, vastra aura AbhUSaNa cddhaaye| ina sabako caDhAne ke bAda Upara se nIce taka laTakatI huI lambI-lambI gola mAlAe~ phnaaii| mAlAe~ pahanAkara paMcaraMge phUlo ko hAtha meM lekara unakI varSA kI aura maoNDane maoNDakara usa sthAna ko suzobhita kiyaa| phira una jina-pratimAo ke sammukha zubhra, * sUryAbha varNana (211) Description of Suryabh Deve DON " * "*" *" *" *" * * * 2000

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salaune, rajatamaya akSata tanduloM se svastika yAvat darpaNa Adi ATha-ATha magaloM kA Alekhana kiyaa| 198. (a) Thereafter in the company of four thousand Saamanik gods upto many other gods and goddesses. Suryabh god arrived at Xe the eternal temple (Siddhayatan) with his entire splendour in the pleasant music of such musical instruments. He entered through at the gate in the east, came to the place where there was special seat for him and the idols of Tirthankars. Immediately when he saw the idols, he bowed to them, held the mop of peacock-hair in his hands and cleaned the idols with it. Then he washed the idols with ** fragrant gandhodak (scented water). He then put fresh go-sheersh * sandal paste on the idols. He, then wiped the idols with scented saffron-coloured cloth. He then dressed them in a pair of new divine dress. Thereafter, he offered flowers, garlands, scented powder and ornaments to the idols. Then he put long round garlands on the idols. Thereafter he sprinkled flowers of five colours on them. He then decorated that place with circular sketches. He then drew pictures of eight auspicious symbols namely Swastik upto mirror a with pure, shining, white unbroken rice grains in front of the idols. (kha) tayANaMtaraM ca NaM caMdappabhavairaveruliyavimaladaMDaM kaMcaNamaNirayaNabhatticittaM kAlAgurupavarakuMdarukka-turukka-dhUva-maghamaghaMtagaMdhuttamANuviddhaM ca dhUvavaTTi viNimmuyaMtaM veruliyamayaM kaDucchuyaM paggahiya payatteNaM dhUvaM dAUNa jiNavarANaM aTThasayavisuddhagaMthajuttehiM atthajuttehiM apuNaruttehiM mahAvittehiM saMthuNai, saMthuNittA sattaTTha payAI paccosakkai, paccosakkittA vAmaM jANuM aMcei aMcittA dAhiNaM jANuM dharaNitalaMsi nihaTu tikkhutto muddhANaM dharaNitalaMsi nivADei nivADittA IsiM paccuNNamai, paccuNNamittA karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTu evaM vayAsI" (kha) tadanantara una jina-pratimAoM ke sanmukha zreSTha kRSNa agara, kundaruSka, turuSka aura dhUpa kI sugandha se vyApta aura dhUpabattI ke samAna surabhigandha ko phailAne vAle dhUpadAna ko lekara dhUpa-kSepa kiyaa| vaha dhUpadAna candrakAnta maNi, vajra ratna aura vaiDUrya maNi kI daMDI tathA svarNa-maNi-ratno se racita citra-vicitra AlekhanoM se yukta thaa| usake pazcAt mahimAzAlI eka sau ATha chandoM meM stuti kI, jo zAstrAnukUla bhAvayukta arthasampanna rAyapaseNiyasUtra (212) Rar.paseniya Sutra *

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* apunarukta punarukti doSarahita stuti karake sAta-ATha paga pIche haTA, phira bAyA~ ghuTanA U~cA kiyA aura dAyA~ ghuTanA jamIna para TikAkara tIna bAra mastaka ko bhUmitala para namAyA, phira * ghuTanA kucha U~cA uThA tathA mastaka U~cA kara donoM hAtha joDakara AvarttapUrvaka mastaka para " ajali karake bolA (b) Thereafter, he took an incense-stand giving out scented smell of black agar, kundrushk, turushk and suchlike incense substances and moved the incense-stand around the idols spreading the incense all around. That incense-stand was studded with Chandrakant and Vajra gems, its handle was of Vaidurya gems and it was made of gold, gems and jewels, many pictures were drawn on it. Thereafter, he praised the Tirthankars with a hymn of 108 verses having sentiments and meaning strictly according to scriptures and which were totally devoid of repetition. Then he moved seven-eight steps backwards. He then touched the ground with his right knee, raised the left knee upwards (facing sky) touched the ground three times with his forehead, folded his hands, moved them around in a my circle, placed them at his forehead and then said. arihaMta-siddha bhagavantoM kI stuti 199. namo'tyu NaM arihaMtANaM bhagavaMtANaM, AigarANaM, titthagarANaM sayaMsaMbuddhANaM, purisuttamANaM, purisasIhANaM, purisavarapuNDarIANaM, purisavaragaMdhahatthINaM, loguttamANaM, loganAhANaM, logahiANaM, logapaIvANaM, logapajjoagarANaM, abhayadayANaM, cakkhudayANaM, maggadayANaM, saraNadayANaM, bohidayANaM, dhammadayANaM, dhammadesayANaM, dhammanAyagANaM, dhammasArahINaM, dhammavaracAuraMta-cakkavaTTINaM, appaDihayavara-nANadaMsaNadharANaM, viaTTacchaumANaM, jiNANaM jAvayANaM, tinANaM tArayANaM, buddhANaM bohayANaM, muttANaM moigANaM, savannRNaM, savvadarisINaM sivaM, ayalaM, aruaM, aNaMtaM, akkhayaM, avvAbAhaM, apuNarAvittisiddhagainAmadheyaM ThANaM sNpttaannN| 199. arihaMta bhagavantoM ko namaskAra ho, zrutacAritradharma kI Adi karane vAle * tIrthaMkaroM ko, svayaMbuddhoM ko-(gurUpadeza ke binA svayaM hI bodha ko prApta), puruSoM me uttama, karmazatruoM kA vinAza karane meM parAkramI hone ke kAraNa puruSoM meM siha ke samAna, saumya aura lAvaNyazAlI hone se puruSoM meM zreSTha puMDarIka-kamala ke samAna, apane puNya prabhAva se * sUryAbha varNana (213) Description of Suryabh Dev

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Iti - vyAdhi, bhIti - bhaya Adi ko zAnta karane ke kAraNa puruSo me zreSTha gandhahastI ke samAna, loka me uttama, loka ke nAtha, loka kA hita karane vAle, saMsArI - prANiyo ko sanmArga dikhAne ke kAraNa loka meM dIpaka ke samAna, kevalajJAna dvArA lokAloka ko prakAzita karane vAle - vastusvarUpa ko batAne vAle, abhayadAtA, zraddhA - jJAnarUpa netra ke dAtA, mokSamArga ke dAtA, zaraNadAtA, bodhidAtA, dharmadAtA, dezavirati - sarvaviratirUpa dharma ke upadezaka, dharma ke nAyaka, dharma ke sArathI, samyak dharma ke pravartaka, cAturgatika saMsAra kA anta karane vAle zreSTha dharma ke cakravartI, jJAna- darzana ke dhAraka, karmAvaraNa yA kaSAyarUpa chadma ke nAzaka, rAgAdi zatruoM ko jItane vAle tathA anya jIvoM ko bhI karma - zatruoM ko jItane ke lie prerita karane vAle, saMsAra-sAgara se svayaM tire hue tathA dUsaroM ko bhI tirane kA upadeza dene vAle, bodha ko prApta tathA dUsaroM ko bhI upadeza dene vAle, sarvajJa, sarvadarzI tathA ziva-upadravarahita, acala, nIroga, ananta, akSaya, avyAbAdha, apunarAvRtti rUpa - (janma-maraNarUpa saMsAra se rahita) siddhagati nAmaka sthAna meM virAjamAna siddha bhagavantoM ko namaskAra ho / HYMN PRAISING ARIHANT AND SIDDHA 199. I offer my prayer to Arihant (the completely detached ), who are prime founders of religious cult, who are Tirthankar (who exhibited the four-fold religious order); who are self-enlightened (without the guidance of any teacher); who are supreme beings, who are as brave as lions among the human race, who have subdued mighty karmas, who in view of their tranquility and ecstatic appearance are as good as Pundareek lotus among the people, who are like Gandh-Hasti (the great elephant whose very fragrance subdues the other elephants) among human-beings as the evils like Eeti-dreams and Bheeti-the fear disappear with their appearance, who are supreme in the universe, who are beneficient to one and all in the universe, who are like resourceful light in the universe, who bless fearlessness to all, who are bestowers of right vision and right knowledge, who guide people to the path of serenity, who are teachers of Dharma-the true knowledge, who are charioteer of the Dharma chariot, who are guide of religious path, who are king emperor in subduing the entire birth cycle in the universe wherein the living-beings transmigrate in four states of bodily existence (gati), who possess indestructible perfect knowledge and perfect perception, who have overcome all the rAyapaseNiyasUtra Rai-paseniya Sutra ( 214 ) For Private Personal Use Only

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ignorance that pollutes the soul, who have completely subdued worldly attachment and hatred and cause others to do so, who have come out successful in the swim fete over the ocean of the transmigration and inspire others to follow suit, who are selfenlightened and guiding star to others, who are self-liberated and lot cause others to attain liberation, who are omniscient, possessing perfect wisdom, free from calamity ominous to all, who have or reached the absolute state free from transmigration, who are disease free, who are infinite, imperishable and free from all hurdles and who have acquired Apunaravritti (total liberationthe abode of Siddhas wherefrom one never comes to this mundane e world). Thus he bowed to all the Siddhas residing in liberated state at Siddha place called Siddha gati. siddhAyatana ke devacchandaka Adi kI pramArjanA 200. (ka) vaMdai namasai, vaMdittA namaMsittA jeNeva devacchaMdae jeNeva siddhAyataNassa bahumajjhadesabhAe teNeva uvAgacchai, lomahatthagaM parAmusai, siddhAyataNassa bahumajjhadesabhAgaM lomahattheNaM pamajjati, divvAe dagadhArAe abbhukkhei, saraseNaM gosIsacaMdaNeNaM paMcaMgulitalaM maMDalagaM Alihai kayaggahagahiya jAva puMjovayArakaliyaM karei, karittA dhUvaM dlyaa| jeNeva siddhAyataNassa dAhiNille dAre teNeva uvAgacchai, lomahatthagaM parAmusai, dAraceDIo ya sAlabhaMjiyAo ya vAlarUvae ya lomahatthaeNaM pamajjai, divAe dagadhArAe abbhukkhei, saraseNaM gosIsacaMdaNeNaM caccae dalayai, dalaittA puSphAruhaNaM mallA. jAva AbharaNAruhaNaM karei, karettA Asattosatta jAva dhUvaM dlyaa| 200. (ka) siddha bhagavanto ko vandana-namaskAra kara sUryAbhadeva devacchandaka (siMhAsana) aura siddhAyatana ke madhya bhAga meM aayaa| vahA~ Akara morapIchI hAtha me uThAI aura siddhAyatana ko pramArjita kiyA (pUjA, jhaadd'aa-buhaaraa)| phira divya jaladhArA se sIMcA, sarasa gozIrSa candana kA lepa karake hAtha ke chApe lagAye, mADane mAMDe yAvat phUla hAtha meM lekara bikhere| puSpa bikherakara dhUpa kiyA aura phira siddhAyatana ke dakSiNa dvAra para Akara morapIchI lii| usa morapIchI se daravAjoM kI caukhaToM va una para banI putaliyoM evaM rUpoM ko pramArjita kiyA, divya jaladhArA sIMca, sarasa gozIrSa candana se carcita kiyaa| sanmukha dhUpa jalAI, puSpa caDhAye, mAlAyeM caDhAIM yAvat AbhUSaNa cddhaaye| yaha saba karake phira Upara se nIce taka laTakatI huI gola-gola lambI mAlAo se vibhUSita kiyaa| sUryAbha varNana (215) Description of Suryabh Devotion

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dhUpa karane ke bAda jahA~ dakSiNa dvAra kA mukhamaNDapa (devAlaya kA oNgana) thA aura usameM bhI jahA~ usa dakSiNa dizA ke mukhamaNDapa kA madhya bhAga thA, vahA~ AyA aura morapIchI lI, morapIchI lekara usa madhya deza bhAga ko pramArjita kiyA-buhArA, divya jaladhArA sIMcI, sarasa gozIrSa candana se carcita kiyA-hAtha ke chApe lagAye, mAMDane mAMDe tathA puSpa-puMjoM ko hAtha se lekara bikherA yAvat dhUpa jlaayaa| CLEANING OF DEVACHHANDAK OF SIDDHAYATAN (ETERNAL TEMPLE) 200. (a) After bowing to the (idols of) Siddhas, Suryabh Dev came to centre of eternal temple (Siddhayatan) near his seat. He picked * up the mop of peacock feathers and properly cleaned the temple. He then washed it with divine water, put fresh sandle paste of goKsheersh sandal wood on his hand and printed the floor with it, made auspicious circles upto scattered flowers. He then made it fragrant with incense stick, he then came to the southern gate of the Siddhayatan, took the mop of peacock feathers and cleaned the door-frames and also the puppets and sketches made on them, he * sprinkled divine water, put fresh go-sheersh sandal wood paste on them and burnt the incense before them. He placed flowers, garlands upto ornaments before them. Then he decorated them with long round hanging garlands. After burning the incense, he came to the southern courtyard of the temple, picked up the mop of peacock feathers and cleaned the middle portion, washed it with divine water, painted hand prints of a fresh go-sheersh sandal wood paste on it, made circular sketches, scattered flowers with his hand upto burnt the incense. (kha) jeNeva dAhiNille dAre muhamaMDave jeNeva dAhiNillassa muhamaMDavassa bahumajjhadesabhAe teNeva uvAgacchai lomahatthagaM parAmusai, bahumajjhadesabhAgaM lomahattheNaM * pamajjai divvAe dagadhArAe abbhukkhei, saraseNaM gosIsacaMdaNeNaM paMcaMgulitalaM maMDalagaM Alihai, kayaggahagahiya jAva dhUvaM dlyi| jeNeva dAhiNillassa muhamaMDavassa paccatthimille dAre teNeva uvAgacchai, lomahatthagaM parAmusai dAraceDIo ya sAlabhaMjiyAo ya vAlarUvae ya lomahattheNaM pamajjai, divvAe rAyapaseNiyasUtra Rai-paseniya Sutra (216)

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dagadhArAe. saraseNaM gosIsacaMdaNeNaM caccae dalayai, pupphAruhaNaM jAva AbharaNAruhaNaM karei Asattosatta. kayagahaggahiya jAva dhUvaM dalayai / jeNeva dAhiNillassa muhamaMDavassa uttarillA khaMbhapaMtI teNeva uvAgacchai, lomahatthagaM parAmusai thaMbhe ya sAlabhaMjiyAo ya vAlarUvae ya lomahatthaeNaM pamajjai jahA ceva paJccatthimillassa dArassa jAva dhUvaM dalayai / jeNeva dAhiNillassa muhamaMDavassa puratthimile dAre teNeva uvAgacchai, lomahatthagaM parAmusati dAraceDIo taM caiva savvaM / jeNeva dAhiNillarasa muhamaMDavassa dAhiNille dAre teNeva uvAgacchai dAraceDIo taM caiva savvaM / (kha) isake bAda usa dakSiNa digvartI mukhamaNDapa ke pazcimI dvAra para aayaa| vahA~ Akara morapIchI lI, usa morapIchI se daravAjo para banI putaliyA~ evaM vyAla (sarpa) rUpoM ko pU~jA, divya jaladhArA se sIMcA, sarasa gozIrSa candana se carcita kiyA, dhUpakSepa kiyA, puSpa caDhAye, AbhUSaNa caDhAye, mAlAe~ laTakAI, puSpa- pu~jo ko hAtha meM lekara bikherA aura dhUpa jalAI / tatpazcAt usI dakSiNa ke mukhamaNDapa (oNgana) kI uttara dizA meM sthita stambha - paMkti ke nikaTa AyA / vahA~ Akara morapakho se banI pramArjanI ko uThAyA, usase stambhoM ko, putaliyoM ko aura vyAla rUpoM ko pramArjita kiyA tathA pazcimI dvAra ke samAna divya jaladhArA se sIcane Adi saba kArya karake dhUpa jalAyA / isake bAda dakSiNa dizAvartI mukhamaNDapa (oNgana) ke pUrvI dvAra para AyA / Akara morapIchI hAtha meM lI, usase dvAra - zAkhAo, putaliyoM, sarparUpoM ko sApha kiyA, divya jaladhArA sIcI Adi dhUpa jalAne taka sabhI kArya kiye| tatpazcAt usa dakSiNa dizAvartI mukhamaNDapa ke dakSiNI dvAra para AyA aura dvAra para banI putaliyoM Adi ko sApha kiyA, jaladhArA sIMcI Adi dhUpa jalAne taka pUrvokta saba kArya kiye| (b) Thereafter he came to the gate in the west of that southern courtyard of the temple. He wiped the puppets and snake-shaped sketches on its doors, washed it with divine water, pasted gosheersh sandal wood paste on it, made it fragrant with burnt incense and worshipped with flowers and ornaments. He then hung garlands, scattered flowers petals and burnt the incense. sUryAbha varNana ( 217 ) For Private Personal Use Only Description of Suryabh Dev

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Thereafter, he came to the row of posts in the northern direction of the southern courtyard. He picked up the mop of peacock feathers and cleaned the posts, the puppets and snake-sketches with it, he then sprinkled divine water and performed other above said activities as he had done at the western gate earlier. Thereafter he came to the eastern gate of the courtyard in the south. He picked up the mop of peacock feathers and cleaned the sides of the doors, the puppets and the snake-sketches, he sprinkled divine water on them upto burnt incense as mentioned earlier. Thereafter he came to the southern gate of the courtyard in the south and cleaned the puppets and others drawn on the doors, sprinkled divine water on them and did all the activities earlier mentioned upto burning of incense. (ga) jeNeva dAhiNillassa pecchAgharamaMDave, jeNeva dAhiNillassa pecchAgharamaMDavassa bahumajjhadesabhAge, jemeva vairAmae akkhADae, jeNeva maNipeDhiyA, jeNeva sIhAsaNe, teNeva uvAgacchai, lomahatthagaM parAmusai, akkhADagaM ca maNipeDhiyaM ca sIhAsaNaM ca lomahatthaeNaM pamajjai, divvAe dagadhArAe saraseNaM gosIsacaMdaNeNaM caccae dalayai, pupphAruhaNaM Asattosatta jAva dhUvaM dalei | jeNeva dAhiNillassa pecchAgharamaMDavassa paccatthimille dAre uttarille dAre taM caiva jaM ceva purathimille dAre taM caiva dAhiNe dAre taM caiva / jeNeva dAhiNillassa ceiyathUbhe teNeva uvAgacchai thUbhaM maNipeDhiyaM ca divvAe dagadhArAe saraseNa gosIsacaMdaNeNaM caccae dalei pupphAru. Asatto. jAva dhUvaM dalei / (ga) tadanantara jahA~ dakSiNa dizAvartI prekSAgRha maNDapa thA, usa dakSiNa dizAvartI prekSAgRha maNDapa ke madhya deza bhAga meM banA huA vajramaya akSapATa (raMgamaMca ) tathA usa para banI maNipIThikA (maNijaDita caukI) eva maNipIThikA para sthApita siMhAsana thA, vahA~ AyA / morapIchI lekara akSapATa, maNipIThikA aura sihAsana ko pramArjita kiyA, divya jaladhArA se siMcita kiyA, sarasa gozIrSa candana se carcita kiyA, dhUpa kiyA, puSpa car3hAye tathA gola-gola mAlAoM se vibhUSita kiyaa| anukrama se jahA~ usI dakSiNa prekSAgRha maNDapa ke pazcimI dvAra evaM uttarI dvAra the, vahA~ AyA aura vahA~ Akara pahale kI taraha puSpa bikherane va dhUpadAna Adi karane yogya saba kArya rAyapaseNiyasUtra (218) For Private Personal Use Only Rai-paseniya Sutra

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200000 PRODROIN sampanna kiye| usake bAda pUrvI dvAra para AyA, yahA~ Akara bhI saba kArya pUrvavat kiye, tatpazcAt dakSiNI dvAra para AyA, vahA~ Akara bhI dhUpadAna Adi saba kArya pUrNa kiye| ___ isake pazcAt dakSiNa dizAvartI caityastUpa (siddhAyatana ke pAsa vAlA stUpa) ke sanmukha aayaa| vahA~ Akara stUpa aura maNipIThikA ko pramArjita kiyA, divya jaladhArA se siMcita kiyA, sarasa gozIrSa candana se carcita kiyA, dhUpa jalAI, puSpa caDhAye, mAlAe~ laTakAIM Adi saba kArya sampanna kiye| (c) Thereafter he came to the hall for spectators located in the last south, he then came to the gem-studded table on the Vajra stage OM (platform) and the seat (Sinhasan) on that table. He took the moper of peacock feathers and cleaned the stage, the gemmed table and en the seat, sprinkled divine water on them, pasted fresh go-sheershot sandal paste, burnt the incense and worshipped with flowers. He then decorated them with round-shaped garlands. He then repeated all the above at the western gate of the southern hall for spectator and thereafter at the northern gate of the said hall. He then came to the eastern gate and repeated all the best above activities and thereafter came to the southern gate and there also repeated all the above activities namely burning of incense and others. Thereafter he came to the southern post near the Siddhayatan. He cleaned the post and the gemmed table (Mani-peethika), sprinkled divine water on it, pasted fresh go-sheersh sandal paste on it, burnt the incense, worshipped with flowers, hung the is garlands and thus completed all the above said activities. (gha) jeNeva paccatthimillA maNipeDhiyA jeNeva paccatthimillA jiNapaDimA taM ceva, jeNeva uttarillA jiNapaDimA taM ceva svvN| jeNeva purathimillA maNipeDhiyA jeNeva purathimillA jiNapaDimA teNeva uvAgacchai caM ceva, dAhiNillA maNipeMDhiyA dAhiNillA jiNapaDimA taM cev| ___ jeNeva dAhiNille ceiyarukkhe teNeva uvAgacchai taM ceva, jeNeva mahiMdajjhae, jeNeva dAhiNillA naMdApukkhariNI teNeva uvAgacchati, lomahatthagaM parAmusati, toraNe ya PATOPARoo.kina 939ROTARoy AOTAOVAVOYAGOYACOVOXOX (219) sUryAbha varNana NROEPOREOVERMEPASS Description of Suryabh Dev TEOPDEPOTO FORIGIN *

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tisovANapaDirUvae sAlabhaMjiyAo ya vAlarUvae ya lomahatthaeNaM pamajjai, divAe dagadhArAe saraseNaM gosIsacaMdaNeNaM. puSphAruhaNaM Asattosatta. dhUvaM dlyti| siddhAyayaNaM aNupayAhiNIkaremANe jeNeva uttarillA gaMdApukkhariNI teNeva uvAgacchati taM ceva, jeNeva uttarille ceiyarukkhe teNeva uvAgacchati, jeNeva uttarille ceiyathUbhe taheva, jeNeva paJcatthimillA peDhiyA jeNeva paccatthimillA jiNapaDimA taM cev| (gha) isake pazcAt jahA~ pazcima dizA kI maNipIThikA ke pAsa virAjamAna jina-pratimA thI, vahA~ Akara pramArjanAdi kArya kiye, dhUpa Adi saba kArya sampanna kiye| isake bAda uttara dizAvartI maNipIThikA aura jina-pratimA ke pAsa aayaa| vahA~ bhI dhUpakSepa paryanta saba kArya kiye| isake pazcAt jahA~ pUrva dizAvartI maNipIThikA thI tathA pUrva dizA me sthApita jina-pratimA thI, vahA~ aayaa| vahA~ Akara pUrvavat pramArjana karanA Adi dhUpa jalAne paryanta saba kArya kiye| isake bAda jahA~ dakSiNa dizA kI maNipIThikA aura dakSiNa dizAvartI jina-pratimA thI, vahA~ AyA aura pUrvavat dhUpa jalAne taka saba kArya kiye|| isake pazcAt dakSiNa dizAvartI caityavRkSa ke pAsa aayaa| vahA~ Akara bhI pUrvavat pramArjanAdi saba kArya kiye| isake bAda jahA~ mAhendradhvaja thA, dakSiNa dizA kI naMdA puSkariNI thI, vahA~ aayaa| Akara morapIchI ko hAtha meM liyA aura phira toraNoM, trisopAno, kASThaputaliyoM aura sarparUpako ko morapIchI se poMchA, divya jaladhArA sIMcI, sarasa gozIrSa caMdana kA lepa kiyA, puSpa caDhAye, puSpamAlAo se vibhUSita kiyA aura dhUpakSepa kiyaa| phira siddhAyatana kI pradakSiNA karake uttara dizA kI nadA puSkariNI para aayaa| vahA~ para bhI dhUpakSepa Adi kArya kiye| isake bAda uttara dizAvartI caityavRkSa aura caitya-stambha ke pAsa * aayaa| pUrvavat pramArjana Adi kArya kiye| isake pazcAt jahA~ pazcima dizAvartI maNipIThikA para sthApita pratimA thI, vahA~ aayaa| vahA~ Akara bhI pUrvavat dhUpakSepa Adi karake yogya ra kArya kiye| (d) He then came to the idol of the Tirthankar seated on gemmed-seat in the south, cleaned it, burnt incense and did all such activities as mentioned earlier. Thereafter, he came to gemmed-seat in the north and the idol of Tirthankar thereon. There also he repeated all the above activities including burning of incense. * Thereafter he came to the gemmed-table in the east and the idol of Tirthankar thereon. He then cleaned it and repeated all the activities upto burning of incense. Later, he came to the gemmed* rAyapaseNiyasUtra Rai-paseniya Sutra 8520680589800AROSARDAROPARODAR - (220) *

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KitKaKNKS who Hot seat in the south and the idol of the Tirthankar thereon and repeated all the activities upto burning of incense. Thereafter he came to the memorial tree (Chaitya tree) in the south. He repeated all the previous activities there also. He then came to the Mahendra Dhvaj (the great flag) and Nanda Pushkarni (lake) in the south. He picked up mop of peacock feathers and a cleaned the festoons, the steps, the wooden puppets and snakeposketches with it, he sprinkled divine water on them, pasted fresh go-sheersh sandal wood paste and worshipped with flowers. He then decorated it with flower garlands and the incense. He then went round the Siddhayatan and came to the Pushkarni (lake) in the north. There also he repeated all the activities including burning of incense. He then came to the memorial tree in the north and the memorial post. He cleaned there and repeated all previous activities. He then came to the idol of the Tirthankar at the gemmed-stool in the west. There also he repeated all the previous activities including burning of incense. (Ga) jeNeva uttarille pecchAgharamaMDave teNeva uvAgacchati jA ceva dAhiNillavattavvayA sA ceva savvA purathimille dAre, dAhiNillA khaMbhapaMtI taM ceva svvN| jeNeva uttarille muhamaMDave jeNeva uttarillassa muhamaMDavassa bahumajjhadesabhAe taM ceva OM savaM, paccatthimille dAre tennev| uttarille dAre dAhiNillA khaMbhapaMtI sesaM taM ceva svvN| jeNeva siddhAyataNassa uttarille dAre taM cev| jeNeva siddhAyataNassa purathimille dAre teNeva uvAgacchai taM cev| (Ga) tatpazcAt vaha uttara dizA ke prekSAgRha maNDapa meM AyA aura dakSiNa dizA ke prekSAgRha maNDapa jaisA samasta kArya yahA~ kiyaa| vahIM saba kArya pUrva dizAvartI dvAra ke lie aura dakSiNa dizA kI stambha-pakti ke lie bhI kiye| ___ isake bAda vaha uttara dizA meM jahA~ mukhamaNDapa thA, usake mukhamaNDapa ke bilakula madhya bhAga meM aayaa| yahA~ Akara pUrvavat saba kArya kiye| isake bAda vaha pazcimI dvAra para AyA, vahA~ para bhI dvAra-zAkhAoM Adi ke pramArjanAdi saba kArya kiye| tatpazcAt uttarI dvAra aura usakI dakSiNa dizA meM sthita khambho kI paMkti ke pAsa aayaa| vahA~ bhI pUrvavat saba kArya kiye| tadanantara siddhAyatana ke uttarI dvAra para aayaa| yahA~ bhI putaliyo Adi ke pramArjana 20080948024809002800AROORDARODA8098090090 ra sUryAbha varNana (221) Description of Suryabh Dev *

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OM Adi saba kArya kiye| isake anantara siddhAyatana ke pUrva dizA ke dvAra para aayaa| yahA~ para meM bhI pUrvavat kArya kiye| (e) Thereafter he came to the spectators hall in the north and performed all the activities which he had done at hall in the south. He repeated all the above activities at the gate in the east and the xe row of posts in the south. Thereafter he came to the centre of the courtyard in the north. Here also he repeated all the above narrated activities. Then he came to the western gate and there also he cleaned the sides of the doors and repeated all such earlier activities. He then came to the northern gate and the row of posts in its south. There also he performed all the earlier mentioned activities. Thereafter, he came to the northern gate of the Siddhayatan. Here also he performed all the above mentioned activities. Thereafter, he came to the eastern gate of the Siddhayatan. Here also he performed all the above a mentioned activities. (ca) jeNeva purathimille muhamaMDave jeNeva purathimillassa muhamaMDavassa bahumajjhadesabhAe teNeva uvAgacchai taM ceva, purathimillassa muhamaMDavassa dAhiNille dAre paccathimillA khaMbhapaMtI uttarille dAre taM ceva purathimille dAre taM cev| jeNeva purathimille pecchAgharamaMDave, evaM thUbhe, jiNapaDimAo ceiyarukkhA, mahiMdajjhayA / NaMdApukkhariNI taM ceva dhUvaM dlyi| (ca) isake bAda jahA~ pUrva dizA kA mukhamaNDapa thA aura usa mukhamaNDapa kA madhya deza bhAga thA, vahA~ AyA aura dhUpakSepa Adi saba kArya kiye| isake bAda jahA~ pUrva dizA ke mukhamaNDapa kA dakSiNI dvAra thA aura usakI pazcima dizA meM sthita stambha-pakti thI, vahA~ a aayaa| phira uttara dizA ke dvAra para AyA aura pahale ke samAna ina sthAnoM para bhI (stambhoM, putaliyoM, vyAla rUpoM vagairaha ko pramArjita kiyA, dhUpadAna Adi sabhI kArya kiye)| isI prakAra se pUrva dizA ke dvAra para Akara bhI pUrvavat saba kArya kiye| isake anantara pUrva dizA ke prekSAgRha maNDapa meM aayaa| yahA~ pahale kI bhaoNti kramazaH usa prekSAgRha maNDapa ke pazcima, uttara, pUrva evaM dakSiNa dizAvartI pratyeka dvAra para jAkara una-unakI dvAra-zAkhAoM, putaliyoM, vyAla rUpoM kI prarmAjanA karane se lekara dhUpakSepa taka ke saba kArya kiye| RDAR28.28.9824869-809409-09-809-0909-RDAROBAR090090499AROPARDROPARDAROPARDROPPOPAROSARODRODA ra rAyapaseNiyasUtra (222) Rar-paseniya Sutra DN*** *

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(f) Thereafter he came to the centre of the courtyard in the east. He performed all the activities namely burning of incense and others. He then came to the southern gate of the courtyard in the east and the row of post in the west of that gate. He then came to the gate in the north. At these places also he performed all the previous activities (cleaning of posts, puppets, snake-sketches and others). He then came to the gate in the east and there also repeated all the earlier mentioned activities. Thereafter he came to the spectators hall in the east. From there he went to the gates in the west, north, east and south in respective order performing all the above mentioned activities there namely cleaning of door-sides, puppets, snake-sketches upto burning of incense. jina - asthiyoM kI arcanA (cha) jeNeva sabhA suhammA teNeva uvAgacchati, sabhaM suhammaM purathimilleNaM dAreNaM aNupavisai / jeNeva mANavae ceiyakhaMbhe jeNeva vairAmae golavaTTasamugge teNeva uvAgacchai, uvAgacchaittA lomahatthagaM parAmusai, vairAmae golavaTTasamuggae lomahattheNaM pamajjai, bairAmae golavaTTasamuggasa vihADe, jiNasagahAo lomahattheNaM pamajjai, surabhiNA gaMdhodaNaM pakkhAlei, pakkhAlittA aggehiM varehiM gaMdhehi ya mallehi ya accei, dhUvaM dalayai, jiNasakahAo vairAmaesa golavaTTasamuggaesu paDinikkhava / mANavagaM ceiyakhaMbhaM lomahatthaeNaM pamajjai, divvAe dagadhArAe saraseNaM gosIsacaMdaNeNaM caccae dalayai, pupphAruhaNaM jAva dhUvaM dalayai, jeNeva sIhAsaNe taM ceva, jeNeva devasayaNijje taM ceva / jeva khuDDAgamahiMdajjhataM caiva / (cha) isake pazcAt jahA~ sudharmA sabhA thI, vahA~ AyA aura pUrva digvartI dvAra se usa sudharmA sabhA meM praviSTa huaa| praviSTa hokara jahA~ mANavaka caitya-stambha thA aura usa stambha meM jahA~ vajramaya gola samudgaka rakhe the, vahA~ AyA / vahA~ Akara morapIchI uThAI aura usa morapIchI se vajramaya gola samudgakoM ko pramArjita kara unheM kholaa| uname rakhI huI jina - asthiyoM ko lomahastaka se pauMchA, gaMdhodaka se unakA prakSAlana karake phira sarvottama zreSTha gandha aura mAlAoM se unakI arcanA kI, dhUpakSepa kiyA aura usake bAda una jina - asthiyoM ko punaH unhIM vajramaya gola samudgakoM meM banda kara rakha diyaa| sUryAbha varNana (223) For Private Personal Use Only Description of Suryabh Dev

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* *. 2009009009069 *. .* . .* Goya OM isake bAda morapIchI se mANavaka caitya-stambha ko pramArjita kiyA, divya jaladhArA se siMcita kiyA, sarasa gozIrSa candana se carcita kiyA, usa para puSpa caDhAye yAvat dhUpakSepa kiyaa| isake pazcAt siMhAsana aura deva-zayyA ke pAsa aayaa| vahA~ para bhI pramArjanA se lekara dhUpakSepa taka ke saba kArya kiye| ___ isake bAda choTI mAhendradhvaja ke pAsa AyA aura vahA~ bhI pahale kI taraha pramArjanA se lekara dhUpakSepa taka ke saba kArya kiye| WORSHIP OF REMAINS (ASTHIS--BONES) OF TIRTHANKAR (g) Thereafter he came to Sudharma council-hall and entered it from the door in the east. He then came to the gemmed memorial pillar and then to the place where Vajra round boxes were kept. He picked up the mop of peacock feathers, cleaned the Vajra round boxes with it and then opened them. He then wiped the bones of the Tirthankar with it, sprinkled gandhodak (scented water) on them and worshipped them with best incense and garlands. He also burnt incense and thereafter placed the bones again in these round boxes and closed these. Thereafter he cleaned the gemmed memorial post with it, sprinkled divine water on it, pasted it with fresh go-sheersh sandal wood paste, honoured it with flowers upto incense burning. He then came to Sinhasan (his seat) and the divine bed. There also he did all the earlier activities namely cleaning and upto incense burning, Thereafter he came near small Mahendra Dhvaj and there also he repeated the above mentioned activities namely cleaning and upto incense burning. AyudhazAlA kI arcanA (ja) jeNeva paharaNakose coppAlae teNeva uvAgacchai, lomahatthagaM parAmusai paharaNakosaM coppAlaM lomahatthaeNaM pamajjai, divyAe dagadhArAe saraseNaM gosIsacaMdaNeNaM dalei, pupphAruhaNaM Asattosatta. dhUvaM dlyi| jeNeva sabhAe suhammAe bahumajjhadesabhAe, jeNeva maNipeDhiyA jeNeva devasayaNijje teNeva uvAgacchai, lomahatthagaM parAmusai, devasayaNijjaM ca maNipeDhiyaM ca lomahatthaeNaM pamajjai jAva dhUvaM dlyaa| rAyapaseNiyasUtra Rai-paseniya Sutra Kirta T (224)

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__jeNeva uvavAyasabhAe dAhiNille dAre taheva abhiseyasabhA sarisaM jAva purathimillA NaMdApukkhariNI, jeNeva harae teNeva uvAgacchai, toraNe ya tisovANe ya sAlabhaMjiyAo ya bAlarUvae ya thev| (ja) isake pazcAt 'caupAla' nAmaka apane praharaNakoza-(AyudhazAlA) meM aayaa| - morapaMkho kI pramArjanikA-buhArI hAtha me lI eva usa pramArjanikA se AyudhazAlA caupAla ko pramArjita kiyA, svaccha kiyA, divya jaladhArA se usakA prakSAlana kiyA, vahA~ sarasa gozIrSa candana ke hAthe lagAye, puSpa Adi car3hAye aura lambI-lambI laTakatI mAlAoM se use sajAyA yAvat dhUpadAna kiyaa| isake bAda sudharmA sabhA ke madhya bhAga meM banI huI maNipIThikA evaM deva-zayyA ke pAsa aayaa| morapIchI lekara usa deva-zayyA aura maNipIThikA ko pramArjita kiyA yAvat dhUpakSepa kiyaa| isake pazcAt pUrva dizA ke dvAra se hokara upapAta sabhA ke dakSiNI dvAra para AyA, vahA~ Akara abhiSeka sabhA (sudharmA sabhA) ke samAna yAvat pUrva dizA kI nandA puSkariNI kI arcanA kii| isake bAda hrada (sarovara) para AyA aura pahale kI taraha toraNo, trisopAnoM, kASTha-putaliyoM aura vyAla rUpo kI morapIchI se pramArjanA kii| WORSHIP OF STOREHOUSE OF WEAPONS ___(h) Thereafter he came to Chaupal' the storehouse of weapons. He picked up the mop of peacock hair and cleaned the Chaupal with it. He made it dustfree, sprinkled divine water and put hand-prints of go-sheersh sandal wood paste on it. He then decorated it with flowers and long hanging garlands upto making it fragrant with incense. Thereafter he came to gemmed stool in the centre of Sudharma council-hall and to the divine bed. He cleaned them with mop of peacock hair and performed other earlier mentioned activities upto incense burning Thereafter he came to the southern gate passing from the gate in the east and worshipped Nanda Pushkarni (well) in the east like the worship of coronation-hall (Sudharma council-hall). Thereafter he came to the lake and cleaned the festoons, steps, wooden puppets and snake sketches with the mop of peacock hair. sUryAbha varNana (225) Description of Suryabh Dev **

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* abhiSeka sabhA Adi kI pramArjanA (jha) jeNeva abhiseyasabhA, teNeva uvAgacchai taheva sIhAsaNaM ca maNipeDhiyaM ca, sesaM taheva AyayaNasarisaM jAva purathimillA gNdaapuskhrinnii| jeNeva alaMkAriyasabhA teNeva uvAgacchai jahA abhiseyasabhA taheva savvaM / ___ jeNeva vavasAyasabhA teNeva uvAgacchai taheva lomahatthayaM parAmusati, potthayarayaNaM lomahatthaeNaM pamajjai, pamajjittA divyAe dagadhArAe aggehiM varehi ya gaMdhehiM mallehi ya * acceti maNipeDhiyaM sIhAsaNaM ca sesaM taM cev| purathimillA naMdApukkhariNI jeNeva harae teNeva uvAgacchai toraNe ya tisovANe ya sAlabhaMjiyAo ya vAlarUvae ya thev| ___ jeNeva balipIDhaM teNeva uvAgacchai balivisajjaNaM karei, Abhiogie deve saddAvei sadAvittA evaM vayAsI* (jha) isake pazcAt abhiSeka sabhA me AyA, yahA~ para bhI pahale kI taraha siMhAsana va * maNipIThikA ko morapIchI se pramArjita kiyA, dhUpa jalAne taka ke saba kArya kiye| tatpazcAt dakSiNa dvArAdi ke krama se pUrva dizAvartI-nandA puSkariNI taka siddhAyatana kI taraha dhUpakSepa Adi kArya sampanna kiye| * isake bAda vyavasAya sabhA (pustakAlaya) meM AyA aura morapIchI lekara pustakaratna ko pauMchA, phira usa para divya jala chiddkaa| sarvottama zreSTha gandha aura mAlAoM se usakI arcanA * kii| isake bAda maNipIThikA kI, siMhAsana kI pramArjanA kI tathA sarva kArya sammanna kiye| tadanantara dakSiNa dvArAdi ke krama se pUrva nandA puSkariNI taka siddhAyatana kI taraha OM pramArjanA Adi kArya kiye| isake bAda vaha hRda-sarovara para aayaa| vahA~ Akara toraNoM, 2 trisopAnoM, putaliyoM aura vyAla rUpoM kI pramArjanA Adi dhUpakSepa paryanta kArya sampanna kiye| kI ina sabakI arcanA kara lene ke bAda vaha balipITha (devatA Adi ke nAma para dI jAne vAlI bheMTa 'bali' hai, bali dene kA sthAna-balipITha hai) ke pAsa AyA aura bali-visarjana karake apane Abhiyogika devoM ko bulAkara unko yaha AjJA dICLEANING OF CORONATION-HALL (i) Thereafter he came to the coronation-hall, cleaned the throne and gemmed seat with mop of peacock hair and performed all other earlier mentioned activities upto burning of incense. Thereafter, 0 rAyapaseNiyasUtra Rar-paseniya Sutra Akskskskskskssss.ke.sakse.ki.blis.ske.ske.ke.skooks.sikske.ske.skskskske.sakse.ke.sks.kot. (226)

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* starting from the gate in the south and moving systematically upto Nanda lake in the east, he performed all the previous activities including incense burning as earlier performed in Siddhayatan. Then he came to the library and wiped the book (Pustak Ratna) 2 with the mop of peacock hair, sprinkled divine water on it and worshipped it with best type of incense and garlands. He then e cleaned the gemmed stool and the seat (Sinhasan) and performed To all the earlier mentioned activities. Thereafter starting from the door in the south he performed all the earlier activities of cleaning and others for all upto Nanda Pushkarni (well) in the east like those he had done for Siddhayatan. He then came to the lake and cleaned the festoons, the steps, the puppets and snake-sketches and performed all other earlier mentioned activities upto incense burning. After all this worship, he came to the altar (the place where offering is made to the god) and after making the offering, he called the abhiyogic gods and ordered them as underAbhiyogika devoM dvArA AjJApAlana 201. khippAmeva bho devANuppiyA ! sUriyAbhe vimANe siMghADaesu tiesu caukkesu caccaresu caumuhesu mahApahesu pAgAresu aTTAlaesu cariyAsu dAresu gopuresu toraNesu ArAmesu ujjANesu vaNesu vaNarAIsu kANaNesu vaNasaMDesu accaNiyaM kareha, accaNiyaM karettA evamANittiyaM khippAmeva pccppinnh| 201. "he devAnupriyo ! tuma loga jAo aura atizIghra sUryAbha vimAna ke zRMgATakoM (siMghAr3e kI AkRti jaise trikoNa sthAno) meM, trikoM (tirAhoM) meM, catuSkoM (caukoM) meM, catvaroM meM, caturmukhoM (cAroM ora dvAra vAle sthAnoM) meM, rAjamArgoM meM, prAkAro 4 (parakoTe ke bhItara) meM, aTTAlikAoM meM, carikAoM-(durga aura nagara ke bIca ATha hAtha pramANa choTA mArga) meM, dvAroM meM, gopuroM meM (nagara kA mukhya daravAjA), toraNoM, o ArAmoM, udyAnoM, vanoM, vanarAjiyoM, kAnanoM, vanakhaNDoM meM jA-jAkara arcanikA (puSpa, candana Adi se pUjana-lepana) kro| arcanikA karake zIghra hI mujhe AjJAnusAra kArya karane kI sUcanA do|" sUryAbha varNana (227) Description of Suryabh Dev *

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ce ACCOMPLISHING THE ORDERS BY ABHIYOGIK (SERVING) GODS * 201. "O loveable of gods ! You go and quickly perform worship **with flower and sandal paste at triangular paths, places where three, four or more roads meet, places that have gates on all the four sides, highways in the forts, at the summits, at the 8-haath wide road between the fort and the town, at the gates, at the main 9 entrance of the town, at the festoons, in gardens, orchards, in forests, in rows of tree, in forest at the outskirts of the town and in forest-regions of Suryabh Viman. Thereafter you intimate me immediately after compliance of my orders." 202. tae NaM te AbhiogiA devA sUriyAbheNaM deveNaM evaM vuttA samANA jAva paDisuNittA sUriyAbhe vimANe siMghADaesu-tiesu-caukkaesu-caccaresu-caummuhesumahApahesu-pAgAresu-aTTAlaesu-cariyAsu-dAresu-gopuresu-toraNesu-ArAmesuujjANesu-vaNarAtIsu-kANaNesu-vaNasaMDesu accaNiyaM karenti, jeNeva sUriyAbhe deve jAva pccppinnNti| 202. una Abhiyogika devoM ne sUryAbhadeva kI AjJA ko sunakara svIkAra kii| tadanusAra sUryAbha vimAna ke zRMgATako, trikoM, catuSkoM, catvaroM, caturmukhoM, rAjamArgoM, prAkAroM, aTTAlikAo, carikAoM, dvAroM, gopuro, toraNoM, ArAmo, udyAnoM, vanoM, vanarAjiyoM aura vanakhaNDoM kI arcanikA kI aura arcanikA karake sUryAbhadeva ke pAsa OM Akara AjJAnusAra kArya ho jAne kI sUcanA dii| 202. The Abhiyogic gods listened properly the orders of Suryabh god and accepted them. Accordingly they went to triangular paths, places where three, four or more roads meet, places having gates in all the four sides, national highways in the forts, at the summits, at the eight feet wide lane between the fort and the town, at the festoons, in gardens, orchards, forests in rows of trees, in forest at skirts of the town and in forest-regions and worshipped them (as directed). Thereafter they came to Suryabh Dev and intimated to him the full compliance of his orders. 203. tae NaM se sUriyAbhe deve jeNeva NaMdA pukkhariNI teNeva uvAgacchai, naMdApukkhariNiM purathimilleNaM tisopANapaDirUvaeNaM paccoruhati, hatthapAe pakkhAlei, OM gaMdAo pukkhariNIo paccuttarei, jeNeva sabhA sudhammA teNeva pahArittha gamaNAe ? * rAyapaseNiyasUtra (228) Rai-paseniya Sutra

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203. tatpazcAt sUryAbhadeva nandA puSkariNI ke pAsa AyA aura pUrva dizAvartI trisopAna se nandA puSkariNI meM utarA, hAtha-pairoM ko dhoyA aura phira nandA puSkariNI se bAhara niklaa| nikalakara sudharmA sabhA kI ora calane ke lie udyata huA / 203. Thereafter he came to Nanda Pushkarni (small lake), washed his hands and then came out. He then got ready to go to Sudharma council-hall. 204. tae NaM sUriyAbhe deve cauhiM sAmANiyasAhassIhiM jAva solasahi Ayarakkhadeva - sAhassIhiM, annehi ya bahUhiM sUriyAbhavimANavAsIhiM bemANiehiM devehiM devIhi ya saddhiM saMparivuDe savviDDIe jAva nAiyaraveNaM jeNeva sabhA suhammA teNeva uvAgacchai, sabhaM sudhammaM puratthimilleNaM dAreNaM aNupavisati, aNupavisittA jeNeva sIhAsaNe teNeva uvAgaccha, sIhAsaNavaragae puratthAbhimuhe saNNisaNNe / 204. isake bAda sUryAbhadeva cAra hajAra sAmAnika devoM yAvat parivAra sahita solaha hajAra Atma-rakSaka devoM tathA aura dUsare bhI bahuta se sUryAbha vimAnavAsI deva - deviyoM se ghirA huA sarva Rddhi ke sAtha tumula vAdya-dhvanipUrvaka sudharmA sabhA kI ora AyA / pUrva dizA ke dvAra se sudharmA sabhA meM praveza kiyA, siMhAsana ke samIpa Akara pUrva dizA kI ora mukha karake usa zreSTha siMhAsana para AsIna huA / 204. Thereafter in the company of four thousand Saamanik gods, sixteen thousand body-guard gods and their family, other gods and goddesses of Suryabh Viman, Suryabh god came towards Suryabh council-hall with all the splendour and the soft music being played. He entered the council-hall from the eastern gate, came near his throne and seated himself on it facing eastwards. sUryAbhadeva kA sabhA meM Asana - grahaNa 205 (ka) tae NaM tassa sUriyAbhassa devassa avaruttareNaM uttarapuratthimeNaM disibhAeNaM cattAri ya sAmANiyasAhassIo causu bhaddAsaNasAhassIsu nisIyaMti / tae NaM tassa sUriyAbhassa devassa puratthimilleNaM cattAri aggamahissIo causu bhaddAsasu nisiiyNti| tae NaM tassa sUriyAbhassa devassa dAhiNapuratthimeNaM abbhiMtariyaparisAe aTTha devasAhassIo aTThasu bhaddAsaNasAhassIsu nisiiyNti| sUryAbha varNana ( 229 ) For Private Personal Use Only Description of Suryabh Dev

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tae NaM tassa sUriyAbhassa devassa dAhiNeNaM majjhimAe parisAe dasa devasAhassIo, dasasu bhaddAsaNasAhassIsu nisiiyNti| tae NaM tassa sUriyAbhassa devassa dAhiNapaccatthimeNaM bAhiriyAe parisAe bArasadevasAhassIo bArasasu bhaddAsaNasAhassIsu nisIyaMti / taNaM tassa sUriyAbhassa devassa paccatthimeNaM satta aNiyAhivaiNo sattahiM bhaddAsaNehiM NisIyaMti / 205. (ka) tadanantara usa sUryAbhadeva kI pazcimottara aura uttara-pUrva dizA meM sthApita cAra hajAra bhadrAsanoM para anukrama se cAra hajAra sAmAnika deva baiThe / usake bAda sUryAbhadeva kI pUrva dizA me cAra bhadrAsano para cAra agramahiSiyA~ baiThIM / sUryAbhadeva ke dakSiNa-pUrva dizA meM abhyantara pariSad ke ATha hajAra deva ATha hajAra bhadrAsanoM para baiThe / sUryAbhadeva kI dakSiNa dizA meM madhyama pariSad ke dasa hajAra deva dasa hajAra bhadrAsanoM para baitthe| sUryAbhadeva ke dakSiNa-pazcima digbhAga meM bAhya pariSad ke bAraha hajAra deva bAraha hajAra bhadrAsana para baiThe | tatpazcAt sUryAbhadeva kI pazcima dizA meM sAta anIkAdhipati sAta bhadrAsanoM para baitthe| SEATING OF SURYABH GOD IN COUNCIL CHAMBER 205. (a) Thereafter four thousand Saamanik gods took their seats at the earmarked places in the north-west and north-east directions. Thereafter four agra-mahishi (four chief-queens) sat on the four Bhadrasans in the east. In the south-east direction of Suryabh god eight thousand gods of the inner council took their respective seats on 8,000 Bhadrasans. In the south, ten thousand gods of central council took their seat on 10,000 Bhadrasans. In the south-west twelve thousand gods of outer council took their seats on 12,000 Bhadrasans earmarked for them. Thereafter seven army chiefs sat on seven Bhadrasans in the west. rAyapaseNiyasUtra (230) For Private Personal Use Only Rar-pasenzya Sutra

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TERRIERSORREPORTER " Atma-rakSaka deva paMkti 2 (kha) tae NaM tassa sUriyAbhassa devassa cauddisiM solasa AyarakkhadevasAhassIo solasahiM bhaddAsaNasAhassIhiM NisIyaMti, taM jahA-purathimilleNaM cattAri saahssiio.| te NaM AyarakkhA sannaddhabaddhavammiyakavayA, uppIliyasarAsaNapaTTiyA, piNaddhagevijjA AviddhavimalavaraciMdhapaTTA, gahiyAuhapaharaNA, tiNayANi tisaMdhiyAI vayarAmayakoDINi dhaNUI pagijjha paDiyAiyakaMDakalAvA NIlapANiNo, pItapANiNo, rattapANiNo, cAvapANiNo, cArupANiNo, cammapANiNo, daMDapANiNo, khaggapANiNo, pAsapANiNo, nIla-pIya-ratta-cAva-cAru-camma-daMDa-khagga-pAsadharA, AyarakkharakkhovagA, guttA guttapAliyA, juttA juttapAliyA patteyaM patteyaM samayao viNayao kiMkarabhUyA citttthti| (kha) isake bAda sUryAbhadeva ke pUrva dizA meM cAra hajAra, dakSiNa dizA meM cAra hajAra, pazcima dizA meM cAra hajAra aura uttara dizA meM cAra hajAra, isa prakAra cAroM dizAoM meM solaha hajAra Atma-rakSaka deva bhadrAsanoM para baitthe| * ve sabhI Atma-rakSaka deva bakhtara aura kavaca ko zarIra para dhAraNa kiye hue the| bANa * evaM pratyaMcA se sannaddha dhanuSa ko hAtho meM lie the| gale meM graiveyaka nAmaka AbhUSaNa pahane, * apane-apane zreSTha cihnapaTTakoM (billA-sAina mArka) ko dhAraNa kiye hue the| Ayudha aura paharaNoM se susajjita the| tIna sthAnoM para name hue aura jur3e hue vajramaya agra bhAga vAle dhanuSa, * daMDa aura bANoM ko lie taiyAra khar3e the| unake bANa nIlI, pIlI, lAla prabhA se yukta the| dhanuSa, cAru, camaDe ke gophana, daMDa, talavAra, pAza-jAla ko lekara ekAgra mana se rakSA karane * meM tatpara va svAmI kI AjJA kA pAlana karane meM sAvadhAna, gupta Adeza pAlana karane me tatpara, * sevakocita guNoM se yukta, apane-apane kartavya kA pAlana karane ke lie udyata, vinayapUrvaka apanI AcAra-maryAdA ke anusAra kiMkara-sevaka jaise hokara khaDe the| ROW OF BODY-GUARD GODS * (b) Thereafter four thousand body-guard gods of Suryabh Dev in Mar each of the four sides east, south, west and north-thus in all sixteen thousand body-guard gods of Suryabh god took their Ke respective seats. * All the body-guard gods were armoured. They were having bowden and arrows in their hands. They were having ornaments on their 90.90.9Q SR.S.PRED8698690986000 * sUryAbha varNana (231) Description of Suryabh Dev

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neck and the distinguish identification badges. They had taken up arms and weapons. They were ready having the bows with a joined Vajra front part and bent from three places along with rod and arrows. Their arrows were of blue, yellow and red shine. They were standing humbly like a servant ready to follow their duties, keeping to themselves secret order, possessing all the good qualities of a servant. They were having bows, leather-covered weapons, rods, swords, the net and were ready to protect their master with a concentrated mind. sUryAbhadeva viSayaka gaNadhara gautama kI jijJAsA 206. (pra.) sUriyAbhassa NaM bhaMte ! devassa kevaiyaM kAlaM TitI paNNattA ? ( u ) goyamA ! cattAri paliovamAiM ThitI paNNattA / (pra.) sUriyAbhassa NaM bhaMte! devassa sAmANiyaparisovavaNNagANaM devANaM kevaiyaM kAlaM ThitI paNNattA ? ( u ) goyamA ! cattAri pali ovamAI ThitI paNNattA / mahiDIe mahajjuttIe, mahabbale, mahAyase, mahAsokkhe, mahANubhAge sUriyAbhe deve / aho NaM bhaMte! sUriyA deve mahiDIe jAva mahANubhAge / sUriyANaM bhaMte! deveNaM sA divvA deviDDI, sA divyA devajjuI, se divve devANubhAge, kiNNA laddhe, kiNNA patte, kiNNA abhisamannAgae ? puvvabhave ke AsI ? kiM nAmae vA ? ko vA gutteNaM ? karaMsi vA gAmaMsi vA nagaraMsi vA nigamaMsi vA rAyahANIe vA kheDaMsi vA kabbaDaMsi vA maDaMbaMsi vA paTTaNaMsi vA doNamuhaMsi vA AgaraMsi vA AsamaMsi vA saMbAhaMsi vA sannivesivA ? kiMvA daccA, kiMvA bhoccA, kiM vA kiccA, kiM vA samAyarittA, kassa vA tahArUvassa samaNassa vA mAhaNassa vA aMtie egamavi AriyaM dhammayaM suvayaNaM succA nisamma jaM NaM sUriyAbheNaM deveNaM sA divyA deviDDI jAva devANubhAge laddhe patte abhisamannAgae ? 206. (sUryAbhadeva ke samasta caritra ko sunane ke pazcAt gaNadhara gautama ne zramaNa bhagavAna mahAvIra se prazna pUchA - ) rAyapaseNiyasUtra (232) For Private Personal Use Only Rai-paseniya Sutra

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OM (pra.) "bhadanta ! sUryAbhadeva kI bhavasthiti (devabhava meM rahane kI sthiti) kitane kAla kI hai?" ___ (u.) "gautama ! sUryAbhadeva kI bhavasthiti cAra palyopama kI hai|' (pra.) "bhagavan ! sUryAbhadeva ke sAmAnika pariSad ke devoM kI sthiti kitane kAla kI hai?" (u.) "gautama ! unakI bhI cAra palyopama kI sthiti hai|" "yaha sUryAbhadeva mahARddhi (vaibhava), mahAdyuti (teja), mahAn bala, mahAyaza (kIrti), mahAsaukhya aura mahAprabhAva vAlA hai|" (bhagavAna ke isa kathana ko sunakara gaNadhara gautama ne Azcaryacakita hokara kahA-) * "aho bhaMte ! vaha sUryAbhadeva aisA mahARddhi yAvat mahAprabhAvazAlI hai?' ____ unhoMne punaH prazna kiyA-"bhagavan ! sUryAbhadeva ko isa prakAra kI vaha divya devaRddhi, divya devadhuti aura divya devaprabhAva kaise milA hai ? usane kaise prApta kiyA hai ? kisa taraha se adhigata kiyA hai ? kisa taraha usakA svAmI banA? vaha sUryAbhadeva pUrvabhava meM kauna thA? * usakA nAma aura gotra kyA thA? ____ vaha kisa grAma, nagara, nigama, rAjadhAnI, kheTa, karbaTa, maDaba, pattana, droNamukha, Akara, * Azrama, saMbAha, sanniveza kA nivAsI thA? isane aisA kyA dAna meM diyA? aisA kyA anta-prAntAdi (bacAkhucA) nIrasa AhAra khAyA? aisA kyA kArya kiyA? kaisA AcaraNa kiyA? tathArUpa zramaNa-mAhaNa se aisA * kauna-sA dhArmika Arya suvacana sunA ki jisase sUryAbhadeva ne vaha divya devarddhi yAvat devaprabhAva upArjita kiyA hai, prApta kiyA hai aura adhigata kiyA hai ?'' QUERY OF GANADHAR GAUTAM ABOUT SURYABH GOD ___206. (After carefully listening to the entire conduct of Suryabh god, Ganadhar Gautam asked Bhagavan Mahavir-) (Q.) "Reverend Sir ! What is the life-span of Suryabh Dev as a the heavenly being ?" ____(Ans.) (Bhagavan replied) "Gautam ! His present life-span is of four palyopam." (Q.) (Gautam asked) "What is the life-span of the gods belonging to Saamanik council of Suryabh Dev ?" sUryAbha varNana Description of Suryabh Dev (233)

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(Ans.) (Mahavir replied) "Gautam ! Their life-span is also of four palyopam." "Suryabh Dev is of great prosperity grand brightness, great strength, great honours, ecstatic pleasure and great influence." (At this narration of Bhagavan Mahavir, Gautam asked out of curiosity-)"Reverend Sir ! Suryabh Dev has such a grand wealth upto influence." He (Gautam) again asked-"Bhagavan! How has Suryabh Dev procured such a grand divine wealth, divine brightness and divine influence? How has he attained all this (wealth) ? How has he conquered it? How did he become its master? What was Suryabh god in the immediately preceeding life? What was his name and sub-caste at that time ? In which village, town, municipality, state, capital, small town surrounded by wall city encircled by a rampart, city having no habitation in the surrounding, big town, city near a port, mine area, hermitage, village or a mountain or a rest-house was he residing? What had been given by him in charity? What tasteless remaining food had he taken? What special work had he done? What conduct had he observed? What scriptural discourse had he heard firm the saints that he obtained such a grand wealth upto divine influence, possessed it and is master of it?" vivecana-sUryAbhadeva ke upapAta, vaibhava, sampadA, zakti, prabhAva Adi kA varNana pUrva me kiyA gayA hai| usake sAtha hI bhagavAna mahAvIra ke samavasaraNa meM apAra aizvarya Rddhi ke sAtha Agamana, divya sagIta, nRtya, abhinaya kA pradarzana aura usake pazcAt devaloka me usake apane paramparAgata sabhI AcAra-vyavahAra kA atyanta rocaka varNana pUrva sUtro kiyA jA cukA hai| isa sampUrNa varNana ke pIche zAstrakAra kA jo vizeSa uddezya hai, vaha aba isa sUtra meM gautama svAmI kI jijJAsA ke sAtha prakaTa huA hai ki use yaha itanI mahAn divya devaRddhi kisa zubha karma yA dharmAcaraNa ke phalasvarUpa prApta huI hai ? prazna ke mukhya cAra kendra hai - ( 1 ) kyA utkRSTa dAna kiyA ? (2) kaisA utkRSTa tapa kiyAindriya-sayama kiyA ? (3) kisa pavitra AcAra-vicAra, zIla kA pAlana kiyA ? (4) zramaNo Adi gurujanoM ke mukha se kisa prakAra ke dharma kA zravaNa kiyA, jisake prabhAva se use yahA~ aisI divya Rddhi prApta huI ? gautama svAmI ke isa prazna ke uttara meM bhagavAna mahAvIra aba sUryAbhadeva ke pUrva jIvana kA vRtta rAyapaseNiyasUtra (234) For Private Personal Use Only Rai-paseniya Sutra

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* 5 jaina sUtro va anya granthoM me isa prakAra kI varNana zailI pracalita rahI hai ki karmaphala dekhakara karma ke viSaya me jijJAsA hotI hai| karma ajJAta rahatA hai| ataH usake viSaya me sarvajJa jJAnI puruSa hI samAdhAna de sakate hai| isa sUtra me tIna zabda Aye hai devarddhi, devadyuti aura devaanubhv| TIkAkAra ke anusAra inakA isa prakAra OM artha hai devarddhi-devarUpa sambandhI Rddhi / sthAnAgasUtra meM devaRddhi tIna prakAra kI batAI hai-(1) vimAna-Rddhi, (2) vaikriya-Rddhi, (3) paricAraNA (kAma) Rddhi| isakA bhAva hai, vimAno kA vistAra va vaibhava vaikriya zakti kI vilakSaNa sAmarthya aura deviyoM kA vizAla parivAra tathA unake sAtha mana icchita bhoga kI * sAmarthya / ye tIna devaRddhi kahI jAtI hai| * devayuti kA artha hai-devatAo ke zarIra kA saundarya aura teja, usa para pahane vastra, AbhUSaNa Adi kI camaka-dIpti devadyuti hai| devAnubhava kA artha hai-bala, caturaginI senA, vAhana, yAna Adi, koSa-svarNa-ratna kI sampadA, divya * zastra Adi ke kAraNa devatAo kA prabhAva teja viziSTa prakAra kA ho jAtA hai| ___Elaboration-The birth, the prosperity, the wealth, the strength, the influence and suchlike of Suryabh god have been earlier mentioned. Further, in the earlier aphorisms, the arrival of Suryabh with his grotesque grandeur, the presentation of divine music and dance in the Samavasaran (the lecture hall) of Bhagavan Mahavir and the traditional conduct and customary activities in the heavenly abode have been described in a picturesque manner. The primary aim of the authors of scriptures in the entire description has now been depiction in the form of a query by Gautam Swami wherein he has asked which previous auspicious karma or good spiritual conduct has resulted in this divine splendour. This question concentrates mainly on four points-(1) What charity of the highest order was undertaken ? (2) What austerity or self-control of extreme type was observed ? (3) What pure conduct and mental outlook was followed ? (4) What scriptural discourse was listened to from saints and teachers (gurus) that fruitified in providing him (Suryabh god) such a divine splendour ? In reply to the question of Gautam Swami, * Bhagavan Mahavir narrated detailed account of the earlier life of Suryabh Dev. to think In Jain scriptures and other sacred book, the style of narration is such that on seeing the fruit of karma (past actions), query arises about sUryAbha varNana (235) Description of Suryabh Deve *"" Y Y *

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to karma. Karma is an unknown entity. As such only an omniscient can properly describe it. In this aphorism, three words have been used-Dev-riddhi, Dev-dyuti and Devaanubhav. According to Commentator, their meaning is as under Dev-riddhi-Divine splendour (prosperity)-In Sthanang Sutra Devriddhi is stated to be of three types-(1) Viman-riddhi, (2) Vaikriyariddhi, (3) Paricharana-riddhi. Their central idea is the extent of Viman (aerial abode) and its wealth, the extent of Vaikriya (fluid) energy and the great family of goddesses and the power of enjoying and doing amorous and sex activities with them. These three are known as Dev-riddhi. Dev-dyuti means the beauty of heavenly body and his aura (lightness) the shine of the dress and ornament he is wearing. Devaanubhav means strength, the four types of defence forces, the vehicles, the aeroplanes and others, the treasure--the gold and silver, gems and jewels; the divine arms and weapons, the prosperity, due to the influence of gods becomes of a very high order. * rAyapaseNiyasUtra ( 236 ) POGODY6ODGOVOLVOVODAVONVONVONVONOVOLVO VON Rai-paseniya Sutra ** *

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(2) kezIkumAra zramaNa aura pradezI rAjA (2) KESHI KUMAR SHRAMAN AND KING PRADESHI kekaya- ardha janapada 207. (ka) 'goyamAi' samaNe bhagavaM mahAvIre bhagavaM goyamaM AmaMtettA evaM vayAsI evaM khalu goyamA ! teNaM kAleNaM teNaM samaeNaM iheva jaMbuddIve dIve bhArahe vAse keyai addhe nAmaM jaNavae hotthA, riddhatthimiyasamiddhe savvouyaphalasamiddhe ramme naMdaNavaNappagAse pAsAIe jAva paDive / tattha NaM ke addhe jaNavae seyaviyA NAmaM nagarI hotthA, riddhatthimiyasamiddhA jAva pADavA | tIse NaM seyaviyAe nayarIe bahiyA uttarapuratthime disIbhAge ettha NaM migavaNe NAmaM ujjANe hotthA - ramme naMdaNavaNappagAse, savvouyaphalasamiddhe, subhasurabhisIyalAe chAyAe savvao ceva samaNubaddhe pAsAdIe jAva paDirUve / 207. (ka) gautama svAmI Adi zramaNoM ko sambodhita kara zramaNa bhagavAna mahAvIra ne kahA "he gautama! usa kAla aura usa samaya meM (isa avasarpiNI kAla ke cauthe Are rUpa kAla evaM kezIkumAra zramaNa ke vicarane ke samaya meM) isI jaMbUdvIpa nAmaka dvIpa ke bharata kSetra meM 'kekaya - ardha' nAmaka janapada - deza thA, jo bhavanAdika vaibhava se yukta, stimita- svacakraparacakra ke bhaya se rahita, samRddha-dhana-dhAnyAdi vaibhava se sampanna thaa| sarva RtuoM ke phala-phUloM se samRddha, ramaNIya, nandanavana ke samAna manorama, prAsAdika - mana ko prasanna karane vAlA yAvat atIva manohara thA / usa kekaya-ardha janapada meM 'seyaviyA' (zvetAmbikA) nAma kI nagarI thI / yaha nagarI bhI Rddhi-sampanna, stamita- zatrubhaya se mukta evaM samRddhizAlI thI / usa 'seyaviyA' nagarI ke bAhara IzAnakoNa meM mRgavana nAmaka udyAna thA / yaha udyAna ramaNIya, nandanavana ke samAna sarva RtuoM ke phala-phUloM se samRddha aura sukhakArI thA / usameM sugaMdhita pavana bahatA thA aura sarvatra zItala chAyA jisameM vyApta thI / mana ko prasannatA milI thI aura vaha udyAna asAdhAraNa zobhA - sampanna thaa|" zIkumAra zramaNa aura pradezI rAjA (237) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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KEKAYA-ARDH COUNTRY 207. (a) Addressing Gautam Swami and other saints, Shraman Bhagavan Mahavir said __"0 Gautam ! At that time and during that period (in the fourth * part of this Avasarpini period and at the time of wanderings of Keshi Kumar Shraman), there was a state called 'Kekaya-ardh'in Bharat Kshetra (country) of this Jambu Dveep. It was prosperous with palatial buildings. It was free from internal and external disturbances. It was Samridh-rich in wealth including agricultural wealth. It had flower and fruit of all seasons. It was worth seeing and beautiful like Nandanvan. It was Prasadik-fit to provide pleasure to the mind upto extremely charming. In Kekaya-ardh state there was a town called Seyaviya (Shvetambika). That town was prosperous and free from fear of enemies. It was very splendid. There was Mrigavan garden in the north-east at the outskirts of Seyaviya town. That garden was pleasant, rich with flowers and fruit of all season like Nandan*van and providing happiness. Fragrant wind was blowing in it. There was cool shade in it at many a places. That garden had unique grandeur. rAjA pradezI (kha) tattha NaM seyaviyAe NagarIe paesI NAmaM rAyA hotthA, mahayAhimavaMta jaav| vihri| ___ adhammie adhammiTe, adhammakkhAI, adhammANue, adhammapaloI, adhammapajaNaNe, adhammasIlasamuyAyAre, adhammeNa ceva vittiM kppemaanne| ___ 'haNa'-chiMda-'bhiMda'-pavattae, lohiyapANI, pAve, rudde, khudde, sAhassIe, ukkaMcaNa-vaMcaNa-mAyA-niyaDi-kUDa-kavaDa-sAyisaMjogabahule, nissIle, nivvae, nigguNe, nimmere, nippaJcakkhANaposahovavAse, bahUNaM dupaya-cauppaya-miya-pasupakkhI-sirisavANa ghAyAe vahAe ucchAyaNayAe adhammakeu, samuTTie, gurUNaM No anbhuTTeti, No viNayaM pauMjai, sayassa vi ya NaM jaNavayassa No sammaM karabharavittiM pvttei| rAyapaseNiyasUtra (238) Rai-paseniya Sutra

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(kha) usa seyaviyA nagarI ke rAjA kA nAma pradezI thA / pradezI rAjA mahAhimavAn, malaya parvata, mandara evaM mahendra parvata jaisA mahAn ( anya rAjAoM meM prabhAvazAlI ) thA / vaha pradezI rAjA adhArmika (dharma - virodhI), adharmiSTha (adharma - premI), adharmAkhyAyI (adharma kA kathana aura pracAra karane vAlA), adharmAnugAmI (adharma kA anusaraNa karane vAlA), adharma-pralokI (sarvatra adharma ko hI dekhane vAlA), adharma - prajanaka (vizeSa rUpa se adhArmika AcAra-vicAroM kA janaka - pracAra karane vAlA - prajA ko adharmAcaraNa kI ora pravRtta karane vAlA), adharmazIla samudAcArI - adharmamaya svabhAva aura AcAra vAlA adharma se hI AjIvikA calAne vAlA thA / vaha sadaiva 'mAro, chedana karo, bhedana karo' isa prakAra kI AjJA detA rahatA thA / usake hAtha sadA khUna se sane rahate the / jaise- sAkSAt pApa kA avatAra thA / prakRti se pracaNDa- - krodhI, raudra - bhayAnaka aura kSudra - adhama thA / vaha sAhasika (binA vicAre pravRtti karane vAlA ) thA / utkaMcana- dhUrtta, badamAzoM aura ThagoM ko protsAhana dene vAlA, ukasAne vAlA thA / lAMca - rizvata lene vAlA, vaMcaka-dUsaroM ko Thagane vAlA, dhokhA dene vAlA, mAyAvI, kapaTI - bakavRtti vAlA, kUTa - kapaTa karane me catura aura aneka prakAra ke jhagaDA - phisAda racakara dUsaroM ko duHkha dene vAlA thaa| niHzIla-zIlarahita thA / nirvrata - hisA, jhUTha Adi pApoM meM lagA rahatA thA, kSamA Adi guNoM se rahita nirguNa thA, parastrIvarjana Adi rUpa maryAdA se rahita thA, kabhI bhI usake mana meM pratyAkhyAna, pauSadha, upavAsa Adi karane kA vicAra nahIM AtA thA / aneka dvipada- manuSyAdi, catuSpada - mRga, pazu, pakSI, sarIsRpa - sarpa Adi kI hatyA karane, unheM mArane, prANarahita karane, vinAza karane me sAkSAt adharma kI dhvajA jaisA thA, athavA adharmarUpI ketugraha thA / gurujanoM - mAtA-pitA Adi ko dekhakara bhI unakA Adara karane ke lie Asana se khar3A nahI hotA thA, unakA vinaya nahIM karatA thA aura prajAjanoM se rAja - kara lekara bhI unakA samyak prakAra se pAlana aura rakSaNa nahIM karatA thA / KING PRADESHI (b) King Pradeshi was the ruler of Seyaviya town. He was very great like Maha-himvaan mountain, Malaya mountain, Mandar mountain and Mahendra mountain (He was very influential among other kings). That king Pradeshi was irreligious, highly sinful, was preaching sin, was following sinful ways, was always preferring sin to piety, was propagating heretical creed amongst people, was of sinful nature and conduct. He was making his living by sinful activities. zIkumAra zramaNa aura pradezI rAjA (239) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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He was always issuing orders to kill, pierce or cut into pieces (the guilty). His hands were always besmeared with wood, as if he is an emblem of sin (cruelty). By nature he was notorious, ferocious and of bad mentality. He was in the habit of doing actions without meditating about likely results thereof. He was encouraging the cheats and notorious people. He used to accept illegal gratification. He was deceiving others. He was of crooked nature troubling others by creating disputes. He was without any principles. He always engaged himself in violence, falsehood and suchlike sinful activities. He was devoid of pondering and suchlike qualities. He was not observing restriction of hunting one or one's wife, for sex activities. He was never inclined to observe any spiritual restrictions, fast, paushadh and suchlike. He was like the high flag of sin in killing human being animals and birds, reptiles like snakes and others in making them lifeless or he was like a satellite of sin. He never got up from seat seeing his parents as a mark of respect. He never greeted them. He never properly attended to his subjects even after collecting the taxes from them. vivecana-jaina sAhitya me sADhe paccIsa Arya dezo aura una dezo kI eka-eka rAjadhAnI ke nAmo kA ullekha hai| paccIsa deza to pUrNa rUpa se Arya the kintu kekaya deza kA AdhA bhAga Arya thaa| isalie yahA~ kekaya-ardha janapada kahA hai| bauddha grantho me bhI kekaya deza kA ullekha hai| usa vidvAn deza kA vartamAna sthAna uttara meM pezAvara (pAkistAna) ke AsapAsa mAnate hai| kucha itihAsakAro kA kathana hai-zrAvastI aura kapilavastu ke bIca me jahA~ nepAlagaja hai, vahA~ zvetAmbikA kI sthiti honI caahie| yaha zrAvastI * ke uttara-pUrva me nepAla kI tarAI me sthita hai| rAjA dazaratha kI eka rAnI kA nAma 'kaikeyI' thaa| vaha isI kekaya deza kI thI, jisase usakA nAma 'kaikeyI' paDA ho, yaha bhI sambhava hai| kekaya deza kI rAjadhAnI ke rUpa me 'seyaviyA' nagarI kA ullekha sUtro meM kiyA gayA hai| Avazyakaniyukti me batAyA hai ki zramaNa bhagavAna mahAvIra chadmastha avasthA me vihAra karate hue uttara vAcAla kI tarapha gaye aura vahA~ se 'seyaviyA' gye| isa nagarI ke zramaNopAsaka rAjA pradezI ne bhagavAna kI mahimA kI aura usake pazcAt bhagavAna vahA~ se surabhipura pdhaare| parantu vartamAna me yaha nagarI kahA~ Ka hai, etad viSayaka koI spaSTa jAnakArI prApta nahIM hai| dIghanikAya (bauddha grantha) ke 'pAyAsi suttata' me isa nagarI kA nAma 'setavyA' batAyA hai aura kauzala deza me vihAra karate hue kumAra kazyapa isa nagarI me Aye the| yaha sUcita karake ise kosala deza kA OM nagara batAyA hai rAyapaseNiyasUtra (240) Rai-paseniya Sutra

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"yena setavyA nAma kosalAnaM nagaraM tad avsr|" -dIghanikAya, bhAga 2 jaina dRSTi se kauzala deza ayodhyA aura usake AsapAsa kA pradeza mAnA gayA hai| seyaviyA kA kisI-kisI ne 'zvetabikA' yaha saskRta rUpAntara bhI kiyA hai| sUtra meM ullikhita 'paesI' isa zabda kA TIkAkAra AcArya ne 'pradezI' saskRta bhASAntara kiyA hai aura Avazyakaniyukti me 'padezI' zabda kA prayoga kiyA hai| devavAcaka kSamAzramaNa ne ise 'rAyapaseNiya', TIkAkAra malayagiri me 'rAyapaseNIya' tathA kucha AcAryoM ne "rAjapraznIya' yA 'rAjaprasenakIya' nAma kA ullekha kiyA hai| isa rAjA sambandhI jo varNana isa 'rAyapaseNiyasUtra' me Age kiyA jAne vAlA hai, usase milatA-julatA varNana dIghanikAya ke 'pAyAsi suttata' me bhI kiyA gayA hai| isame mukhya praznakAra rAjA 'payAsI' hai aura usakA vaza rAjanya eva sambandha kozala vaza ke rAjA 'pasenadi' ke sAtha batAyA hai| "rAyapaseNiya' ke ukta sUtra me ukta rAjA paesI kA jo caritra atyanta pApiSTha, adhArmika aura anItivAna rAjA ke rUpa me varNita hai| vaisA to dIghanikAya me nahI kahA hai, kintu vahA~ itanA ullekha OM avazya hai ki isa rAjA ke vicAra pApamaya the aura yaha mAnatA thA ki paraloka nahI, aupapAtika sattA nahI hai aura sukRta-duSkRta kA kisI prakAra kA phalavipAka nahI hai| -dIghanikAya, bhAga 2 pradezI rAjA ke caritra-varNana se spaSTa hotA hai ki yaha rAjA anAtmavAdI aura ghora nAstika tathA adhArmika vRtti vAlA thaa| naraka-svarga Adi paraloka yA punarjanma kI sattA nahI mAnatA thaa| Elaboration--In Jain literature there is a mention of twenty five and a half noble states and their capital. Twenty five states were completely noble but only half of Kekaya state was ruled by noble king and inhabited 9. by noble people. So here it is mentioned half Kekaya state In Buddhist literature also, there is a mention of Kekaya. The historians consider Peshawar (now in Pakistan) or a place nearby as its capital while some historians are of the view that Nepalganj-a town between Shravasti and Kapilvastu should be Shvetambika (Saivaya) It is situated at the bottom of Nepal in north-east of Shravasti. 'Kaikeyee' was one of the queens of king Dashrath. She belonged to Kekaya state and possibly because of it she was named 'Kaikeyee'. In scriptures, "Seyaviya' has been mentioned as capital of Kekaya state. In Avashyak Niryukti it is mentioned that Shraman Bhagavan Mahavir during pre-omniscient monkhood had gone towards North Vachaal and from there to Seyaviya. The Shramanopasak king Pradeshi of this town praised Bhagavan Mahavir and thereafter Bhagavan reached Surabhipur. But where this town is located at present is not clearly known ___ In Deeghanikaya, a Buddhist scripture, this town is mentioned as "Setavya' in 'Payaasi Suttantam' while moving in Kaushal state Kumar . OM kezIkumAra zramaNa aura pradezI rAjA ( 241 ) Kesh Kumar Shraman and King Pradeshi

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Kashyap had come to this town By this reference, it is indicated that it is a town of Kaushal state"Yen Setavya Naam Kosalanam Nagaram Tad Avsari." -Deeghanikaya, Part 2 From Jain point of view, Kaushal state includes Ayodhya and its surrounding area. Some have interpreted Seyaviya as 'Shvetambika' in Sanskrit. The word 'Payasi' in the Sutra has been interpreted as 'Pradeshi' in Sanskrit by the Acharya in his Commentary and in Avashyak Niryukti the word 'Padeshi' has been used. Dev-vachak Kshamashraman has mentioned it as 'Rai-paseniya', Commentator Malaygiri has mentioned it as 'Raipaseneeya' while some other Acharyas have mentioned it as 'Raj prashniya' or 'Raj-prasenkiya'. 9 In 'Payaasi Suttant of Deeghanikaya there is a description of this * king similar to the one in the present 'Rai-paseniya Sutra'. Here in Deeghanikaya, the main questioner is king 'Payaasi', his clan is Rajanya and he is related to king 'Pasenadi' of Kaushal. The highly despisable and sinful conduct of king Pradeshi (Payesi) that has been narrated in 'Raipaseniya' Sutra where he has been stated to be extremely sinful, irreligious and irrational king is not so prominent in Deeghanikaya. But it is mentioned that the thoughts (reflections) of the king were sinful and he believed that there is no life after death, one does not have the power to get re-birth and there is no fruit of good or bad actions -Deeghanikaya, Part 2 The description of the conduct of king Pradeshi indicates that he did not believe in soul. He was completely non-believer in Parmatma (State of complete purification of soul) He was irreligious. He had no faith in existence of hell, heaven, life after death or re-birth - rAnI sUryakAntA aura yuvarAja sUryakAnta 208. tassa NaM paesissa ranno sariyakaMtA nAmaM devI hotthA, sukumAlapANipAyA dhAriNI vnnnno| paesiNA rannA saddhiM aNurattA avirattA iTTe sadde pharise rase rUve jAva vihri| ___ tassa NaM paesissa raNNo jeDhe putte sUriyakaMtAe devIe attae sUriyakaMte nAmaM kumAre hotthA, sukumAlapANipAe jAva pddiruuve| se NaM sUriyakaMte kumAre juvarAyA vi hotthA, " rAyapaseNiyasUtra ( 242 ) Rai-paseniya Sutra

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paesissa ranno rajjaM ca raTuM ca balaM ca vAhaNaM ca kosaM ca koTThAgAraM ca puraM ca aMteuraM ca sayameva paccuvekkhamANe paccuvekkhamANe vihr| 208. usa pradezI rAjA kI rAnI kA nAma sUryakAntA thA / vaha sukumAla hAtha-paira Adi aMgopAMga vAlI thI, ityAdi dhAriNI rAnI ke samAna isakA varNana samajhanA caahie| vaha rAnI pradezI rAjA ke prati anurakta - atIva snehazIla thI, usase kabhI virakta nahIM hotI thI aura iSTa-priya zabda, sukhada sparza, manohara rasa Adi aneka prakAra ke manuSya sambandhI sukho kA anubhava karatI rahatI thI / pradezI rAjA kA jyeSTha putra aura sUryakAntA rAnI kA Atmaja sUryakAnta nAmaka rAjakumAra thaa| vaha sukomala hAtha-paira vAlA thaa| vaha sUryakAntakumAra yuvarAja bhI thA / vaha pradezI rAjA ke rAjya (zAsana), rASTra (deza), bala (senA), vAhana (ratha, hAthI, azva Adi), koza, koSThAgAra ( anna bhaNDAra), pura aura antaHpura kI svayaM dekhabhAla karatA thA / QUEEN SURYAKANTA AND PRINCE SURYAKANT 208. Suryakanta was the queen of king Pradeshi. She was having delicate body. Her description may be considered as that of queen Dharani. She loved king Pradeshi very much and was completely attached to him. She never detached herself from him. She was enjoying words of love, pleasant touch, fine taste and other comforts of human-beings. The eldest son of king Pradeshi, born of queen Suryakanta was prince Suryakant. He was having beautiful hand and feet. He had been declared as the rightful successor (Yuv-raj). He was himself looking after the administration, the affairs with other countries, the army, vehicles, treasure, the provision, bins and inner affairs of the palace. citta sArathI : maMtrI 209. tassa NaM paesissa ranno jeTTe bhAgyavayaMsae citte NAmaM sArahI hotthA, aDDe jAva bahujaNassa aparibhUe / sAma-daMDa-bheya - uvappayANa - atthasattha - IhA - maivisArae, uppattiyA - veNatiyA - kammayAe- pAriNAmiyAe cauvvihAe buddhIe uvavee / paesissa raNNo bahusu kajjesu ya kAraNesu ya kuTuMbesu ya maMtesu ya gujjhesu ya raMhassesu ya nicchaesu yavavahAresu ya ApucchaNijje paDipucchaNijje, meDhI, pamANaM, AhAre, AlaMbaNaM, cakkhu, kezIkumAra zramaNa aura pradezI rAjA (243) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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meDhibhUe, pamANabhUe, AhArabhUe, cakkhubhUe, savvaTThANasababhUmiyAsu laddhapaccae vidiNNavicAre rajadhurAciMtae Avi hotthaa| 209. pradezI rAjA kA citta sArathI nAmaka eka maMtrI thA, jo umra meM bar3A (jyeSTha) bhAI evaM mitra ke samAna priya thaa| vaha samRddhizAlI yAvat atyanta prabhAvazAlI thaa| buddhi, cAturya Adi guNoM meM koI use parAbhUta nahIM kara sakatA thaa| sAma, daNDa, bheda aura upapradAna nIti, / arthazAstra evaM vicAra-vimarza pradhAna buddhi meM vizArada-kuzala thaa| autpattikI, vainayikI, kArmikI tathA pAriNAmikI ina cAra prakAra kI buddhiyoM se yukta thaa| pradezI rAjA apane bahuta se kAryoM meM, kArya meM saphalatA milane ke upAyoM meM, kauTumbika kAryoM meM, gupta kAryo meM, rahasyamaya gopanIya prasaMgoM meM, nirNaya karane meM, rAjya-sambandhI vyavahAra-vidhAnoM meM usase maMtraNA karatA rahatA thaa| vaha sabake lie meDhI (khalihAna ke kendra meM gAr3A huA stambha jisake cAroM ora ghUmakara baila dhAnya kucalate haiM) ke samAna AdhArabhUta thA, usakA kathana prAmANika mAnA jAtA thaa| pRthvI ke samAna sabake lie AdhAra-Azraya thaa| rassI ke samAna Alambana thaa| netra ke samAna mArgadarzaka thaa| meDhIbhUta, pramANabhUta, AdhAra aura avalambanabhUta evaM cakSubhUta thaa| sandhi-vigraha Adi sabhI kAryoM meM aura sabhI bhUmikAoM-maMtrI Adi padoM meM pratiSThA-prApta thaa| sabako vicAra dene vAlA thA arthAt sabhI kA vizvAsapAtra thA, sabhI usakI salAha mAnate the| cakra kI dhurA ke samAna rAjya kA saMcAlaka thA-sakala rAjya-kAryoM kA prekSaka thaa| vaha rAjA aura prajA donoM kA hitacintaka, dharma, samAja, rASTra Adi sabhI ke lie 1 sahayoga karane vAlA thaa| CHITTA SAARTHI : THE MINISTER 209. Chitta Saarthi was a Minister of king Pradeshi. He was like to an elder brother or a loveable friend to the king. He was prosperous and influential. Nobody could surpass him in intelligence, cleverness and the good qualities. He was expert in all the four skills of administration namely speaking politely, speaking harshly, creating division and fourthly enticing by offering same gifts. He was expert in economic affairs and proper analysis of the situation. He was having four types of intelligence namely finding spontaneously solution to the problem, gaining intelligence by experience and wisdom produced in old age. King Pradeshi used to consult him in many activities in deciding methods to gain success, AS in family matters, in secret matters, in secret intricate situations, * in taking decision and in matters relating to administration. He 1.9AROOR.PROPROPARDA * 4.5000000069409009RODAROPAROURYODAroras rAyapaseNiyasUtra (244) Rar-paseniya Sutra

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roy was the Medhi (pillar) amongst all (Medhi is the thrashing poster around which the bullock move and rub the harvested crops). His song words were considered final. He was the base for all just as earth is for all beings. He was guide like the eye. He was respected in all matters-treaty of peace on declaration of war. He was well treated by all. Everyone consulted him. He was administrator of the state like the centre of a wheel. He looked into all the affairs of the state. He always looked into the welfare, religious affairs, social matters et and national matters. vivecana-isa varNana se yaha pratIta hotA hai ki citta sArathI atinipuNa, rAjanItijJa, rAjya-vyavasthA karane meM pravINa eva atyanta buddhizAlI thaa| use autpattikI Adi cAra prakAra kI buddhiyoM se yukta batAyA hai| ina cAra prakAra kI buddhiyo kA svarUpa sacitra nandIsUtra me vistAra se AyA hai| Elaboration--This description indicates that Chitta Saarthi was very intelligent in administration and in home affairs. He has been shown as he possessing all the four types of intelligencemnamely replying immediates to the queries and others. The details about four types of the intelligence is mentioned comprehensively in Illustrated Nandi Sutra. kuNAlA janapada, zrAvastI nagarI, rAjA jitazatru __ 210. teNaM kAleNaM teNaM samaeNaM kuNAlA nAmaM jaNavae hotthA, riddhsthimiysmiddhe| ___ tattha NaM kuNAlAe jaNavae sAvatthI nAmaM nayarI hotthA riddhasthimiyasamiddhA jAva pddiruuvaa| tIse NaM sAvatthIe NagarIe bahiyA uttarapurasthime disIbhAe kor3hae nAmaM ceie hotthA, porANe jAva paasaadiie| OM tattha NaM sAvatthIe nayarIe paesissa rano aMtevAsI jiyasattU nAmaM rAyA hotthA, mahayAhimavaMta jAva vihri| __210. usa kAla aura usa samaya meM kuNAlA nAmaka janapada thaa| vaha deza vaibhava-sampanna, sva-paracakra-(zatruoM) ke bhaya se mukta aura dhana-dhAnya se samRddha thaa| kuNAlA janapada meM zrAvastI nAma kI nagarI thI, jo Rddha, stimita, samRddhaM yAvat atIva manohara thii| ___ zrAvastI nagarI ke bAhara uttara-pUrva dizA (IzAnakoNa) meM koSThaka nAma kA atyanta prAcIna yAvat manohara caitya (udyAna) thaa| kezIkumAra zramaNa aura pradezI rAjA (245) Keshi Kumar Shraman and King Pradesh e ORRODAR0 APAR

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O R * khe ROGER PRO PRO usa zrAvastI nagarI meM pradezI rAjA kA antevAsI jaisA (arthAt adhInasthaAjJApAlaka) jitazatru nAmaka rAjA thA, jo mahAhimavanta parvata ke samAna prakhyAta thaa| KUNALA STATE, SHRAVASTI STATE, KING JITASHATRU 210. At that time during that period, there was a state called Kunala. That was prosperous, free from fear of enemies and rich in wealth and food grains. Shravasti was a town in Kunala state. It was prosperous, free from fear of any enemy, wealthy and extremely charming. There was Koshthak garden at the outskirts of Shravasti town in its north-east which was very ancient upto pleasant. King Jitashatru was the ruler of Shravasti and he was under king Pradeshi. He was famous like Maha-himavant mountain. citta sArathI kA zrAvastI kI ora prayANa 211. .(ka) tae NaM se paesI rAyA anayA kayAi mahatthaM mahagdhaM maharihaM viulaM rAyArihaM pAhuDaM sajjAvei, sajjAvittA cittaM sArahiM saddAveti, saddAvittA evaM vayAsI___ gaccha NaM cittA ! tumaM sAvatthiM nagari jiyasattussa raNNo imaM mahatthaM jAva pAhuDaM uvaNehi, jAI tattha rAyakajjANi ya rAyakiccANi ya rAyanItio ya rAyavavahArA ya tAI jiyasattuNA saddhiM sayameva paccuvekkhamANe viharAhi tti kaTu visjjie| _tae NaM se citte sArahI paesiNA raNNA evaM vutte samANe haTa jAva paDisuNettA taM mahatthaM , jAva pAhuDaM geNhai, paesissa raNNo jAva paDiNikkhamai, seyaviyaM nagari majhamajjheNaM jeNeva sae gihe teNeva uvAgacchati, uvAgacchittA taM mahatthaM jAva pAhuDaM Thavei, koDuMbiyapurise saddAvei, saddAvettA evaM vayAsI___ khippAmeva bho devANuppiyA ! sacchattaM jAva cAugghaMTe AsarahaM juttAmeva uvadvaveha jAva pccppinnh| tae NaM te koDuMbiyapurisA taheva paDisuNittA khippAmeva sacchattaM jAva juddhasajjaM cAugghaMTe AsarahaM juttAmeva uvaTThaventi, tamANattiyaM pcppinnNti| 211. (ka) kisI eka samaya pradezI rAjA ne kucha viziSTa prayojana upasthita hone para apane vizvAsapAtra citta sArathI ko bulAyA aura mahAn puruSoM ke yogya bahumUlya rAjAoM ko dene yogya viziSTa upahAra sjaayaa| phira citta sArathI se kahA DAROSARO9RO90094466 iaHAMISSla DARo2009RODQ One rAyapaseNiyasUtra (246) Ral-paseniya Sutra

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"he citta ! tuma zrAvastI nagarI jAo aura vahA~ ke jitazatru rAjA ko yaha ( mahApuruSoM ke anurUpa 'aura rAjA ke yogya mUlyavAn ) bheMTa use do tathA jitazatru rAjA ke sAtha rahakara svayaM vahAeN kI zAsana vyavasthA, rAjA kI dainikacaryA, rAjanIti aura rAja - vyavahAra ko gaharAI se dekho, suno aura anubhava kro| " taba citta sArathI pradezI rAjA kI isa AjJA ko sunakara harSita huA yAvat donoM hAtha joDe - "rAjan ! aisA hI hogaa|" yoM kahakara vinayapUrvaka AjJA ko svIkAra kiyA / AjJA svIkAra karake usa upahAra ko sAtha liyA aura pradezI rAjA ke pAsa se nikalakara bAhara AyA / seyaviyA nagarI meM jahA~ usakA apanA ghara thA, vahA~ AyA / Akara usa upahAra ko eka tarapha rakha diyA aura kauTumbika puruSoM (AjJAkArI sevakoM) ko bulAkara isa prakAra kahA - "devAnupriyo ! zIghra hI chatra lagA huA eka zIghragAmI cAra ghaToM vAlA azva - ratha taiyAra karo aura mujhe vApasa sUcanA do / " una kauTumbika puruSoM ne citta sArathI kI AjJA anusAra zIghra hI chatra sahita sajAye gaye azva-ratha ko jotakara upasthita kara diyA aura maMtrI ko ratha taiyAra ho jAne kI sUcanA dii| DEPARTURE OF CHITTA SAARTHI TOWARDS SHRAVASTI 211. (a) Once on a special occasion, king Pradeshi called his trusted lieutenant Chitta Saarthi. He (king) prepared a very beautiful costly gift worthy of presentation to the kings and said to Chitta Saarthi--- "O Chitta! You go to Shravasti town and offer him this gift worthy of presentation to the kings. You stay with king Jitashatru for some time and closely study the administration, the daily routine of the king the political affairs and kings relation with the subjects. You make a deep study, enquire from the people and intimately study it." Chitta Saarthi felt happy at these orders of king Pradeshi; he folded his hands in respect for the king and said "Respected Sir ! I shall fully comply your orders." He then accepted the orders humbly, picked up the requisite gift and came out from the side of king Pradeshi. He came to his residence in Seyaviya town. Thereafter he kept the gift aside, called his obedient servants and said zIkumAra zramaNa aura pradezI rAjA (247) For Private Keshi Kumar Shraman and King Pradeshi Personal Use Only

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___ "O loveable of gods ! Kindly prepare immediately a horse-drawn chariot fitted with canopy and four bells which has the capacity to move at fast speed. After compliance intimate me." The family servants complying the orders of Chitta Saarthi, presented the horse-drwan chariot after decorating it with umbrella and others. They then intimated compliance. (kha) tae NaM se citte sArahI koDuMbiyapurisANa aMtie eyamaDhe jAva hiye| hAe, kayabalikamme, kayakouya-maMgalapAyacchitte, sannaddhabaddhavammiyakavae, uppIliyasarAsaNapaTTie, piNaddhagevijJavimalavara ciMdhapaTTe, gahiyAuhapaharaNe taM mahatthaM jAva pAhuDaM geNhai, jeNeva cAugghaMTe Asarahe teNeva uvAgacchai, cAugghaMTaM AsarahaM duruuheti| ___ bahUhiM purisehi sannaddha jAva gahiyAuMhaparahaNehiM saddhiM saMparibuDe sakoraMTamalladAmeNaM chatteNaM dharejjamANeNaM mahayA bhaDacaDagara-rahapahakaraviMdaparikkhitte sAo gihAo Niggacchai, .seyaviyaM nagariM majhamajheNaM Niggacchai, suhehiM vAsehiM pAyarAsehi nAivikiTTehiM aMtarA vAsehiM vasamANe vasamANe keiyaaddhassa jaNavayassa majjhamajheNaM jeNeva kuNAlAjaNavae jeNeva sAvatthI nayarI teNeva uvAgacchai, sAvatthIe nayarIe ra majhamajheNaM annupvisi| jeNeva jiyasattussa raNNe gihe, jeNeva bAhiriyA uvaTThANasAlA teNeva uvAgacchai, turae nigiNhai, rahaM Thaveti, rahAo pccoruhi| (kha) taba kauTumbika puruSoM kI sUcanA pAkara citta sArathI prasanna huaa| usane snAna kiyA, balikarma kiyaa| kautuka-(lalATa para tilaka, bindI Adi) maMgala prAyazcitta kiye aura phira acchI taraha se zarIra para kavaca dhAraNa kiyaa| dhanuSa para pratyacA caDhAI, gale meM graiveyaka aura apane zreSTha saketapaTTaka (pratIka cinha-siMbala) ko dhAraNa kiyA evaM Ayudha tathA praharaNoM-zastroM ko sAtha lekara vaha mahArthaka upahAra liyA aura jahA~ cAra ghaMToM vAlA azva-ratha khaDA thA, vahA~ aayaa| Akara usa azva-ratha para ArUDha huaa| ___ tatpazcAt Ayudha eva praharaNoM se susajjita bahuta se puruSoM ko sAtha lie koraTa puSpa kI mAlAo se vibhUSita chatra ko dhAraNa kiyaa| subhaToM aura rathoM ke samUha ke sAtha apane ghara se prasthAna kiyA aura seyaviyA nagarI ke bIcoMbIca se nikalakara sukhapUrvaka rAtri-vizrAma, prAtaH kalevA Adi vyavasthA sAtha lie pAsa-pAsa antarAvAsa (paDAva) karate aura jagaha-jagaha Thaharate-Thaharate kekaya-ardha janapada ke bIcoMbIca se hotA huA jahA~ kuNAlA janapada thA, jahA~ zrAvastI nagarI thI, vahA~ A phuNcaa| zrAvastI nagarI ke madhya bhAga KHAia rAyapaseNiyasUtra (248) Ral-paseniya Sutra o

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meM praveza karake jahA~ jitazatru rAjA kA bhavana aura jahA~ rAjA kI bAhya upasthAnazAlA thI, vahA~ Akara ghoDoM ko rokA, ratha ko khaDA kiyA aura phira ratha se nIce utraa| (b) Then, on hearing the compliance of his orders Chitta Saarthi became happy. He took his bath after exercise. He then adorned his forehead with auspicious substances. Then he wore the armour well as tightly fastened the piece of cloth to the bow, put on the necklace and his auspicious symbols. He took his arms and weapons and the great grift. He then came to the horse-driven chariot having four bells and got into it. Thereafter he in the company of many men wearing arms and weapons decorated himself with a big umbrella decorated with garlands of Korant flowers. He started from his house with many soldiers and chariots through Seyaviya town. He then with his men taking rest in between and camping on the way wherever needed, passing through Kekaya-ardh state came to Shravasti town in Kunala district. He then entered Shravasti town and came to the palace of king Jitashatru and stopped his horses at the outer royal council-hall. He stopped the chariot and stepped down. (ga) taM mahatthaM jAva pAhuDaM giNhai jeNeva abhiMtariyA uvaTThANasAlA jeNeva jiyasattU rAyA teNeva uvAgacchai, jiyasattuM rAyaM karayalapariggahiyaM jAva kaTu jaeNaM vijaeNaM vaddhAveti, taM mahatthaM jAva pAhuDaM uvnnei| tae NaM se jiyasattU rAyA cittassa sArahissa taM mahatthaM jAva pAhuDaM pddicchi| cittaM / sArahiM sakkArei sammANei paDivisajjei rAyamaggamogADhaM ca se AvAsaM dlyi| (ga) tadanantara usa bahumUlya bheTa ko sAtha lekara Abhyantara upasthAnazAlA (bhItarI baiThaka) meM jahA~ jitazatru rAjA baiThA thA, vahA~ aayaa| dono hAtha joDakara jaya-vijaya zabdoM se jitazatru rAjA kA abhinandana kiyA aura phira vaha bahumUlya upahAra bheMTa kiyaa| jitazatru rAjA ne citta sArathI dvArA bheMTa kiye gaye isa upahAra ko svIkAra kiyA eva citta sArathI kA satkAra-sammAna kiyA aura vizrAma karane ke lie rAjamArga para sthita AvAsa sthAna para bheja diyaa| (c) Thereafter with the costly great gift, he came to the inner council-hall where king Jitashatru was seated. He folded his hand * kezIkumAra zramaNa aura pradezI rAjA (249) Keshi Kumar Shraman and King Pradeshi 2

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in respect praised the king and then presented the costly gift to him. King Jitashatru accepted the gift and gave due respect to Chitta Saarthi. He then sent him to the guest house on the highway for taking rest. vivecana-citta sArathI ke prasaga me AyA hai ki vaha snAna karake 'kaya balikamme kaya-kouya-maMgala pAyacchitte' aura balikarma karatA kautuka-magala prAyazcitta karatA hai| yahA~ isakA artha kiyA jAtA hai, snAna ke bAda A~kho me ajana va sira para kAlI TikI lagAnA, phira sarasoM Adi uvArakara dizAo me phekanA aura pazu-pakSiyo va devo Adi ke lie balikarma-unake nAma kA anna grAsa Adi denaa| yahA~ para vicAraNIya hai ki yaha varNana prAya sabhI jagaha milatA hai, cAhe Ananda Adi zrAvaka kA prasaMga ho, citta sArathI kA ho yA kisI rAjA kA ho yA sUryAbhadeva kA ho (sUtra 200) / isase yaha patA calatA hai ki usa yuga me yaha eka sAmAnya prathA thI aura choTe-baDe sabhI isako nibhAte the| prAyazcitta se kauna-sI kriyA kI jAtI thI tathA balikarma kyA, kisa prakAra kiyA jAtA thA, kyo kiyA jAtA thA, isakI vidhi kyA thI aura yaha kisa uddezya se kiyA jAtA thA, ina kriyAo kA vyakti ke jIvana-vyavahAra para kyA prabhAva par3atA thA, pazu-pakSI va digpAla-kSetrapAla Adi devo ke sAtha isakA kyA sambandha hai ? isa viSaya para Agama viSaya ke vizeSajJa va sAskRtika paramparAo ke vivecaka vidvAno ko prakAza DAlanA caahie| hamAre vicAra se ye kriyAe~ mAtra koI lIka pITanA nahI thI, kintu OM inake sAtha vizeSa uddezya juDA hogaa| una kriyAo se manuSya kA apanA vyavahAra to prabhAvita hotA hI hogA, anya pazu-pakSI jagat va anya deva zaktiyo kA sambandha juDA rahA hogaa| balikarma jaisI prathA ke pIche bhI kyA koI dAna va karuNA kI bhAvanA nihita thI? prAcInakAla me pakSiyo ke lie dAnA, pAnI, kutto ke lie roTI, gAyo ke lie gau-grAsa tathA devatAo ke nAma para 'bali' ye saba kyA isI me gine jA sakate hai ? kyA sabake lie sabakA bhAga vitaraNa karane kI sAmAjika karuNA bhAvanA isame chipI thI? isa viSaya para anusadhAna va cintana apekSita hai| ___ gahiyAuha-paharaNe-'Ayudha' aura 'praharaNa' dono hI zabda zastravAcaka hai, kintu ekArthaka nahI haiN| Ayudha se artha kiyA jAtA hai jina zastro se Atma-rakSA kI jAtI hai tathA praharaNa ve zastra hai jinase zatru para prahAra kiyA jAtA hai| ___aMza 211 (ka) me rAjA ke kRtya, rAjA ke kArya, rAjanIti aura rAja-vyavahAra cAroM zabda bhinna-bhinna artha ke sUcaka hai| kRtya se AcAra-vyavahAra, kArya se usakI pravRttiyA~, rAjanIti se prajA va rASTra ke sambandha me usakI nIti tathA vyavahAra se prajA ke sAtha usakA kaisA vyavahAra hotA hai| ina saba zabdo se patA calatA hai, citta ko rAjA jitazatru kI sampUrNa gupta aura prakaTa bAto kA patA lagAne ke lie nirIkSaka aura guptacara ke rUpa me bhejA gayA hai| Elaboration--In the narration about Chitta Saarthi it is mentioned about that after taking bath, he performs Bali-karm and Kautuk-mangali prayashchit. rAyapaseNiyasUtra (250) Rat-paseniya Sutra *" " 100

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Here it means that after taking bath he puts collyrium in his eyes, black mark on his head and then sprinkles mustard seeds in various sides and gives morsel of bread to animals, birds and gods. It is worth consideration that this narration is often found at many places-whether it is a life-account of Anand, of Chitta Saarthi or of any king or of Suryabh god (Aphorism 200). This fact indicates that it was a common practice in those days and all the people-small or big (in status) followed it. In repentance (punishment) what activities were performed, what was Bali-karm and how was it done, why was it done, what was its method, with what purpose was it done, what was its effect on daily behaviour of the person doing it, what was its connection with animals, birds and gods means for security of the area? The research scholars of Agams and the experts in traditional culture should throw light on these issues. Our view is that these practices were not simply a tradition just to be followed, but there must be same special purpose for it. Such activities, not only influence the daily conduct of the person but these activities had an inner connection with the animal world, the world of birds and the powers of gods and goddesses Was any thought-reflection of compassion and charity implied in the practice of Bali-karm? In ancient times, to offer food grains to birds, bows of bread to dogs, morsel of bread to cow and bali (offering) in the name of gods-were all these practices included in Bali-karm? Was the social outlook of distribution of everything amongst all was at its roots? A research on this point is very much needed. Gahiyauh-Paharne-Aayudh' and 'Praharan' both the words refer to weapons but they do not have identical meaning. Aayudh are weapons of self-defence and Praharan are weapons used for attacking the enemy. In 211 (a), king's duties (Kritya), his activities (Karya), political activity (Raajneeti) and his conduct (Vyavahar) indicate different meanings. Kritya denotes conduct, behaviour. Karya denotes activities. Rajneeti denotes his policy in respect of the people and the nation. Vyavahar denotes his behaviour towards his subjects (people). All these words indicate that Chitta was sent to collect information about all outwardly and secret dealings of king Jitashatru as an examiner and a secret agent (spy). 212. tae NaM se citte sArahI visajjite samANe jiyasattussa rano aMtiyAo paDinikkhamai, jeNeva bAhiriyA uvaTThANasAlA jeNeva cAugghaMTe Asarahe teNeva uvAgacchai, kezIkumAra zramaNa aura pradezI rAjA (251) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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cAugdhaMTa AsarahaM durUhai, sAvatthiM nagari majhamajheNaM jeNeva rAyamaggamogADhe AvAse teNeva uvaagcchi| turae nigiNhai, rahaM Thavei, rahAo pccoruhi| ___NahAe kayabalikamme kayakouyamaMgalapAyacchitte suddhappAvesAI maMgallAiM vatthAI pavaraparihite appamahagyAbharaNAlaMkiyasarIre jimiyabhuttuttarAgae vi ya NaM samANe puvAvaraNhakAlasamayaMsi gaMdhavvehi ya gADagehi ya uvanaccijjamANe uvanaccijjamANe, uvagAijjamANe uvagAijjamANe, uvalAlijjamANe uvalAlijjamANe iDhe sadda-pharisarasa-rUva-gaMdhe paMcavihe mANussae kAmabhoe paccaNubhavamANe vihri|| 212. citta sArathI vidAI lekara jitazatru rAjA ke pAsa se nikalA aura jahA~ bAhya upasthAnazAlA thI, cAra ghaMToM vAlA azva-ratha jahA~ khaDA kiyA thA, vahA~ aayaa| Akara usa cAturdhaTa azva-ratha para savAra huaa| phira zrAvastI nagarI ke bIcoMbIca se hotA huA rAjamArga para apane Thaharane ke lie nizcita kiye gaye AvAsa-sthAna para aayaa| vahA~ ghoDoM ko rokA, ratha ko khaDA kiyA aura nIce utraa| ___usake pazcAt (AvAsa para Thaharakara) snAna kiyA, balikarma kiyA aura kautuka maMgala (prAyazcitta) karake zuddha aura rAjasabhA ke yogya mAMgalika vastra pahane evaM alpa bhAra vAle bahumUlya AbhUSaNoM se zarIra ko alaMkRta kiyaa| bhojana Adi karake tIsare prahara a (madhyAnhottara meM) gaMdhoM, nartakoM aura nATyakAroM ke saMgIta, nRtya aura nATyAbhinayoM ko sunate-dekhate hue tathA iSTa-kamanIya zabda, sparza, rasa, rUpa evaM gaMdhamUlaka pA~ca prakAra ke manuSya-sambandhI kAmabhoga bhogate hue rahane lgaa| 212. Chitta Saarthi after seeking permission to go, passed near the king and came to the outer council-hall where he had stopped the four-belled horses-driven chariot. He got into the chariot and passing through Shravasti town, he reached the rest-house on the highway earmarked for his stay. There he stopped the horse, halted the chariot and got down. Thereafter, he took some rest and then took bath, and performed (Bali-karm) Kautik mangal (Prayashchit). He then put on the dress suited for royal assembly. He then decorated his body with lightweight costly ornaments. After taking lunch, in the afternoon, he e enjoyed music, dance and dramatic activities of the experts in e rAyapaseNiyasUtra (252) Rat-paseniya Sutra Goatea

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ROPROPOPxop respective field. He enjoyed the activities pleasing to the five senses namely sense of hearing, sense of touch, sense of taste, sense of smell and sense of sight. zrAvastI meM kezIkumAra zramaNa kA padArpaNa 213. teNaM kAleNaM teNaM samaeNaM pAsAvaccijjei kesI nAma kumaarsmnne| ___ jAtisaMpaNNe kulasaMpaNNe balasaMpaNNe rUvasaMpaNNe viNayasaMpaNNe nANasaMpaNNe daMsaNasaMpanne carittasaMpaNNe lajjAsaMpaNNe lAghavasaMpaNNe lajjA-lAghavasaMpaNNe oyaMsI teyaMsI vaccaMsI jasaMsI jiyakohe jiyamANe jiyamAe jiyalohe jiyaNidde jitiMdie jiyaparIsahe jIviyAsa-maraNabhayaviSpamukke tavappahANe guNappahANe karaNappahANe caraNappahANe niggahappahANe nicchayappahANe ajjavappahANe maddavappahANe lAghavappahANe khaMtippahANe guttippahANe muttippahANe vijjappahANe maMtappahANe baMbhappahANe veyappahANe nayappahANe niyamappahANe saccappahANe soyappahANe nANappahANe daMsaNappahANe carittappahANe orAle ghore ghoraguNe ghoratavassI ghorabaMbhaceravAsI ucchUDhasarIre saMkhittavipulateulesse cauddasapubI cunnaannovge| paMcahiM aNagArasaehiM saddhiM saMparibuDe puvANupuvviM caramANe gAmANugAmaM dUijjamANe suhaMsuheNaM viharamANe jeNeva sAvatthI nayarI, jeNeva koTTae ceie, teNeva uvAgacchai, sAvatthI nayarIe bahiyA koTThae ceie ahApaDirUvaM uggahaM uggiNhai, uggiNhittA saMjameNaM tavasA appANaM bhAvamANe vihri| 213. usa kAla aura usa samaya meM bhagavAna pArzvanAtha kI ziSya paramparA ke kezI 0 nAmaka kumAra zramaNa the (ve aise the) ___jAtisampanna-uttama mAtR-pakSa vAle, kulasampanna-uttama pitR-pakSa vAle, Atmabala se yukta, rUpavAna-anuttara vimAnavAsI devoM se bhI adhika rUpavAna (zarIra-saundarya vAle), vinayavAna, samyagjJAna, darzana, cAritra ke dhAraka, lajjAvAna-pApa kAryo ke prati bhIru, lAghavavAn-(dravya se alpa upadhi vAle aura bhAva se Rddhi, rasa aura sAtA rUpa tIna gauravoM se rahita), lajjAlAghava-sampanna, ojasvI-mAnasika bala se sampanna, tejasvI-zArIrika kAMti se dedIpyamAna, varcasvI-sArthaka aura prabhAvazAlI vacana bolane vAle, yazasvI, krodha ko jItane vAle, mAna ko jItane vAle, mAyA ko jItane vAle, lobha ko jItane vAle, jIvita rahane kI AkAMkSA evaM mRtyu ke bhaya se vimukta, tapaHpradhAna-utkRSTa tapa karane vAle, guNapradhAna-utkRSTa sayama guNa kezIkumAra zramaNa aura pradezI rAjA (253) Keshi Kumar Shraman and King Pradeshi KR2809004405805 10 tiha GDGODYGORYGORYKORVARVAORVAORTER X * * " " * "*" 09

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ke dhAraka, karaNapradhAna - piDavizuddhi Adi karaNasattarI me jAgarUka, caraNapradhAna - mahAvrata Adi caraNasattarI meM kuzala, nigrahapradhAna -mana aura indriyo ko anAcAra - pravRtti se rokane meM sadaiva sAvadhAna, tattva kA nizcaya karane me pradhAna, ArjavapradhAna - mAyA kA nigraha karane vAle samartha, mArdavapradhAna - abhimAnarahita, lAghavapradhAna-kriyA karane me kuzala - dakSa, kSamApradhAna - krodha kA nigraha karane meM kuzala, guptipradhAna - mana, vacana, kAya ke saMyamI, muktipradhAna - nirlobhatA meM zreSTha, vidyApradhAna - devatA - adhiSThita prajJapti Adi vidyAoM ke jJAtA, maMtrapradhAna - hariNegamaiSI Adi devo se adhiSThita athavA sAdhanA se prApta hone vAlI vidyAoM ke jJAtA, brahmacarya athavA samasta kuzala anuSThAno meM pradhAna, vedapradhAna - laukika aura lokottara AgamoM meM niSNAta, nayapradhAna - naya - nikSepa pradhAna vacana zailI ke marmajJa, niyamapradhAna-vicitra abhigrahoM ko dhAraNa karane meM kuzala, satyapradhAna, zaucapradhAna- dravya aura bhAva se mamatvarahita, jJAnapradhAna, darzanapradhAna, cAritrapradhAna, udAra, ghora parISahoM, indriyoM aura kaSAyoM Adi Antarika zatruoM kA nigraha karane meM kaThora, ghora vratI - apramattabhAva se mahAvratoM kA pAlana karane vAle, ghora tapasvI - mahAtapasvI, ghora brahmacaryavAsI - utkRSTa akhaNDa brahmacarya kA pAlana karane vAle, zarIra - saMskAra ke tyAgI, vipula tejolezyA ko apane zarIra me hI gupta rakhane vAle, caudaha pUrvoM ke jJAtA, cAra jJAna - mati, zruta, avadhi, manaHparyAyajJAna ke dhAraka the| kezIkumAra zramaNa pA~ca sau anagAroM ke sAtha-sAtha anukrama se calate hue, grAmAnugrAma vicaraNa karate hue, sukhe-sukhe vihAra karate hue jahA~ zrAvastI nagarI thI, jahA~ koSThaka caitya thA, vahA~ pdhaare| zrAvastI nagarI ke bAhara koSThaka caitya meM yathocita avagraha ko grahaNa kiyA arthAt sthAna kI yAcanA kI aura phira sthAna kI avagraha - maryAdA kara saMyama eva tapa se AtmA ko bhAvita karate hue vicarane lage / ARRIVAL OF KESHI KUMAR SHRAMAN IN SHRAVASTI 213. At that time during that period there was Keshi Kumar Shraman who belonged to the tradition of Bhagavan Parshvanath. He had these qualities Jati-sampanna-It means he belonged to high clan from maternal side, Kul-sampanna-It means he belonged to high caste from paternal side. He possessed great strength of soul, Roopvaan-He was more handsome them gods of Anuttar Viman, humble and possessed right faith, right knowledge and right conduct, Lajja-vaan-He was afraid of doing any sinful act, rAyapaseNiyasUtra Rai-paseniya Sutra (254) For Private Personal Use Only

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Laaghav-vaan-Physically he had minimum required material and from the point of thought-repletion, he was free from any pride for his possessions taste or comfort. He was also humble, Ojassvi-He had mental strength, Tejassvi-He had physical brightness, Varchassvi-He was expert in meaningful and effective talk. He commanded respect. He had conquered four passions namely anger, greed, ego and deceit. He was free from anxiety to live longer and fear of death, Tapah-pradhan-He was observer of austerities of highest order, Gun-pradhan-He possessed complete self-restraint, Karan-pradhan-He was discriminatory (cautions) in observing rules of taking food and seventy other rules, Charan-pradhan-He was expert in observing properly five great vows (Maha-vrat) and seventy supporting principles, Nigrah-pradhan-He was always cautions in restraining his mind and senses from evil activities. He was expert in determining truth, Aarjav-pradhan-He was competent in subduing deceitful thoughts, Maardav-pradhan-He was free from pride, Laaghav-pradhan-He was competent in performing his duties, Kshama-pradhan-He was trained in subduing anger, Gupti-pradhan-He had control over mind, speech and action, Mukti-pradhan-He was extremely free from greed, Vidya-pradhan-He knew many skills including gods-based Prajnapti (knowledge), Mantra-pradhan-He had knowledge of all subjects that is possible by certain austerities and that which is obtained by worship of god Harinegameshi, expert in observing celibacy and others, Ved-pradhan-He had knowledge of scriptural and non-scriptural Agam, Naya-pradhan-He was expert in the style of discussion namely Naya (particular aspect) and Nikshep (point of view based on particular principle), Niyam-pradhan-He was expert in observing various unique self-restraints, Satyapradhan-Shauch-pradhan-From physical as well as mental point of view, he was free from any attachment. He was well trained in faith, knowledge and conduct. He was broad minded. He was strict in facing turbulations (Parishah) of extreme type, in restraining sense-organs and the passions the inner enemies of selfpurification, Ghor-vrati-He was observing the great vows of the kezIkumAra zramaNa aura pradezI rAjA (255) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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a saint carefully, Ghor-tapasvi-He was great in observing austerities, penances, Ghor-brahmcharyavasi-He was observing complete celibacy of highest order. He had discarded all decorations of the body. He was keeping the energy derived by Tejoleshya (practice of attaining fiery energy) completely in his control within his body. He had studied all the fourteen Poorvas. He had four types of knowledge-physical, scriptural, transcendental and reading modes of the mind. Keshi Kumar Shraman and his five hundred disciples, while passing from one village to the other in a solemn quiet manner reached Koshthak temple in Shravasti town. He after seeking en permission of the area and then limiting the boundary of the area for use, stayed there observing self-restraints and austerities (for self-purification). ____ vivecana-kezIkumAra zramaNa kA paricaya-itihAsa lekhako kA mata hai ki samrAT pradezI pratibodhaka * kezIkumAra zramaNa bhagavAna pArzvanAtha kI paramparA ke caturtha paTTadhara the| prathama paTTadhara prathama gaNadhara AcArya zubhadatta the| unake uttarAdhikArI AcArya haridatta sUri hue, jinhoMne vedAntadarzana ke prasiddha AcArya 'lohiya' ko zAstrArtha me parAjita kara pratibodha diyA aura lohiya ko 500 ziSyoM ke sAtha dIkSita kiyaa| una navadIkSita zramaNo ne saurASTra, tailaga (AndhrA) prabhRti prAnto me vicaraNa kara jaina-zAsana kI prabala prabhAvanA kii| tRtIya paTTadhara AcArya samudra sUri the| unhI ke samaya 'videzI' nAmaka mahAn prabhAvazAlI AcArya ne ujjayinI nagarI ke adhipati mahArAja jayasena, mahArAnI anagasundarI aura rAjakumAra kezI ko pratibodha dekara dIkSita kiyaa| ___Agama sAhitya me kezI zramaNa kA rAjapraznIya aura uttarAdhyayana, ina do Agamo me ullekha huA hai| ina Agamo me ullikhita kezI eka hI vyakti hai yA pRthak-pRthak ? aneka vidvAno ne rAjA pradezI * ke pratibodhaka kezIkumAra zramaNa ko aura gaNadhara gautama ke sAtha savAda karane vAle kezIkamAra zramaNa ko eka hI mAnA hai, parantu hamArI dRSTi se dono pRthak-pRthak vyakti hone caahie| kyoki samrATa pradezI ko pratibodha dene vAle caturdazapUrvI aura cAra jJAna ke dhAraka the jabaki gaNadhara gautama ke sAtha carcA karane OM vAle kezIkumAra zramaNa tIna jJAna ke dhAraka the| yadyapi dono hI pArzva paramparA ke pratinidhi hai aura dono ke nAma bhI eka samAna haiN| lagatA hai kevala nAma-sAmya hone se manISiyo ko bhrama ho gayA hai aura unhone dono ko eka mAnA hai| kezIkumAra zramaNa ke guNo kA jo varNana yahA~ kiyA hai usase spaSTa hotA hai ki ve 6 atyanta prabhAvazAlI vyaktitva ke dhanI the| jinakA rUpa, saundarya, teja aura vacana-cAturI dekhakara pradezI rAjA jaisA dharmadveSI bhI AkarSita huA aura unake pAsa khicA calA aayaa| isa viSaya me vidvAno meM - bhinna-bhinna dhAraNAe~ hai| - rAyapaseNiyasUtra (256) Rai-paseniya Sutra

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sUtra pATha me 'karaNapahANe' eva 'caraNappahANe' pada me 'karaNa' aura 'caraNa' zabda karaNasattarI aura caraNasattarI ke bodhaka hai| ina donoM kA tAtparya hai-karaNa ke sattara bheda aura caraNa ke sattara bheda ke jJAtA aura pAlana karane vaale| prayojana hone para sAdhu jina niyamo kA sevana karate hai unhe 'karaNa' athavA 'karaNa-guNa' kahate hai ki aura jina niyamo kA nirantara AcaraNa kiyA jAtA hai, ve 'caraNa' athavA 'caraNa-guNa' kahalAte hai| ___ karaNa ke sattara bheda isa prakAra hai "piMDavisohI samii, bhAvaNa paDimA ya indiyniroho| paDilehaNa guttIo, abhiggahA ceva karaNaM tu||" -oghaniyukti, gA 3 __(1-4) AhAra, vastra, pAtra aura zayyA kI zuddha gaveSaNA, (5-9) pA~ca samiti, (10-21) anitya Adi bAraha bhAvanAe~, (22-33) bAraha pratimAe~, (34-38) pA~ca indriyo kA nigraha, (39-63) paccIsa prakAra kI pratilekhanA, (64-66) tIna gupti, eva (67-70) cAra prakAra ke abhigraha piDa, vastra, pAtra aura zayyA se sambandhita, ye karaNa-guNa ke sattara bheda hai| ise karaNasattarI , kahate hai| __ caraNa ke sattara bheda isa prakAra hai "vaya samaNadhamma saMjama, veyAvaccaM ca bmbhguttiio| NANAi tiyaM tavaM, kohaniggahAI crnnmeyN||" - oghaniyukti, gA. 2 __(1-5) pA~ca mahAvrata, (6-15) kSamA Adi dasa zramaNadharma, (16-32) satraha prakAra kA sayama, (33-42) AcArya Adi kA dasa prakAra kA vaiyAvRtya, (43-51) nau brahmacarya-guptiyA~, (52-54) jJAna, darzana, cAritra kI ArAdhanA, (55-66) bAraha prakAra kA tapa, (67-70) krodhAdi cAra kaSAyo kA nigrh| Elaboration Introduction of Keshi Kumar Shraman-According to historians, Keshi Kumar Shraman who gave scriptural knowledge king Pradeshi was the fourth Acharya in the order of Bhagavan Parshvanath. The first in the order was Acharya Shubh Datt, the first ganadhar. He was succeeded by Haridatt Suri who defeated famous Acharya Lohit, master of Vedant philosophy in scriptural dialogue and then brought him and his five hundred disciples to Parshvanath order. Those saints moved in Saurashtra, Andhra Pradesh (Tailang) and spread 2 Jain thought effectively. The third in the order was Acharya Samudra Suri. In his period, a greet influential preceptor Videshi' had given scriptural discourse to king Jaysen, queen Anang Sundari and prince Keshi and converted them into mendicants. In Agam literature Keshi Shraman is mentioned in two Agams namely Raj-prashneeya and Uttaradhyayan. Is Keshi mentioned in theme kezIkumAra zramaNa aura pradezI rAjA (257) Kesh Kumar Shraman and King Pradeshi *** " * * *

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apo the same person or two different persons ? Many scholars are of the * view that the same person Keshi is mentioned in the said two Agam, here but our view is that they should be two different persons. It is because Keshi who gave scriptural knowledge to king Pradeshi had the knowledge of fourteen Poorvas and he had four types of Jnan while Keshi who had scriptural dialogue with Gautam Swami had three types of Jnan. Both of them belonged to the tradition (order) of Parshvanath and 9 name of both of them is the same. It appears that the identical name of the two misled the scholars that they were the same person. The description of qualities of Keshi Kumar in this Sutra clearly indicates that he had extremely influential personality. After seeing his shining face (aura) his grandeur and his effective words even a person like king 9 Pradeshi who was totally irreligious felt attracted. The scholars have different views on this point. The words 'karan' in 'Karanappahaane' and "charan' in 'Charanappahaane' in the aphorism mean seventy modes of karan and on charan respectively. So these words in the aphorism stand for practitioners of seventy modes of activity (karan) and seventy modes of ascetic conduct (charan). The principles which an ascetic follows when it is so required is called 'karan' or 'karan gun' and the principles that an ascetic follows throughout his life are called 'charan' or 'charan gun'. Seventy modes of karan are as under (1-4) Seeking food, clothing, pot and plan to stay according to his discriminatory principles, (5-9) five types of carefulness namely in walking, speech, seeking, necessities, in accepting them, and in discarding the things not in accordance with their accepted principles, (10-21) twelve thought-reflections namely ephemeral nature of the world and others, (22-33) twelve speed restraints (pratijna-pratimas) of an * ascetic, (34-38) restraints of five senses, (39-63) twenty five types of close examination (pratilekhana), (64-66) the control of mind, speech and action, (67-70) special self-restraints about acceptance of food, clothing, pots and place of stay or hatching -Oagh Niryukti, Aphorism 3 Seventy modes of charan are as under (1-5) Five great vows of an ascetic, (6-15) ten religious modes of conduct of an ascetic, (16-32) seventeen types of ascetic principles (restraints), (33-42) ten types of service of the Acharya (Guru), (43-51) nine types of observation for keeping strict Brahmacharya, (52-54) going 0 rAyapaseNiyasUtra ( 258 ) Rai-paseniya Sutra *

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oPAROVATODATOL deeper and deeper in gaining knowledge, faith and ascetic conduct, (55-66) twelve types of austerities, (67-70) control of four passions namely anger and others. -Oagh Niryukti, Aphorism 2 janasamUha kA darzanArtha jAnA 214. (ka) tae NaM sAvatthIe nayarIe siMghADaga-tiya-caukka-caccara-caumuhamahApahapahesu mahayA jaNasadde i vA jANabUhe i vA jaNabole i vA jaNakalakale i vA jaNaummI i vA jaNaukkaliyA i vA jaNasanivAe i vA jAva (bahujaNo aNNamaNNaM evaM Aikkhai evaM bhAsei evaM paNNavei evaM parUvei) evaM khalu devANuppiyA ! pAsAvaccijje * kesI nAma kumArasamaNe jAisaMpanne jAva gAmANugAmaM dUijjamANe iha mAgae, iha saMpatte, iha samosaDhe, iheva sAvatthIe nayarIe bahiyA koTThae ceie ahApaDirUvaM uggahaM uggiNhittA saMjameNaM tavasA appANaM bhAvamANe vihri|| 214. (ka) usa samaya (kezIkumAra zramaNa kA padArpaNa hone ke pazcAt) zrAvastI nagarI * ke zRgATakoM, triko, catuSkoM, catvaroM, caturmukhoM, rAjamArgoM aura choTe mArgo (galiyoM) meM * loga Apasa meM carcA karane lage, logoM ke jhuNDa ikaTThe hone lage, logoM ke bolane kI ghoMghATa sunAI paDane lagI, jana-kolAhala hone lagA, bhIDa ke kAraNa rAste calate loga Apasa me TakarAne lage, eka ke bAda eka logoM ke Tole Ate dikhAI dene lage (idhara-udhara se Akara loga eka sthAna para ikaTThe hone lage, bahuta se loga paraspara eka-dUsare se kahane lage)"he devAnupriyo ! jAti Adi se sampanna-pApitya kezIkumAra zramaNa vihAra karate hue, vicarate hue Aja yahA~ Aye hai| nagara meM padhAra gaye haiM aura isI zrAvastI nagarI ke bAhara koSThaka caitya meM yathArUpa-(sAdhu-maryAdA ke anurUpa) avagraha-AjJA lekara saMyama evaM tapa se AtmA ko bhAvita karate hue vicara rahe haiN|" ARRIVAL OF PUBLIC FOR SEEING THE SAINT 214. (a) At that time (when Keshi Kumar Shraman had arrived), the people started collecting and discussing among themselves, at triangular paths, places where three, four or more roads joint, buildings having four gates, highways and streets. Their talk was creating an echo. There was a noise at their meeting at such places. Due to their gathering, the passers-by were striking against others. In People started coming from hither and. thither; and saying"O loveable of gods ! Keshi Kumar Shraman who belongs to the order of Parshvanath and who has a grand family of disciples on SHKirat 69ROJNOR kezIkumAra zramaNa aura pradezI rAjA (259) Keshi Kumar Shraman and King Pradesh

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nistt)| during the course of his wanderings has come here today. He has entered the town and is staying in Chaitya at the outskirts of Shravasti after seeking due permission following self-restraints of his conduct and the austerities." (kha) taM mahapphalaM khalu bho devANuppiyA ! tahArUvANaM samaNANaM bhagavaMtANaM NAmagoyassa vi savaNayAe, kimaMgapuNa abhigamaNa-vaMdaNa-NamaMsaNa-paDipucchaNa-pajjuvAsaNayAe ? egassa vi Ayariyassa dhammiyassa suvayaNassa savaNayAe, kimaMga ! viulassa aTThassa OM gahaNayAe ? taM gacchAmo NaM devANuppiyA ! samaNaM bhagavaM vaMdAmo NamaMsAmo sakkAremo sammANemo kallANaM maMgalaM devayaM ceiyaM viNaeNaM pajjuvAsAmo (eyaM NaM ihabhave peccabhave ya hiyAe suhAe khamAe nisseyasAe ANugAmiyattAe bhvissi)| ___tti kaTu parisA niggayA, kesI nAmaM kumArasamaNaM tikkhutto AyAhiNaM payAhiNaM kareti, vaMdai NamaMsai, vaMdittA NamaMsittA paccAsanne NAidUre sussUsamANe namasamANe 2) paMjaliyauDe abhimuhe viNaeNaM parisA pjjuvaasi| (kha) "he devAnapriyo ! jaba tathArUpa zramaNa bhagavantoM kA nAma-gotra sunane se hI mahAphala prApta hotA hai, taba unake samIpa jAne, unakI vaMdanA karane, unase prazna pUchane aura unakI paryupAsanA-sevA karane se prApta hone vAle anupama phala ke viSaya meM to kahanA hI kyA hai ? Arya dharma kA eka suvacana sunane se jaba mahAphala prApta hotA hai, taba vipula arthoM ko 9 grahaNa karane se prApta hone vAle phala ke viSaya meM to kahanA hI kyA hai? * isalie he devAnupriyo ! hama saba unake pAsa cale, unako vaMdana-namaskAra kareM, unakA satkAra kareM, bhaktipUrvaka sammAna kareM eva kalyANarUpa (kalyANakArI), maMgalarUpa (unakA darzana svayaM hI magala hai), devarUpa (ve deva svarUpa hai), caityarUpa (svayaM mUrtimaMta jJAna) haiN| unakI vinayapUrvaka paryupAsanA kreN|" (inakA vadana-namaskAra karanA hame isa bhava tathA parabhava meM hitakArI hai, sukhaprada hai, * kSema-kuzala evaM parama niHzreyas-kalyANa kA sAdhanarUpa hogaa| isI prakAra janma-janmAntara * meM bhI sukha dene kA nimitta bnegaa|) aisA vicAra kara pariSadA (jana-samudAya) nagara se nikalI aura kezIkumAra zramaNa ke pAsa pahu~cakara tIna bAra pradakSiNA kI, pradakSiNA karake vaMdana-namaskAra kiyaa| rAyapaseNiyasUtra (260) Rai-paseniya Sutra *

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vadana- namaskAra karake na to adhika dUra aura na adhika nikaTa kintu unake sammukha yathAyogya sthAna para baiThakara zuzrUSA aura namaskAra karate hue savinaya aMjali karake paryupAsanA - sevA karane lgii| (b) "O the blessed ! When simply hearing the names and status of Shramans results in great benefit, going to them, bowing to them, seeking spiritual clarifications from them and serving them shall certainly result in extreme advantage that cannot be estimated. A word from a true saint (Arya) is of great benefit, therefore, learning many facts from them shall be of immense advantage. So, O the blessed ! Let us all go to them (the Shramans), bow to them, respect them, honour them with full faith. Their sight is auspicious beneficial, godly and knowledge personifier. Let us serve them humbly." (Bowing to them and greeting them in respect is for our welfare in the present life and the life thereafter. It is pleasure-giving, it is for our welfare and shall be for our welfare in future. Similarly it shall be helping in our welfare for many many lives.) With suchlike thoughts, the people came out in large numbers, they greeted Keshi Kumar Shraman thrice, bowed to him moving their hands in a circle. Thereafter, they sat in front of him (neither very far nor very near) and started exhibiting their devotion. vivecana - kezIkumAra zramaNa ke zrAvastI me padhArane para apAra janasamUha kA unake darzanArtha umaDanA aura unakI paraspara carcA va hRdaya kI bhAvanA kA citraNa yaha prakaTa karatA hai ki unake prati zrAvastI nivAsiyo ke mana me kitanI apAra zraddhA, bhakti aura ucca koTi kI dhArmika AsthA thI / loga unakA nAma sunanA hI mahAn bhAgyodaya kA phala mAnate hai, unake darzana karanA aura unakI vANI sunanA to loka-paraloka ke kalyANa kI nizAnI mAnate hai / ina zabdo se patA calatA hai zrAvastI nirgrantha dharma kA vizeSa kendra rahA hai aura vahA~ ke nivAsI zramaNo ke prati atIva zraddhA-bhakti rakhate the / unakA Agamana sunate hI samudra kI laharo kI taraha umaDate the| isa varNana se yaha bhI patA calatA hai ki sabhI varNoM ke loga-kSatriya, senApati, zreSThI, sArthavAha, grAmINajana va sevA kArya karane vAle loga saba mila-julakara, saja-dhajakara zramaNo ke darzana karane, unakA pravacana sunane utsAhapUrvaka jAte the| Elaboration-On arrival of Keshi Kumar Shraman in Shravasti, the instantaneous arrival of big gathering for his darshan, the mutual talk of the people about him indicates that the residents of Shravasti had unlimited faith, devotion and spiritual regard for him. The people kezIkumAra zramaNa aura pradezI rAjA (261) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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SROOK.SM494.64.68.58666RIEF Jokes skese.ssssksksksksks.se.ske.ssss.k consider the listening of his very name as very much fortunate event. To ** have his darshan and to listen his discourse was considered an auspicious omen of their welfare in the present life-span and the life thereafter. This description shows that Shravasti was a prominent centre of Nirgranth faith and the residents of it had great faith and devotion for Shramans. At just the message of their arrival in the town, they used to came forward like waves of an ocean. This account further shows that the people of all the clans and all the trades namely Kshatriya, the army chief, the elite, the rich, the rural folk and the employees--all in a gathering and in elegant dress used to come humbly to Shramans to have their darshan and to listen to their spiritual discourse. citta sArathI kI jijJAsA 215. tae NaM tassa sArahissa taM mahAjaNasadaM ca jaNakalakalaM ca suNettA ya pAsettA ya imeyArUve ajjhathie jAva smupjjitthaa| kiM NaM aja sAvatthIe NayarIe' iMdamahe i vA,2 khaMdamahe i vA,3 ruddamahe i vA,4 mauMdamahe i vA,5 sivamahe i vA,6 vesamaNamahe i vA, nAgamahe i vA, jakkhamahe i vA,9 bhUyamahe i vA,10 thUmamahe i vA,11 ceDayamahe i vA,12 rukkhamahe i vA,13 girimahe ivA,14 darimahe i vA,15 agaDamahe i vA,16 naImahe i vA,17 saramahe i vA,18 sAgaramahe ivA, jaMNaM ime bahave uggA uggaputtA bhogA rAinA ikkhAgA NAyA koravyA jAva ibbhA ra inbhaputtA aNNe ya bahave rAyA-Isara-talavara-mAiMbiya-koDubiya-inbha-seTThiseNAvai-satthavAhappabhitiyo vhAyA kayabalikammA kayakouyamaMgalapAyacchittA sirasAkaMThe mAlakaDA AviddhamaNisuvaNNA kappiyahAra-advahAra-tisarapAlaMbapalaMbamANakaDisuttayakayasohAharaNA caMdaNolittagAyasarIrA purisavaggurAparikhittA mahayA ukkiTThasIhaNAya-bola-kalakalaraveNaM egadisAe jahA uvavAie jAva appegatiyA hayagayA gayagayA jAva (rahagayA sibiyAgayA saMdamANiyA appegatiyA) pAyacAravihareNaM 6 mahayA mahayA vaMdAvaMdarahiM niggcchNti| ___ evaM saMpehai, saMpehittA kaMcuijjapurisaM saddAvei, saddAvittA evaM vayAsI kiM NaM devANuppiyA ! ajja sAvatthIe nagarIe iMdamahe i vA jAva sAgaramahe i vA jeNaM * ime bahave uggA bhogA. NiggacchaMti ? k ke ke kitnisakska sleoiesslessis.ske.siseksirial rAyapaseNiyasUtra (262) Rar-paseniya Sutra COMGOOGPOHGParshan *

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7 215. taba logoM kI bAtacIta, janakolAhala sunakara tathA janasamUha ko umar3atA dekhakara citta sArathI ko isa prakAra kA sakalpa-vicAra utpanna huA____ 'ki, kyA Aja zrAvastI nagarI meM indramaha athavA skandamaha kA utsava hai ? yA rudramaha, mukundamaha, zivamaha, vaizramaNamaha, nAgamaha, yakSamaha, bhUtamaha, stUpamaha, caityamaha, vRkSamaha, girimaha, dari (guphA) maha, kUpamaha, nadImaha, sara (tAlAba) maha athavA sAgaramaha hai ? ki jisase ye bahuta se ugravaMzIya, ugravaMzIyakumAra, bhogavaMzIya, rAjanyavazIya, ikSvAkuvaMzIya, jJAtavaMzIya, kauravavaMzIya yAvat ibbha, ibbhaputra tathA dUsare bhI aneka rAjA (mAMDalika rAjA), Izvara (yuvarAja), talavara (jAgIradAra), mAMDabika, kauTumbika, ibhya, zreSThI (mahAdhanI-hAthI pramANa dhana se sampanna seTha), senApati, sArthavAha Adi sabhI snAnakara, balikarmakara, kautuka-maMgala-prAyazcittakara, mastaka aura gale meM mAlAe~ dhAraNakara, maNijaTita svarNa ke AbhUSaNoM se zarIra ko vibhUSita kara, gale me hAra (aThAraha lar3a kA OM hAra), ardhahAra, tilar3I, jhUmakA aura kamara meM laTakate hue kaTisUtra (karadhanI) pahanakara, OM zarIra para caMdana kA lepakara, AnaMdAtireka se siMhanAda aura kalakala dhvani se zrAvastI nagarI ko guMjAte hue eka sAtha eka hI dizA meM mukha karake jA rahe haiN| (aupapAtikasUtra ke anusAra yahA~ saba jAnanA caahie|) unameM se kitane hI ghoDoM para savAra hokara, kaI hAthI para savAra hokara, koI rathoM me baiThakara yA pAlakhI me baiThakara, syaMdamAnikA (lambI pAlakhI) 0 meM baiThakara aura kitane hI apane-apane samudAya banAkara paidala hI jA rahe haiN|' * yaha dekhakara vicAra karake citta sArathI ne kacukI puruSa (dvArapAla) ko bulAkara pUchA____ "devAnupriya ! Aja kyA zrAvastI nagarI meM indra-mahotsava hai yAvat sAgara-yAtrA hai ki jisase ye bahuta se ugravaMzIya, bhogavazIya Adi sabhI loga apane-apane gharoM se nikalakara eka hI dizA meM jA rahe haiM ?" QUESTION REVISED BY CHITTA SAARTHI 215. After hearing the talk of the town, and noise of the gathering and seeing the public going in a great procession, Chitta Saarthi thought as under 'Is there a festival in honour of Indra or a festival in honour of Kartik (eldest son of Siva) today in Shravasti ? Is there a festival in a honour of Rudra (Siva), a festival of Mukund, of Shankara, of Ke Vaishraman (god of wealth), of Naag, of Yaksh, of Bhoot-the demon-god, of a memorial post, a ceremony concerning a Chaitya, a festival of trees, festival of a mountain, of a cave, of a well, of a * kezIkumAra zramaNa aura pradezI rAjA (263) Keshu Kumar Shraman and King Pradesha OVOVAOVAONON Nok

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stream, of a tank or festival of a sea? There must be some such event because many kings belonging to various clans namely Ugra, Bhog, Rajanya, Ikshvaku, Jnat, Kaurav upto Ibha and their princes, many other kings, princes, noblemen, maandavik, heads of the families, the rich, the army chiefs, the traders and suchlike after taking bath, bearing auspicious symbols, wearing necklace, garlands and gemmed gold ornaments, wearing garland of eighteen strings, the semi-garland, necklace of three strings, ear-rings and strings at the mousle and having applied sandal paste on their body are going together in one direction. They are making great rejoicing, are in a happy mood echoing Shravasti town with their ecstatic movement. (The entire description may be considered to be as in Aupapatik Sutra.) Many of them are riding horses, elephants, chariots, palanquins, long palanquin and many are on foot in groups.' After seeing this and brooding on it, Chitta Saarthi called the gate-keeper and asked "O the blessed! Is there a festivity of Indra upto of sea voyage in Shravasti today that many people of Ugra clan, Bhog clan and others are coming out from their houses and going in one direction ?" vivecana - janatA kA AvAgamana, kolAhala aura eka hI dizA me hajAro logo kA jAnA dekhakara citta sArathI jina utsavo kI kalpanA karatA hai, ve utsava usa yuga kI loka saskRti kI jhalaka prastuta karate hai| logo ke ceharo para camakatA ullAsa, utsukatA aura sundara gahane, kapaDe pahanakara taraha-taraha ke vAhano me baiThakara nagara ke bAhara jAne kI utAvala dekhakara citta socatA hai- 'Aja kauna-sA utsava hai ?" sUtra me 18 prakAra ke utsavo ke nAma ginAye hai| isake atirikta bhI aneka loka - utsava hote hoge / utsava ke dina logo me kitanA utsAha aura ullAsa hotA thA aura ve apanA tathA parivAra kA sAmUhika manorajana karane ke lie kitanA samaya nikAla lete the| yaha Aja ke bhAga-dauDa ke yuga meM eka Azcaryajanaka kintu anukaraNIya jaisI bAta lagatI hai| nizIthasUtra me varNana hai, ye mahAmaha (utsava) mukhya rUpa me ASADha, Asoja, kArtika aura caitra mAsa kI pUrNimA ke dina manAye jAte the| kucha loka- utsava anya tithiyo me bhI manAye jAte the / ina utsavoM me loga Apasa me milakara manapasanda khAte-pIte, nAcate-gAte, Amoda-pramoda manAte, apane mitroM, svajano va sambandhiyo ko ina utsavoM para bulAte the aura dUra-dUra ke loga ina utsavo me sammilita hote the| rAyaseNiyasUtra (264) For Private Personal Use Only Rai-paseniya Sutra

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utsavoM kI sUcI me mukhya utsava isa prakAra hai indramaha - indramaha sabhI utsavo me mukhya mAnA jAtA thaa| isa dina indra kI pUjA kI jAtI thI / indradhvajA kI sthApanA kI jAtI thI / skandamaha - indra ke bAda dUsare sthAna para skandamaha thA / vaidika purANo ke anusAra 'skanda' yA 'kArtikeya' mahAdeva jI kA putra hai aura devatAo ne tAraka asura ke sAtha yuddha me kArtikeya ko apanA senApati niyukta kiyA thA / kArtikeya kA vAhana mayUra hai, yaha utsava Asoja kI pUnama ko manAyA jAtA thA / rudramaha - rudra gyAraha the| ye indra ke sAthI, ziva aura usake putro ke anucara tathA matra ke rakSaka the| mukundamaha - mahAbhArata ke anusAra lAMgUla - haladhara, baladeva kA nAma hai - mukunda / isI prakAra ziva, kubera, nAga, yakSa, bhUta Adi kI pUjA ke amuka-amuka utsava hote the / vRkSa, giri, dhUpa, nadI Adi ke utsava para vRkSa Adi kI pUjA kI jAtI thI / vRkSa, kUpa, sarovara Adi prAkRtika deva hai, jo mAnava sRSTi dhana-dhAnya kI samRddhi aura paryAvaraNa kI zuddhi ke lie bahuta hI mahattvapUrNa hai| ina prAkRtika sAdhano kI rakSA, vRddhi aura dekhabhAla karane se rASTra kI samRddhi aura mAnava jAti ke lie anna, jala, zuddha vAyu kI upalabdhi banI rahatI hai| isa varNana se tathA niryukti bhASya Adi ke varNana se patA calatA hai ki ina utsavo me choTe-baDe, dhanI - nirdhana, rAjA aura prajA sabhI loga binA bhedabhAva ke, apanI-apanI jAti, varNa, birAdarI ke sAtha sammilita hokara sAmUhika Ananda manAte the / isa prakAra kI sArvajanika bhIDa ko dekhakara hI citta sArathI socatA hai- 'Aja kauna-sA utsava hai, jo itanI bhIDa eka sAtha nagara ke bAhara eka hI dizA me jA rahI hai ?' Elaboration-After seeing the arrival of the people, their noise and their movement in thousands in one direction, the festivals which Chitta Saarthi imagine presents a glimpse of cultural festivals of that period. Chitta finds glamour and eagerness on faces of the people. He finds them dressed in beautiful clothes and wearing ornaments He finds them sitting in vehicles of different types and eager to move out. So he thinks'What festivity possibly could be on that day.' In the aphorism eighteen types of festivities have been mentioned. In addition, there must have been many other common festivals. On the day of festivity, how much was the eagerness and happiness in the people and how much time they were able to spare for collective entertainment of themselves along with members of their families is a matter of surprise in the present age of busy routine. But it appears worthy to be adopted. It is mentioned in Nisheeth Sutra that the festivals were primarily celebrated in the months of Ashadh, Aasoj, Kartik and Chaitra on full kezIkumAra zramaNa aura pradezI rAjA ( 265 ) Keshi Kumar Shraman and King Pradeshi

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moon day. Some common festivals were celebrated on days other than full-moon day also. On these days of festivity, the people used to eat gether, dance together, sing together and enjoy together. People used to invite their friends, family members and relatives on these occasions. People from far and near participated in these festivities. In the list of festivals, the main festivals are as under Indramah-The festivity in honour of Indra. This festival was considered the top most among all the festivities. On this day god Indra was worshipped. Indra flag was also installed. The next festival in the list is Skandmah. According to Vedic Puranas Skand' or 'Kartikeya' is the son of Mahadev (Siva). The gods during their fight against Tarak the demon, had appointed him as their chief. Kartikeya rides a peacock. This festival is celebrated on full-moon day of * * Aasoj. * * * Rudramah--There are eleven rudras. They are companions of Indra, servants of Siva and his sons. Further they serve as body-guard of the Mantra Mukundmah-According to Mahabharat name of Langool-Haldhar, Baldev is Mukund. Similarly festivities were held in honour of Siva, Kuber, Naag, Yaksh, Bhoot and others. Trees were worshipped in festivities held in honour of trees, mountains, sunshine, streams etc. Tree, well, tank and suchlike are gods of nature. They are very important for abundance in wealth and agriculture production and for purification of environment. By protecting, increasing and properly taking care of them the country becomes prosperous and food-stuff, water and clean air is received for mankind. From this account and detailed description in Niryukti Bhashya, it is evident that big and small, rich and poor, king and servants all the people without any distinction of caste, creed or colour participated in such festivities and enjoyed them collectively. Thus after seeing public gathering and the rush in the town, Chitta Saarthi thinks--What festivity is there that such a big rush of people is going out of the town in one direction ? 216. tae NaM se kaMcuIpurise kesissa kumArasamaNassa AgamaNa-gahiyaviNicchae cittaM sArahiM karayalapariggahiyaM jAva vaddhAvettA evaM vayAsI * The * rAyapaseNiyasUtra ( 266 ) Rar-paseniya Sutra 5*

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No khalu devANuppiyA ! ajja sAvatthIe NayarIe iMdamahe i vA jAva sAgaramahe i vA je NaM ime bahave jAva viMdAviMdaehiM niggacchaMti, evaM khalu bho devANuppiyA ! pAsAvaccijje kesI nAmaM kumArasamaNe jAisaMpanne jAva dUijjamANe ihamAgae jAva vihri| teNaM ajja sAvatthIe nayarIe bahave uggA jAva inbhA inbhaputtA appegatiyA vaMdaNavattiyAe jAva mahayA vaMdAvaMdaehi nniggcchNti| 216. taba usa kacukI puruSa ne, jise kezIkumAra zramaNa ke padArpaNa hone ke nizcita samAcAra jJAta the, donoM hAtha joDa jaya-vijaya zabdoM se vadhAkara citta sArathI se nivedana kiyA "devAnupriya ! Aja zrAvastI nagarI me indra-mahotsava yAvat samudra-yAtrA Adi kucha nahI hai ki jisase ye bahuta se ugravaMzIya Adi loga apane-apane samudAya banAkara nikala rahe hai| parantu he devAnupriya ! bAta yaha hai ki Aja jJAna Adi se sampanna bhagavAna pArzvanAtha ke ziSya kezIkumAra zramaNa eka grAma se dUsare grAma vihAra karate hue yahA~ padhAre haiN| ve koSThaka caitya meM virAjamAna haiN| ___ isI kAraNa Aja zrAvastI nagarI ke ye aneka ugravaMzIya yAvat ibbha, ibbhaputra Adi unakI vadanA karane ke vicAra se baDe-baDe samudAyoM meM apane gharoM se nikala rahe haiN|" 216. Then that attendant who had definite information about the no arrival of Keshi Kumar Shraman, folded his hands and honouring him told Chitta Saarthi "O the loveable of gods ! There is no such festivity as the one in honour of Indra or upto Sea-voyage in celebration whereof many people of Ugra clan and others are coming out collectively. But respected Sir ! The fact is that Keshi Kumar Shramanma disciple of Bhagavan Parshvanath, who possesses transmigratory * knowledge has arrived here after wandering from one village to a another. He is staying in Koshthak garden. So the people in large groups are coming out of their houses. They are belonging to many clans namely Vjra upto Ibh, Ibhputra in Shravasti. They are coming out in order to bow to him." citta sArathI kA darzanArtha gamana 217. tae NaM se citte sArahI kaMcuipurisassa aMtie eyama socA nisamma haTTatuTTha jAva hiyae koDubiyapurise saddAvei, saddAvittA evaM vayAsI-khippAmeva bho devANuppiyA ! cAugghaMTe AsarahaM juttAmeva uvaTThaveha jAva sacchattaM uvttttveti| ashlessie.sikse.sistake.ke.alie.ske.ke.ke.siksewiseskoselie.ke.siseaks.ke.sikeseksis.ske.sistake.ske.sie.sis.sie.akos. sis.sikse.airical 2 kezIkumAra zramaNa aura pradezI rAjA (267) Kesh Kumar Shraman and King Pradesht

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217. kaMcukI puruSa se yaha bAta suna-samajhakara citta sArathI ne hRSTa-tuSTa yAvat harSavibhora hRdaya hote hue kauTumbika puruSo ko bulaayaa| bulAkara unase kahAOM "he devAnupriyo ! zIghra hI cAra ghaTo vAle azva-ratha ko jotakara upasthita kro|" kauTumbika puruSa zIghra hI chatra sahita azva-ratha ko jotakara le aaye| DEPARTURE OF CHITTA SAARTHI FOR DARSHAN 217. After listening the words of the attendant and understanding them properly, Chitta felt satisfied and very happy. He, then, with great happiness called the heads of the family and asked them--"O the blessed ! You quickly prepare the four belled horse-driven chariot and bring it here." The heads of the family complied the orders and brought the horse-driven cart along with the umbrella. 218. tae NaM se citte sArahI bahAe kayabalikamme kayakouya-maMgalapAyacchitte suddhappAvesAI maMgallAiM vatthAI pavaraparihite appamahagghAbharaNAlaMkiyasarIre jeNeva cAugdhaMTe * Asarahe teNeva uvaagcchi| uvAgacchittA cAugghaMTaM AsarahaM durUhai sakoriMTamalladAmeNaM chatteNaM dharijjamANeNaM mahayA bhaDacaDagareNa viMdaparikkhitte sAvatthI nagarIe majhamajheNaM niggcchi| niggacchittA jeNeva koTThae ceie jeNeva kesikumArasamaNe teNeva uvaagcchi| uvAgacchittA kesikumArasamaNassa adUrasAmaMte turae NigiNhai rahaM Thavei ya, ThavittA pccoruhti| pacoruhittA jeNeva kesikumArasamaNe teNeva uvAgacchai, uvAgacchittA kesikumArasamaNaM tikkhutto AyAhiNaM-payAhiNaM karei, karittA vaMdai namasai, namaMsittA NaccAsaNNe NAti dUre sussUsamANe NamaMsamANe abhimuhe paMjaliuDe viNaeNaM pnyjuvaasi| kI 218. taba taka citta sArathI ne snAna kiyA, balikarma kiyA, kautuka maMgala prAyazcitta kiyA aura zuddha evaM bAhara jAne yogya mAMgalika vastra pahane, alpa bhAra vAle bahumUlya AbhUSaNoM se zarIra ko alaMkRta kiyA aura usake bAda vaha cAra ghaNToM vAle azva-ratha ke pAsa aayaa| ratha ke pAsa Akara usa cAturghaTa azva-ratha para ArUDha huA evaM zveta-koraTa puSpoM kI mAlAoM se suzobhita chatra dhAraNa karake subhaToM ke vizAla samudAya ke sAtha zrAvastI nagarI ke bIcoMbIca hokara niklaa| nikalakara jahA~ koSThaka caitya thA, usameM jahA~ kezIkumAra zramaNa virAja rahe the, vahA~ aayaa| Akara kezIkumAra zramaNa se kucha dUra ghor3oM ko rokA, rAyapaseNiyasUtra (268) Ral-paseniya Sutra

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ratha khaDA kiyaa| ratha khaDA kara usase nIce utraa| utarakara jahA~ kezIkumAra zramaNa the, ke pAsa aayaa| Akara kezIkumAra zramaNa kI tIna bAra pradakSiNA kii| pradakSiNA karake vadana-namaskAra kiyaa| vaMdana-namaskAra karake dharmopadeza sunane kI icchA se na adhika dUra na hI adhika najadIka, samucita sthAna para unake sammukha baiThakara namaskAra karatA huA vinayapUrvaka ajali karake paryupAsanA karane lgaa| ___218. In the mean time Chitta Saarthi took a bath, decorated himself with auspicious symbols and put on the worthy dress meant for going out and costly light weight ornaments. He then he came near the four belled horse-driven chariot. Thereafter he got into the chariot. He had the umbrella decorated with garlands of pure-white Korant flowers. He was in the large company of soldiers. He passed through Shravasti town and to the place in Koshthak garden where Keshi Kumar Shraman was seated. He stopped the horses at a distance halted the chariot and then got down the chariot. He then came to Keshi Kumar Shraman, bowed to him moving his hands thrice in a circle. Thereafter in order to carefully listen his spiritual discourse he sat in front of him neither very far nor very close to him, bowing to him with folded hands and showing his regards for him. kezIkumAra zramaNa kI dezanA __ 219. tae NaM se kesikumArasamaNe cittassa sArahissa tIse mahatimahAliyAe mahacaparisAe cAujjAmaM dharma prikhei| taM jahA-savvAo pANAivAyAo veramaNaM, savvAo musAvAyAo veramaNaM, sabAo adiNNAdANAo veramaNaM, savvAo bahiddhAdANAo vermnnN| ____tae NaM sA mahatimahAliyA mahaccaparisA kesissa kumArasamaNassa aMtie dhamma soccA-nisamma jAmeva disiM pAunbhUyA tAmeva disiM pddigyaa| 219. kezIkumAra zramaNa ne citta sArathI aura usa ativizAla pariSada ko upasthita dekhakara cAra yAma dharma kA upadeza diyaa| una cAturyAmoM ke nAma isa prakAra haiM (1) samasta prANAtipAta (hiMsA) se viramaNa (nivRtta honA), (2) samasta mRSAvAda a (asatya) se virata honA, (3) samasta adattAdAna se virata honA, (4) samasta bahiddhAdAna (bahiddhA-strI, AdAna-dhana parigraha arthAt strI aura sampatti kA saMgraha) se virata honaa| kezIkumAra zramaNa aura pradezI rAjA (269) Keshu Kumar Shran.an and King Pradeshak

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" " * isake bAda vaha ativizAla pariSad-janasamUha kezIkumAra zramaNa se dharmadezanA sunakara evaM hRdaya meM dhAraNa kara-manana kara apane-apane gharoM ko vApasa lauTa gyaa| SCRIPTURAL DISCOURSE OF KESHI KUMAR SHRAMAN 219. Finding Chitta Saarthi and a huge gathering, present there, Keshi Kumar Shraman explained to them the philosophy underlying four-folded Dharma. The four folds or four vows are as under___ (1) To avoid all types of violence, (2) To avoid all types of falsehood, (3) To avoid all types of stealing tendency, (4) To avoid accumulation of all types of wealth including women. The gigantic gathering carefully heard the spiritual discourse, studied it mentally and then dispersed. vivecana-prathama tIrthaMkara aura antima tIrthaMkara ke samaya meM paca mahAvrata dharma kA upadeza kiyA jAtA hai, bAkI madhya ke bAvIsa tIrthaMkaro ke zAsana meM cAra mahAvrata rUpa cAturyAma dharma kA pravartana hotA hai| isa yuga meM strI aura dhana-sampatti ko eka hI mAnakara caturtha mahAvrata me hI pA~cave aparigraha mahAvrata kA samAveza mAna liyA jAtA hai| isa prakAra kevala vyAkhyA me antara hai, niyamo me koI antara nahI hai| cAturyAma dharma me bhI akhaNDa brahmacarya aura samasta parigraha-tyAga kI sAdhanA kI jAtI hai| (vizeSa varNana ke lie dekhe uttarAdhyayanasUtra, 23vaoN adhyayana) Elaboration-During the period of first and last Tirthankar the five-fold Dharma is propagated while during the period of twenty two Tirthankars of the intervening period, four-fold Dharma is propagated. In this period wealth and women are considered one and so the fifth vow merges in the fourth one. Thus the difference is only in elaboration. There is no difference in principles or restraints. In four-fold Dharma also strict Brahmacharya (celibacy) and complete non-attachment to material wealth is observed. (For detailed description see Uttaradhyayan Sutra, Ch. 23) __ 220. tae NaM se citte sArahI kesissa kumArasamaNassa aMtie dharma soccA nisamma haTTa jAva hiyae uTThAe uDei, uThettA kesi kumArasamaNaM tikkhutto AyAhiNaM-payAhiNaM karei, vaMdai namasai, namaMsittA evaM vayAsI sahahAmi NaM bhaMte ! niggaMthaM paavynnN| pattiyAmi NaM bhaMte ! niggaMthaM paavynnN| roemi NaM bhaMte ! niggaMthaM paavynnN| (270) rAyapaseNiyasUtra PAYTOPHARMONYMORYTORY Rai-paseniya Sutra * * * * * *

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abbhuTemi NaM bhaMte ! niggaMthaM paavynnN| evameyaM nigaMthaM paavynnN| tahameyaM bhaMte ! niggaMthaM paavynnN| avitahameyaM bhaMte ! niggaMthaM paavynnN| asaMdiddhameyaM., niggaMthaM pAvayaNaM, icchiyapaDicchiyameyaM bhaMte ! jaM NaM tubbhe vdh| tti kaTu vaMdai namasai, namaMsittA evaM vayAsI jahA NaM devANuppiyANaM aMtie bahave uggA jAva ibbhA inbhaputtA ciccA hiraNNaM, ciccA suvaNNaM evaM dhaNaM- dhanaM-balaM-vAhaNaM-kosaM koTThAgAraM puraM aMteuraM, ciccA viulaM dhaNa-kaNaga-rayaNa-maNi-mottiya-saMkha-silappavAla saMtasArasAvaejjaM vicchaDDittA vigovaittA, dANaM dAiyANaM paribhAittA muMDe bhavittA agArAo aNagAriyaM pacayaMti, No khalu ahaM tA saMcAemi ciccA hiraNNaM taM ceva jAva pvvitte| ___ ahaM NaM devANuppiyANaM aMtie paMcANuvvaiyaM sattasikkhAvaiyaM duvAlasavihaM gihidhamma pddivjjitte| ___ ahAsuhaM devANuppiyA ! mA paDibaMdha krehi| 220. isake pazcAt citta sArathI kezIkumAra zramaNa se dharmazravaNa kara evaM use hRdaya meM dhAraNa kara hRSTa-tuSTa hotA huA apane Asana se utthaa| uThakara kezIkumAra zramaNa kI tIna bAra AdakSiNa-pradakSiNA kI, vandana-namaskAra kiyaa| vandana-namaskAra karake isa prakAra bolA "bhagavan ! mujhe nirgrantha pravacana meM zraddhA hai| bhagavan ! maiM isa nirgrantha pravacana para pratIti (vizvAsa) karatA huuN| bhagavan ! mujhe nirgrantha pravacana rucikara lagatA hai| bhagavan ! maiM nirgrantha pravacana ko aMgIkAra karanA cAhatA huuN| bhagavan ! yaha nirgrantha pravacana aisA hI hai| bhagavan ! ApakA yaha kathana tathya-yathArtha hai| bhagavan ! yaha avitatha-satya hai| asaMdigdha hai-zaMkA-saMdeha se rahita hai| maiMne isakI icchA kI hai| mujhe icchita, pratIcchita hai arthAt maiM isakI punaH-punaH icchA karatA huuN| bhagavan ! yaha vaisA hI hai jaisA Apa nirUpaNa-kathana karate haiN|" * * kezIkumAra zramaNa aura pradezI rAjA (271) Keshi Kumar Shraman and King Pradeshi

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aisA kahakara vandana-namaskAra kiyA aura namaskAra karake punaH bolA "devAnapriya ! jisa taraha se Apake pAsa aneka ugravazIya, bhogavaMzIya yAvat ibhya evaM ibhyaputra Adi hiraNya-caoNdI kA tyAgakara, svarNa ko choDakara tathA dhana, dhAnya, bala, vAhana, kosa, koThAra, pura-nagara, antaHpura kA tyAga kara aura vipula dhana, kanaka, ratna, maNi, * motI, zaMkha, zilApravAla (mUMgA) Adi sArabhUta dravyo kA mamatva chor3akara, una sabako dIna-daridroM meM vitarita kara, putrAdi meM ba~TavArA kara, muNDita hokara (keza luMcanakara, kaSAyoM ko choDakara), gRhastha jIvana kA parityAga kara anagAradharma meM pravrajita hue haiM, usa prakAra saba kucha tyAgakara prAjata hone meM to maiM samartha nahIM huuN| ___ maiM Apa devAnupriya ke pAsa pA~ca aNuvrata, sAta zikSAvrata mUlaka bAraha prakAra kA gRhIdharma (zrAvakadharma) agIkAra karanA cAhatA huuN|'' ___ citta sArathI kI bhAvanA ko jAnakara kezIkumAra zramaNa ne kahA-"devAnupriya ! jisase tumheM sukha ho, vaisA hI karo, kintu dharmakArya meM vilamba mata kro|' 220. Thereafter Chitta Saarthi heard the religious discourse from Keshi Kumar Shraman, meditated upon it from the very core of his heart and felt happy. He then got up from his seat, moved around three times and bowed to Keshi Kumar Shraman. Thereafter he said "Bhagavan ! I have faith in the word of Nirgranth. Reverend Sir ! I believe that the word of Nirgranth are true. Reverend Sir ! I like the word of Nirgranth. ___Reverend Sir ! I accept Nirgranth Pravachan. Reverend Sir ! This Nirgranth Pravachan is as you have stated. Reverend Sir ! Your lecture is based on facts. It is true (Avitath). It is free from any doubt (Asandigdh). I have liked it. I like to hear it again and again. It is in fact as you have mentioned." Thereafter he again bowed and said, The Man "O loveable of gods! Many kings, princes and others belonging to your Ugra clan, Bhog clan and others upto wealthy persons discarded their silver and gold treasure, the agriculture wealth, the vehicles, the store houses, their property, their family, their residential place. They detached themselves from the wealth, gems, jewels, pearls, rAyapaseNiyasUtra Rar-paseniya Sutra (272) OVKONVAONVAORVAORVARVADIVAONTAONOMAamrammer *

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to The conch and other costly things belonging to them. They distributed their material wealth among the poor and needy; they gave due share to their sons and others. Thereafter they got their head cleanly shaved, discarded the householder's life and adopted monkhood. I, however, am not capable of discarding household affairs to such an extent. I want to accept five partial vows and seven supplementary vows of a householder at your feet." After understanding the mental attitude of Chitta Saarthi Keshi Kumar Shraman said-"O the blessed ! You do whatever brings peace to you and is liked by you. But you should not delay the putting into practice the religious resolve. vivecana-isa varNana se spaSTa hotA hai ki citta sArathI dhArmika AsthA vAlA sasAra-bhIru thaa| vaha pradezI rAjA ke adharmAcaraNa aura hisA Adi kAryo se mana me khedakhinna rahatA thaa| lekina apanI mAnasika, pArivArika aura prajAjano kI sthiti ko dekhakara tathA rAjya kI jimmedArI ko sa~bhAlate hue use yaha sambhava pratIta nahI huA ki saba kucha tyAgakara anagAra-pravrajyA agIkAra kara leN| isIlie usane nirgrantha pravacana ke prati atIva bhAvapUrNa zabdo me apanI Antarika zraddhA abhivyakta kI hai| ___citta sArathI kI bhAvanA ko jAnakara kezIkumAra zramaNa ne taTasthabhAva ke sAtha kahA-"ahAsuhaM devANuppiyA !" aura phira yaha jAnakara ki isa bhavya AtmA me sasAra-sAgara se pAra hone kI abhilASA hai, pAtratA bhI hai, ise patha-pradarzana eva tadanukUla nimitto kA bodha karAne kI AvazyakatA hai| binA patha-pradarzana ke jijJAsu AtmA bhI bhaTaka sakatI hai taba eka saMketa bhI unhoMne kara diyA ki 'mA paDibaMdha krehi|' upadezaka kA karttavya bhavya hRdaya me jijJAsA jagAnA hotA hai, use mArgadarzana karanA mAtra hotA hai, Age kA rAstA svayaM use hI cunanA paDatA hai| Elaboration-It is evident from this description that Chitta Saarthi had religious faith and was afraid of mundane life (activities that increase number of births in the mundane world). He was feeling disgusted at the irreligious activities and the actions involving violence committed by king Pradeshi But keeping in view his mental state and his family state and his family and social responsibility and also his duties towards royal administration, he was not finding it possible that he should discard every thing and adopt monkhood. So he expressed his mental state and his faith in the word of the detached (Nirgranth Pravachan) completely stating his heart-felt attitude. * t K kezIkumAra zramaNa aura pradezI rAjA (273) Kesh Kumar Shraman and King Pradeshi

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After knowing the inclination of Chitta Saarthi Keshi Kumar Shraman in an impartial attitude, said-"Do as you wish to and what gives you inner pleasure" Thereafter knowing that he (Chitta) has a desire to cross the worldly ocean, he has the capability of doing so and that he has need of guidance and knowledge of implied situations and that without proper knowledge of the true path there is likelihood of going astray, he pointed out casually - "Ma Padibandham Kareyee" (which means you should not delay in translating such thoughts into action). It is the duty of the guide to create a fervent desire in the heart of beings fit for liberation (Bhavya) and to show them the path of liberation. Further selection of the path has to be done by the person concerned himself. 221. tae NaM se citte sArahI kesikumArasamaNassa aMtie paMcANubvaiyaM jAva gihidhammaM uvasaMpajjittANaM vihr| tae NaM se citte sArahI kesikumArasamaNaM baMdai namasai, namaMsittA jeNeva cAugghaMTe Asarahe teNeva pahArettha gamaNAe / cAugghaMTaM AsarahaM durUhai, jAmeva disiM pAubbhUetAmeva disiM paDigae / 221. taba citta sArathI ne kezIkumAra zramaNa ke pAsa pA~ca aNuvrata yAvat (sAta zikSAvratarUpa) zrAvakadharma ko agIkAra kiyaa| tatpazcAt citta sArathI ne kezIkumAra zramaNa kI vaMdanA kI, namaskAra kiyA / namaskAra karake jahA~ cAra ghaTo vAlA azva ratha thA, usa ora calane ko tatpara huaa| vahA~ jAkara cAra ghaMTo vAle azva ratha para ArUDha huA, phira jisa ora se AyA thA, vApasa usI ora lauTa gyaa| 221. Then Chitta Saarthi accepted five partial vows and seven supporting vows-The vows of the householder from Keshi Kumar Shraman. Thereafter Chitta Saarthi bowed to Keshi Kumar Shraman, greeted him and then came to the four-belled horse-driven chariot, got ready for the return, rode the chariot and went in the same direction from which he had come. vivecana - pA~ca aNuvrata tathA sAta zikSavrato kA svarUpa samajhane ke lie sacitra upAsakadazA, prathama adhyayana kA anuzIlana karanA caahie| Elaboration-To understand five minor (or partial) vows and seven supplementary vows one may study Illustrated Upasakdasha Sutra, Chapter First. rAyapaseNiyasUtra (274) For Private Personal Use Only Rai-paseniya Sutra

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citta sArathI kI jIvanacaryA 222. tae NaM se citte sArahI samaNovAsae jAe ahigayajIvAjIve, uvaladdha - puNNa - pAve; Asava - saMvara - nijjara - kiriyAhigaraNa - baMdha - mokkha - kusale, asahijje devAsura - NAga - suvaNNa - jakkha - rakkhasa - kinnara - kiMpurisa - garulagaMdhavya - mahoragAIhiM devagaNehiM niggaMthAo pAvayaNAo aNaikkamaNijje, niggaMthe pAvayaNe NissaMkie, NikkaMkhie, Nivvitigicche, laTThe gahiyaTThe pucchiyaTTe ahigayaTTe viNicchiyaTTe, aTThimiMjapemmANurAgaratte / 'ayamAuso ! niggaMthe pAvayaNe aTThe ayaM paramaTThe sese aNaTTe / U siyaphalihe avaMguyaduvAre ciyattaMteuragharappavese cAuddasamuddi puNNamAsiNIsu paDipuNNaM posahaM sammaM aNupAlemANe, samaNe NiggaMthe phAsuesaNijjeNaM asaNa - pANa- khAima - sAimeNaM - pIDha - phalaga - sejjA - saMthAreNaM - vattha - paDiggaha- kaM bala pAyapuMchaNeNaM osaha - bhesajjeNaM paDilA bhemANe, ahApariggahehiM tavokammehiM appANaM bhAvemANe, jAI tattha rAyakajjANi ya jAva rAyavavahArANi ya tAiM jiyasattuNA raNNA saddhiM sayameva paccuvekkhamANe paccuvekkhamANe vihr| 222. taba vaha citta sArathI zramaNopAsaka ho gyaa| usane jIva - ajIva padArthoM kA svarUpa samajha liyA thaa| puNya-pApa ke bheda ko jAna liyA thA / Asrava, saMvara, nirjarA, kriyA, adhikaraNa ( kriyA kA AdhAra, jisake AdhAra se kriyA kI jAye), baMdha, mokSa ke svarUpa ko jAnane meM kuzala ho gayA thA, vaha dUsare kI sahAyatA kA anicchuka thA arthAt apanA nirNaya karane va kutIrthiko va kutarkoM ke khaMDana karane meM sahAyatA kI apekSA vAlA nahI rhaa| deva, asura, nAga, suparNa, yakSa, rAkSasa, kinnara, kiMpuruSa, garuDa, gaMdharva, mahoraga Adi koI bhI devatA use nirgrantha pravacana se vicalita karane meM samartha nahIM the / nirgrantha pravacana meM zaMkArahita thA, AtmotthAna ke sivAya anya kisI prakAra kI AkAMkSA se rahita thA / nirvicikitsA - dharmakriyA ke phala ke prati usake mana meM zaMkA nahIM thI / labdhArtha - (gurujano se ) yathArtha tattva kA samyak bodha prApta kara liyA thaa| grahItArtha - guruvacanoM se jJAna grahaNa kara liyA thaa| vinizcitArtha- satya tattva kA pUrNa nizcaya kara cukA thA / usakI asthi aura majjA dharmAnurAga meM rama cukI thI arthAt usakI raga-raga meM nirgrantha pravacana ke prati prema aura anurAga vyApta thA / vaha dUsaroM ko sambodhita karate hue kahatA thA ki- kezIkumAra zramaNa aura pradezI rAjA (275) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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KINNRSakisex "AyuSman ! yaha nirgrantha pravacana hI artha-sArabhUta hai, yahI paramArtha hai, isake sivAya anya-anyatIrthika ke kathana anartha arthAt sArahIna haiN|" asadvicAroM se rahita ho jAne ke kAraNa usakA hRdaya sphaTika kI taraha nirmala ho gayA thaa| supAtradAna ke lie usake ghara kA dvAra sadA khulA rahatA thaa| vaha sabakA vizvAsapAtra thaa| sabhI ke gharoM meM yahA~ taka ki rAjA ke antaHpura meM bhI usakA praveza zaMkArahita hone se prItijanaka thaa| vaha caturdazI, aSTamI, amAvasyA eva pUrNimA ko paripUrNa pauSadhavrata karatA thA, zramaNa nirgranthoM ko prAsuka, eSaNIya-svIkAra karane yogya-nirdoSa azana, pAna, khAdya, svAdya, AhAra, pITha, phalaka, zayyA, sastAraka, Asana, vastra, pAtra, kaMbala, pAdapoMchana (rajoharaNa), auSadha, bhaiSaja se pratilAbhita karatA rahatA thA evaM yathAvidhi grahaNa kiye hue OM tapaHkarma se AtmA ko bhAvita-zuddha karate hue jitazatru rAjA ke sAtha rahakara svayaM usa OM zrAvastI nagarI ke rAjya-kAryoM yAvat rAjya-vyavahAroM kA bAra-bAra avalokana-anubhava karatA rahatA thaa| THE LIFE-STYLE OF CHITTA SAARTHI 222. Now Chitta Saarthi became a Shramanopasak (householder follower of religious order). He understood discrimination between Jiva (living being) and Ajiva (non-living being). He had understood the difference between action resulting in good fruit (Punya) and * action resulting in bad fruit (Paap). He had became expert in understanding Aasrava (inflow of karmic matter), Samvar (stopping of karmic inflow), Nirjara (removal of karmic matter that has settled down in the soul), Kriya (activity), Adhikaran (the basis of action), Bandh (karmic bondage), Moksha (total liberation from karma) and the true nature of these terms. He was not desirous of others help. In other words in taking personal decision and in proving the view of the persons indifferent to the religious order as hollow, he was not in need of any assistance. Nobody, not even gods, Asur, Naag, Suparn, Yaksh, Rakshas, Kinnar, Kimpurush, * Mahorag. Gandhary. Garud. Mahorag and other such dem * were capable of discouraging him from his faith in Nirgranth Pravachan. He had absolutely no doubt in Nirgranth Pravachan. He had no other desire except self-realisation. Nirvichikitsa-He had no doubt in his mind about the fruit of religious activities. rAyapaseNiyasUtra (276) Rai-paseniya Sutra *

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No.6 * * Labdharth-He had learnt true meaning of Tatva (basic substances) from the gurus. Grahitarth--He had got true knowledge (Jnan) from the word of the gurus. Vinishchitarth-He had made a firm decision about the true love nature of the Tattvas. He had become religious to the core of his heart. He had love for Nirgranth Pravachan. While addressing others, he used to say, "O the blessed ! Only Nirgranth Pravachan is the basic word. It has the most noble meaning. The word of all others who do not have faith in it are without any substance, without any real value." See Since he had become totally free from false notions his heart had become crystal clear. The gate of his house was always open for at charity to the deserved. He had earned trust of all. His entry in all the houses, even in the residential palace of the king was never doubted. So he had earned affection of all. He used to observe hot Paushadh (complete fast for 24 hours and staying only at the religious place or secluded place free from routine household activities) on fourth, eighth and fifteenth day of every fortnight according to Vikram calendars. He used to offer proper, worthy of acceptance and in accordance with the principles of discrimination et the food, the liquids, the sweets, the fragrant substances, the stool, the board, the bed, the bedding, the cloth, the pots, the blanket, the holy broom. the medicine and drugs to Shramans. Further purifying his soul with the accepted restraints and austerities and performing administrative duties with king Jitashatru, he was looking after the regal matters of Shravasti town and government treatment to the public meticulously. vivecana-isa sUtra me zrAvaka ke jJAna-pakSa eva AcAra-pakSa kA sundara citraNa hai| pahale jJAna prApta kara phira vaha dharmAcaraNa me pravRtta hotA hai| jJAna ke binA zraddhA kisa para kare aura zraddhA ke binA AcaraNa bhI nahI kiyA jAtA isalie jJAna-darzana-cAritra kA samanvaya yahA~ batAyA hai aura sUcita kiyA hai ki jJAna-kriyA ke samanvaya ke kAraNa usake jIvana me kitanI karuNA, udAratA, jAgarUkatA, dAnazIlatA, * virakti aura vizvasanIyatA A jAtI hai ki vaha sarvatra Adara, vizvAsa aura sammAna ko prApta hotA hai| Elaboration-In this aphorism, the knowledge and the conduct of a Shravak (householder devoted to religious order) has been beautifully depicted. First of all knowledge is procured and thereafter the religious en ONGORO kezIkumAra zramaNa aura pradezI rAjA (277) Kesh Kumar Shraman and King Pradesh *

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asses conduct is adhered to accordingly. Without right knowledge, on whom one should have his faith and without right faith, right conduct cannot be practiced. So the composition of right knowledge, right faith and right conduct has been mentioned here. It is further intimated that with right knowledge and right conduct combination, compassion, broad-mindless, true awakening, inclination towards charity, detachment and trustworthiness appear in life. He then commands respect, trust and honour everywhere. 223. tae NaM se jiyasatturAyA aNNayA kayAi mahatthaM jAva pAhuDaM sjjei| cittaM sArahiM sadAvei, saddAvittA evaM vayAsI-gacchAhi NaM tumaM cittA ! seyaviyaM nagari, paesissa ranno imaM mahatthaM jAva pAhuDaM uvnnehi| mama pAuggaM ca NaM jahAbhaNiyaM - avitahamasaMdiddhaM vayaNaM vinnvehi| tti kaTu visjjie| OM 223. citta sArathI ko zrAvastI nagarI meM rahate-rahate paryApta samaya ho cukA thaa| eka bAra jitazatru rAjA ne bahuta mUlyavAna upahAra taiyAra kiyA aura citta sArathI ko * bulaayaa| bulAkara kahA- 'he citta ! tuma seyaviyA nagarI jAo aura yaha mahAprayojanasAdhaka-(jise dekhane se mana prasanna hokara anukUla ho jAye aisA) upahAra pradezI rAjA ko bheMTa karanA tathA merI ora se vinayapUrvaka nivedana karanA ki Apane mere lie jo saMdeza bhijavAyA hai, use usI prakAra avitatha-pUrNataH prAmANika evaM asaMdigdha rUpa se svIkAra karatA huuN|" aisA kahakara citta sArathI ko sammAnapUrvaka vidA kiyaa| 223. Sufficient time had passed since the arrival of Chitta Saarthi in Shravasti. Once king Jitshatru got prepared a very costly gift and called Chitta Saarthi. He then said--"O Chitta ! You go to Seyaviya town and present this pleasing multi-purpose gift to king Pradeshi and * convey him on my behalf respectfully that I accept his message in letter and spirit without any hesitation." ve Saying so, he bade farewell to Chitta with full honours. kezIkumAra zramaNa se seyakyiA padhArane kI prArthanA 224. tae NaM se citte sArahI jiyasattuNA rannA visajjie samANe taM mahatthaM jAva giNhai jAva jiyasattussa raNNo aMtiyAo pddinikkhmi| sAvatthI nayarIe majjhamajjheNaM kesale ke ke ske.ske.ke.skeke.sks is als.ke.ske.si ke ka skes wike.sixsites is as or dar.se.air skin kelar ra rAyapaseNiyasUtra (278) Rar-paseniya Sutra

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niggcchi| jeNeva rAyamaggamogADhe AvAse teNeva uvAgacchai, taM mahatthaM jAva Thavai, hAe jAva sarIre sakoraMTa. mahayA. pAyacAravihAreNa mahayA purisavaggurAparikkhitte rAyamagga mogADhAo AvAsAo niggacchai, sAvatthInagarIe majhamajjheNaM niggacchati, jeNeva kohae ceie jeNeva kesI kumArasamaNe teNeva uvaagcchti| kesI kumArasamaNassa antie dhammaM socA jAva evaM vayAsI evaM khalu ahaM bhaMte ! jiyasattuNA ranA paesissa ranno imaM mahatthaM jAva uvaNehi tti kaTu visajjie, taM gacchAmi NaM ahaM bhaMte ! seyaviyaM nagariM, pAsAdIyA NaM bhaMte ! seyaviyA NagarI, evaM darisaNijjA NaM bhaMte ! seyaviyA NagarI, abhirUvA NaM bhaMte ! seyaviyA nagarI, paDirUvA NaM bhaMte ! seyaviyA nagarI, samosaraha NaM bhaMte ! tubbhe seyaviyaM ngriN| 224. jitazatru rAjA dvArA sammAnapUrvaka vidA kiye jAne para citta sArathI ne usa mahAprayojana-sAdhaka upahAra ko grahaNa kiyaa| jitazatru rAjA ke pAsa se ravAnA hokara zrAvastI nagarI ke bIcoMbIca se niklaa| nikalakara rAjamArga para sthita apane AvAsa para AyA aura usa mahArthaka upahAra ko eka ora rkhaa| phira snAna kiyA yAvat zarIra ko vibhUSita kiyA, koraMTa puSpa kI mAlAoM se yukta chatra ko dhAraNa kara vizAla janasamudAya ke sAtha paidala hI rAjamArga sthita AvAsagRha se nikalA aura zrAvastI nagarI ke bIcobIca se calatA huA koSThaka caitya me jahA~ kezIkumAra zramaNa virAjamAna the, vahA~ aayaa| vahA~ Akara kezIkumAra zramaNa se dharma sunakara vandanA karake isa prakAra nivedana kiyA5 "bhagavan ! jitazatru rAjA ne Aja pradezI rAjA ke lie mujhe yaha mahArthaka upahAra dekara vidA kiyA hai| ataeva bhate ! maiM seyaviyA nagarI lauTa rahA huuN| he bhate / seyaviyA nagarI mana ko Ananda dene vAlI hai| darzanIya dekhane yogya hai| manohara hai| atIva manohara hai| ataeva OM he bhaMte ! Apa seyaviyA nagarI meM padhArane kI kRpA kreN|" REQUEST TO KESHI KUMAR SHRAMAN FOR VISITING SEYAVIYA 224. After the honourable farewell by king Jitshatru, Chitta Saarthi held the multi-purpose gift and passing through Shravasti town, he came to the rest-house on the highway where he was * staying. He kept the gift aside. Then he took his bath, upto decorated his body. He then having the great umbrella decorated with garlands of Korant flowers came out of the rest-house on foot along with a great collection of his men. He then passing through " kezIkumAra zramaNa aura pradezI rAjA (279) Keshi Kumar Shraman and King Pradeshi

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** e OM " Shravasti town came to Koshthak garden and the place where em Keshi Kumar Shraman was seated. After reaching there, he listened his spiritual discourse bowed to him and said "Reverend Sir ! King Jitshatru has today allowed me to go to king Pradeshi with this great gift for him (king Pradeshi). So Sir! I am returning to Seyaviya town. Respected Sir! Seyaviya town is very pleasant. It is worth-seeing. It is grand. Sir ! Kindly favour us with a visit to Seyaviya." __ 225. tae NaM se kesI kumArasamaNe citteNaM sArahiNA evaM vutte samANe cittassa sArahissa eyamaTuM No ADhAi No parijANAi tusiNIe sNcittui| tae NaM se citte sArahI kesI kumArasamaNaM doccaM pi taccaM pi evaM vayAsI-evaM khula ahaM bhaMte ! jiyasattaNA ranA paesissa raNNo imaM mahatthaM jAva visajjie, taM ceva jAva samosaraha NaM bhaMte ! tubbhe seyaviyaM ngriN| 225. citta sArathI dvArA prArthanA kiye jAne para bhI kezIkumAra zramaNa ne citta sArathI ke kathana para dhyAna nahIM diyA arthAt use svIkAra nahIM kiyaa| ve mauna rhe| taba citta sArathI ne punaH dUsarI aura tIsarI bAra bhI nivedana kiyA- 'he bhaMte ! pradezI rAjA ke lie mahAprayojana-sAdhaka upahAra dekara jitazatru rAjA ne mujhe vidA kara diyA hai| ataeva maiM lauTa rahA huuN| seyaviyA nagarI ramaNIya hai, Apa vahA~ padhArane kI avazya kRpA kreN|" 225. Keshi Kumar Shraman ignored this request of Chitta et Saarthi. He did not accept the request and remained silent. Then Chitta Saarthi repeated his request second time and again the third time saying--"Respected Sir ! King Jitshatru has bid farewell to me with the high-valued gift for king Pradeshi. Therefore I am going back to Seyaviya. Seyaviya town is very good. Kindly do visit it." kezIkumAra zramaNa kA uttara 226. tae NaM kesI kumArasamaNe citteNa sArahiNA doccaM pi taccaM pi evaM vutte samANe - cittaM sArahiM evaM vayAsI-cittA ! se jahAnAmae vaNasaMDe siyA-kiNhe kiNhobhAse jAva rAyapaseNiyasUtra (280) Rai-paseniya Sutra

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paDirUve, se NUNaM cittA ! se vaNasaMDe bahUNaM dupaya- cauppaya-miya- pasu - pakkhI - sirIsivANaM abhigamaNijje ? haMtA abhigamaNijje / taMsi ca NaM cittA ! vaNasaMDaMsi bahave bhiluMgA nAma pAvasauNA parivasaMti, je NaM tesiM bahUNaM dupaya- cauppaya-miya- pasu - pakkhI - sirIsivANa ThiyANaM ceva maMsasoNiyaM AhAreMti / se NUNaM cittA ! se vaNasaMDe tesi NaM bahUNaM dupaya jAva sirIsivANaM abhigamaNijje ? No tiTTe samaTTe / kamhA NaM ? bhaMte! sovasagge / vAmeva cittA ! tubbhaM pi seviyAe NayarIe paesI nAmaM rAyA parivasai adhammie jAva No sammaM karabharavittiM pavattai, taM kahaM NaM ahaM cittA ! seyaviyAe nagarIe samosarissAmi ? 226. citta sArathI dvArA dUsarI aura tIsarI bAra bhI isI prakAra se vinatI kiye jAne para kezIkumAra zramaNa ne citta sArathI se kahA - "he citta ! jaise koI eka kRSNa varNa evaM kRSNaprabhA vAlA arthAt vRkSoM se harA-bharA yAvat atIva manamohaka saghana chAyA vAlA vanakhaMDa (bagIcA) ho to vaha vanakhaMDa aneka dvipada (manuSya Adi), catuSpada, mRga, pazu, pakSI, sarIsRpoM Adi ke rahane lAyaka hai athavA nahIM hai ?" citta ne uttara diyA- "haoN, bhadanta ! vaha unake abhigamana yogya - vAsa karane yogya hotA hai / " kezIkumAra zramaNa ne punaH pUchA - "he citta ! yadi usI vanakhaMDa meM, una bahuta-se dvipada, catuSpada, mRga, pazu, pakSI aura sarpa Adi prANiyoM kA rakta- maoNsa khAne vAle bhIluMgA nAmaka pApazakuni - (pazuoM kA zikAra karane vAle pApiSTha bhIla) rahate hoM to kyA vaha vanakhaMDa una aneka manuSyoM, pazuoM, pakSiyoM, sarIsRpoM ke rahane yogya ho sakatA hai ?" citta ne uttara diyA- "bhaMte ! aisI sthiti meM vaha praveza karane aura rahane yogya nahIM ho sakatA hai|" kezIkumAra zramaNa aura pradezI rAjA (281) For Private Keshi Kumar Shraman and King Pradeshi Personal Use Only

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AX86990 S puna. kezIkumAra zramaNa ne pUchA- "kyoM ? arthAt vaha unake praveza karane evaM rahane yogya OM kyo nahIM ho sakatA?' citta sArathI ne uttara diyA-"kyoMki bhadanta ! vaha vanakhaMDa upasarga-(trAsa, bhaya aura khatarA) sahita hone se rahane yogya nahIM hai|" taba kezIkumAra zramaNa ne citta sArathI ko samajhAne ke lie kahA-"he citta ! isI prakAra tumhArI seyaviyA nagarI kitanI hI acchI ho, parantu vahA~ bhI pradezI nAmaka rAjA rahatA hai| * vaha baDA adhArmika yAvat prajA ko adharmAcaraNa kI ora prerita karane vAlA, adharmamaya * svabhAva aura AcAra vAlA, adharma se hI AjIvikA calAne vAlA hai| vaha sAkSAt pApa kA * avatAra hai, dhUrta va taskaroM ko ukasAne vAlA, lAMca-rizvata lene vAlA, vaMcaka-dhokhA dene vAlA, mAyAvI, kapaTI, bakavRtti vAlA, kisI-na-kisI upAya se dUsaro ko duHkha dene vAlA * hai| dvipada, catuSpada, mRga, pazu, pakSI, sarpa Adi sarIsRpoM kI hatyA karane, unhe mArane, prANarahita karane, unakA vinAza karane se sAkSAt adharmarUpa hai| prajAjanoM se rAja-kara lekara bhI unakA acchI taraha se pAlana-poSaNa aura rakSaNa nahI karatA hai| ataeva he citta ! maiM usa seyaviyA nagarI meM kaise A sakatA hU~?'' THE REPLY OF KESHI KUMAR SHRAMAN 226. At the repeated requests of Chitta Saarthi, Keshi Kumar Shraman said-"O Chitta ! Imagine a forest-region which is dark and emitting dark aura. In other words it has thick growth of trees and is providing thick shade. Is it then fit for stay of men, animals and beasts like deer, birds, snakes and others or not." ___Chitta replied--"Reverend Sir ! It is fit for their stay." / Keshi Kumar Shraman again asked--"In case Bheelunga the * hunter who eats the flesh and drinks the blood of two legged, four * legged animals, deer, cattle, birds and snakes resides in that forestka region, is it still fit for stay of many men, animals, birds and snakes." * Chitta replied--"Sir! Under the above mentioned circumstances, it is not fit for entry and stay of men, animals and beasts." Keshi Kumar Shraman again asked--"Why ? In other words why is it not suitable for entry of men and beasts ?" Chitta Saarthi replied--"Sir ! That forest-region is a danger spot for them, so it is not fit for their entry and stay." rAyapaseNiyasUtra (282) Rar-paseniya Sutra NONTONANOV OVAONTA OS

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kezIkumAra zramaNa se vinatI / / N kezIkumAra - - - citta sArathI dvArA nivedana TendCHHA COM . ni CAME NAGARAA - DIRN " - - KI . / (sundara upAna meM chapA zikArI likes ZH FAADUR R LA aRAM / 127TE 4 . 4.. / : 44PM CAM TA Tanor SHRA

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citra paricaya - 7 kezIkumAra zramaNa se zvetAmbikA padhArane kI vinatI Illustration No. 7 citta sArathI ratha se utarakara kezIkumAra zramaNa ke pAsa phuNcaa| dezanA sunii| Ate-Ate usane zvetAmbikA nagarI meM padhArane kI vinatI kii| taba kezIkumAra zramaNa bole - "kisI saghana vRkSo vAle sundara phala-phUlayukta udyAna me yadi koI dhUrtta zikArI pakSiyo para ghAta lagAye baiThA ho to kyA usa upavana me koI pakSI AtA hai? isI prakAra zvetAmbikA nagarI ke zrAvaka dharmajJa hai, dharmapremI hai, kintu vahA~ kA rAjA atyanta dharmadveSI hai| zramaNa mAhano kA apamAna, avahelanA, tiraskAra karane vAlA hai, to vahA~ kaise koI zramaNa jAyegA ?" - sUtra 224-226, pRSTha 281-283 INVITING KESHI KUMAR SHRAMAN TO SHVETAMBIKA " Getting down from the chariot Chitta Sarathi came near Keshi Kumar Shraman and attended his discourse While taking leave, he extended an invitation for a visit to Shvetambika city Keshi Kumar Shraman responded"Does a bird come to a garden which, although lush green and with abundance of fruits and flowers, has a cunning hunter prepared and ready to kill birds? In the same way although the citizens of Shvetambika city are devout and religious, the king of that city is extremely anti-religion He insults, abuses and affronts Shramans and Brahmins How can a Shraman visit that city --Sutras 224-226, pp 281-283 For Private Personal Use Only

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Then Keshi Kumar Shraman said to Chitta Saarthi--"O Chitta ! * Your Seyaviya city may be extremely grand, but king Predeshi is its ruler. He is very irreligious upto inspires people for irreligious activities. His nature is irreligious. He runs his livelihood with irreligious actions. He is true representative of sin personified. He is a cheat. He instigates thieves. He takes illegal gratification. He deceives to others. He has crooked mind. He is treacherous. He some how or other creates troubles for others. He kills two-legged and quadruped like deer, animals, birds and snakes. He turns them lifeless destroys them and therefore, he is irreligious. He receives taxes from the people but does not look after them nor does he provide proper security to them. So OChitta ! How can I came to Seyaviya city ?" 227. tae NaM se citte sArahI kesi kumArasamaNaM evaM vayAsIkiM NaM bhaMte ! tubbhaM paesiNA rannA kAyavvaM ? asthi NaM bhaMte ! seyaviyAe nagarIe anne bahave Isara-talavara jAva satthavAhapabhiio je NaM devANuppiyaM vaMdissaMti namaMsissaMti jAva pajjuvAsissaMti viulaM asaNaM pANaM khAimaM sAimaM paDilAbhissaMti, pADihArieNa pIDha-phalaga-sejjA-saMthAreNaM uvnimNtissNti| tae NaM se kesI kumArasamaNe cittaM sArahiM evaM vayAsI-avi yA iM cittA ! jaannissaamo| ____227. yaha uttara sunakara citta sArathI ne kezIkumAra zramaNa se nivedana kiyA "he bhadanta / Apako pradezI rAjA se kyA karanA hai-kyA lenA-denA hai?' "bhagavan / seyaviyA nagarI meM dUsare rAjA, Izvara, talavara yAvat sArthavAha Adi bahuta se jana hai, jo Apa devAnupriya ko vadana karege, namaskAra kareMge yAvat ApakI paryupAsanA kreNge| zramaNoM ko vipula azana, pAna, khAdya, svAdya AhAra se pratilAbhita karege tathA prAtihArika pITha, phalaka, zayyA, sastAraka grahaNa karane ke lie upanimaMtrita kareMge arthAt prArthanA kreNge|" taba kezIkumAra zramaNa ne citta sArathI se kahA-"he citta ! tumhArA AmaMtraNa dhyAna meM rhegaa|" 227. At this reply, Chitta Saarthi pleaded to Keshi Kumar Shraman--"Reverend Sir ! Of what concern is king Pradeshi to you ? You have nothing to do with him." kezIkumAra zramaNa aura pradezI rAjA ( 283 ) Kesh Kumar Shraman and King Pradeshi 5* OS AUTHMmXX " " " "X "

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85%EGOR * ROPRGORIGOOGPATHORI * * S I ___ "Sir ! In Seyaviya city there are many other kings, masters, riches men decorated by the government, upto traders. They shall pay ** respect and bow to Shramans (saints), greet them and serve them. They shall offer food, drinks, sweets, articles of fragrant taste, board, bed, bedding and others and shall request them humbly to accept the same." 9 Then Keshi Kumar Shraman said to Chitta--"O Chitta ! I shall keep in mind your invitation." citta kA Agamana aura udyAnapAlakoM ko AjJA 228. tae NaM se citte sArahI kesi kumArasamaNaM vaMdai namasai, kesissa kumArasamaNassa aMtiyAo koTThayAo ceiyAo paDiNikkhamai, jeNeva sAvatthI NagarI jeNeva rAyamaggamogADhe AvAse teNeva uvAgacchai koDuMbiyapurise saddAvei, saddAvittA evaM vayAsI khippAmevaM bho devANuppiyA ! cAugghaMTe AsarahaM juttAmeva uvtttthveh| jahA seyaviyAe nagarIe niggacchai taheva jAva vasamANe kuNAlA jaNavayassa majjhamajheNaM jeNeva keiyaaddhe, jeNeva seyaviyA nagarI, jeNeva miyavaNe ujjANe, teNevara uvaagcchi| ujjANapAlae saddAvei evaM vayAsI___ jayA NaM devANuppiyA ! pAsAvaccijje kesI nAma kumArasamaNe puvANuputviM caramANe, gAmANugAmaM dUijjamANe ihamAgacchijjA tayA NaM tubbhe devANuppiyA ! kesi kumArasamaNaM vaMdijjAha, namaMsijjAha, vaMdittA namaMsittA ahApaDirUvaM uggahaM aNujANejjAha, pADihArieNaM pIDha-phalaga jAva uvanimaMtijAha, eyamANattiyaM khippAmeva pccppinnejjaah| ____tae NaM te ujjANapAlagA citteNaM sArahiNA evaM vuttA samANA haTTatuTTha jAva hiyayA / karayala-pariggahiyaM jAva evaM vayAsI__tahatti, ANAe viNaeNaM vayaNaM pddisunnNti| 228. (kezIkumAra zramaNa se AzvAsana prApta kara) citta sArathI ne kezIkumAra zramaNa ko vaMdanA kI, namaskAra kiyA aura kezIkumAra zramaNa ke pAsa se koSThaka caitya se bAhara niklaa| zrAvastI nagarI meM rAjamArga para sthita apane AvAsa para AyA aura kauTumbika OM puruSoM ko bulAkara kahArAyapaseNisUtra Rar-paseniya Sutra * PAKOTATODA .*. .* (284) FORN DN " * wonym "* *

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"he devAnupriyo ! zIghra hI cAra ghaMToM vAlA azva-ratha jotakara laao|' isake bAda jisa prakAra pahale seyaviyA nagarI se prasthAna kiyA thA usI prakAra zrAvastI nagarI se nikalakara bIca-bIca me vizrAma karatA huA, kuNAlA janapada ke madhya bhAga meM se hotA huA kekaya-ardha deza me jahA~ seyaviyA nagarI thI aura jahA~ usa nagarI kA mRgavana nAmaka udyAna thA, vahA~ A phuNcaa| vahA~ Akara udyAnapAlakoM (caukIdAroM evaM mAliyoM) ko bulAkara isa prakAra kahA "he devAnupriyo ! jaba pApitya kezIkumAra zramaNa zramaNacaryAnusAra vicarate hue, grAmAnugrAma vihAra karate hue yahA~ padhAreM taba (unake Ane para) tuma kezIkumAra zramaNa ko * vandanA karanA, namaskAra krnaa| vaMdanA-namaskAra karake unheM yathApratirUpa-sAdhukalpa ke * anusAra rahane kI AjJA denA tathA prAtihArika pITha, phalaka Adi ke lie prArthanA karanA aura isake bAda unake Agamana kI mujhe sUcanA denaa|" citta sArathI kI isa AjJA ko sunakara ve udyAnapAlaka harSita hue| vikasita hRdaya hote hue donoM hAtha joDakara bole "he svAmin ! ApakI AjJA prmaann|'' yaha kahakara unakI AjJA vinayapUrvaka svIkAra * kii| ARRIVAL OF CHITTA AND HIS ORDERS TO GARDENERS 228. (After this assurance from Keshi Kumar Shraman) Chitta Saarthi bowed to Keshi Kumar Shraman, greeted him and then came from him through Koshthak garden. He came to his resthouse on the highway. ____He called the heads and said-"O the blessed ! Please bring quickly the four-belled house-driven chariot." Thereafter, he left Shravasti town in the same manner as he had earlier left Seyaviya town. Halting at places in between, he passed through Kunala district and then entered Kekaya-ardh state. He then came to Mrigavan garden of Seyaviya town. He called the security guards and gardeners of the area and said * "O the blessed ! When Keshi Kumar Shraman of Parshvanath order, during his wanderings in line with prescribed ascetic conduct reaches here, you (on his arrival) bow to him, honour him, allow him to stay according to the ascetic conduct. Further, you request * kezIkumAra zramaNa aura pradezI rAjA ( 285) Keshu Kumar Shraman and King Pradeshi

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him to accept the stool, board and other suchlike as required and inform me about his arrival." The chowkidars and the gardeners felt happy at these orders. ** They folded their hands with a joyous mind and said--"Sir ! Your hoy orders are true. We accept them humbly." 229. tae NaM citte sArahI jeNeva seyaviyA NagarI teNeva uvAgacchai, seyaviyaM nagari majjhamajheNaM aNupavisai, jeNeva paesissa raNNo gihe jeNeva bAhiriyA uvaTThANasAlA teNeva uvAgacchai, turae NigiNhai, rahaM Thavei, rahAo paccoruhai, taM mahatthaM jAva geNhai, jeNe paesI rAyA teNeva uvAgacchai, paesiM rAyaM karayala jAva vaddhAvettA taM mahatthaM jAva uvnnei| ___ tae NaM se paesI rAyA cittassa sArahissa taM mahatthaM jAva paDicchai cittaM sArahiM sakkArei smmaannei| ____tae NaM se citte sArahI paesiNA raNNA visajjie samANe haTTa jAva hiyae paesissa rano aMtiyAo paDinikkhamai, jeNeva cAugghaMTe Asarahe teNeva uvAgacchai, cAugghaMTe * AsarahaM durUhai, seyaviyaM nagari majjhamajjheNaM jeNeva sae gihe teNeva uvAgacchai, turae NigiNhai, rahaM Thavei, rahAo paccoruhai hAe jAva uppiM pAsAyavaragae phuTTamANehi muiMgamathaehiM battIsaibaddhaehiM nADaehiM varataruNIsaMpauttehiM uvaNaccijjamANe 2 uvagAijjamANe uvalAlijjamANe iDe sadda pharise jAva vihri|| ____229. tatpazcAt citta sArathI seyaviyA nagarI meM aayaa| seyaviyA nagarI ke madhya bhAga ra meM praviSTa hokara jahA~ pradezI rAjA kA bhavana thA, jahA~ bhavana kI bAhya upasthAnazAlA thI, * vahA~ aayaa| ghor3oM ko rokA, ratha ko khar3A kiyA, ratha se nIce utarA aura usa mahArthaka bheMTa ko sAtha lekara pradezI rAjA ke sanmukha phuNcaa| pahu~cakara donoM hAtha joDe; jaya-vijaya zabdoM se badhAyA aura pradezI rAjA ke sAmane usa mahArthaka bheTa ko upasthita kiyaa| isake bAda pradezI rAjA ne citta sArathI se vaha bheTa svIkAra kI aura satkAra-sanmAna 3 karake citta sArathI ko vidA kiyaa| __ pradezI rAjA se vidA lekara citta sArathI prasanna hRdaya ho vahA~ se nikalA aura jahA~ cAra * ghaToM vAlA azva-ratha thA, vahA~ aayaa| azva-ratha para ArUDha huA tathA seyaviyA nagarI ke bIcoMbIca se gujarakara apane ghara aayaa| ghara Akara ghor3oM ko rokA, ratha ko khaDA kiyA Poskosskskskskskskskssalisekssskskskskskskske.skskskskskse.ke.ke.ske.ke.ske.ke.ke.ke.skar ra rAyapaseNiyasUtra (286) Rar-paseniya Sutra

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aura ratha se nIce utraa| isake bAda snAna Adi karake zreSTha prAsAda ke Upara nivAsa karane lgaa| vahA~ jora-jora se bajAye jA rahe mRdagoM kI dhvani ke sAtha uttama taruNiyoM dvArA kiye jA rahe battIsa prakAra ke nATakoM Adi ke nRtya, gAna aura krIDA (lIlA) ko sunatA, dekhatA aura harSita hotA huA manojJa zabda, sparza yAvat sukhoM kA anubhava karane lgaa| 229. Thereafter Chitta Saarthi came to Seyaviya town. He entered it from the middle and came to the palace of king Pradeshi. He then came to royal council-hall outside the palace. He stopped the horses, halted the chariot and got down. He then came to king Pradeshi with the multi-valued gift. He folded his hand, praised the king and presented that girt to him. Thereafter king Pradeshi accepted that gift from Chitta Saarthi and bid him farewell with great honour. After seeking leave, Chitta Saarthi came out happily to the chariot. He got into the four-belled horse-driven chariot and passing through Seyaviya town came to his house. He stopped the horses, halted the chariot and got down. He then took a bath and started living in the upper storey of his grand building. There was music at high pitch, the young damsels were presenting thirty two types of 2 dramatic performance, dance, vocal and classical music. Hearing their music and seeing their dance, he was feeling happy. He was enjoying the pleasant words, the touch and others and started passing his time in enjoyment. kezIkumAra zramaNa kA seyaviyA meM padArpaNa 230. tae NaM kesI kumArasamaNe aNNayA kayAi pADihAriyaM pIDha-phalaga-sejjA* saMthAragaM paccappiNai sAvatthIo nagarIo koTThagAo ceiyAo paDinikkhamai paMcahiM * aNagArasaehiM jAva viharamANe jeNeva keiyaaddhe jaNavae, jeNeva seyaviyA nagarI, jeNeva miyavaNe ujjANe, teNeva uvAgacchai, ahApaDirUvaM uggahaM uggiNhittA saMjameNaM tavasA appANaM bhAvamANe vihrti| ___ 230. kisI samaya-(citta sArathI kI vinatI ko dhyAna me rakhakara kezIkumAra zramaNa " ne seyaviyA jAne kA vicAra kiyA) taba apane upayoga ke lie lAye hue prAtihArika (kAma meM lekara vApasa lauTAne yogya) pITha (baiThane kA bAjoTa), phalaka (lakaDI kA pATiyA), zayyA kezIkumAra zramaNa aura pradezI rAjA (287) Keshu Kumar Shraman and King Pradeshi COMGOOGGAYGOD sAtha P * * * * TO

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Thiskese. s saMstAraka (sUkhe tRNa pulAla) Adi una-unake svAmiyo ko sauMpakara kezIkumAra zramaNa zrAvastI nagarI ke koSThaka caitya se bAhara nikle| apane pA~ca sau antevAsI aNagAroM ke sAtha vihAra karate hue kekaya-ardha janapada kI 'seyaviyA' nagarI ke 'mRgavana' nAmaka udyAna meM pdhaare| yathApratirUpa avagraha-(muni-maryAdA ke anusAra Thaharane kI AjJA-anumati) lekara sayama evaM tapa se AtmA ko bhAvita karate hue vicarane lge| ARRIVAL OF KESHI KUMAR SHRAMAN IN SEYAVIYA ___230. Once keeping in mind the request of Chitta Saarthi, Keshi Kumar Shraman thought of going to Seyaviya. Keshi Kumar Shraman returned the stool, the pot, the beds, the bedding of dry straw and other such articles (which could be returned after their use) to their masters. He then came out from Koshthak garden of Shravasti town. He wandering along with his five hundred saints came to Mrigavan garden in Seyaviya town of Kekaya-ardh state. After seeking permission of stay (as is the tradition among saints), 9 he started staying following the principles of ascetic discipline. 231. tae NaM seyaviyAe nagarIe siMghADaga mahayA jaNasadde vA. parisA nnigcchi| tae NaM te ujjANapAlagA imIse kahAe laTThA samANA hadvatuTu jAva hiyayA jeNeva kesI kumArasamaNe teNeva uvAgacchanti, kesi kumArasamaNaM vaMdaMti namaMsaMti, ahApaDirUvaM uggahaM aNujANaMti, pADihArieNaM jAva saMthAraeNaM uvanimaMtaMti, NAma-goyaM pucchaMti, odhAreMti, egaMtaM avakkamaMti, anamanaM evaM vayAsI jassa NaM devANuppiyA ! citte sArahI daMsaNaM kaMkhai, daMsaNaM patthei, saNaM pIhei, saNaM abhilasai, jassa NaM NAmagoyassa vi savaNayAe haTTatuTu jAva hiyae bhavati, se NaM esa kesI kumArasamaNe puvANupubbiM caramANe gAmANugAmaM dUijjamANe iha mAgae, iha saMpatte, ht iha samosaDhe, iheva seyaviyAe NagarIe bahiyA miyavaNe ujjANe ahApaDirUvaM jAva vihri| taM gacchAmo NaM devANuppiyA ! cittassa sArahissa eyamadvaM piyaM niveemo, piyaM se bhvu| aNNamaNNassa aMtie eyamaTu pddisunneti| jeNeva seyaviyA NagarI jeNeva cittassa sArahissa gihe, jeNeva citta sArahI teNeva uvAgacchaMti, citta sArahiM karayala jAva vaddhAti evaM vayAsI-jassa NaM devANuppiyA ! s .ke.ske.ke.ske.saks.ke.sakse.kakkakke ke ks.ske.skskskskskskskskssistian - rAyapaseNiyasUtra (288) Rat-paseniya Sutra

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daMsaNaM kakhaMta jAva abhilasaMti, jassa NaM NAmagoyassa vi savaNayAe haTTa jAva bhavaha, seNaM ayaM kesI kumArasamaNe puvvANupuvviM caramANe samosaDhe jAva vihara | 231. (kezIkumAra zramaNa ke Agamana kA samAcAra sunakara ) seyaviyA nagarI ke zrRMgATako Adi sthAno para logo me paraspara bAtacIta hone lagI, logo ke jhuNDa vadanA karane nikle| taba ve udyAnapAlaka bhI kezIkumAra zramaNa ke Agamana kA savAda sunakara aura samajhakara harSita hRdaya hote hue jahA~ kezIkumAra zramaNa the, vahA~ aaye| Akara kezIkumAra zramaNa ko vadanA kI, namaskAra kiyA evaM yathApratirUpa avagraha (sthAna para Thaharane kI anumati) pradAna kI / prAtihArika pITha, phalaka, saMstAraka Adi grahaNa karane ke lie prArthanA kii| isake bAda unhone (zramaNa kA) nAma evaM gotra pUchA / citta sArathI kI AjJA kA smaraNa karate hue ekAnta ve paraspara eka-dUsare se isa prakAra bAtacIta karane lage 'devAnupriyo ! citta sArathI jinake darzana kI AkAMkSA karate haiM, jinake darzana kI prArthanA karate haiM, jinake darzana kI spRhA - cAhanA karate haiM, jinake darzana kI abhilASA karate hai, jinakA nAma, gotra sunate hI harSita, santuSTa yAvat vikasita hRdaya ho jAte haiM, ye vahI kezIkumAra zramaNa anukrama se vihAra karate hue, eka gA~va se dUsare gA~va me vihAra karate hue yahA~ Aye haiM, yahA~ padhAre haiM tathA isI 'seyaviyA' nagarI ke bAhara mRgavana udyAna me yathApratirUpa avagraha grahaNa karake virAjamAna hue haiN| ataeva he devAnupriyo ! hama caleM aura citta sArathI ke isa priya samAcAra ko ( kezIkumAra zramaNa ke Agamana kI sUcanA ) unase nivedana kre| hamArA yaha nivedana unheM bahuta hI priya lgegaa|' udyAnapAlako ne eka-dUsare se isa prakAra vicAra karake nizcaya kiyA / isake bAda udyAnapAlaka jahA~ seyaviyA nagarI meM citta sArathI kA ghara thA, vahA~ Aye / Akara donoM hAtha joDa vinayapUrvaka citta sArathI ko badhAyA aura isa prakAra nivedana kiyA"devAnupriya ! Apako jinake darzana kI icchA hai yAvat Apa abhilASA karate haiM aura jinake nAma eva gotra ko sunakara Apa harSita hote hai, ve kezIkumAra zramaNa vicarate hue yahA~ mRgavana udyAna meM padhAra gaye hai, Akara vahA~ Thahare hai / " 231. After hearing the news about the arrival of Keshu Kumar Shraman, the people at the triangular paths and other crossings and suchlike places started talking about it among themselves. They came out in large number to greet the saints and bow to them. kezIkumAra zramaNa aura pradezI rAjA (289) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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The chowkidars and gardeners also on hearing about the arrival en of Keshi Kumar Shraman, understanding it properly and feeling over-joyed came to the place where Keshi Kumar Shraman was The seated. They bowed to him, greeted him and allowed him gracefully to stay there according to their ascetic code. They also requested him to accept stool, bed, board, bedding of straw and other suchlike articles of use. Thereafter, they asked the name and status of the saint (Shraman). They recalled the orders of Chitta Saarthi and started talking among themselves as under O the blessed ! Keshi Kumar Shraman during his wanderings, **moving from one village to another, has come here, has graced this place has stayed in Mrigavan garden at the outskirts of Seyaviya town following his ascetic restraints and principles. He is the same saint whom Chitta Saarthi is keen to see, for whose darshan, he had made a request, for whose darshan, he had expressed a deep desire. It is he, whose very reciting of name and status makes Chitta happy, contented and over-joyed. So O the loveable of gods ! Let us To go to Chitta Saarthi and convey to him good news of the arrival of Keshi Kumar Shraman. Our this statement shall certainly be li by him." Then the chowkidars of the garden thought over it carefully and agreed to it. Thereafter they came to the residence of Chitta Saarthi. They folded their hands and humbly congratulated him (Chitta) and said--"Reverend Sir ! Keshi Kumar Shraman, whom you desire to see, about whose darshan you are very keen, whose very name and status brings to you ecstatic pleasure, has arrived. He is staying in Mrigavan garden." citta kA darzanArtha Agamana 232. (ka) tae NaM se citte sArahI tesiM ujjANapAlagANaM aMtie eyamaTuM soccA Nisamma haTTatuTTa jAva AsaNAo abbhuTTeti, pAyapIDhAo paccoruhai, pAuyAo omuyai, egasADiyaM uttarAsaMgaM karei, aMjalimauliyaggahatthe kesikumArasamaNAbhimuhe sattaTTha payAI aNugacchai karayalapariggahiyaM sirasAvattaM matthae aMjali kaTu evaM vayAsI rAyapaseNiyasUtra ( 290 ) Rai-paseniya Sutrax

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* * * * * * * * * * * * * * * * * va namo'tthu NaM arahaMtANaM jAva saMpattANaM, namo'tthu NaM kesissa kumArasamaNassa mama dhammAyariyamsa dhmmovdesgss| vaMdAmi NaM bhagavaM taM tatthagayaM ihagae, pAsau me tti kaTu vaMdai nmsi| 232. (ka) udyAnapAlako se yaha savAda sunakara evaM hRdaya meM avadhAraNa kara vaha citta sArathI harSita huaa| Anandita huA, mana meM prIti utpanna huii| parama saumanasya (Ananda va ullAsa) ko prApta huaa| vaha zIghra apane Asana se uThA; pAdapITha se nIce utarA, pAdukAe~ utArI, ekazATika uttarAsaga kiyA aura mastaka para dono hAtha lagAkara ajali karake jisa ora kezIkumAra zramaNa virAjamAna the, usa dizA meM sAta-ATha kadama calA aura phira dono hAtha joDa AvarttapUrvaka (hAtha ghumAkara) mastaka para ajali karake unakI isa prakAra stuti karane lagA___ "arihata bhagavaMtoM ko namaskAra ho yAvat siddhagati ko prApta siddha bhagavantoM ko namaskAra ho| mere dharmAcArya, mere dharmopadezaka kezIkumAra zramaNa ko namaskAra ho| unakI mai vandanA karatA huuN| vahA~ virAjamAna ve bhagavAna yahA~ vidyamAna mujhako dekhe|" isa prakAra * kahakara vadana-namaskAra kiyaa| ARRIVAL OF CHITTA FOR DARSHAN 232. (a) After hearing the message from the watchmen of the garden and brooding upon it, Chitta Saarthi felt happy. He felt ei pleased and liked it. He got ecstatic pleasure. He got up from his seat quickly, he got down from it, removed his shoes, wrapped the cloth round his face, placed his folded hands at his forehead and then went seven-eight steps in the direction in which Keshi Kumar Shraman was staying. He then moved his folded hands in a circle and placing them near his forehead praised the Shraman as under "I pay obeisance to Reverend Arihantas; to Siddhas who have attained liberation, to my religious preceptor, to my religious guide Keshi Kumar Shraman. I bow to them. My respected Bhagavan may see me from there. Saying so he bowed to him, greeted him and praised him." (kha) te ujjANapAlae viuleNaM vatthagaMdhamallAlaMkAreNaM sakkArei sammANei viulaM jIviyArihaM pIidANaM dalayai, pddivisjjei| , ___ koDuMbiyapurise saddAvei evaM vayAsI-khippAmeva bho ! devANuppiyA cAugghaMTaM AsarahaM juttAmeva uvaTThaveha jAva pcppinnh| - kezIkumAra zramaNa aura pradezI rAjA ( 291 ) Keshi Kumar Shraman and King Pradesh * D Oders FC * * " H

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tae NaM te koDuMbiyapurisA jAva khippAmeva sacchattaM sajjhayaM jAva uvaTThavittA tamANattiyaM pccppinnNti| tae NaM se citte sArahI koDUMbiyapurisANaM aMtie eyamaDhe soccA nisamma hadvatuTu jAva * hiyae ehAe kayabalikamme jAva jeNeva cAugghaMTe jAva durUhittA sakoraMTa. mahayA * bhaDacaDagareNaM taM ceva jAva pajjavAsai dhammakahAe jaav| (kha) isake pazcAt citta sArathI ne (zubha saMvAda dene kI khuzI meM) una udyAnapAlakoM ko vipula vastra, gaMdha, mAlA, alakAroM se satkAra-sanmAna kiyA tathA jIvikA-yogya * vipula prItidAna (pAritoSika) dekara vidA kiyaa| tadanantara apane kauTumbika puruSoM ko bulAkara AjJA dI- 'he devAnupriyo ! zIghra hI tuma cAra ghaMToM vAlA azva-ratha jotakara upasthita karo aura mujhe vApasa isakI sUcanA do|" / se kauTumbika puruSoM ne zIghra hI chatra evaM dhvajA-patAkAoM se suzobhita ratha ko taiyAra kara ke ratha le Ane kI sUcanA dii| kauTumbika puruSoM se ratha lAne kI sUcanA pAkara hRSTa-tuSTa yAvat vikasita hRdaya hote hue citta sArathI ne snAna kiyA, balikarma kiyA yAvat AbhUSaNoM se zarIra ko alaMkRta kiyaa| - jahA~ cAra ghaMToM vAlA ratha thA, vahA~ AyA aura ratha para ArUDha hokara koraMTa puSpo kI mAlAo se yukta chatra ko dhAraNa kara vizAla subhaTo ko sAtha lekara ravAnA huaa| udyAna meM pahuMcakara kezIkumAra zramaNa kI paryupAsanA karane lgaa| kezIkumAra zramaNa ne dharmopadeza diyaa| (b) Thereafter, expressing his happiness at the good news conveyed by watchmen of the garden, he gave them many clothes, garlands, fragrant material, ornaments and honoured them. He * gave them gifts in sufficient number suitable for their living Thereafter he called the heads of the family and ordered them "O the blessed ! Kindly present quickly the four-belled horse-driven chariot ready to move. Please intimate me after compliance." The servants soon made the chariot ready fitted with umbrella, the flag, the buntings and intimated to Chitta. After hearing the compliance of his orders, feeling happy and with a joyous heart, Chitta Saarthi took his bath, decorated himself with auspicious symbols and ornaments. He then came to the place where the four-belled chariot was standing. He got into * the umbrella bearing garlands of Korant flowers and started along rAyapaseNiyasUtra (292) Rar-paseniya Sutra

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Shop with a large company of warriors. After reaching the garden hele started expressing his devotion for Keshi Kumar Shraman. Then Keshi Kumar Shraman gave him a religious discourse. E rAjA ko pratibodha dene kI prArthanA 233. tae NaM se citte sArahI kesissa kumArasamaNassa aMtie dhammaM soccA nisamma haTTatuDhe taheva evaM vayAsI evaM khalu bhaMte ! amhaM paesI rAyA adhammie jAva sayassa vi NaM jaNavayassa no samma karabharavittiM pavattei / taM jai NaM devANuppiyA ! paesissa raNNo dhammamAikkhejjA bahuguNataraM khalu hojjA paesissa raNNo tesiM ca bahUNaM dupaya-cauppaya-miya-pasu-pakkhIsarIsavANaM, tesiM ca bahUNaM smnnmaahnnbhikkhuyaannN| taM jai NaM devANuppiyA ! paesissa bahuguNataraM hojjA sayassa vi ya NaM jnnvyss| ___ 233. dharmazravaNa kara aura use hRdaya meM dhAraNa kara citta sArathI harSita, santuSTa evaM 3 citta me Anandita huaa| dharma ke prati anurAgI, parama saumyabhAvayukta hokara kezIkumAra zramaNa se nivedana kiyA "he bhadanta ! hamArA pradezI rAjA adhArmika hai, yAvat rAja-kara lekara bhI samIcIna rUpa se apane janapada (prajA) kA pAlana eva rakSaNa nahIM karatA hai| ataeva Apa devAnupriya ! yadi pradezI rAjA ko dharmopadeza deMge to pradezI rAjA ke lie, sAtha hI aneka dvipada (manuSyoM), 5 catuSpada (pazuoM), mRga, pazu, pakSI, sarIsRpo Adi ke lie tathA bahuta se zramaNoM, mAhaNo eva bhikSuoM Adi ke lie bahuta-bahuta guNakArI-hitakArI, lAbhakArI siddha hogaa| __ he devAnupriya ! yadi vaha dharmopadeza pradezI ke lie hitakara ho jAtA hai to usase janapadadeza ko bhI bahuta lAbha hogaa|" REQUEST FOR GIVING RELIGIOUS SERMON TO THE KING 233. After listening the religious discourse Chitta Saarthi brooded upon it, accepted it, felt happy and satisfied. He feeling deeply inclined towards Dharma, in a solemn tone requested Keshi Kumar Shraman "Reverend Sir ! Our king Pradeshi is irreligious upto the facts that he receives taxes from the public but does not properly look after them. He does not make them secured. So the reverend Sir ! In case you deliver a religious sermon to king Pradeshi it will be sent kezIkumAra zramaNa aura pradezI rAjA (293) Keshu Kumar Shraman and King Pradeshi

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beneficial for him and also for men, quadruped, deer, animals, birds, snakes and others. It shall be of great benefit for many saints, brahmins, mendicants and others. Respected Sir! In case your religious discourse becomes beneficial for king Pradeshi, it shall be for the welfare of the country also." kezIkumAra zramaNa kA uttara 234. (ka) tae NaM kesI kumArasamaNe cittaM sArahiM evaM vayAsI evaM khalu cahiM ThANehiM cittA ! jIvA kevalipannattaM dhammaM no labhejjA savaNayAe, taM jahA (1) ArAmagayaM vA ujjANagayaM vA samaNaM vA mAhaNaM vA No abhigacchai, No vaMdai, No NamaMsa, No sakkArei, No sammANei, No kallANaM maMgalaM devayaM ceiyaM pajjuvAsei, no aTThAI heUI pasiNAI kAraNAI vAgaraNAI pucchara, eeNaM ThANeNaM cittA ! jIvA kevalipanattaM dhammaM no labhaMti savaNayAe / (2) uvassayagayaM samaNaM vA taM caiva jApa eteNa vi ThANeNaM cittA ! jIvA kevalipannattaM dham no bhaMti savaNayAe / ( 3 ) goyaraggagayaM samaNaM vA mAhaNaM vA jAva no pajjuvAsai, No viuleNaM asaNa - pANa- khAima - sAimeNaM paDilAbhai, No aTThAI jAva pucchai, eeNaM ThANeNaM cittA ! kevalipattaM dhammaM no labhai savaNayAe / (4) jattha vi ya NaM samaNeNa vA mAhaNeNa vA saddhiM abhisamAgacchai, tattha vi NaM hattheNa vA vatthe vA chatteNa vA appANaM AvarittA ciTThai, no aTThAI jAva pucchai, eeNa vi ThANeNaM cittA ! jIve kevalipannattaM dhammaM No labhai savaNayAe / eehiM ca NaM cittA ! cauhiM ThANehiM jIve No labhai kevalipannattaM dhammaM savaNayAe / 234. (ka) citta sArathI kI hArdika bhAvanA sunane ke pazcAt kezIkumAra zramaNa ne isa prakAra kahA -- "he citta / koI bhI jIva, nizcaya hI ina cAra kAraNoM se kevalibhASita dharma ko sunane kA lAbha prApta nahIM kara pAtA hai / ve cAra kAraNa isa prakAra haiM rAyapaseNiyasUtra ( 294 ) For Private Personal Use Only Rai-paseniya Sutra

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dharma prApti kI sulabhatA-durlabhA / udyAna meM upA hai bhikSAcarI lie Ane - - . COTA Joyare Aurane

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citra paricaya - 9 dharma-prApti kI sulabhatA - durlabhatA kezIkumAra zramaNa ne citta sArathI se kahA - "he citta / nimna cAra kAraNo se jIva ko dharma kI prApti sulabha tathA cAra kAraNo se durlabha hotI hai Illustration No. 9 (1) jo udyAna Adi me sthita zramaNo ke sammukha jAkara unheM vandanA Adi kara paryupAsanA karatA hai, use dharma kI prApti sulabha hai| jo dUra se hI dekhakara akaDakara khar3A raha jAtA hai, use dharma kI prApti sulabha nahI / (2) jo upAzraya me sthita muniyo ko vandanA kara dharma kA zravaNa karatA hai, use dharma kI prApti sulabha hai| jo unake nikaTa hI nahI jAtA, dUra-dUra rahatA hai, use dharma kI prApti durlabha hai| (3) gocarI ke lie Aye hue zramaNo ko jo bhaktipUrvaka AhAradAna karatA hai, use dharma kI prApti sulabha hai| jo nahI detA, use durlabha hai| (4) zramaNa Adi mArga me milane para jo unhe vandanA - namaskAra karatA hai, use dharma kI prApti sulabha hai / jo dIvAra yA chattA Adi se svaya ko chipAne kI ceSTA karatA hai, use dharma kI prApti durlabha hai|" -sUtra 234, pRSTha 294-298 OPPORTUNITIES TO BENEFIT FROM A RELIGIOUS DISCOURSE Keshi Kumar Shraman said to Chitta Sarathi-"O Chitta Following are the four reasons that provide an opportunity of gaining benefit from a religious discourse and four that do not (1) A person who bows to and honours Shramans stationed at a garden or other such place gets the opportunity of gaining bebefit from a religious discourse One who egotistically stands at a distance does not (2) A person who bows to and honours and listens attentively to Shramans stationed at an upashraya gets the opportunity of gaining bebefit from a religious discourse One who remains away and avoids their proximity does not (3) A person who offers food with devotion to Shramans who have come seeking alms gets the opportunity of gaining bebefit from a religious discourse One who avoids doing so does not (4) A person who bows to and honours the Shramans he meets on the way gets the opportunity of gaining bebefit from a religious discourse One who hides behind a wall or an umbrella does not -Sutra 234, pp 294-298 vi For Private Personal Use Only

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(1) jo ArAma (bAga) meM athavA udyAna meM Thahare hue zramaNa yA mAhana ke sanmukha nahIM jAtA hai, madhura vacanoM se unakI stuti nahI karatA hai, mastaka navAkara unako namaskAra nahI 2 karatA hai, sAmane dekhakara Asana se uThakara unakA satkAra nahIM karatA hai, unakA sammAna " nahI karatA hai tathA kalyANasvarUpa, maMgalasvarUpa, devasvarUpa, viziSTa jJAnasvarUpa mAnakara jo unakI paryupAsanA nahIM karatA hai| jo artha-jIvAjIvAdi padArthoM ko, hetuoM-(mukti ke * upAyoM) ko jAnane kI icchA se praznoM ko, kAraNoM (saMsArabandha ke kAraNoM) ko, vyAkhyAoM (tattvoM kA pUrNa jJAna karane ke lie unake svarUpa) ko nahIM pUchatA hai, to he citta / vaha jIva * kevaliprarUpita dharma ko suna nahIM pAtA hai| (2) upAzraya me sthita zramaNa Adi kA vandana, namana, satkAra, sammAna Adi karane ke nimitta jo unake sanmukha nahIM jAtA yAvat unase vyAkaraNa (tattva kA vivecana) nahIM pUchatA * to isa kAraNa bhI he citta ! vaha jIva kevalibhASita dharma ko suna nahIM pAtA hai| " (3) gocarI-bhikSA ke lie gaoNva meM Aye hue zramaNa, mAhana kA satkAra Adi karane ke nimitta jo unake samakSa nahI jAtA yAvat unakI paryupAsanA nahIM karatA tathA unheM vipula eSaNIya azana, pAna, khAdya, svAdya AhAra se pratilAbhita nahIM karatA (AhAradAna nahIM Pal karatA) evaM zAstra ke artha yAvat vyAkhyA ko unase nahIM pUchatA, to he citta ! aisA jIva " bhI kevalI bhagavAna dvArA prarUpita dharma ko suna nahIM pAtA hai| (4) kahIM mArga meM (acAnaka) zramaNa yA mAhana kA suyoga mila jAne para bhI vahA~ apane Apa ko chipAne ke lie athavA 'pahacAnA na jAU~', isa vicAra se hAtha se, vastra se, chatte se svayaM ko AvRtta kara letA hai, DhaoNka letA hai evaM unase artha Adi nahI pUchatA hai, to isa kAraNa se bhI he citta / vaha jIva kevalibhASita dharmazravaNa karane kA avasara prApta nahIM kara sakatA hai| ___he citta ! ukta cAra kAraNo se jIva kevalibhASita dharmazravaNa karane kA lAbha nahIM le pAtA hai|" REPLY OF KESHI KUMAR SHRAMAN 234. (a) After listening to the inner desire of Chitta Saarthi, Keshi Kumar Shraman said___ "O Chitta ! Certainly a Jiva (living being) cannot get the benefits of listening to the philosophy propagated by the omniscient due to four reasons. They are as under--- (1) A person does not go to the Shraman or an ascetic staying in a garden or an orchard. He does not praise them with sweet words. * kezIkumAra zramaNa aura pradezI rAjA (295) Keshu Kumar Shraman and King Pradeshi

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He does not bow to them, does not honour them by getting up from his seat at their sight. He does not respect them and does not consider them working for welfare. He does not regard auspicious, god-like and treasure of excellent knowledge for all and accepting them as such does not serve them with devotion. He does not ask question to know Arth--the interpretation of living being and nonliving being; to know Hetus-the methods of attaining liberation; to know the Vyakhyas-complete knowledge about Tattvas--the basic concepts. O Chitta ! Such a person cannot listen the philosophy propounded by omniscient. (2) A person does not go to the Upashreya to bow, to greet, to honour and to show respect to the Shramans (saints) staying there. He does not make detailed enquiry from them about the basic elements (Tattvas). In view of it, O Chitta ! He is not able to hear et the philosophy propounded by omniscient. (3) A person does not go before a Shraman or an ascetic who has come to the village in search of food and water. He does not honour them. He does not serve them with devotion. He does not offer them ** food, liquids, sweets and substances that cause fragrance (He does * not give food in charity). He does not ask meaning and underlying idea of scriptures the detailed commentary of the aphorism therein. O Chitta ! Such a person cannot listen the philosophy propagated by the omniscient. (4) A person covers his face with hand, clothes or umbrella when suddenly he sees a Shraman or an ascetic in order to conceal his presence from them so that he may not be recognized by them. He does not ask any question pertaining to religion from them. O Chitta ! Such a person cannot listen religious discourse based on word of omniscient. O Chitta ! Due to four reasons mentioned above a person cannot get the benefit of listening the religious discourse." dharma-prApti ke cAra kAraNa (kha) cauhiM ThANehiM cittA ! jIve kevalipanattaM dhammaM labhai savaNayAe, taM jahA (1) ArAmagayaM vA ujjANagayaM vA samaNaM vA mAhaNaM vA vaMdai namasai jAva pajjuvAsai aTThAiM jAva pucchai, eeNaM vi jAva labhai savaNayAe evaM, rAyapaseNiyasUtra (296) Rai-paseniya Sutra KOVOJONOV G

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(2) uvassayagayaM, (3) goyaraggagayaM samaNaM vA jAva pajjuvAsai viuleNaM jAva paDilAbhei, aTThAI jAva pucchai eeNa vi, (4) jattha vi ya NaM samaNeNa vA mAhaNeNa vA abhisamAgacchai tattha vi ya NaM No hattheNa vA jAva AvarettANaM cidvai, eeNa vi ThANeNaM cittA ! jIve kevalipannattaM dhamma labhai svnnyaae| tujhaM ca NaM cittA ! paesI rAyA ArAmagayaM vA te ceva savvaM bhANiyavvaM AillaeNaM gamaeNaM jAva appANaM AvarettA ciTThai, taM kahaM NaM cittA ! paesissa rano dhammamAikkhissAmo ? (kha) "he citta cAra kAraNo se jIva kevalibhASita dharma ko sunane kA avasara prApta kara sakatA hai| ve cAra kAraNa isa prakAra haiM (1) ArAma meM athavA udyAna me padhAre hue zramaNa yA mAhana ko dekhakara jo vandana karatA hai, namaskAra karatA hai yAvat unakI paryupAsanA karatA hai, tattvoM ko pUchatA hai, to vaha jIva * kevaliprarUpita dharma ko sunane kA avasara prApta kara sakatA hai| (2) isI prakAra jo jIva upAzraya meM rahe hue zramaNa yA mAhana ko vandana-namaskAra ra karatA hai yAvat unakI paryupAsanA karatA huA tattva Adi dharma pUchatA hai to vaha kevaliprarUpita dharma ko suna sakatA hai| (3) isI prakAra jo jIva gocarI-bhikSAcaryA ke lie Aye hue zramaNa yA mAhana ko vandana-namaskAra karatA hai yAvat unakI paryupAsanA karatA hai tathA vipula AhAra Adi se unheM pratilAbhita karatA hai, unase dharma ke, zAstra ke tattvoM Adi ko pUchatA hai, vaha jIva isa nimitta se bhI kevalibhASita dharma ko sunane kA avasara prApta kara sakatA hai| (4) isI prakAra he citta ! jo jIva jahA~ kahI zramaNa yA mAhana kA suyoga milane para hAtho, vastro, chattA Adi se svaya ko chipAtA nahIM hai, (apitu unake satsaMga me AtA hai) vaha jIva kevaliprajJapta dharma sunane kA lAbha prApta kara sakatA hai| lekina, he citta ! tumhArA pradezI rAjA jaba udyAna meM Aye hue zramaNa yA mAhana ke sanmukha hI nahIM AtA hai yAvat apane ko chipA letA hai, to phira pradezI rAjA ko maiM kaise dharma kA upadeza de sakU~gA?" * * * kezIkumAra zramaNa aura pradezI rAjA (297) Kesh Kumar Shraman and King Pradeshi

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FOUR CAUSES OF LEARNING DHARMA (b)"O Chitta' Due to four reasons, one can get a chance to listen the scriptures They are as under (1) A person bows to and honour the Shraman or an ascetic staying in the garden or an orchard whenever he sees them. He serves with devotion. He asks questions to seek clarification. Such a person can listen religious discourse whenever such an occasion arises. (2) Similarly a person bows to the Shraman or ascetic staying in Upashraya. He honours him upto serves him with devotion. He asks questions about religious faith and others. Such a person can listen the philosophy propagated by omniscient. (3) A person bows to the Shraman or ascetic who has come in search of food according to his restraints (Gochari). He honours him upto serves him with devotion. He offers him sufficient food and other necessities. He makes enquiries about religion and its basic principles. So he can find opportunity to listen the philosophy propagated by omniscient. (4) Further 0 Chitta! A person when he sees a Shraman or Mahan Ma(ascetic) per chance, and does not conceal himself with his hands, clothes, umbrella and others but comes near him, he also can get the benefit of listening the philosophy propagated by the omniscient. But 0 Chitta ! Your king Pradeshi does not come near the Shraman or Mahan staying in the garden and conceals himself. So how can I deliver spiritual discourse to king Pradeshi." * rAjA pradezI ko lAne hetu citta kI yukti 235. tae NaM se citte sArahI kesikumArasamaNaM evaM vayAsI-evaM khalu bhaMte ! ra aNNayA kayAI kaMvoehiM cattAriM AsA uvaNayaM uvaNIyA, te mae paesissa raNNo annayA ceva uvaNIyA, taM eeNaM khalu bhaMte ! kAraNeNaM ahaM paesiM rAyaM devANuppiyANaM aMtie * habamANessAmo, taM mA NaM devANuppiyA ! tubbhe paesissa rano dhammamAikkhamANA gilAejjAha, agilAe NaM bhaMte ! tubbhe paesissa raNNo dhammamAikkhejjAha, chaMdeNaM bhaMte ! tubbhe paesissa raNNo dhmmmaaikkhejjaah| * rAyapaseNiyasUtra Rar-paseniya Sutra (298)

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OM tae NaM se kesI kumArasamaNe cittaM sArahiM evaM vayAsI-avi yA iM cittA ! * jaannissaamo| tae NaM se citte sArahI kesiM kumArasamaNaM vaMdai namasai, jeNeva cAugghaMTe Asarahe teNeva uvAgacchai, cAugghaMTe AsarahaM durUhai, jAmeva disiM pAunbhUe tAmeva disi pddige| 235. kezIkumAra zramaNa ke vacana sunakara citta sArathI ne nivedana kiyA-"he bhadanta ! kisI samaya kaboja dezavAsiyo ne cAra sundara ghoDe upahAra rUpa meM bheMTa kiye the| maiMne unako pradezI rAjA ke pAsa bhijavA diyA thA, to bhagavan ! ina ghoDo ke bahAne mai zIghra hI pradezI rAjA ko Apake pAsa laauuNgaa| taba he devAnupriya | Apa pradezI rAjA ko dharmakathA kahate hue lezamAtra bhI glAni anubhava mata karanA-khedakhinna yA udAsIna na honaa| he bhadanta ! Apa - aglAnabhAva se(sahaja prasannabhAvapUrvaka sakocarahita hokara) pradezI rAjA ko dharmopadeza denaa| he bhagavan / Apa apanI icchAnusAra pradezI rAjA ko dharma kA kathana krnaa|" ___ taba kezIkumAra zramaNa ne citta sArathI se kahA-"he citta / avasara-prasaga Ane para dekhA jaayegaa|" OM tatpazcAt citta sArathI ne kezIkumAra zramaNa ko vandanA kI, namaskAra kiyA aura phira jahA~ cAra ghaTo vAlA azva-ratha khaDA thA, vahA~ Akara usa cAra ghaTo vAle azva-ratha para ArUDha huaa| jisa dizA se AyA thA usI ora lauTa gyaa| THE PROPOSAL OF CHITTA TO BRING KING PRADESHI 235. After hearing this reply of Keshi Kumar Shraman Chitta Saarthi said--"Reverend Sir ! Sometimes the residents of Kamboj had presented four beautiful horses as a gift. I had sent them to king Pradeshi. On pretext of testing those horses, I shall soon bring king Pradeshi to you. At that time while giving spiritual discourse to him, kindly do not have even the slightest dejection and do not feel sad. Reverend Sir ! You lecture him in a happy mood without any doubt in your mind. You explain to him the religious philosophy in a normal way." Then Keshi Kumar Shraman Replied--"O Chitta ! I shall see to as and when the occasion arises." Thereafter Chitta Saarthi bowed to Keshi Kumar Shraman, praised him and then came to the place where four-belled horse - kezIkumAra zramaNa aura pradezI rAjA (299) Kesh Kumar Shraman and King Pradeshi

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REPAROPAR-DAR GHODogolo alosolasala driven chariot was standing. He got into it and came back (to his autem **house) rAjA pradezI kA udyAna me Agamana 236. (ka) tae NaM se citte sArahI kallaM pAuppabhAyAe rayaNIe phulluppalakamalakomalummiliyaMmi ahApaMDure pabhAe kayaniyamAvassae sahassarassimmi diNayare teyasA jalaMte sAo gihAo Niggacchai, jeNeva paesissa ranno gihe, jeNeva paesI rAyA teNeva uvAgacchai, paesiM rAyaM karayala jAva tti kaTu jaeNaM vijaeNaM vaddhAvei, evaM vayAsI evaM khalu devANuppiyANaM kaMboehiM cattAri AsA uvaNayaM uvaNIyA, te ya mae devANuppiyANaM aNNayA ceva vinniyaa| taM eha NaM sAmI ! te Ase ciTuM paash| tae NaM se paesI rAyA cittaM sArahiM evaM vayAsI-gacchAhi NaM tumaM cittA ! tehiM ceva cauhiM AsehiM AsarahaM juttAmeva uvaTThavehi jAva pccppinnaahi| 236. (ka) tatpazcAt kala-(dUsare dina) rAtri bIta jAne aura prabhAta ho jAne para jaba sarovaroM meM komala utpala kamala vikasita ho cuke aura dhUpa bhI sunaharI ho gaI, taba nitya ke Avazyaka kAryoM se nivRtta hokara zarIra cintA se nivRtta hokara sAmAyika-pratikramaNAdi karake tejayukta sahasrarazmi dinakara ke camakane ke bAda citta sArathI apane ghara se nikalA, jahA~ pradezI rAjA kA bhavana thA, vahA~ AyA, Akara donoM hAtha joDakara jaya-vijaya zabdoM 5 se pradezI rAjA kA abhinandana kiyA aura isa prakAra bolAkI "svAmin ! kaMboja dezavAsiyoM ne devAnupriya ke lie jo cAra ghoDe upahArasvarUpa bheje the, unhe maiMne Apa devAnupriya ke yogya prazikSita kara diyA hai| ataeva Aja Apa padhArie aura una ghoDo kI gati Adi ceSTAo kA nirIkSaNa kiijie|" 2 taba pradezI rAjA ne citta sArathI se kahA-"he citta / tuma jAo aura unhI cAra ghoDoM ko ratha me jotakara azva-ratha ko yahA~ lAo, ratha Ane kI sUcanA mujhe do|" ARRIVAL OF KING PRADESHI IN THE GARDEN 236. (a) Thereafter, (on the following day) after sunrise while the soft Utpal lotus had blown and it was bright sunshine, he after undergoing his daily routine and going to the toilet, did his * Samayik (prayer and meditation) and Pratikraman (the confession) and other such religious duties. He then came out of his house when the sun had fully brightened up. He came to the palace of king 9 Pradeshi. He praised him with folded hands and said, ra rAyapaseNiyasUtra (300) Ral-paseniya Sutra *

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"Me lord! Four horses that were given as a gift by the people of Kamboj to your honour, have been trained by me. So you please come and test their gait, their speed and other activities." Then king Pradeshi told Chitta Saarthi-"O Chitta ! You go and bring here those four horses driving a chariot. After compliance, you inform me." (kha) tae NaM se citte sArahI paesiNA rannA evaM vutte samANe haTTatuTTha jAva hiyae uagvei, eyamANattiyaM paccappiNa | taNaM se esI rAyA cittassa sArahissa aMtie eyama soccA Nisamma haTThatuTTha jAva appamahagghAbharaNAlaMkiyasarIre sAo gihAo niggacchai / jeNAmeva cAugghaMTe Asarahe teNeva uvAgacchai, cAugghaMTaM AsarahaM durUhai, seyaviyAe nagarIe majjhamajjheNaM Niggacchai / tae NaM se citte sArahI taM rahaM NegAI joyaNAI ubbhAmei / tae NaM se paesI rAyA uNaya tahAe ya rahavAeNaM parikilaMte samANe cittaM sArahiM evaM vayAsI - cittA ! parikilaMte me sarIre, parAvattehi rahaM / taNaM se citte sArahI rahaM parAvattei / jeNeva miyavaNe ujjANe teNeva uvAgacchai, paesiM rAyaM evaM vayAsI - esa NaM sAmI ! miyavaNe ujjANe, ettha NaM AsANaM samaM kilAmaM samma avaNemo / taNaM se paesI rAyA cittaM sArahiM evaM vayAsI evaM hou cittA ! (kha) pradezI rAjA kA uttara sunakara citta sArathI harSita evaM santuSTa huA / usane azva-ratha upasthita kiyA aura ratha le Ane kI sUcanA rAjA ko dii| tatpazcAt vaha pradezI rAjA citta sArathI kI bAta sunakara hRSTa - tuSTa huA / snAnAdi kriyAoM se nivRtta hokara mUlyavAn AbhUSaNoM se zarIra ko alakRta karake apane bhavana se nikalA aura jahA~ cAra ghaToM vAlA azva - ratha thA, vahA~ aayaa| usa cAra ghaTo vAle azva - ratha para ArUDha hokara seyaviyA nagarI ke madhya se bAhara nikalA / citta sArathI ne usa ratha ko aneka yojano taka arthAt bahuta dUra taka baDI teja cAla se dauDAyA - claayaa| taba garamI, pyAsa aura ratha kI cAla se lagatI dhUla bharI havA se vyAkula, parezAna, khinna hokara pradezI rAjA ne citta sArathI se kahA - " he citta ! merA zarIra bahuta thaka gayA hai / ratha ko vApasa lauTA lo|" kezIkumAra zramaNa aura pradezI rAjA (301) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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taba citta sArathI ne ratha ko lauTAyA, jahA~ mRgavana udyAna thA, vahA~ le AyA / vahA~ Akara pradezI rAjA se kahA-"he svAmin ' yaha apanA mRgavana udyAna hai, (Apa kahe to ) yahA~ ratha ko rokakara hama ghoDo ke zrama aura apanI thakAna ko acchI taraha dUra kara le ?" pradezI rAjA ne kahA - "he citta / ThIka hai, aisA hI kro| " (b) Chitta Saarthi felt happy and satisfied at the reply of king Pradeshi. He brought the horse-driven chariot and informed the king about it. King Pradeshi felt happy and satisfied at this information. He took his bath, decorated himself with costly ornaments and then came out from his palace He came to the place where four-belled horse-driven chariot was parked. He got into the chariot and passing through Seyaviya town, he came out of it. Chitta Saarthi drove the chariot for many miles at a very fast speed. Then king Pradeshi, feeling dizzy due to heat, thirst and dirty winds, told Chitta Saarthi - "O Chitta ! I am feeling very much tired. So please take back the chariot." Then Chitta Saarthi brought back the chariot to Mrigavan garden. He then told king Pradeshi "Respected Sir! Here is Mrigavan garden. If you say so, we may stop the chariot and take rest to remove fatigue. We may also allow the horses to take rest after such a great performance." King Pradeshi told-"O Chitta ' Yes, do as you please." kezIkumAra zramaNa ko dekhakara rAjA pradezI kA cintana 237. tae NaM se citte sArahI jeNeva miyavaNe ujjANe, jeNeva kesissa kumArasamaNassa adUra- sAmaMte teNeva uvAgacchai, turae NigiNhei, rahaM Thavei, rahAo paccoruhai, turae moeti, paesiM rAyaM evaM vayAsI - eha NaM sAmI ! AsANaM samaM kilAmaM sam avaNemo / tae NaM se paesI rAyA rahAo paccoruhai, citteNa sArahiNA saddhiM AsANaM samaM kilAmaM sammaM avaNemANe pAsai jattha kesIkumArasamaNaM mahaimahAliyAe mahaccaparisAe majjhagae mahayA saddeNaM dhammamAikkhamANaM / pAsaittA imeyArUve ajjhatthie jAva samujjitthA / rAyapaseNiyasUtra (302) For Private Personal Use Only Rai-paseniya Sutra

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jaDDA khalu bho ! jaDDaM pjjuvaasNti| muMDA khalu bho ! muMDaM pajjuvAsaMti / mUDhA khalu bho ! mUDhaM pajjuvAsaMti | apaMDiyA khalu bho ! apaMDiyaM pajjuvAsaMti / nivviNNANA khalu bho ! nibviNNANaM pjjuvaasNti| se kesa NaM esa purise jaDDe muMDe mUDhe apaMDie nivviNNANe, sirIe hirIe uvagae uttppsriire| esa NaM purise kimAhAramAhArei ? kiM pariNAmei ? kiM khAi, kiM piyai, kiM dalai, kiM payacchai ? jaM NaM esa emahAliyAe maNussaparisAe majjhagae mahayA saddeNaM bUyA | evaM saMpei cittaM sArahiM evaM vayAsI cittA ! jaDDA khalu bho ! jaDDaM pajjuvAsaMti jAva bUyAe, sAe vi NaM ujjANabhUmIe no saMcAmi sammaM kAmaM paviyarittae ! 237. (rAjA ke 'haoN' kahane para ) citta sArathI ne mRgavana udyAna kI ora ratha ko moDA aura phira usa sthAna para AyA jo kezIkumAra zramaNa ke nivAsa-sthAna ke pAsa thA / vahA~ ghoDa ko rokA, ratha ko khar3A kiyA, ratha se utarA aura phira ghoDo ko kholakara -choDakara pradezI rAjA se kahA - "he svAmin ! hama yahA~ ghoDo ke zrama aura apanI thakAna ko dUra kara leN|" citta kI bAta sunakara pradezI rAjA ratha se nIce utarA aura citta sArathI ke sAtha ghor3oM kI thakAvaTa aura apanI vyAkulatA ko miTAte hue (chAyA meM Tahalate hue) usa ora dekhA jahAeN kezIkumAra zramaNa ativizAla pariSad ke bIca baiThakara ucca gambhIra ghoSa se dharmopadeza kara rahe the| yaha dekhakara use mana-hI-mana yaha vicAra eva sakalpa utpanna huA 'jaDa (mUrkha) hI jaDa kI upAsanA karate hai ! muDa (maMda buddhi) hI muDa kI upAsanA karate hai ! mUDha (buddhihIna ) hI mUDho kI upAsanA karate hai ! apaDita (alpajJAnI) hI apaDita kI upAsanA karate hai ! aura ajJAnI (anapaDha ) hI ajJAnI kI upAsanA - ( upAsanA - pAsa jAnA, sagati karanA, unase vArttAlApa karanA aura unakA sammAna karanA) karate haiM / parantu yaha kauna puruSa hai jo jaDa, muMDa, mUDha, apaDita aura ajJAnI hote hue bhI zrI (divyatA), hrI (prabhAva) se sampanna hai, zArIrika kAMti (teja - oja ) se suzobhita hai ? yaha puruSa kisa prakAra kA AhAra karatA hai ? kisa rUpa me khAye hue bhojana ko pariNamAtA hai ? yaha kyA khAtA hai, kyA pItA hai, logoM ko kyA detA hai, vizeSa rUpa se unheM kyA vitarita karatA hai-baoNTatA hai-samajhAtA hai ? yaha puruSa itane vizAla mAnava - samUha ke bIca baiThakara aisI gambhIra dhvani meM jora-jora 'kyo bola rahA hai ?' usane aisA vicAra kiyA aura citta sArathI se pUchA zIkumAra zramaNa aura pradezI rAjA (303) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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"Fart! (HAR) HTS 999 ht HE 27 JULHO (3) IURE E ta * hai jo bahuta prabhAvazAlI dIkhatA hai| jo vizAla janatA ke samakSa itanI U~cI dhvani se bola rahA hai? yaha kyA khAtA hai, kyA pItA hai ? isake kAraNa hama apanI hI udyAna-bhUmi meM bhI icchAnusAra bhramaNa nahI kara sakate haiN|" 9 THOUGHTS OF KING PRADESHI AT THE SIGHT OF KESHI KUMAR SHRAMAN 237. At the affirmative reply of king Pradeshi Chitta Saarthi turned the chariot towards Mrigavan garden and then he came to a place near the place of stay of Keshi Kumar Shraman. He stopped the horses, halted the chariot and then let loose the horses. He then told king Pradeshi-"Me lord ! Let us remove here over fatigue (by taking rest) and also remove the fatigue of the horses." Then king Pradeshi came down. He strolling with Chitta Saarthi in the shade in order to remove his fatigue, saw Keshi Kumar Shrman delivering a religious talk to a large gathering in a loud o serene voice. At this sight, he thought and determined as under "Only fools attend to fools. The persons with abnormal intellect serve those whose intellect is at a pretty low level. A person with undeveloped intellect attends to the dunce. A person with little knowledge serves a person with little knowledge. An illiterate serves an illiterate-goes to him, gives him company; talks to him and respects him. Who is this person who is a fool, whose level of intellect is pretty low, who is without knowledge, who is illiterate, but who still has divinity and commands influence who has beautiful structure of the body. What type of food does he take? In what form does he absorb hot the food ? What does he drink, what does he eat, what does he give (to the people) in charity, what does he distribute amongst the people, what does he explain to the people ? This person is in a large gathering. He is speaking in a loud voice which is solemn ? Thinking this, he asked Chitta Saarthi. Chitta ! Only the fools serve the fools in this world and suchlike (above mentioned). But who is this person who appears to be very effective (influential). He is addressing a large gathering in a loud voice. What does he eat and what does he drink ? Because of his presence we cannot stroll in our garden according to our desire." rAyapaseNiyasUtra ( 304 ) Rai-paseniya Sutra *

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mamiamin e pradezI rAjA kA udyAna meM Aga citta sArathI + se utaratA rAjA ARY - teja dhUpa se thaka gayA rAjA a T ASIRAM DMI C .. TO H dharmopadeza dete MANIA M AGAirtanpan. Nat SCE THEIVE

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| citra paricaya-8 | Illustration No. 8 * pradezI rAjA kA udyAna meM Agamana dRzya 1 pradezI rAjA ko udyAna me le jAne ke lie citta sArathI prabhAta hote hI prazikSita cAra ghoDo kA ratha sajAkara rAjamahala ke bAhara pahu~ca gayA aura rAjA ko sUcanA dI-"nava-prazikSita azvo se sajA ratha taiyAra hai|" sUcanA pAkara rAjA taiyAra hokara mahalo se nIce utara aayaa| dRzya 2 sUryodaya kI velA me rAjA pradezI ratha me ArUDha huA aura citta sArathI atyanta tIvra gati se ghoDo ko dauDatA rhaa| dhUpa teja ho jAne para rAjA thaka gyaa| * ghUmate-ghUmate bahuta thaka jAne para citta sArathI vizrAma ke lie rAjA ko mRgavana udyAna me lAkara eka saghana vRkSa kI chAyA me ThaharA detA hai| zrama dUra karane ke lie rAjA chAyA me ghUmatA hai| tabhI dUra vizAla pariSad ke bIca ucca Asana para virAjamAna kezIkumAra zramaNa para usakI dRSTi paDatI hai tathA unakI gambhIra ojasvI vANI sunAI detI hai| rAjA ne citta sArathI se pUchA-'isa vizAla mAnava-samUha OM ke bIca baiThe hue ati gambhIra dhvani se jora-jora se bolane vAle ye kauna hai ?'' -sUtra 235-237, pRSTha 298-302 ARRIVAL OF KING PRADESHI IN THE GARDEN SCENE 1 At the dawn Chitta Sarathi came outside the palace with a four horse chariot to drive king Pradeshi to the garden He informed the king--"The chariot with four newly trained horses is ready" On getting this information the king got ready and came down from the palace SCENE 2 It was early morning when king Pradeshi boarded the chariot Chitta Sarathi drove the chariot with great speed As it got hot due to scorching sun rays the king got tired SCENE 3 After the long drive when the king got tired Chitta Sarathi brought him to a mango garden and stopped in the shade of a dense tree The king walked around in shade to refresh himself Suddenly he saw Keshi Kumar Shraman sitting on a high seat in a large congregation and heard his deep and commanding voice The king asked Chitta Sarathi_"Who is this person sitting in the midst of such a large congregation and speaking in deep and resonant voice? -Sutras 235-237, pp 298-302 *

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238. tae NaM se citte sArahI paesI rAyaM evaM vayAsI-esa NaM sAmI ! pAsAvaccijje * kesI nAmaM kumArasamaNe jAisaMpaNNe jAva caunANovagae Adho'vahie annnnjiivie| tae NaM se paesI rAyA cittaM sArahiM evaM vayAsI-AhohiyaM NaM vadAsi cittA ! * aNNajIviyattaM NaM vadAsi cittA ! haMtA, sAmI ! AhohiNaM vayAmi, aNNajIviyattaM NaM vayAmi sAmI ! abhigamaNijje NaM cittA ! esa purise ? haMtA ! sAmI ! abhigmnnijje| abhigacchAmo NaM cittA ! amhe evaM purisaM ? haMtA sAmI ! abhigcchaamo| ___238. taba citta sArathI ne pradezI rAjA se kahA-"svAmin ! ye pApitya-(bhagavAna OM pArzvanAtha kI paramparA ke anugAmI) kezIkumAra nAmaka zramaNa haiM, jo jAti-sampanna6 (uccakulIna) yAvat matijJAna Adi cAra jJAnoM ke dhAraka haiN| ye Adho'vadhijJAna (paramAvadhi se kucha nyUna viziSTa avadhijJAna) se sampanna evaM annajIvI haiN|" taba Azcaryacakita ho pradezI rAjA ne citta sArathI se kahA- "he citta ! yaha puruSa * Adho'vadhijJAna-sampanna hai aura annajIvI hai ?" citta- "haoN svAmin ! ye Adho'vadhijJAna-sampanna eva annajIvI haiN|" * pradezI-"he citta ! to kyA yaha puruSa abhigamanIya hai arthAt isa puruSa ke pAsa jAkara ra baiThanA cAhie?" citta-"haoN svAmin ! abhigamanIya hai| inake pAsa calanA caahie|' pradezI-"to phira, citta ! kyA hama isa puruSa ke pAsa cale?'' citta-"hA~ svAmin ! cleN|" 238. Then Chitta Saarthi told king Pradeshi--"Me lord ! He is Keshi Kumar Shraman of Parshvanath tradition. He belongs to a to high caste, good family and possesses four types of knowledge (physical, scriptural and others). His transcendental knowledge is just a little less than the highest knowledge. He lives on food." Then feeling wonder-struck king Pradeshi asked--"O Chitta ! This person has high transmigratory knowledge and he lives on it ?" * kezIkumAra zramaNa aura pradezI rAjA (305) Keshu Kumar Shraman and King Pradesha *"*" *" * "* "*

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Chitta replied--"Yes me lord ! He has such a knowledge and here in a lives on food." ___King Pradeshi asked--"O Chitta ! Is it then proper to go to him and sit near him (Abhigamaneeya) ?" _Chitta repliled-"Yes Sir ! We should go near him." King Pradeshi then asked--"Chitta ! Should we then go to him ?" Chitta replied--"Yes Sir ! We should go to him." vivecana-citta sArathI ne kezIkumAra zramaNa kA paricaya dete hue kahA hai-ye 'aNNajIvI' haiN| aNNajIvI-'annajIvI' zabda kA sAmAnya artha hai-anna ke AdhAra para jIne vaale| sAdhAraNa anna khAkara bhI ye itane tejasvI hai| kintu pradezI rAjA ke agale prazna ke sandarbha me-'aNNo jIvo aNNaM sarIraM' isakA artha vicAra kare to eka dUsarA bhI saketa nikalatA hai| citta sArathI kahatA hai-ye 'aNNajIvI' hai, arthAt jIva anya hai, zarIra anya hai; isa vicAradhArA ko mAnate hai| pradezI rAjA jIva aura zarIra ko eka hI * mAnatA hai, isalie use kezIkumAra zramaNa kI vicAradhArA jAnane/samajhane kI jijJAsA aura kutUhala utpanna hotA hai| vaha apane tarka bhI detA hai jinakA varNana agale sUtro meM hai| ataH yahA~ 'aNNajIvI' zabda pradezI ke mana meM eka jijJAsA paidA karane vAlA banatA hai ki ye jIva ko zarIra se bhinna mAnate hai| bahuzruta vidvAn isa artha-saMketa para cintana kre| Elaboration-Chitta Saarthi while introducing Keshi Kumar Shraman said that he is 'Ann Jeevi'. The common meaning of this word is to live on food. Even after taking ordinary food, he is so bright. But with reference to the next question of king Pradeshi-Anno Jeevo Annam Sareeram', if we think a little deeper, it leads to another interpretation also. Chitta Saarthi says that he is 'Ann Jeevi' It means that 'Jeev (soul) is one entity' and 'Sareer (body) is another entity'. This is the philosophy of Keshi Kumar Shraman. King Pradeshi considers Jeev (soul) and body as one entity, so he mocks at the philosophy of Keshi Kumar Shraman and there is a curiosity in his mind to know and understand this thought. He also presents his arguments which are mentioned in the later aphorisms. So the words 'Ann Jeevi'creates in the mind of king Pradeshi a curiosity that He he (Keshi Kumar Shraman) believes that Jeev (soul) is different from Sareer (body). The scholars may study this interpretation further. 239. tae NaM paesI rAyA citteNa sArahiNA saddhiM jeNeva kesIkumArasamaNae teNeva uvaagcchi| kesissa kumArasamaNassa adUrasAmaMte ThiccA evaM vayAsI-tubbhe NaM bhaMte ! AhohiyA aNNajIviyA ? 16081686860608606deg076deg06816060 XROO Gok rAyapaseNiyasUtra Rai-paseniya Sutra (306) PROGopoatoptopVTORY AON IFORMAOPYAR ON ** X

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tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsI-paesI ! se jahANAmae aMkavANiyA i vA, saMkhavANiyA i vA, daMtavANiyA i vA, suMkaM bhaMsiuMkAmA No sammaM paMthaM pucchai, evAmeva paesI ! tubbhe vi viNayaM bhaMseukAmo no sammaM pucchsi| se NUNaM tava paesI mamaM pAsittA ayameyArUve ajjhathie jAva samuppajjitthA-jaDDA khalu bho ! jaDDaM pajjuvAsaMti, jAva paviyarittae, se NUNaM paesI aDhe samatthe ? haMtA ! atthiA 239. citta sArathI ke sAtha pradezI rAjA, jahA~ kezIkumAra zramaNa virAjamAna the, vahA~ 9 AyA aura kezIkumAra zramaNa se kucha dUra khar3e hokara bolA-"he bhadanta ! kyA Apa Adho'vadhijJAnadhArI haiM ? kyA Apa annajIvI haiM ?' ___ taba kezIkumAra zramaNa ne pradezI rAjA se kahA-"he pradezI ! jaise koI aMkavaNika (aMkarana kA vyApArI) athavA zaMkhavaNik, dantavaNik, rAja-kara (sarakArI Taiksa) na dene ke vicAra se sIdhA mArga nahI pUchatA (sIdhe rAste se nahIM AtA), isI prakAra he pradezI ! tuma bhI vinayapratipatti (vinaya-ziSTAcAra) nahIM karane kI bhAvanA se prerita hokara mujhase prazna karane kI samucita rIti se nahIM pUcha rahe ho| " he pradezI ! mujhe dekhakara kyA tumheM yaha vicAra nahIM huA thA, ki ye jaDa-jaDa kI * paryupAsanA karate haiM, yAvat maiM apanI hI bhUmi meM svecchApUrvaka ghUma-phira nahIM sakatA hU~? pradezI ! kyA merA yaha kathana satya hai ?" pradezI-(cauMkakara) "haoN, ApakA kahanA satya hai arthAt mere mana meM aisA vicAra AyA thaa|" ___239. King Pradeshi came with Chitta Saarthi to the place where Keshi Kumar Shraman was present. He came there, stopped at a distance and said--"O the blessed! Are you possessing Avadhi Jnan limited to a particular area ? Are you Ann Jeevi ?" ____Then Keshi Kumar Shraman said to king Pradeshi-O Pradeshi ! Just as a trader in gems (Ank gems) or in conch, in tusks (ivory) does not ask the direct route (does not follow the direct op route) in order to avoid tax, similarly O Pradeshi ! You also in order to avoid gratitude, are not asking question from me in the prescribed proper mamer. ra kezIkumAra zramaNa aura pradezI rAjA ( 307 ) Keshi Kumar Shraman and King Pradeshi *

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STERE O Pradeshi ! After seeing me, didn't you think that a fool is * serving a fool upto that I cannot freely move even in my own land ? Pradeshi ! Is my this statement true ?" the Pradeshi replied---"Yes, it is true. I had thought as such." * pA~ca jJAna sambandhI carcA 240. tae NaM se paesI rAyA kesi kumArasamaNaM evaM vayAsI-se keNaTeNaM bhaMte ! tujhaM nANe vA daMsaNe vA jeNaM tujhe mama eyArUvaM ajjhatthiyaM jAva saMkappaM samuppaNNaM jANaha pAsaha ? ra 240. tatpazcAt pradezI rAjA ne kezIkumAra zramaNa se kahA-'bhadanta ! Apako aisA kauna-sA jJAna aura darzana prApta hai ki jisake dvArA Apane mere isa prakAra ke Antarika manogata bhAvoM ko jAna liyA, dekha liyA?" DISCUSSION ABOUT FIVE TYPES OF KNOWLEDGE (JNAN) 240. Then king Pradeshi asked Keshi Kumar ShramanKO "Reverend Sir ! What is the Jnan (knowledge) and darshan (perception) that you possess which has enabled you to see and know the thoughts in my mind." 241. tae NaM se kesIkumArasamaNe paesiM rAyaM evaM vayAsI-evaM khalu paesI ! amhaM samaNANaM niggaMthANaM paMcavihe nANe paNNate, taM jahA-AbhiNibohiyaNANe suyanANe ohiNANe maNapajjavaNANe kevlnnaanne| se kiM taM AbhiNibohiyanANe ? AbhiNibohiyanANe caubihe paNNatte, taM jahA-uggao IhA avAe dhaarnnaa| se kiM taM uggahe ? uggahe duvihe paNNatte, taM jahA-naMdIe jAva se taM dhAraNA, se taM aabhinnibohiynaanne| se kiM taM suyanANe ? suyanANe duvihe paNNatte, taM jahA-aMgapaviTuM ca, aMgabAhiraM ca, savvaM bhANiyavvaM jAva ditttthivaao| ohiNANaM bhavapaccaiyaM, khaovasamiyaM jahA nnNdiie| rAyapaseNiyasUtra Raz-paseniya Sutra (308)

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___ maNapajjavanANe duvihe paNNatte, taM jahA-ujjumaI ya, viulamaI y| taheva kevalanANaM savvaM bhANiyavvaM / tattha NaM je se AbhiNibohiyanANe se NaM mamaM atthi, tattha NaM je se suyanANe se vi ya mamaM atthi, tattha NaM je se ohiNANe se vi ya mamaM atthi, tattha NaM je se maNapajjavanANe se vi ya mamaM atthi, tattha NaM je se kevalanANe se NaM mamaM natthi, se NaM arihaMtANaM bhgvNtaannN| icceeNaM paesI ahaM tava cauviheNaM chaumattheNaM NANeNaM imeyArUvaM ajjhatthiyaM jAva samuppaNNaM jANAmi paasaami| 241. taba kezIkumAra zramaNa ne pradezI rAjA se kahA- "he pradezI ! hama nirgrantha zramaNoM ke zAstroM meM jJAna ke pA~ca prakAra batalAye haiN| ve pA~ca prakAra ye hai-(1) AbhinibodhikajJAna (matijJAna), (2) zrutajJAna, (3) avadhijJAna, (4) manaHparyavajJAna, aura (5) kevljnyaan|' _pradezI-"AbhinibodhikajJAna kitane prakAra kA hai ?" ___ kezIkumAra zramaNa-"AbhinibodhikajJAna cAra prakAra kA hai-avagraha, IhA, avAya aura dhaarnnaa|" __ pradezI-"avagraha kitane prakAra kA hai ?'' kezIkumAra zramaNa-"avagraha do prakAra kA hai| ityAdi dhAraNA paryanta AbhinibodhikajJAna kA vivecana naMdIsUtra ke anusAra yahA~ samajhanA caahie|" ___ pradezI-"zrutajJAna kitane prakAra kA hai ?" ___ kezIkumAra zramaNa- "zrutajJAna do prakAra kA hai, yathA-(1) aMgapraviSTa, aura (2) aNgbaahy| dRSTivAda paryanta zrutajJAna ke bhedoM kA samasta varNana nandIsUtra ke anusAra yahA~ samajha lenA caahie| avadhijJAna do prakAra kA hai-(1) bhavapratyayika, aura (2) kssaayopshmik| inakA vivecana bhI naMdIsUtra ke anusAra yahA~ jAna lenA caahie| ___ manaHparyavajJAna do prakAra kA hai, yathA-(1) Rjumati, aura (2) vipulmti| isI prakAra kevalajJAna kA bhI varNana naMdIsUtra ke anurUpa karanA caahie| ina pA~ca jJAnoM meM se AbhinibodhikajJAna, zrutajJAna, avadhijJAna aura manaHparyavajJAna mujhe prApta hai, kintu kevalajJAna prApta nahIM hai| vaha kevalajJAna arihaMta bhagavantoM ko hotA hai| * kezIkumAra zramaNa aura pradezI rAjA (309) Kesh Kumar Shraman and King Pradesh [D ]

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kI he pradezI ! chadmastha ko hone vAle ina cAra prakAra ke jJAnoM ke dvArA maiMne tumhAre isa prakAra ke abhiprAya aura manogata saMkalpa ko jAnA aura dekhA hai|" / 241. Then Keshi Kumar Shraman said--"O Pradeshi ! In the scriptures of we, the Nirgranth Shramans there are five types of Jnan (knowledge)(1) Mati Jnan (sensitive knowledge), (2) Shrut Jnan (scriptural knowledge), (3) Avadhi Jnan (visual knowledge), (4) Manah Paryav Jnan (mental knowledge), and (5) Kewal Jnan (perfect knowledge)." King Pradeshi asks--"Of how many types is Mati Jnan (sensitive knowledge) ?" Keshi Kumar Shraman said--"It is of four types--Avagrah, Iha, Avaya, Dharana (In other words perception, conception, judgement and retention respectively)." Pradeshi asked--"Of how many types is Avagrah (perception) ?" Keshi Kumar Shraman replied--"Perception is of two types. The description upto Dharana (retention). May be considered as in Nandi Sutra." Pradeshi asked--"Of how many types is Scriptural knowledge ?" Keshi Kumar Shraman replied--"Scriptural knowledge is of two types namely--(1) Knowledge of Angas, (2) Kknowledge of scriptures other than Angas (Anga Bahya). The description of types Son of Shrut Jnan upto Drishtivaad may be considered as in Nandi Sutra. Avadhi Jnan (visual knowledge) is of two types (1) Visual knowledge since birth (Bhav Pratyayik), and (2) Visual knowledge other than since birth. Further discussion may be considered as in Nandi Sautra. Mental knowledge is of two types--(1) Simple mental knowledge Home (Riju-mati), and (2) Mental knowledge of complex things (Vipulmati). Similarly the description of Kewal Jnan (perfect knowledge) may be considered as in Nandi Sutra. Out of the said five types of Jnan (knowledge), I have Abhinibodhik Jnan (sensitive knowledge), Shrut Jnan (scriptural ra rAyapaseNiyasUtra (310) Rar-paseniya Sutra yyyy Dy vepra NO

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knowledge), Avadhi Jnan (visual knowledge) and Manah Paryav Jnan (mental knowledge ). But I do not have Kewal Jnan (perfect knowledge). The Kewal Jnan is with Arihants. O Pradeshi ! I have read your mind and mental thoughts with the help of said four types of knowledge that I in this non-perfect state of knowledge have." vivecana - sUtra meM Abhinibodhika (mati) jJAna Adi pA~ca jJAno ke nAma aura una jJAno ke bhinna-bhinna bhedo kA nAma ullekha karake zeSa varNana nadIsUtra ke anusAra karane kA saketa kiyA gayA hai| sacitra nandIsUtra me pA~ca jJAna kA vistRta varNana hai / pAThaka vahA~ dekha le / sakSepa me pA~co jJAna kA svarUpa isa prakAra hai (1) AbhinibodhikajJAna - jo jJAna pA~ca indriyo aura mana ke dvArA utpanna ho aura sanmukha Aye hue padArthoM ke svarUpa ko indriyo ke Azrita hokara jAne, usa bodha ko AbhinibodhikajJAna kahate hai| isakA dUsarA nAma matijJAna bhI hai| (2) zrutajJAna - zabda ko sunakara jisase artha kA jJAna ho, use zrutajJAna kahate hai| (3) avadhijJAna - indriya aura mana kI apekSA na rakhate hue kevala AtmA ke dvArA mUrtta padArtho kA sAkSAt bodha karane vAlA jJAna avadhijJAna kahalAtA hai| (4) manaH paryavajJAna - jisa jJAna se mana ke pariNAmo ko pratyakSa bodha kiyA jAye, use mana paryavajJAna kahate hai| (5) kevalajJAna - jo jJAna mana, indriya Adi kisI kI sahAyatA ke binA samasta mUrta-amUrta (rUpI - arUpI) jJeya padArtho ko hAtha kI rekhAo ke samAna pratyakSa jAnane meM sakSama ho, vaha kevalajJAna hai| yaha jJAna nirAvaraNa, nitya aura zAzvata hai| ina pA~ca prakAra ke jJAno me se Adi ke do jJAna parokSa aura antima tIna jJAna pratyakSa hai / Elaboration-In the aphorism the names of five types of knowledge namely Abhinibodhik Jnan (sensitive knowledge) and others and their sub-types has been mentioned. Further description has been referred to as in Nandi Sutra. In Illustrated Nandi Sutra, the detailed description of five types of knowledge has been given. The reader is advised to see it from there. In brief, however, the five types of knowledge is as under (1) Abhinibodhik Jnan (Sensitive Knowledge)-This is the knowledge derived by five sense-organs and the mind. Since it knows the things when they appear before the senses-organs, it is called Abhinibodhik Jnan. The other name of this knowledge is Mati Jnan (2) Shrut Jnan (Scriptural Knowledge)-This is the knowledge of meaning gained on hearing the word. kezIkumAra zramaNa aura pradezI rAjA (311) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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(3) Avadhi Jnan (Visual Knowledge)-To know visual things directly hrough the soul and without any assistance of sense-organs or mind is called Avadhi Jnan. (4) Manah Paryav Jnan (Mental Knowledge)-The knowledge which 9 helps in reading the modes of the mind directly is called Manah Paryav Jnan (5) Kewal Jnan (Perfect Knowledge)--The knowledge that helps to know all the visual and non-visual substances, thoughts clearly like the lines on the palms of hand directly and without the assistance of senseorgans or the mind is called Kewal Jnan. This Jnan (knowledge) is without any blockade, is always in existence and is permanent. Out of the said five types of knowledge the first two are indirect and the last three are direct Jnan. tajjIva-taccharIravAda kA maMDana-khaMDana 242. tae NaM se paesI rAyA kesi kumArasamaNaM evaM vayAsI-aha NaM bhaMte ! ihaM uvavisAmi ?. paesI ! esAe ujjANabhUmIe tumaMsi ceva jaanne| tae NaM se paesI rAyA citteNaM sArahiNA saddhiM kesissa kumArasamaNassa adUrasAmaMte uvvisi| kesikumArasamaNaM evaM vayAsI-tubbhe NaM bhaMte ! samaNANaM NiggaMthANaM esA saNNA', esA paiNNA', esA diTThI3, esA ruI, esa heU', esa uvaese6, esa saMkappe, esA tulA', esa mANe, esa pamANe10, esa samosaraNe11 jahA aNNo jIvo * aNNaM sarIraM, No taM jIvo taM sarIraM ? * 242. (pA~ca jJAna-sambandhI ukta kathana ko khar3e-khaDe hI sunane ke bAda) pradezI rAjA ne kezIkumAra zramaNa se nivedana kiyA-'bhadanta ! kyA maiM yahA~ baiTha jAU~ ?' ___kezI-"he pradezI ! yaha udyAna-bhUmi tumhArI apanI hai, ataeva baiThane yA na baiThane ke viSaya me tuma svaya nirNaya kara sakate ho|" citta sArathI ke sAtha pradezI kezIkumAra zramaNa ke samIpa Akara baiTha gayA aura 2 kezIkumAra zramaNa se isa prakAra pUchA-bhadanta ! kyA Apa zramaNa nirgranthoM kI aisI saMjJA (jJAna) hai, pratijJA hai, dRSTi hai, ruci hai, hetu hai, upadeza hai, saMkalpa hai, mAnyatA hai, dRDha dhAraNA hai, pratyakSAdi pramANasaMgata maMtavya hai aura samavasaraNa hai ki jIva anya hai aura zarIra anya 2 hai? arthAt zarIra aura jIva donoM eka nahIM haiM ?" rAyapaseNiyasUtra (312) Raz-paseniya Sutra

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* * ANALYSIS OF TAJJIV-TACHHAREERVAD (PHILOSOPHY OF ONENESS OF SOUL AND BODY) 242. (After listening the above description about five types of knowledge while standing) King Pradeshi requested-"Reverends Sir ! Can I sit here ?" ____Keshi replied-"O Pradeshi ! This garden-land is your own land, so you can yourself decide whether you want to sit or not." King Pradeshi then sat near Keshi Kumar Shraman along with Chitta Saarthi and said to Keshi Kumar Shraman--"Reverend Sir! Is it the knowledge (Jnan) of Shraman Nirgranth, their faith, their view-point, their decision, their reasoning, their talk, their definite thought, their belief, their retention, a belief based on direct proof and Samavasaran that Jiva (soul) and Shareer (body) are different and that both are not one." vivecana-pradezI rAjA kezIkumAra zramaNa se pahale prazna me sajJA Adi gyAraha zabdo ke dvArA vividha dRSTiyo se unakI mAnyatA kA spaSTIkaraNa pUchatA hai| isase pratIta hotA hai, pradezI rAjA jisa vicAra va darzana ko mAnatA thA usa viSaya kA vidvAn bhI thaa| rAjanIti, arthazAstra ke sAtha vaha darzana va nyAya-viSaya kA bhI jJAtA thaa| sakSepa me sajJA Adi zabdo kA artha isa prakAra hai (1) sNjnyaa-jnyaan| (2) pratijJA-tattva ke AdhAra para sthira pkss| (3) dRSTi-cintana kI dishaa| (4) ruci-zraddhAyukta vicaar| (5) hetu-tattva pratipAdana karane kI tarkapUrNa shailii| (6) upadeza-logo ko zikSA dene vAle zikSAtmaka vcn| (7) saMkalpa-dRDha dhAraNA, maanytaa| (8) tulA-nizcaya kI ksauttii| (9-10) mAna-pramANa-pratyakSa Adi pramANo se siddha mntvy| (11) samavasaraNa-svIkRta siddhaant| Elaboration-King Pradeshi in his question by eleven words namely Sanjna and others desires to know the clarification of his belief from different view points This fact indicates that king Pradeshi was a scholar of the thought and philosophy in which he had faith. In addition to be kezIkumAra zramaNa aura pradezI rAjA (313) Keshi Kumar Shraman and King Pradesh: *

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** * expertise in politicals affairs, economic affairs, he was also expert in philosophical thought and justice. In brief the meaning of the words Sanjna and others is as under(1) Sanjna-Jnan (knowledge). (2) Pratijna-Definite approach based on basic element (Tattva). (3) Drishti-The thought direction. (4) Ruchi-Thought based on faith. (5) Hetu-Style based on logic in order to prove a basic view point (Tattva). (6) Upadesh-Moral words providing guidance to the people. (7) Sankalp-Belief (8) Tula-Test of their faith. (9-10) Maan and Praman-Faith in view point decided on the basis of direct proof and other logic. (11) Samavasaran-Accepted principle. 243. tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsI-paesI ! amhaM samaNANaM NigaMthANaM esA saNNA jAva esa samosaraNe, jahA aNNo jIvo aNNaM sarIraM, No taM jIvo taM sriirN| 243. pradezI rAjA ke pratyuttara meM kezIkumAra zramaNa ne kahA- "he pradezI ! hama zramaNa nirgranthoM kI aisI saMjJA yAvat samosaraNa-siddhAnta hai ki jIva bhinna-pRthak hai aura zarIra bhinna hai, parantu jo jIva hai vahI zarIra hai, aisI hamArI dhAraNA nahIM hai|" 243. In reply to king Pradeshi, Keshi Kumar Shraman said--"O Pradeshi ! It is the Sanjna (knowledge) upto Samavasaran (accepted principle) of we, the Nirgranths that Jiva and Shareer (soul and body) are different. It is not our belief that the Jiva (soul) is also the Shareer (body). vivecana-isa sUtra me pradezI rAjA apanI mAnyatA batAtA hai ki mai yaha mAnatA hU~-'jIva aura zarIra eka hI hai', aisA nahIM hai ki jIva anya hai, zarIra anya hai| zarIra samApta hote hI jIva bhI naSTa ho jAtA hai| ra prAcIna dArzanika grantho meM isa mAnyatA ko 'tajjIva-tatU zarIra vAda' kahA hai| mahApaDita indrabhUti gautama bhagavAna mahAvIra ke samakSa jaba prathama bAra carcA karane ke lie Ate hai to unake mana me bhI yahI zakA thI ki 'jIva aura zarIra do bhinna hai yA eka hI hai?' bhagavAna tarka aura yukti se isakA samAdhAna * rAyapaseNiyasUtra (314) Rai.paseniya Sutra FORMAANAOREPOYMPHEROGRAMGIRI

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dete hai| isa mAnyatA vAle darzana ko 'cArvAk darzana' bhI kahA jAtA hai / sUtrakRtAga me isa mAnyatA kA ullekha karate hue batAyA hai "natthi puNNe va pApaM vA, Natthi loe io pare / sarIrassa viNAseNaM, viNAso hoi dehiNo // " - sUtrakRtAga 1/1/1/12 "na puNya hai, na hI pApa hai| isa loka se bhinna dUsarA koI loka nahI hai / zarIra kA vinAza hone para - ( jIvadehI) kA bhI vinAza ho jAtA hai|" AtmA (isakI vistRta carcA sUtrakRtAga, zrutaskandha 2 meM hai| vahA~ hamane aneka tarka va yuktiyo se isa mAnyatA kA samAdhAna kiyA hai| pAThaka sUtrakRtAga, zrutaskandha 2 dekhe) / pradezI rAjA kahatA hai- "merA dAdA bhI isI vicAradhArA kA thA / " isase yaha patA calatA hai bhArata yaha nAstika vicAradhArA bahuta prAcInakAla se calI A rahI hai| bhagavAna mahAvIra ke samaya me jina chaha prasiddha anya dArzaniko kA ullekha AtA hai uname eka hai ajitakeza kmbl| usakI mAnyatA bhI yahI thI ki zarIra se bhinna jIva kA astittva nahI hai / sUtrakRtAga, dvitIya zrutaskadha vRtti me ajitakeza kambala kI isa mAnyatA ke aneka tarka diye hai, una tarkoM me kucha tarka aise hai jinakI carcA yahA~ para pradezI rAjA bhI karatA hai| ajitakeza kambala kahatA hai-" jaise myAna se talavAra nikAlakara dikhAyA jA sakatA hai ki yaha myAna hai, yaha talavAra hai, usI prakAra zarIra se nikAlakara AtmA ko alaga dikhAne vAlA koI puruSa nahI hai|" jaise hathelI me lekara oNvalA dikhAyA jA sakatA hai ki yaha hathelI hai, yaha oNvalA hai, usI prakAra zarIra se bhinna AtmA ko batAne vAlA koI puruSa nahI hai| bauddha sAhitya ke dIghanikAya (1/2/4/22) me bhI ajitakeza kambala kI isa vicAradhArA kI carcA hai| sUtra 253 - 254 meM pradezI bhI yaha tarka detA hai| ki talavAra se zarIra ke khaNDa-khaNDa karane para bhI mujhe jIva nAmaka koI bhinna tattva dikhAI nahI diyA tathA sUtra 264 me oNvale ko hathelI para rakhakara dikhAne kA bhI tarka ukta mAnyatA ke samAna hai| dIghanikAya me pAyAsi aura kumAra kAzyapa nAmaka zramaNa kI carcA bhI prAyaH isI prakAra ke tarkoM para AdhArita hai aura kumAra kAzyapa bhI jo samAdhAna dete hai ve kumAra kezI zramaNa ke samAdhAno se milate-julate hai / ina sabase yaha patA calatA hai ki usa yuga me 'jIva' aura 'zarIra' eka hai yA bhinna hai| yaha kAphI carcA kA viSaya rahA thA aura sabhI pakSo ke tarka-vitarka prAya eka samAna hI rahate the / pradezI rAjA ke prazno kA kezIkumAra zramaNa ne isa prasaMga me baDA hI tarkapUrNa, yuktisagata samAdhAna kiyA hai| jisakI carcA agale sUtro me hai / Elaboration-In this aphorism, king Pradeshi expresses his belief. According to his point of view Jiva (soul) and Shareer (body) are same. (they are one entity). It is not true that Jiva and Shareer are different entities. With the extinction of the body ( Shareer), the soul (Jiva) also comes to an end. In ancient philosophical literature, this philosophical thought is known as "Tajjeev-Tat Shareer Vaad'. When Gautam (the first kezIkumAra zramaNa aura pradezI rAjA (315) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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My Ganadhar came to Bhagavan Mahavir for the first time for discussion in philosophical aspects, he had a doubt in his mind whether soul and body are different entities or whether they are one and the same substance. Bhagavan Mahavir explains it logically and with his argumentative style This philosophical belief is known as 'Chaarvaak'. In Sutrakritang, this belief has been described in aphorism 1/1/1/12. Therein it is mentioned as under "There is no auspicious deed. There is no inauspicious deed. There is no world other than this world with the end of the body, the soul also comes to an end." (Its detailed discussions is in Sutrakrtang, Part 2, i.e. second Shrut Skandh.) King Pradeshi says--"My grandfather was also of this philosophical thought." This description indicates that this school of thought-the nonbelief in soul, the Naastik school of thought had been in existence since ancient times During the presence of Bhagavan Mahavir, there were six other famous schools of thought. One of them was of Ajitkesh Kambal. His belief was also that there is no existence of soul without the body. In the Vritti (commentary) of second Shrut Skandh of Sutrakritang, many arguments in support of this philosophical belief have been mentioned. Some of the arguments mentioned therein are those that have been raised by king Pradeshi here. Ajitkesh Kambal says that "A sword can be taken out of the sheath and can be shown as two different things-Sword and Sheath. But there is no person who can take out soul from the body and show (like the above example) that soul and body are se entities." Placing Amla-fruit on the palm of the hand, it can be pointed out that this is palm of the hand and that is the Amla-fruit. But there is no per who can in this fashion show that soul is different from the body. In Buddhist literature, in Deeghanikaya (1/2/4/22), this school of thought of Ajitkesh Kambal has been discussed In aphorisms 253-254, king Pradeshi also presents this argument. He says that even by cutting body (of a living person) into pieces, he never found any substance different from it in that process. In aphorism 264, the argument of showing Amlafruit on hand-palm is also similar to that belief. In Deeghanikaya, the arguments of Payaasi and Kumar Kaashyap Shraman is also based on identical logic. The clarification by Kumar Kaashyap is similar to the arguments of Keshi Kumar Shraman. All these facts indicate that 'soul * * rAyapaseNiyasUtra (316) Ral-paseniya Sutra

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and 'body' are one or that they are two different entities was a topic of hot discussion in that period. The argument of both sides (schools of thought) were almost similar to those mentioned above. Keshi Kumar Shraman gave a befitting reply to the questions of king Pradeshi in this context and that is based on reason and logic It is further discussed in the aphorism that are to follow. rAjA pradezI kA tarka : pitAmaha kA udAharaNa 244. tae NaM se paesI rAyA kesiM kumArasamaNaM evaM vayAsI jati NaM bhaMte ! tubbhaM samaNANaM NiggaMthANaM esA saNNA jAva samosaraNe jahA aNNo jIva aNNaM sarIraM, No taM jIvo taM sarIraM, evaM khalu mamaM ajjae hotthA, iheva jaMbUddIve ve seviyA garIe adhammie jAva sagassa vi ya NaM jaNavayassa no sammaM karabharavittiM pavatteti, se NaM tubbhaM vattavyayAe subahuM pAvaM kammaM kalikalusa samajjiNittA kAlamAse kAlaM kiccA aNNayaresu narayesu raiyattAe ubavaNNe / tassa NaM ajjagassa NaM ahaM Nattue hotthA iTThe kaMte pie maNuNNe maNAme thejje vesAsie saMmae bahumae aNumae rayaNakaraMDagasamANe jIviussavie hiyayaNaMdijaNaNe uMbarapuSkaM piva dullabhe savaNayAe, kimaMga puNa pAsaNayAe jati NaM se ajjae mamaM AgaMtuM vajjA evaM khalu nattuyA ! ahaM tava ajjae hotthA, iheva seyaviyAe nayarIe adhammie jAva no sammaM karabharavittiM pavattemi, tae NaM ahaM subahuM pAvaM kammaM kalikalutaM samajjiNittA narasu uvavaNNe, taM mANaM nattuyA ! tumaM pi bhavAhi adhammie jAva no sammaM karabharavittiM pavattehi, mA NaM tumaM pi evaM ceva subahuM pAvakammaM jAva uvavajjihisi / taM jai NaM se ajjae mamaM AgaMtuM vaejjA to NaM ahaM saddahejjA, pattiejjA, roejjA jahA anno jIvo annaM sarIraM, No taM jIvo taM sarIraM / jamhA NaM se ajjae mamaM AgaMtuM no evaM vayAsI / tamhA supaiTThiyA mama pannA samaNAuso ! jahA tajjIvo taM sarIraM / ne kahA 244. taba kezIkumAra zramaNa se pradezI rAjA "he bhadanta ! yadi Apa zramaNa nirgranthoM kI aisI saMjJA - siddhAnta hai ki jIva bhinna hai aura zarIra bhinna hai, kintu aisI mAnyatA nahI hai ki jo jIva hai vahI zarIra hai, to phira batAye - mere pitAmaha, jo isI jambUdvIpa nAmaka dvIpa kI seyaviyA nagarI meM adhArmika yAvat rAja - kara lekara bhI apane janapada kA bhalIbhA~ti pAlana, rakSaNa nahIM karate the, ve Apake zIkumAra zramaNa aura pradezI rAjA (317) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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sis.ke.saks.ke.ske.ske.ke.ke.ske.ske.ske.sa kathanAnusAra to atyanta pApakarmoM ko upArjita karake mRtyu prApta kara kisI eka naraka meM nAraka rUpa se utpanna hue haiN| una pitAmaha kA maiM cahetA, bahuta priya, manojJa, atIva priya, vizvAsapAtra, sabhI kArya karane meM mAnA huA tathA kArya karane ke bAda bhI anumata, ratnakaraMDaka (AbhUSaNoM kI peTI) ke samAna priya, jIva ke zvAsocchvAsa ke samAna abhinna, hRdaya meM Ananda utpanna karane vAlA, gUlara ke phUla ke samAna, gUlara kA nAma sunanA bhI durlabha hai to phira usake darzana kI bAta hI kyA hai ! aisA priya pautra huuN| isalie yadi mere pitAmaha Akara mujhase isa prakAra kaha deM ki____ 'he pautra ! maiM tumhArA pitAmaha thA aura isI seyaviyA nagarI meM adhArmika thA yAvat ra prajAjanoM se rAja-kara lekara bhI yathocita rUpa meM unakA pAlana, rakSaNa nahIM karatA thaa| isa kAraNa maiM bahuta ghora kaluSita pApakarmoM kA saMcaya karake naraka meM utpanna huA huuN| kintu he nAtI (pautra) ! tuma adhArmika nahI honA, prajAjanoM se kara lekara unake pAlana, rakSaNa meM pramAda mata karanA aura na bahuta se malina pApakarmoM kA upArjana hI krnaa|' ___ to maiM Apake kathana para zraddhA kara sakatA hU~, pratIti-(vizvAsa) kara sakatA hU~ evaM merI ruci kA viSaya batA sakatA hai ki jIva bhinna hai aura zarIra bhinna hai| jIva aura zarIra * ekarUpa nahIM haiN| lekina jaba taka mere pitAmaha Akara mujhase aisA nahIM kahate taba taka he AyuSman zramaNa | merI yaha dhAraNA-samIcIna hai, satya hai, dRDha hai ki jo jIva hai vahI zarIra hai aura jo zarIra hai vahI jIva hai|" ARGUMENT OF KING PRADESHI : EXAMPLE OF HIS GRANDFATHER 244. Then king Pradeshi told Keshi Kumar Shraman "Reverend Sir ! In case this is the belief of Shraman Nirgranths that soul is different from the body and that soul and body are not the same entity (substance), please clarify the following-My grandfather was a ruler of Seyaviya town in this Jambu Dveep. He was irreligious upto he was receiving taxes from the public but was not properly looking after them and was not providing suitable security. According to your logic, he collected extremely sinful fruit bearing karmas and as such must have taken birth as a hellish being in one of the hells. I was the most loveable, liked, trustworthy grandson expert in performing his duties, in executing his orders, humble, devoted and one with him like the life-breath. I was a cause of ecstatic pleasure et rAyapaseNiyasUtra Rai-paseniya Sutra * k se.ke.ske.ke.sksksksks.ske.sks.ske.sksksksis.sis. (318)

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* * * to him, I was like gullar flower, rose like gullar to him. Thus I was ** a good grandson for him. In case my grandfather comes to me and tells me as under___'o dear grandson ! I was your grandfather. I was in this very Seyaviya town and was irreligious upto receiver of tax but I was not be properly looking after the people and was not providing suitable security to them. Due to such mentality, I collected extremely bad fruit of my sins and I have taken birth in hell. But O my dear ** grandson ! You should not be irreligious. You should not ignore your people after receiving the taxes due. You should provide them proper security. You should never fall a prey to sins that result in bad-fruit.' Reverend Sir ! In case he comes and gives such a guidance to me then I can have faith in your word. I can believe it. It can be of interest to me that soul is different from the body and that soul and body are not the same. But until my grandfather does not come to me and does not say so, O blessed Shraman ! My belief is firm, it is trustworthy that soul is the body and body is the soul." nArakoM ke nahIM Ane kA hetu 245. (ka) tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsIatthi NaM paesI ! tava sUriyakaMtA NAmaM devI ? haMtA athi| jai NaM tumaM paesI ! taM sUriyakaMtaM deviM hAyaM kayabalikammaM kayakouyamaMgalapAyacchittaM savvAlaMkAravibhUsiyaM keNai puriseNaM NhAeNaM jAva savvAlaMkAravibhUsieNaM saddhiM iTe sadda-pharisa-rasa-rUva-gaMdhe paMcavihe mANussae kAmabhoge paccaNubhavamANiM pAsijjAsi, tassa NaM tumaM paesI ! purisassa kaM daMDaM nivvattejjAsi ? ahaM NaM bhaMte ! taM purisaM hatthacchiNNagaM vA, sUlAigaM vA, sUlabhinnagaM vA, pAyachinnagaM vA, egAhaccaM kUDAhaccaM jIviyAo vvrovejjaa| aha NaM paesI; se purise tumaM evaM vadejjA-'mA tAva me sAmI ! muhattagaM hatthachiNNagaM vA jAva jIviyAo vavarovehi jAva tAva ahaM mitta-NAi-Niyaga-sayaNakezIkumAra zramaNa aura pradezI rAjA (319) Kesh Kumar Shraman and King Pradesh * * * * *

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saMbaMdhi-parijaNaM evaM vayAmi-evaM khalu devANuppiyA ! pAvAI kammAI samAyarettA * imeyArUvaM AvaI pAvijjAmi, taM mA NaM devANuppiyA ! tubhe vi kei pAvAI kammAI samAyaraha, mA NaM se vi evaM ceva AvaI pAvijihiha jahA NaM ahN|' tassa NaM tumaM paesI ! purisassa khaNamavi eyamaDheM paDisuNejjAsi ? No tiNaDhe smddhe| kamhA NaM? jamhA NaM bhaMte ! avarAhI NaM se purise| 245. (ka) pradezI rAjA kI yukti sunakara kezIkumAra zramaNa ne pradezI rAjA ko uttara diyA _ "he pradezI ! tumhArI sUryakAntA nAma kI rAnI hai ?'' / pradezI-"hA~, bhadanta ! hai|" kezIkumAra zramaNa-"to (kalpanA karo) he pradezI ! yadi tuma usa sUryakAntA devI ko * snAna, balikarma aura kautuka maMgala-prAyazcitta karake evaM samasta AbharaNa-alaMkAroM se vibhUSita hokara kisI aise hI snAna karake AbharaNa-alaMkAroM se vibhUSita hue puruSa ke sAtha manonukUla zabda, sparza, rasa, rUpa aura gaMdha mUlaka paoNca prakAra ke manuSya sambandhI kAmabhogoM ko bhogate hue dekha lo to he pradezI ! usa puruSa ke lie tuma kyA daNDa nizcita karoge?" pradezI-"bhagavan ! maiM usa puruSa ke hAtha kATa dUMgA, use zUlI para caDhA dUMgA, bhAloM se cheda DAlUMgA, paira kATa dUMgA athavA eka hI prahAra se jIvanarahita kara dUMgA-mAra ddaaluuNgaa|" pradezI rAjA kA kathana sunakara kezIkumAra zramaNa ne kahA-"he pradezI ! yadi vaha puruSa * tumase yaha kahe ki 'he svAmin ! Apa ghaDIbhara ruka jAo, taba taka Apa mere hAtha na kATeM, yAvat mujhe prANarahita na kareM jaba taka maiM apane mitra, jJAtijana, putra Adi svajana sambandhI * aura paricitoM se yaha kaha AU~ ki he devAnupriyo ! isa prakAra ke pApakarmoM kA AcaraNa karane * ke kAraNa maiM yaha daNDa bhoga rahA hU~, ataeva he devAnupriyo ! tuma koI aise pApakarmoM meM pravRtti mata karanA, jisase tumako bhI isa prakAra kA daNDa bhoganA paDe, jaisA ki mai bhoga rahA huuN|' ___ to he pradezI ! kyA tuma kSaNamAtra ke lie usa puruSa kI yaha bAta mAnoge, use choDa doge?" pradezI-"bhadanta ! maiM usakI yaha bAta nahIM maanuuNgaa|" rAyapaseNiyasUtra (320) Rar-paseniya Sutra

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kezIkumAra zramaNa - " usakI bAta kyoM nahIM mAnoge ?" pradezI - "kyoki he bhadanta ! vaha puruSa bahuta baDA aparAdhI hai / " REASON FOR NOT COMING FROM HELL 245. (a) After hearing the arguments of king Pradeshi, Keshi Kumar Shraman replied "O Pradeshi! Is the name of your queen Suryakanta ?" Pradeshi replied--"Yes Sir !" Keshi Kumar Shraman said-"O Pradeshi! Imagine that you see your queen Suryakanta after having taken bath, having decorated herself with auspicious symbols and having worn clothes and ornaments. She is having sex with another person who has taken bath, who has such symbols and who is properly dressed and having ornaments decorating has body. They are enjoying pleasures of all the five senses. O Pradeshi ! What punishment shall you impose for that person ?" Pradeshi replied-"I shall cut the hands of that person. I shall hang him on their scaffold. I shall pierce him with spears. I shall cut his feet. I shall make him lifeless in one stroke. I shall kill him." After hearing the reply of king Pradeshi, Keshi Kumar Shraman said "O Pradeshi! In case that person requests you-'O Master! Kindly delay the execution of punishment for one ghari (24 minutes). Please do not cut my hands upto do not make me lifeless. Kindly do not kill me till then, so that I may see my friends, members of my family, my son, my relatives and my known persons and tell them that I am undergoing punishment for my such sinful deeds. I may advise them not to do such sins so that they may also have to undergo such punishment, as I am undergoing.' At that time-O Pradeshi! Shall you accept his place for a moment and release him." Pradeshi replied "Reverend Sir! I shall not grant his request." Keshi Kumar Shraman then said "Why shall you not grant his request ?" King Pradeshi replied "Reverend Sir! It is because that person has committed an extremely heinous crime." zIkumAra zramaNa aura pradezI rAjA (321) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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9 (kha) evAmeva paesI ! tava vi ajjae hotthA, iheva seyaviyAe NayarIe adhammie jAva No sammaM karabharavittiM pavattei, se NaM amhaM vattavbayAe subahuM jAva uvavanno, tassa NaM ajjagassa tumaM Nattue hotthA, iTTe kaMte jAva paasnnyaae| se NaM icchai mANusaM logaM havvamAgacchittae, No ceva NaM saMcAeti hbbmaagchitte| cauhiM ThANehiM paesI ahuNovavaNNae naraesu neraie icchei mANusaM logaM habamAgacchittae no ceva NaM saMcAei (1) ahuNovavannae naraesu neraie se NaM tattha mahatbhUyaM veyaNaM vedemANe icchejjA mANussaM logaM havaM Agacchittae No ceva NaM sNcaaei| (2) ahuNovavannae naraesu neraie nirayapAlehiM bhujo-bhujjo samahidvijamANe icchai mANusaM logaM havvamAgacchittae, no ceva NaM sNcaaei| (3) ahuNovavannae naraesu neraie nirayaveyaNijjaMsi kammaMsi akkhINaMsi aveiyaMsi - anijjitraMsi icchai mANusaM logaM (habbamAgacchittae) no ceva NaM sNcaaei| (4) evaM Neraie nirayAuyaMsi kammaMsi akkhINaMsi aveiyaMsi aNijjinasi icchai mANusaM logaM havvamAgacchittae no ceva NaM sNcaaei| icceehiM cauhiM ThANehiM paesI ! ahuNovavanne naraesu neraie icchai mANusaM logaM habvamAgacchittae No ceva NaM sNcaaie| taM saddahAhi NaM paesI ! jahA-ano jIvo annaM sarIraM, no taM jIvo taM sriirN| * (kha) "he pradezI ! isI prakAra tumhAre pitAmaha ke viSaya meM bhI samajho, jinhoMne isI seyaviyA nagarI meM adhArmika hokara hiMsAmaya jIvana vyatIta kiyA, prajAjanoM se kara lekara bhI unakA acchI taraha se pAlana aura saMrakSaNa nahIM kiyaa| hamAre kathanAnusAra ve bahuta se pApakarmoM kA upArjana karake naraka meM utpanna hue haiN| unhIM pitAmaha ke tuma atyanta priya pautra ho| yadyapi ve zIghra hI manuSyaloka meM Akara tumheM vahA~ ke viSaya meM batAnA cAhate haiM kintu vahA~ se A nahIM sakate haiN| ___ kyoMki pradezI ! naraka meM tatkAla nAraka rUpa se utpanna jIva zIghra hI cAra kAraNoM se * manuSyaloka meM Ane kI icchA to karate haiM, kintu vahA~ se A nahIM pAte haiN| ve cAra kAraNa isa prakAra haiM rAyapaseNiyasUtra (322) Rar-paseniya Sutra *

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HA naraka se nahIM Ane ke kAraskAraNa kSetrIya paryAvaraNa ke kAraNa aMga bhaMga narakapAloM dvArA yeka yo O Y MORA avazeSa AyuSya karma kI ber3iyA~ avazeSa vedanIya karma kA jAla 10

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citra paricaya-10 Illustration No. 10 naraka se nahIM Ane ke cAra kAraNa kezIkumAra zramaNa rAjA pradezo se kahate hai- "rAjan / cAra kAraNo se nArakI jIva cAhate hue bhI 1 vahA~ se nikalakara A nahI skte| ve kAraNa isa prakAra hai (1) kSetra sambandhI vedanA-vahA~ se nikalane kA prayatna karane para kSetrIya paryAvaraNa ke prabhAva se unake * agopAga TUTa TUTakara bikhara jAte hai jisase ve nikala hI nahI skte| (2) narakapAla-paramAdhArmika deva unhe vahA~ se nikalane nahIM dete, roka lete hai| (3) vedanIya karma kA bhoga-ba~dhA huA vedanIya karma unhe makaDI ke jAla meM phaMse kIDe kI taraha roke rakhatA hai, nikalane nahI detaa| (4) Ayusthiti-naraka kI Ayusthiti pUrNa hone se pahale AyuSya karma beDiyo kI taraha unakA bandhana banA rahatA hai|" -sUtra 245 kA vivecana, pRSTha 330-335 FOUR REASONS FOR INABILITY TO LEAVE HELL Keshi Kumar Shraman said to King Pradeshi--"O King Following are the four reasons that do not allow the hell beings to leave hell even when they have a desire to do som (1) Area-specifc Torments-When trying to leave hell the effect of atmosphere breaks the body into parts making it impossible to leave (2) The Guards of the Hell--The Paramadharmik gods stop them and do not allow them to leave ___(3) The Fruition of Vedniya Karmas-The bondage of acquired Vedniya Karmas traps them like an insect in a spider's web and does not allow them to leave (4) Life-span-As long as the acquired life-span in the hell does not come to an end the Ayushya-karma acts as the bondage of shackles" - Elaboration of Sutra 245, pp 330-335 " " " " " " " " " " "*

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(1) naraka meM turanta utpanna nAraka vahA~ kI atyanta tIvra vedanA kA vedana karane ke kAraNa " (usase chuTakArA pAne ke lie) manuSyaloka meM zIghra Ane kI icchA karate haiM, kintu Ane me asamartha rahate haiN| (2) naraka meM tatkAla nairayika rUpa se utpanna jIva paramAdhArmika narakapAloM dvArA bArambAra tADita-pratADita kiye jAne se ghabarAkara zIghra hI manuSyaloka meM Ane kI icchA 8) to karate haiM, kintu vaisA nahIM kara pAte haiM (kyoMki narakapAla Ane nahIM dete)| (3) tatkAla utpanna nAraka jIva manuSyaloka meM Ane kI bAra-bAra icchA to karate haiM, kintu naraka sambandhI asAtAvedanIya karma ke baMdhana meM ba~dhe hone ke kAraNa una karmoM kA vedana ra evaM nirjarA nahIM hone se vahA~ se nikalane meM samartha nahIM ho pAte haiN| (4) isI prakAra naraka sambandhI Ayukarma ke kSaya nahIM hone se, arthAt AyuSya karma kA bhoga samApta nahIM hone ke kAraNa nAraka jIva manuSyaloka meM Ane kI abhilASA rakhate hue bhI vahA~ se A nahIM sakate haiN| ___ ataeva he pradezI ! tuma isa bAta para vizvAsa karo, zraddhA rakho ki jIva anya-(bhinna) hai aura zarIra anya hai| kintu yaha mata mAno ki jo jIva hai vahI zarIra hai aura jo zarIra hai vahI jIva hai|" (b) (Keshi Kumar Shraman said) "O Pradeshi ! You understand about your grandfather in a similar way. He spent a violent * extremely cruel way of life, being irreligious. In this very Seyaviya town, he recovered taxes from the people but did not properly look after them. He did not provide them proper security. According to this version, he must have taken birth in hell as a collecting fruit of many sins. You are his most loveable grandson. He wants to come to you in this world inhabited by human-beings and tell you about the tortures in the hell. But he cannot come out from there because the newly born hellish being cannot come from hell for four reasons. The said four reasons are as under (1) The hellish beings (who have just taken birth there) want to come to the human world as they undergo extreme pain and tortures of that area (they are desirous of freeing themselves from there). But they are not capable to do so. kezIkumAra zramaNa aura pradezI rAjA (323) Keshi Kumar Shraman and King Pradeshi

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" (2) New born hellish beings are tortured repeatedly by demon* gods (Paramadharmik demons), so they keenly desire to come back to the human world, but the demon-gods do not allow them to do so and, therefore, they cannot come. 9 (3) Newly born hellish beings repeatedly desire to come to the human world, but due to the bondage of inauspicious fruit-hearing karmas, while undergoing pain they are not able to shed that fruit Men (painful state). As such they are not capable of coming out of hell. (4) Till the hellish life-span (the determined age of hell) does not come to an end, the hellish beings cannot come out of hell even if they keenly desire to go away. ___So, O Pradeshi ! You believe it, have faith in this statement that Jiva (soul) is different from the body. You should not conclude that soul is the body and body is the soul." devatAoM ke nahIM Ane ke cAra kAraNa / 246. tae NaM se paesI rAyA kesi kumArasamaNaM evaM vayAsI asthi NaM bhaMte ! esA paNNA uvamA, imeNa puNa kAraNeNa no uvAgacchai, evaM khalu bhaMte ! mama ajjiyA hotthA, iheva seyaviyAe nagarIe dhammiyA jAva vittiM kappemANI samaNovAsiyA abhigayajIvA jIve savvo vaNNao jAva-appANaM bhAvemANI viharai, sA NaM tujhaM vattavbayAe subahuM punovacayaM samajjiNittA kAlamAse kAlaM kiccA aNNayaresu devaloesu devattAe uvavaNNA, tIse NaM ajjiyAe ahaM nattue hotthA iTTe kaMte jAva pAsaNayAe, taM jai NaM sA ajjiyA mama AgaMtuM evaM vaejjA-evaM khalu nattuyA ! ahaM tava ajjiyA hotthA, iheba seyaviyAe nagarIe dhammiyA jAva vittiM kappemANI samaNovAsiyA jAva vihraami| tae NaM ahaM subahaM puNNovacayaM samajjiNittA jAva devaloesu uvavaNNA, taM * tumaM pi NattuyA ! bhavAhi dhammie jAva viharAhi, tae NaM tumaM pi eyaM ceva subahuM puNNovacayaM samajjiNittA jAva uvvjihisi| taM jai NaM ajjiyA mama AgaMtuM evaM vaejjA to NaM ahaM saddahejjA, pattiejjA, roijjA * jahAaNNo jIvo aNNaM sarIraM No taM jIvo taM sriirN| jamhA sA ajjiyA mama AgaMtuM No evaM " vadAsI, tamhA supaiTThiyA me paiNNA jahA-taM jIvo taM sarIraM, no anno jIvo annaM sriirN|| Saksisesaksesakse.ke.skeske.saks.odesakese.ske. lessis kesolesakeskose.ske. sesksssksikersiesake. siesaka.sirtan (324) ra rAyapaseNiyasUtra ROPRAGPATHROGROVER Rar-paseniya Sutra DN* * *

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D deva mandira SPARET ka rivAra mana "}}}}} ww U pUjA ke lie jAtA gRhatI zaucAlaya Trick

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| citra paricaya-11 Illustration No. 11 nAraka aura deva kyoM nahIM A pAte ? pradezI rAjA ne kahA-'bhante / mere dAdA kA mai bahuta hI priya pautra thaa| Apake matAnusAra ve naraka me hI 2 gaye hoge, parantu Aja taka unhone Akara kabhI bhI mujhe nahI kahA- 'mai apane pApakarmo ke kAraNa du kha bhoga rahA huuN| ata vatsa / tU aise pApakarma mata karanA' / ' ____ samAdhAna dete hue kezIkumAra bole-"rAjan / soco, tumhArA eka ghora aparAdhI, jise tumane phaoNsI kI sajA dI ho, usakI mAtA, patnI, putra Adi tumase prArthanA kare- ise kucha samaya milane ke lie hamAre sAtha rahane do| to kyA tuma vaisA karoge?" -sUtra 244-245 , pRSTha 317-324 pradezI ne puna kahA-"merI svargIyA dAdI to bahuta dhArmika thI aura mujha para unakA bahuta sneha thaa| Apake matAnusAra vaha svarga me gayI hogI vaha to svatatra hai, kyo nahI AtI?" ___kezIkumAra ne uttara diyA- 'rAjan / kalpanA karo, tuma pUjA kI sAmagrI taiyAra kara deva-mandira meM pUjA ke lie jA rahe ho, usa samaya bIca me zaucAlaya kI saphAI karane vAlA tumhe pukAre-'svAmI / maine zaucAlaya sApha kara diyA hai, Apa jarA yahA~ Akara dekha to liijie|' to kyA tuma mandira choDakara zaucAlaya dekhane jAoge?" ___ rAjan / naraka -svarga kI sthiti vaisI hI smjho| -sUtra 246-247 , pRSTha 324-328 * WHY DON'T COME HELLISH AND GODS ? King Pradeshi said-"Bhante! I was the most loved grandson of my grandfather In your opinion he must have gone to hell but till date he has never come and told me I am suffering pain for my sinful deeds Therefore, Son You should not indulge in such sinful deeds'" __Keshi Kumar Shraman explains-"O King | Imagine that you have a criminal who has committed great crime and you have sentenced him to death If his mother, wife or son requests you-"To allow him spend some time with them 'Would you grant him permission to do so ?" -Sutras 244-245, pp 317-324 King Pradeshi asked again--"My deceased grandmother was highly religious and had great affection for me According to you she must have gone to heaven She must be free to come, why doesn't she ?" Keshi Kumar Shraman explained- "O King' Imagine you have collected material for worship and are going to the temple to worship a deity At that time if the sweeper cleaning your lavatory calls you- 'Sire' I have cleaned the lavatory, please come for a moment and check it'Would you leave the temple and go to see the lavatory" O King Take the situation regarding heaven and hell to be the same __-Sutras 246-247, pp_324-328 *

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246. aba pradezI rAjA ne kezIkumAra zramaNa ke samakSa nayA tarka prastuta karate hue kahA___ "he bhadanta | ApakA yaha tarka va upamA to buddhi se kalpita hai| kintu merA kathana suniemerI dAdI thiiN| vaha isI seyaviyA nagarI me bahuta dharmaparAyaNA thiiN| dhArmika AcAra-vicArapUrvaka apanA jIvana vyatIta karane vAlI, jIva-ajIva Adi tattvoM kI jJAtA zramaNopAsikA yAvat tapa se AtmA ko bhAvita karatI huI rahatI thiiN| Apake kathanAnusAra ve avazya hI puNya kA upArjana kara mRtyu prApta karake kisI devaloka meM devarUpa se utpanna huI haiN| una AryikA (dAdI) kA maiM iSTa, kAnta yAvat bahuta hI pyArA pautra huuN| ataeva ve AryikA yadi yahA~ Akara mujhase isa prakAra kahe ki 'he pautra | mai tumhArI dAdI thI aura isI seyaviyA nagarI me dhArmika jIvana vyatIta karatI huI zramaNopAsikA thii| isake phalasvarUpa maiM vipula puNya kA sacaya karake devaloka me utpanna huI huuN| he pautra ! tuma bhI dhArmika AcAra-vicArapUrvaka apanA jIvana bitaao| jisase tuma bhI vipula puNya kA upArjana karake Age devaloka meM devarUpa se utpanna hooge|' isa prakAra se yadi merI dAdI Akara mujhase kahe-'jIva anya hai aura zarIra anya hai / arthAt jIva aura zarIra eka nahIM hai', to he bhadanta ! maiM Apake kathana para vizvAsa kara sakatA hU~, pratIti kara sakatA hU~ aura apanI ruci kA viSaya banA sakatA huuN| parantu jaba taka merI dAdI Akara mujhase aisA nahI kahatI taba taka merI yaha dhAraNA pakkI aura sahI samajhatA hU~ ki jo jIva hai vahI zarIra hai| kintu jIva aura zarIra bhinna-bhinna nahIM hai|' FOUR REASONS FOR NON-ARRIVAL OF GODS ____246. King Pradeshi presenting a new (different) argument before o Keshi Kumar Shraman said___ "Reverend Sir ! Your argument (logic) and example is a product of intellect alone (It is a product of imagination) Kindly listen my statement (based on fact)-I had a grandmother. She was a religious lady in this very Seyaviya town. She was spending her life strictly following religious code of conduct She knew well Jiva (soul), Ajiva (matter) and other such principles (Tattvas) and was following religious conduct of a householder upto observing austerities (Tapa). She was a Shramanopasika (devotee of religious order). According to your view point, she must have accumulated auspicious karmas and so after her life-span would have taken re kezIkumAra zramaNa aura pradezI rAjA (325) Keshi Kumar Shraman and King Pradeshi

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birth in heaven as Deva (a god). I am a beloved, devoted, loveable grandson of that good lady. So, in case she comes to me and tells me as follows-0 my dear grandson ! I was your grandmother. I was spending a religious life in this Seyaviya town. I was a Shramanopasika (devotee of Shramans). As a result of it I had accumulated a lot of auspicious karmas and therefore I have taken To re-birth in heaven (Devlok). 0 my grandson ! You also spend your life following spiritual code of conduct so that you may accumulate * *o a large quantity of auspicious karmas (that bear good fruit). You a shall then take re-birth in heaven (Devlok).' Therefore, in case my grandmother comes to me and tells me that "Soul and body are different, in other words that soul and body are not the same', then I can have faith in your statement, trust it, acknowledge it and make it a subject of my devotion and my interest. But until my grandmother says so, I have firm conclusion and consider it as correct that soul is body and body is soul and that he is soul and body are not different (entities)." 247. tae NaM kesI kumArasamaNe paesI rAyaM evaM vayAsI jati NaM tumaM paesI ! NhAyaM kayabalikammaM kayakouya-maMgalapAyacchittaM ullapaDasADagaM bhiMgArakaDucchayahatthagayaM devakulamaNupavisamANaM keiya purise baccagharaMsi ThicA evaM vadejjAeha tAva sAmI ! iha muhuttagaM Asayaha vA, ciTTaha vA, nisIyaha vA, tuyaTTaha vA, tassa NaM tumaM paesI ! purisassa khaNamavi eyamaTuM paDisuNijjAsi ? No tiNaDhe smjhe| kamhA NaM? bhaMte ! asuI asui saamNto| evAmeva paesI ! tava vi ajjiyA hotthA, iheva seyaviyAe NayarIe dhammiyA jAva viharati, sA NaM amhaM vattavvAe subahuM jAva uvavannA, tIse NaM ajjiyAe tumaM Nattue hotthA * iTe. kimaMga puNa pAsaNayAe ! sA NaM icchai mANusaM loga havvamAgacchittae, No ceva NaM saMcAei hvymaagcchitte| rAyapaseNiyasUtra (326) Rai-paseniya Sutra *

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caUhiM ThANehiM paesI ! ahuNovavaNNae deve devaloesu icchejjA mANusaM logaM * havyamAgacchittae No ceva NaM saMcAie (1) ahuNovavaNNe deve devaloesu divvehiM kAmabhogehiM mucchie-giddhe-gaDhieajhovavaNNe se NaM mANuse bhoge no AThAti, no parijANAti, se NaM icchijja mANusaM loga havva mAgacchittae No ceva NaM sNcaaeti| (2) ahuNovavaNNae deve devaloesu divvehiM kAmabhogehiM muchie jAva ajhovavaNNe, tassa NaM mANusse pemme vocchinnae bhavati, divye pimme saMkaMte bhavati, se NaM icchejjA mANusaM logaM havyamAgacchittae No ceva NaM sNcaaei| (3) ahuNovavaNNe deve divvehiM kAmabhogehiM mucchie jAva ajhovavaNNe, tassa NaM evaM bhavai-iyANiM gacchaM muhattaM jAva iha gacchaM, appAuyA NarA kAladhammuNA saMjuttA bhavaMti, * se NaM icchejjA mANussaM. No ceva NaM sNcaaei| (4) ahuNovavaNNe deve divvehiM jAva ajhovavaNNe, tassa mANussae urAle duggaMdhe paDikUle paDilome bhavai, uDDhaM pi ya NaM cattAri paMca joaNasae asubhe mANussae gaMdhe abhisamAgacchati, se NaM icchejjA mANusaM. No ceva NaM sNcaaijjaa| ___ icceehiM ThANehiM paesI ! ahuNovavaNNe deve devaloesu icchejja mANusaM loga havvamAgacchittae No ceva NaM saMcAei havvamAgacchittae, taM sadahAhi NaM tumaM paesI ! jahAanno jIvo annaM sarIraM, no taM jIvo taM sriirN| 247. taba kezIkumAra zramaNa ne pradezI rAjA se kahA "he pradezI ! (kalpanA karo) yadi tuma snAna, balikarma aura kautuka, maMgala, prAyazcitta karake gIlI dhotI pahana, jhArI aura dhUpadAna hAtha meM lekara deva-mandira meM praveza kara rahe ho aura usa samaya koI puruSa (zaucAlaya sApha karake mala uThAne vAlA) viSThAgRha (zaucAlaya) meM khaDe hokara tumheM kahe ki 'he svAmin ! Ao aura kSaNamAtra ke lie yahA~ * baiTho, khar3e hoo aura leTo', to kyA he pradezI ! eka kSaNa ke lie bhI tuma usa puruSa kI yaha bAta svIkAra kara sakate ho?" pradezI-"he bhadanta ! yaha sambhava nahIM hai, maiM usa puruSa kI bAta svIkAra nahIM kruuNgaa|" kezIkumAra zramaNa-"aisA kyoM?' aske.sakse.ke.ke.sks ki sksksksksksksksksksksksksksksksks kris.siksaks.sks.ke.sksirials * kezIkumAra zramaNa aura pradezI rAjA (327) Kesh Kumar Shraman and King Pradeshi

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pradezI -"kyoMki bhadanta ! vaha sthAna apavitra hai aura apavitra vastuoM se bharA huA hai|" kezIkumAra zramaNa-'"to isI prakAra pradezI ! isI seyaviyA nagarI me tumhArI jo dAdI dhArmika thIM, dharmAnurAgapUrvaka jIvana vyatIta karatI thIM aura hamArI mAnyatAnusAra vaha bahuta se puNya karmoM kA saMcaya karake devaloka meM utpanna huI haiM tathA unhIM dAdI ke tuma pyAre pautra ho| tumhArI dAdI bhI zIghra hI manuSyaloka me Ane kI abhilASA rakhatI haiM, kintu A nahIM sktiiN| he pradezI ! tatkAla utpanna deva devaloka se manuSyaloka meM Ane kI AkAMkSA rakhate hue bhI ina cAra kAraNoM se nahI A pAte haiM / ve cAra kAraNa isa prakAra haiM (1) tatkAla utpanna deva devaloka ke divya kAmabhogoM meM mUrcchita, gRddha, Asakta aura tallIna ho jAne se manuSya sambandhI kAmabhogoM ke prati AkarSita nahIM hote hai, na dhyAna dete haiM aura na unakI icchA karate haiM / kAmabhoga nahIM chor3a pAne ke kAraNa ve manuSyaloka meM Ane kI AkAMkSA rakhate hue bhI A nahIM pAte haiM / (2) devaloka sambandhI divya kAmabhogoM meM mUrcchita yAvat tallIna ho jAne se tatkAla utpanna deva kA manuSya-janma sambandhI prema (AkarSaNa) vyucchinna ho jAtA (TUTa jAtA hai aura devaloka sambandhI anurAga jAgRta ho jAne se manuSyaloka meM Ane kI icchA hone para bhI yahA~ A nahIM pAte haiN| (3) tatkAla utpanna deva devaloka meM jaba divya kAmabhogoM meM mUrcchita aura tallIna ho jAte hai taba ve socate to hai ki 'aba jAU~, aba jAU~, kucha samaya bAda jAU~gA / ' kintu utane samaya me to unake isa manuSyaloka ke alpa AyuSya vAle sambandhI jana kAladharma ( maraNa) ko prApta ho cukate haiM jisase manuSyaloka meM Ane kI abhilASA rakhate hue bhI (pramAda ke kAraNa ve yahAeN nahIM A pAte hai / (4) ve adhunotpanna deva devaloka ke divya kAmabhogo meM itane tallIna ho jAte haiM ki unako martyaloka sambandhI tIvra durgandha pratikUla aura apriya lagatI hai / kyoMki vaha mAnava loka kI kutsita durgandha Upara AkAza meM cAra-pA~ca sau yojana taka phaila jAne se manuSyaloka meM Ane kI icchA rakhate hue bhI ve usa durgandha ke kAraNa Ane meM hicakicAne lagate hai / he pradezI / isIlie manuSyaloka meM Ane ke icchuka hone para bhI adhunotpanna deva cAra kAraNoM se devaloka se yahAeN A nahIM sakate haiN| isalie tuma yaha zraddhA karo ki jIva anya hai aura zarIra anya hai / jIva zarIra nahI hai aura na zarIra jIva hai / " rAyapaseNiyasUtra (328) For Private Personal Use Only Rai-paseniya Sutra

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* o 247. Keshi Kumar Shraman said to king Pradeshi "O Pradeshi ! Imagine that after taking bath, applying auspicious symbols, wearing wet dhoti (cloth covering lower half of the body) and holding a pot and incense stand in your hand, you enter a temple. At that time a sweeper (who cleans the toilet and picks up the human waste) standing in the toilet tells you--'O my master ! Please come and sit down, stand up or lie down here for a moment, then O Pradeshi ! Can you accede to the request of that person (the sweeper) for a moment ?" Pradeshi replied--"Reverend Sir! It is not possible. I shall not accede to his request." Keshi Kumar Shraman asked--"Why is it so ?" Pradeshi replied--"Reverend Sir ! It is because that place is unholy. It is full of dirty things (material)." Keshi Kumar Shraman then said--"O Pradeshi ! Same applies to the present case. Your grandmother who lived in Seyaviya town was a religious lady; she was devoted to religious order and followed her life according to the religious principles. According to our belief, she accumulated plenty of auspicious karmas and took re-birth in heaven (as a god). You are the affectionate grandson of that lady. Your grandmother desires to visit this human world soon but cannot come. O Pradeshi ! Due to four reasons, the newly born gods, desiring to visit this world inhabited by human-being, are not able to come here. The said four reasons are as under (1) The newly born gods become deeply engrossed, deeply attached and deeply absorbed in the enjoyments and pleasures of heaven (engrossed in sensual desires and objects of the five senses). As such they do not get attracted toward sensual pleasures and enjoyments of the human world: they don't attend to these pleasure. and they do not desire them. Since they cannot discard the sensual pleasures and enjoyments of heaven, they are not able to come to the human world although they have such a desire (to come here). Set VA POGOS 60DG DGDG DG - kezIkumAra zramaNa aura pradezI rAjA (329) Kesht Kumar Shraman and King Pradesh

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shes... (2) As a result of deep attachment upto engrossment in heavenly sensual pleasures and enjoyments, the attraction of the newly born god (that he had just at the time of his birth) disappears. His attachment towards heavenly enjoyments becomes prominent (arises deeply), so he is not able to come to the human world even if he had such a desire. (3) When a newly born god becomes attached and engrossed in heavenly sensual enjoyment and pleasures, he thinks-'I shall go now, I shall go now, I shall go after some time.' But in the mean time his relative whose life-span is very small (as compared to the lifespan of god) pass away. So, even if he has a keen desire to come to the human world, he is not able to come due to his lethargy (delay in translating his initial thought into action). (4) The newly born gods become so much absorbed in sensual enjoyment and pleasures of heaven, that they dislike the dirty smell arising from the human world. They do not like it. The despising, bad smell of the human world spreads upto a height of four hundred to five hundred yojans in the sky (space). They have a keen desire to visit the human world. But due to the foul smell, they hesitate to come down to human world. O Pradeshi! Therefore (due to said four reasons) the newly born gods cannot come here from heavenly world even if they have an inner desire to come. So you should have faith that soul and body are different. Soul is not body and body is not soul." vivecana - sUtra 245 me batAyA hai - nAraka jIva cAhate hue bhI cAra kAraNo se manuSyaloka meM nahI A sakatA (1) prathama kAraNa hai- naraka loka me nAraka vedanA se nahI chUTa pAtA hai| Agama me batAyA hai, naraka me aneka prakAra kI vedanA hai| jaise - kSetra sambandhI, usa sthAna para ghora adhakAra, ghora garmI, ghora durgandha, atyanta bhUkha-pyAsa Adi kSetrajanya vedanA hai| vaha usa sthAna se nikalakara bhAganA cAhe taba bhI bhAga nahI sktaa| jaise banda jela se bAhara nikalanA sambhava nahI hotA / kathAo me batAyA hai ki eka bAra sItAjI ke jIva sItendra ne naraka sthita lakSmaNa ke jIva ko vahA~ se mukta karane ke lie uThA liyA aura Upara kA prayAsa kiyA, kintu jaise hI naraka se bAhara nikAlA ki vaha zarIra barpha athavA pAre kI taraha pighala - pighalakara chinna-vicchinna hokara bikhara gayA / yaha usa kSetra ke paryAvaraNa kA hI prabhAva hai ki nAraka jIva bhayaMkara vedanA sahate hue bhI usa sthAna ko chor3akara anyatra nahIM jA skte| vahIM rahane para majabUra rAyapaseNiyasUtra Rai-paseniya Sutra (330) For Private Personal Use Only

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ra 2 hai| dUsarI parasparodIrita vedanA-nAraka jIva ApasI vaira-virodha ke kAraNa saoNpa-nevale kI taraha eka-dUsare ke janmajAta zatru hote hai| eka-dUsare ko dekhate hI laDate hai, bhiDate hai, use kATate hai| agara * koI nAraka unase chUTakara jAnA cAhe to ve jabardastI use pakaDakara usake sAtha yuddha karane, mArakATa * karane lagate hai| jaise do DAkU yA ghora zatru eka-dUsare ko bhAgane nahI dete, use pakaDa-pakaDakara mArate hai| isa kAraNa koI nAraka vahA~ se chUTakara nikalanA cAhane para bhI nahIM chUTa sktaa| (2) dUsarA kAraNa hai-koI nAraka, apane-apane purAne riztedAro se milane ke lie naraka se jAnA cAhe to narakapAla-jinhe paramAdhArmika deva kahate hai, ve use jAne nahI dete| use pakaDakara kubhI me pakAte hai, zarIra ke TukaDe-TukaDe kara DAlate haiN| paramAdhArmiko dvArA dI jAne vAlI vedanA kA lomaharSaka varNana sUtrakRtAMga ke 'naraka vibhakti' adhyayana tathA uttarAdhyayana ke 'mRgAputrIya' 19ve adhyayana me paDhane se patA calatA hai, narakapAla nAraka jIva ko vahA~ se bhAgane nahI dete, pakaDa-pakaDakara use yAtanA-yaMtraNAe~ dete hai| (3) tIsarA kAraNa hai-usakA naraka sambandhI vedniiykrm| jitane kAla taka naraka sambandhI vedanA bhogane ke karma ba~dhe hai una karmo ko bhoge binA vaha vahA~ se nikala nahI sakatA jaise makaDI jAle se nahI nikala sktii| (4) cauthA kAraNa hai-naraka kI Ayusthiti yA kaalsthiti| prajJApanAsUtra ke sthiti pada tathA a anuyogadvArasUtra ke anusAra nAraka jIvo kI kama se kama jaghanya sthiti dasa hajAra varSa kI aura utkRSTa sthiti (sAtavI naraka kI) tetIsa sAgaropama kI hai aura yaha sthiti aparivartanIya hotI hai| AyuSyakarma kSaya hone se pahale usa zarIra ko koI choDa nahI sktaa| isalie kezIkumAra zramaNa kahate hai ki nAraka jIva manuSyaloka ke apane mitra-sambandhiyo se milane * kI icchA rakhate hue bhI vahA~ se chUTakara nahI A skte| sthAnAgasUtra ke prathama sthAna meM bhI ye cAra kAraNa batAye gaye hai| isa sUtra meM pradezI rAjA apanI dAdI kA udAharaNa detA hai ki 'merI dAdI bahuta hI dhArmika * AcAra-vicAra vAlI thii| Apake siddhAntAnusAra vaha avazya hI svarga me gaI hogii| yaha mAnA jAye ki naraka me jIva paratatra hotA hai, isalie vaha AnA cAhate hue bhI nahI A sakatA, parantu svarga ke devatA to svatatra aura svAdhIna hai| ve to A sakatI hai, phira merI dAdI kyo nahI AI?' isa prazna kA samAdhAna dete hue kezIkumAra zramaNa ne pahale deva-kulikA (mandira) me jAte samaya zaucAlaya meM praveza kA udAharaNa diyA hai aura yaha batAyA hai ki svarga ke sugadhamaya-divya vAtAvaraNa ke samakSa yaha manuSyaloka to eka zaucAlaya se bhI adhika durgadhamaya hai| yahA~ para bhI devatAo ke manuSyaloka * me nahI Ane ke cAra kAraNa batAye hai (1) pahalA kAraNa hai, vahA~ utpanna hone vAle devatA kA svargIya kAma-sukho me Asakta ho jaanaa| ve vahA~ ke sukhoM me itane lIna ho jAte hai ki manuSyaloka me Ane kA mana to hotA hai, parantu sukho kI ke Asakti nahI choDa pAne ke kAraNa vahA~ se nikala nahI skte| kezIkumAra zramaNa aura pradezI rAjA (331) Keshi Kumar Shraman and King Pradeshi

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PROM (2) dUsarA kAraNa hai, svarga me jAne ke bAda sAmAnya rUpa me manuSya-janma sambandhI mitroM, sambandhiyo se sneha kA sUtra TUTa jAtA hai| vaha socatA hai, pichale janmo ke kina-kina riztedAro ko smaraNa kare aura hara kina-kina kI sahAyatA kare, kyoki usake jJAna me to pichale aneka janmo kI smRti rahatI hai, yadi una ra saba janmo ke mitra-sambandhiyo ko yAda kare to vyartha hI parezAna hokara apane sukho ko choDanA pddegaa| isa kAraNa unake sneha aura prema kA sUtra DhIlA par3a jAtA hai yA TUTa hI jAtA hai aura ve unako bhulA dete hai| bahuta bAra vacana diyA huA bhI yAda nahI rakhate aura use bhI pUrA nahI kara paate| (3) tIsarA kAraNa hai, svarga meM utpanna hote hI vahA~ ke sukho me, vahA~ ke divya nRtya-sagIta Adi me itane masta ho jAte hai ki bIca me choDakara uTha nahIM sakate, socate hai, yaha nATaka khatma hote hI mai jAU~gA, parantu devatAo kA eka-eka nATaka bhI itane lambe samaya taka calatA hai ki taba taka manuSyo kI kaI pIDhiyA~ bIta jAtI hai| jinako vacana dekara jAte hai yA jinako sahAyatA karane kI bhAvanA rakhate hai, unake a lie Ate hai, taba taka to ve mitrajana AyuSya pUrNa kara kahI dUsarI yoni me hI cale jAte hai| (4) cauthA kAraNa hai, manuSyaloka kI durgdh| manuSyaloka audArika pudgalo kA samUha hai, yahA~ ke * hADa-maoNsa, mala-mUtra Adi kI durgadha itanI bhayakara hai ki Upara yojano taka usakI dUSita havA jAtI * hai| svarga meM rahane vAle devo ke lie isa prakAra kI durgaMdha asahya hotI hai| ve AnA cAhate hai, parantu isa durgadha se ghabarAkara Ane kA vicAra badala dete hai| isa sUtra me manuSyaloka sambandhI durgadha Upara AkAza me cAra-pA~ca sau yojana taka pahu~cane kA ullekha kiyA hai, jabaki Agamo kI mAnyatA yaha hai ki nau yojana se adhika dUra se Ate gadha vAle pudgala ghrANendriya ke viSaya nahI ho sakate hai| yahaoN vicAraNIya hai ki ukta ullekha ke sAtha isa zAstrIya ullekha se kisa prakAra sagati baiTha sakatI hai ? kyoki nau yojana se adhika dUra se jo pudgala Ate hai unakI OM gadha atyanta mada ho jAtI hai, jisase ve ghrANendriya ke viSaya nahIM ho sakate hai| OM TIkAkAra AcArya malayagiri ne isakA samAdhAna karate hue likhA hai ki "yadyapi niyama to aisA hI hai kintu jo pudgala ati utkaTa gadha vAle hote hai, unake nau yojana taka pahuMcane para jo dUsare pudgala * unase milate hai, uname apanI gandha sakrAnta kara dete hai aura phira ve pudgala bhI Age jAkara dUsare pudgalo * ko apanI gadha se vAsita kara dete hai| isa prakAra Upara-Upara pudgala cAra-pA~ca sau yojana taka pahuMca ra jAte hai| parantu yaha bAta lakSya me rakhane yogya hai ki Upara-Upara vaha gadha mada-mada hotI jAtI hai| manuSyaloka sambandhI durgandha atyanta tIvra ho to pA~ca sau yojana taka pahu~catI hai, isIlie zAstra me cAra sau aura pA~ca sau ye do sakhyAye batAI hai|' sthAnAga ke TIkAkAra AcArya abhayadeva sUri kA isa sambandha me matavya hai ki "isase manuSya kSetra ke durgandhita svarUpa ko sUcita kiyA gayA hai| vastuta. deva athavA dUsarA koI nau yojana se adhika dUra OM se Agata pudgalo kI gadha jAna nahI sakatA hai| zAstra me indriyo kA jo viSaya-pramANa batalAyA hai, vaha sambhava hai ki audArika zarIra sambandhI indriyoM kI apekSA kahA ho|" ko sthAnAMgasUtra me bhI tatkAla utpanna deva ke manuSyaloka me nahI Ane ke ye hI cAra kAraNa batAye hai, sAtha hI vahA~ devatA ke manuSyaloka me Ane ke bhI cAra kAraNa batAye hai, jaise DROD000000000200DATOPARODAROORDAR * SPRINTER. * rAyapaseNiyasUtra (332) Rar-paseniya Sutra

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(1) tatkAla utpanna devatA vahA~ ke bhogo se mUrchita nahI hokara socatA hai ki jina gurujano ke upadeza * va upakAra ke prabhAva se mujhe yaha devaRddhi prApta huI hai| mai vahA~ jAkara apane parama upakArI guruo ko * vandanA-namaskAra kruuN| (2) manuSyaloka me vicarane vAle, utkRSTa jJAnI, utkRSTa tapasvI zramaNo ko dekhakara unakI vandanA, sevA karane kA mahAn phala samajhakara ve bhogo ko choDakara bhI A jAte hai| (3) apane pUrvabhava sambandhI mAtA, pitA, putra Adi sambandhI jano ko dharma ke prati AsthA utpanna karAne yA pratibodha dene kI icchA se kAmabhogo kI Asakti tyAgakara bhI Ate hai| (4) manuSyaloka me kisI ke sAtha vacanabaddha ho cuke ho, pratijJA kara cuke ho ki isame se jo pahale x cyuta ho jAye vaha use sabodha dene ke lie aayegaa| usa pratijJA se ba~dhA huA deva bhogo kI Asakti choDakara bhI AtA hai| vizeSAvazyaka bhASya (gAthA 1875-1877, sthAnAga, sthAna 4) me devaloka se nahI Ane ke pA~ca kAraNa batAye hai, jiname cAra kAraNa to ukta hI hai| pA~cavA~ kAraNa batAyA hai-devatA svatatra hote hai, ve manuSyo ke kisI kArya ke adhIna yA parAdhIna nahIM hote| ____ sAtha hI vahA~ devatAo ke manuSyaloka me Ane ke nau kAraNa bhI batAye hai (1) arihato ke janma, dIkSA, kaivalya va nirvANa mahotsava pr| (2) bhakti ke vazIbhUta hokr| (3) mana kA sandeha/zakA dUra karane ke lie| (4) pUrvajanma ke mitra, putra Adi ke gahare anurAga ke vsh| (5) pUrvajanma me kI gaI pratijJA yA vacana se ba~dhe hone ke kAraNa pratibodha dene ke lie| (6) tapasyA Adi utkRSTa guNo se AkRSTa hokr| (7) pUrvajanma ke vaira-virodha ke kAraNa use pIDA dene ke lie| (8) pUrvajanma ke kisI mitra Adi para anugraha karane ke lie| (9) hAsya-kutUhala Adi vaza hokr| Avazyakaniyukti me AcArya bhadrabAhu ne batAyA hai- "deva mohanIya karma tathA sAtAvedanIya karma ke udaya ke kAraNa adhika kAmAsakta hote hai| apratyAkhyAna mohanIya ke kAraNa ve kAmabhoga kA tyAga nahI kara sakate (unako nahI A pAne kA yaha bhI kAraNa hai)|" ____ dIghanikAya me kumAra kAzyapa ne bhI payAsi rAjA ke prazna para isI prakAra kA udAharaNa diyA hai2 "jaise koI puruSa durgadhamaya kUpa me paDA ho, usakA zarIra mala se lipta ho, usa puruSa ko koI bAhara 2 nikAlakara use snAna Adi karAke sugadhita tela, candana Adi kA vilepana karake phUlo se zRgArita karane ke bAda puna use usI durgandhita kUpa me praveza karane ke lie kahe to kyA vaha usa durgandhamaya mala-mUtra ke kUpa meM vApasa ghusegA?" kezIkumAra zramaNa aura pradezI rAjA ( 333 ) Keshi Kumar Shraman and King Pradeshi *

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"nahI ghusegaa|" isI prakAra svarga me utpanna hue devatA bhI vApasa manuSyaloka me AnA nahIM cAhate / Elaboration-In aphorism 245, it was stated that hellish being cannot come to the human world due to the following four reasons (1) The first reason is that he is not able to free himself from hellish pain in the hell. In the Agam it is mentioned that hellish troubles are of many types, namely, troubles due to the location. There is a deep darkness, scorching heat, intense foul smell, extreme hunger and thirst and suchlike due to the hellish location. This is kshetra (location) created troubles. The hellish being wants to come out and run away from that area but he cannot do so, just as it is not possible to get out from a completely guarded jail. It is mentioned in religious stories that once the Jiva (soul) of Sita in form of Seetendra (in heaven), picked up the Jiva (soul in body covering) of Lakshman staying in hell as a hellish being in order to liberate him from the hellish state and tried to bring him upwards (to heaven). But as soon as that hellish being came out of the hell, that hellish state melted like snow and scattered into tiny molecules. It is the effect of the hellish environment that a hellish being undergoing extreme pain in hell cannot leave that place (the hell) and cannot go to another place. They live their under compulsion of that area. The second type of trouble is the in-born enmity. The hellish beings are born enemies like snake and mongoose due to inimical nature towards each other. They start fighting, striking against and piercing immediately when they see each other. In case any hellish being wants to run away from that dual, they hold him forcibly and start fighting with him and beating him just as two robbers or two ferocious enemies do not allow each other to run away. They catch and beat So it is said that even if a hellish being wants to get released, he cannot do so. (2) The second reason is that in case any hellish being wants to go out from hell to see their old relatives (of previous life) the Paramadharmik gods (who guard the hell) do not allow them to go. They catch them and cook them in Kumbhi-narrow necked pot. They cut the body into pieces. The heart-renting description of the tortures inflicted by Paramadharmik gods is available in the 'Narak Vibhakti' chapter of Sutrakritang and nineteenth chapter 'Mrigaputriya' of Uttaradhyayan Sutra. A reading of those chapters indicates that the guarding gods of hell do not allow the hellish beings to go out. They catch them and torture them. rAyapaseNiyasUtra (334) For Private Personal Use Only Rai-paseniya Sutra

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(3) The third reason is the Vedniya karma (the pain bearing karma) of the hellishing being of his previous life or lives. The period for which such karmas the fruit of which is to be undergone in hellish state have been performed, he shall have to experience their fruit. Without undergoing the fruit of those karmas (actions), he cannot go out from hell, just as a spider cannot get away from her cobweb. (4) The fourth reason is the life-span or the age of the hellish being. According to Sthiti Pad of Prajnapana Sutra and Anuyogdvar Sutra the minimum life-span of a hellish being is ten thousand years and the maximum life-span (which is of hellish being in seventh hell) is 33 Sagaropam. Their life-span can never be reduced nor increased. They cannot die before completing their life-span. So Keshi Kumar Shraman says that hellish being cannot come out from the hell even if he desires to see his relatives. These causes have been mentioned in Sthanang Sutra also. In this aphorism, king Pradeshi gives the factual example of his grandmother. He says that 'she was of religious thought and of religious conduct. According to the philosophical principles, she must have gone to heaven. It can be admitted that in hell, a living-being is not independent and therefore he cannot come out even if he is keen for it. But in the heaven, the gods are independent and free to execute their plan. So the grandmother could come. Why then my grandmother has not come so far?' While clarifying this doubt (query) Keshi Kumar Shraman first of all gave the example of entering a toilet while going to the temple. It has been clarified that in comparison with the fragrant unique environment of heaven, the human world is more foul-smelling than even a toilet. Here also four reasons have been given for the gods not coming to human world (1) The first reason is the engrossment in sensual enjoyment and pleasures of celestial world by a newly born god. They become so much absorbed in the pleasures of that place that even having in their mind that they may visit human world, they are not able to discard the attachment to the enjoyments there. They, therefore, are not able to leave the heavenly world. (2) The second reason is that ordinarily after going to heavenly abode, the relationship with friends and relatives breaks down; the love for them kezIkumAra zramaNa aura pradezI rAjA (335) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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* disappears He thinks that the relatives of previous lives are so many that it is not possible to decide whom should he remember and whom should he assist since in his visual knowledge, he has memory of many past lives. In case he remembers friends and relatives of all those previous lives, he will unnecessarily be worried about them and he shall have to discard divine pleasures and enjoyments. So the string of love and attachment (with relatives and friends of previous lives) becomes loose or breaks and he forgets them. Many times the new born god does not even remember the promise he had made in earlier life-span and therefore, he is not able to keep it. (3) The third reason is that newly born god in celestial abode becomes so much engrossed in the pleasures of that place, in the divine dance and music and suchlike that he is not able to leave it in the middle. He thinks that he shall go immediately when the drama concludes. But even one scene takes a pretty long period. But human-beings go into many successions during that period. When the recently born gods come to see those whom they had promised in earlier life, or they come to assist those whom they so desire to help, those friends had already completed their life-span and had gone to the next world where they are passing through their life-span. (4) The fourth reason is the foul smell of the human world. The human world is a collection of gross molecules. The foul smell of bones, blood, flesh, human waste and urine and others is so ferocious that it affects the environment upto many yojans. Such a foul smell is intolerable for gods living in heaven. They want to come here but feeling worried due to such a bad smell, they change their plan of coming to the human world. In this aphorism, it is mentioned that the foul smell of human world goes upwards upto 400 to 500 yojans in space. But in Agam, it is mentioned that the molecules of smell can be subject of sense of smell only upto nine yojans and not more. It is worth consideration how this description can be in line with the description in Agam. The molecules that come from a distance of more than nine, their smell becomes extremely low and such they cannot affect the sense-organs of smell. The commentator Acharya Malaygiri, while explaining this complexity has mentioned as under--"Although the principle is as above mentioned but those molecules that are having extreme smell, they meet those molecules who are at a distance of nine yojans. They transfer their smell to those molecules. Similarly molecules to whom smell has been upAAYOYALYALYALYAYYAPALOMBAROQROPAR PROMOSQMRS te best * w * * rAyapaseNiyasUtra (336) Rar-paseniya Sutra ** OVO US * * * *** * * * * * * * **

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* transferred, transfer their smell to the molecules at a further distance of nine yojans from them. Thus going higher and higher the molecules reach upto four hundred to five hundred yojans. But it is worthy of notice that the smell goes on lighter and lighter as they go up The smell of human world reaches upto five hundred yojans only if it is of extreme order. So in the scriptures two figures four hundred and five hundred are mentioned." The view of Abhaydev Suri, commentator of Sthanang Sutra in this context is as under--"This version (400 to 500 yojans) simply refers to the foul nature of human world (and its environment, its atmosphere). In fact no god or any other living-being can know the smell of molecules from a distance of more than nine yojans. The capacity of sense-organs mentioned in the Agam is only with reference to sense-organs of Audarik Shareer (gross physical body)." In Sthanang Sutra also the same four reasons have been mentioned for gods avoiding to come down to human world Further four reasons have been mentioned for inspiring gods to visit human world. They are (1) The newly born gods, not attached to the enjoyments of godly world her thinks that he should bow to, greet and honour his worthy gurus (teachers-guides) whose lectures and blessings have helped him in having the divine grandeur (wealth). (2) Some (newly born) gods, understanding that there is a great benefit of bowing to and serving the omniscient (mendicants possessing immense knowledge, Shramans obscuring austerities of highest order whom when one sees moving about in the human world, one comes to for showing obescience to them leaving the divine pleasures and enjoyments. (3) Some gods come in order to create faith towards religion or to provide right (scriptural knowledge to their parents, son or other relatives of the previous life-span, leaving the divine pleasures and enjoyments of the heavenly world. (4) Sometimes a person promises another person in the human world that whosoever, any one out of them, completes his present life-span earlier (dies earlier), he shall come to give true knowledge to the other. Keeping the word (if he becomes) god, he comes to the human world leaving his divine pleasures and enjoyments of the heavenly world (for sometime). In Visheshavashyak Bhashya (verses 1875-1877, Sthanang, Sthan 4) five reasons have been mentioned for non-coming of gods to the human kezIkumAra zramaNa aura pradezI rAjA (337) Kesht Kumar Shraman and King Pradesh

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world. Four reasons are the same as earlier mentioned. The fifth reason is that gods are independent. They are not under any obligation They are not subservient to the human world. Further, in it, nine reasons have been mentioned that motivate the gods to come to human world. They are as under (1) On the auspicious occasion (celebrity) of the birth, accepting of monkhood, attainment of perfect knowledge (Kewal Jnan) and liberation (Nirvan) of Arihant. (2) Inspired by deep devotion. (3) To remove doubt of others. (4) As a result of deep attachment with son, a friend or any suchlike previous life-span. of (5) To fulfil the promise or word made in the previous life-span in order to provide right spiritual knowledge. (6) Influenced by austerities, penances and other such qualities of highest order. (7) Agitated by the enmity and opposition of the previous life-span in order to torture and cause pain. (8) To bless any friend and suchlike of previous life-span. (9) To provide humour or influenced by such (behaviour) a temprament. In Avashyak Niryukti Acharya Bhadrabahu has said "Gods become attached to sensual enjoyments primarily because of function of deluding (Mohaniya) karma and pleasure-bearing (Saata Vedaniya) karma. They cannot discard sensual enjoyments and pleasures because of Apratyakhyan Mohaniya (partial-vow preventing deluding) karma." In Deeghanikaya, Kumar Kashyap also gave an example on a question by king Payaasi which is as follows-"Imagine a person lying in foul-emitting well. His body is besmeared with dirt. A person takes out that person from the well. He gives him a bath, massages him with fragrant oil, puts sandal wood paste on his body, decorates him with flowers and then again asks him to go into that, foul-smelling well. Will that person again enter that foul-smelling well." (Payaasi replied) "No. He shall not enter." Similarly gods born in heaven, do not wish to come back to human world. nauraforarger (338) For Private Personal Use Only Rai-paseniya Sutra

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a jIva aura zarIra kI abhinnatA kI parIkSA __248. tae NaM se paesI rAyA kesi kumArasamaNaM evaM vayAsI ___ atthi NaM bhaMte ! esa paNNA uvamA, imeNaM puNa kAraNeNaM No uvAgacchati, evaM DhAlu ii bhaMte ! ahaM annayA kayAI bAhiriyAe uvaTThANasAlAe aNega gaNaNAyaka-daMDaNAyaga rAya-Isara-talavara-mAiMbiya-koDubiya-inbha-seTThi-seNAvai-satthavAha-maMtimahAmaMti-gaNaga-dovAriya-amacca-ceDa-pIDhamadda-nagara-nigama-dUya-saMdhivAlehiM saddhiM saMparivuDe vihraami| tae NaM mama NagaraguttiyA sasakkhaM saloiM sagevejjaM * avauDabaMdhaNabaddhaM coraM uvnneti|| tae NaM ahaM taM purisaM jIvaMtaM ceva aukuMbhIe pakkhivAvemi, aumaeNaM pihANaeNaM pihAvemi, aeNa ya taueNa ya AyAvemi, AyapaccaiyaehiM purisehiM rkkhaavemi| tae NaM ahaM aNNayA kayAiM jeNAmeva sA aukuMbhI teNAmeva uvAgacchAmi, uvAgacchittA taM aukuMbhiM uggalacchAvemi, uggalacchAvittA taM purisaM sayameva pAsAmi, No ceva NaM tIse ayakuMbhIe kei chiDDe i vA vivare i vA aMtare i vA rAI vA jao NaM se jIve aMtohito bahiyA nnigge| jai NaM bhaMte ! tIse aukuMbhIe hojjA keI chiDDe vA jAva rAI vA jao NaM se jIve OM aMtohiMto bahiyA Niggae, to NaM ahaM saddahejjA, pattiejjA, roejjA, jahA anno jIvo annaM sarIraM, no taM jIvo taM sarIraM, jamhA NaM bhaMte ! tIse aukuMbhIe Natthi kei chiDDe vA jAva niggae, tamhA supatiTThiyA me painnA jahA-taM jIvo taM sarIraM, no anno jIvo annaM sriirN| 248. kezIkumAra zramaNa ke uttara ko sunakara rAjA pradezI ne isa prakAra kahA "he bhadanta ! jIva aura zarIra kI bhinnatA pradarzita karane ke lie Apane devoM ke nahIM Ane ke kAraNa rUpa meM jo upamA dI, vaha to buddhi se kalpita eka dRSTAnta mAtra hai, parantu bhadanta ! (maiM apane pratyakSa anubhava kI bAta batAtA hU~) kisI eka dina maiM apane aneka gaNanAyaka, daMDanAyaka, rAjA, Izvara, talavara, mAMDavika, kauTumbika, ibbha, zreSThI, senApati, sArthavAha, matrI, mahAmaMtrI, gaNaka-(jyotiSazAstravettA), dauvArika (rAjasabhA kA rakSaka), amAtya, ceTa (sevaka), pIThamardaka-(sadA pAsa rahane vAlA sevaka), nAgarika, vyApArI, dUta, sadhipAla Adi ke sAtha apanI bAhya upasthAnazAlA-(sabhAbhavana) meM baiThA huA thaa| usI ANDAOARODAROSARODARODO * * * whikariKHABAR kezIkumAra zramaNa aura pradezI rAjA (339) Keshu Kumar Shraman and King PradeshhTER D * * * * XN *

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* * * * samaya nagara-rakSaka ne cora ko pakar3akara mere sAmane upasthita kiyaa| usake gardana aura donoM hAtha baMdhe the| usake sAtha curAI huI vastu aura sAkSI-gavAha bhI vidyamAna the| ___ taba maiMne usa cora ko jIvita hI eka lohe kI kumbhI me banda karavAkara acchI taraha lohe ke Dhakkana se usakA mukha Dhaka diyaa| phira garama lohe evaM raoNge se usa para lepa karAkara use havA banda banA diyA aura dekharekha ke lie apane vizvAsapAtra puruSoM ko niyukta kara diyaa| kisI dina mai usa lohe kI kuMbhI ke pAsa gyaa| vahA~ jAkara maiMne usa lohe kI kuMbhI ko khulvaayaa| khulavAkara maiMne svayaM usa puruSa ko dekhA to vaha mara cukA thaa| kintu usa lohakuMbhI meM rAI athavA suI jitanA bhI na koI cheda thA, na koI vivara thA, na koI antara thA aura na koI darAra thI ki jisameM se usa andara meM banda puruSa kA jIva bAhara nikala jaataa| yadi usa lohakaMbhI meM koI chidra yAvata darAra hotI to maiM yaha mAna letA ki bhItara banda puruSa kA jIva bAhara nikala gayA hai aura taba maiM ApakI bAta para vizvAsa kara letA, pratIti kara letA evaM apanI ruci kA viSaya banA letA-nirNaya kara letA ki jIva anya hai aura zarIra anya hai| lekina he bhadanta ! usa lohakuMbhI meM jaba koI chidra hI nahI thA, ataH merA yaha mantavya ThIka hai ki jo jIva hai vahI zarIra hai aura jo zarIra hai vahI jIva hai| jIva zarIra se bhinna nahIM aura zarIra jIva se bhinna nahIM hai| TEST OF INDENTITY OF JIVA AND SHAREER __248. After hearing the reply of Keshi Kumar Shraman, king Pradeshi said thus___ "Reverend Sir ! In order to prove that Jiva (soul) and body are different entities, you have narrated the reasons for gods not coming (to human world). But it is simply an imaginative illustration created by intellect. But Reverend Sir ! (I tell the incident of my personal experience) Once I was in my outer councilhall. Many heads of departments, many incharge of inflicting punishment, king, gods, masters, maandvik, family members, chiefs, nobles, army chief, traders, ministers, prime ministers, astrologers, security incharge of the council-hall, servants, whole time servants, citizens, businessmen, spies, officers responsible for guarding border were also with me. At that time the city guard rAyapaseNiyasUtra Rai-paseniya Sutra * * (340) * LDN* * * *"OTO

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brought a thief to me. His hands and neck were tied. The stolen things and the witnesses to the incident were also present. I got that thief placed in an iron pot with a narrow neck. I placed the iron cover at its mouth. I then with heated iron and ranga got it pasted and thus made it air tight. I appointed my trusted men to guard it. One day, I went near that narrow-necked pot. I got that pot opened. I then myself examined that man. I found him dead. But there was no hole in that pot, not even a small hole like needle point. There was no hair-line gap nor any other gap. So there was no possibility for his Jiva (soul) to go out . In case there had been any hole or infintecimal gap. I could admit that the soul of the person shut down in the long-necked pot had gone out. Then I would have accepted your view point, would have liked it and would have taken interest in it. I would have then concluded that soul is different from body. But, Reverend Sir! When there was no hole in that pot, my this conclusion is correct that soul is body and body is soul. Soul is not different from the body and body is not different from the soul. kUTAkArazAlA kA dRSTAnta 249. tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsI paesI ! se jahA nAmae kUDAgArasAlA siyA duhao littA-guttA - guttaduvArA - nnivaaygNbhiiraa| aha NaM kei purise bheriM ca daMDaM ca gahAya kUDAgArasAlAe aMto aMto aNuSpavisati, tIse kUDAgArasAlAe savvato samaMtA ghaNa- niciya - niraMtara - NicchiDDAI duvAravayaNAI pis, tIse kUDAgArasAlAe bahumajjhadesabhAe TiccA taM bheriM daMDaeNaM mahayA mahayA saNaM tAlejjA, seNUNaM paesI ! se sadde NaM aMtorhito bahiyA niggacchai ? haMta Niggacchai / atthi NaM paesI ! tIse kUDAgArasAlAe kei chiDDe vA jAva rAI vA jao NaM se sadde aMtorhito bahiyA Niggae ? no tiNaTThe samaTThe / zIkumAra zramaNa aura pradezI rAjA (341) Keshi Kumar Shraman and King Pradeshi For Private. Personal Use Only

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evAmeva paesI ! jIve vi appaDihayagaI puDhaviM bhiccA, silaM bhiccA, pavvayaM bhiccA aMtorhito bahiyA Niggacchai, taM saddahAhi NaM tumaM paesI ! aNNo jIvo taM ceva / 249. pradezI rAjA ke isa tarka ko sunakara kezIkumAra zramaNa ne kahA "he pradezI / (udAharaNa ke rUpa meM) jaise koI eka kUTAkArazAlA ho aura vaha bhItara-bAhara cAro ora lipI huI ho, acchI taraha se AcchAdita ho, usakA dvAra bhI gupta ho aura havA kA praveza bhI jisameM nahIM ho sake, aisI gaharI ho / yadi usa kUTAkArazAlA ke bhItara koI puruSa bherI (nagADA) aura bajAne ke lie DaMDA hAtha meM lekara ghusa jAye aura ghusakara usa kUTAkArazAlA ke dvAra Adi ko isa prakAra cAroM ora se banda kara de ki jisase kahIM para bhI thor3A-sA antara nahI rahe (havA nikalane ko bhI cheda na rahe) aura usake bAda usa kUTAkArazAlA ke bIcoMbIca khar3e hokara DaDe se bherI ko jora-jora se bajAye to tumhIM batAo ki vaha bhItara kI AvAja bAhara nikalatI hai athavA nahIM ? arthAt bhItara kI dhvani bAhara sunAI par3atI hai yA nahIM ?" pradezI - "haoN, bhadanta ! nikalatI hai|" kezIkumAra zramaNa - "he pradezI ! kyA usa kUTAkArazAlA meM koI chidra athavA darAra huI hai ki jisameM se vaha zabda bAhara nikalA ho ?" pradezI - "he bhadanta ! vahaoN para koI chidrAdi nahI hotA ki jisase zabda bAhara nikala ske|" kezakumAra zramaNa - "to he pradezI ! isI prakAra jIva bhI apratihata gati vAlA hai; usakI gati kahIM nahIM rukatI / vaha pRthvI kA bhedana kara, zilA kA bhedana kara, parvata kA bhedana kara bhItara se bAhara nikala jAtA hai / isIlie tuma yaha zraddhA-pratIti karo ki jIva aura zarIra pRthak-pRthak hai, jIva zarIra nahIM hai aura zarIra jIva nahIM hai / " ILLUSTRATION OF KOOTAKARSHALA (A TEMPLE ON SUMMIT OF A HILL) 249. After hearing this argument of king Pradeshi Keshi Kumar Shraman said "O Pradeshi! Imagine a temple on summit of a hill and that it is pasted on all sides from both inside and outside. It is well covered. Its entrance is also secret. It is so deep that even air cannot enter it. Imagine that a person enters it with a stick and a drum and then he closes the door in such a way that there is no space even for the air rAyapaseNiyasUtra Rai-paseniya Sutra (342) For Private Personal Use Only

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jIva kI apratihata gati m -- MOS Ka kUTAkAmAlA me nagAr3oM kI dhvani

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citra paricaya-12 Illustration No. 12 " " jIva kI apratihata gati rAjA pradezI pUchatA hai- "Apake matAnusAra zarIra se jIva bhinna hai| mai yaha nahI maantaa| kyoki maine eka aparAdhI ko pakaDakara jIvita hI eka chidrarahita lauha-kumbhI me DAlakara kumbhI ko banda karake usa para lepa lagAkara tAlA DAla diyA thaa| kucha dina bAda dekhA to vaha aparAdhI mara cukA thaa| kintu kumbhI me jIva nikalane kA kahI bhI koI cheda yA nizAna nahIM milaa|" samAdhAna dete hue kezIkumAra zramaNa bole-'rAjan / jaise koI puruSa eka kUTAkArazAlA me praviSTa hokara use cAro tarapha se havA banda karake bhItara nagADA pITe to usa nagADe kI AvAja bAhara sunAI detI hai yA nahI?" rAjA pradezI-"detI hai|'' kezIkumAra zramaNa-"usa zAlA me AvAja nikalane kA koI chidra nahI hone para bhI AvAja bAhara AtI hai, usI prakAra jIva apratihata gati vAlA hai| usakI gati kahI rukatI nhii|" -sUtra 248-249, pRSTha 340-343 * UNRESTRAINED MOVEMENT OF SOUL King Pradeshi asks--"According to you body and soul are separate I don't accept this This is because once I caught a criminal and put him in an iron vessel with no hole Then the vessel was locked and sealed with a sealing paste When I checked the vessel a few days later I found the criminal dead and there was no hole or other sign of the soul escaping" ___Keshi Kumar Shraman explained "O King | Imagine a person entering a concealed clandestine room, hermetically sealing it and then beating a drum inside is the sound of the drum-beat audible outside or e not King Pradeshi-- "Yes, it is." Keshi Kumar Shraman-"Although there is no hole through which the sound can escape, it still comes out In the same way soul has unrestrained movement Nothing stops its movement" -Sutras 248-249, pp 340-343

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to come out. Thereafter with the stick he beats the drum with great force, standing at the centre of that building. Please tell me whether the sound (of beating of the drum) will come out or not. In other words from outside can one hear the beating of the drum or not." Pradeshi replied - "Reverend Sir ! It comes out." Keshi Kumar Shraman said-"O Pradeshi! Has any hole or hair-line appeared through which the sound has come out?" King Pradeshi said "Sir! There is no hole through which the sound has come out." Keshi Kumar Shraman said--"O Pradeshi ! Similarly Jiva (soul) also has a movement that cannot be stopped by any substance. It does not stop any where. It passes through the earth, the heavy stone (shila), the hills, the mountains. So you should have firm belief that soul and body are separate entities. Soul is not body and body is not soul." lohakuMbhI kA udAharaNa 250. tae NaM paesI rAyA kesi kumArasamaNaM evaM vayAsI atthi NaM bhaMte ! esa paNNA uvamA, imeNaM puNa kAraNeNaM No uvAgacchai, evaM khalu bhaMte! ahaM annayA kayAi bAhiriyAe uvaTThANasAlAe jAva viharAmi tae NaM mamaM NagaraguttiyA sasakkhaM jAva uvaNeMti, tae NaM ahaM (taM ) purisaM jIviyAo vavarovemi, jIviyAo vavavettA ayokuMbhIe pakkhivAvemi, aumaeNaM pihAvemi jAva paccaiehiM purisehiM rakkhAmi / tae NaM ahaM annayA kayAI jeNeva sA kuMbhI teNeva uvAgacchAmi, taM aukuMbhiM uggalacchAvemi, taM aukuMbhiM kimikuMbhiM piva pAsAmi / No ceva NaM tIse aukuMbhIe ke chiDDe i vA jAva rAI vA jahA NaM te jIvA bahiyAhiMto aNupaviTThA, jati NaM tIse akuMbhI hojja kei chiDDe i vA jAva aNupaviTThA, teNaM ahaM saddahejA jahA - anno jIvo taM ceva, jamhA NaM tIse aukuMbhIe natthi kei chiDDe i vA jAva aNupaviTThA tamhA supatiTThi me paiNNA jahA - taM jIvo taM sarIraM taM ceva / 250. kezIkumAra zramaNa kA uttara sunakara pradezI rAjA ne punaH isa prakAra tarka upasthita kiyA kezIkumAra zramaNa aura pradezI rAjA (343) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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6.45d sha ___ "bhadanta / Apa dvArA dI gaI yaha upamA to buddhi kI caturatA hai, isase mere mana meM jIva aura zarIra kI bhinnatA kA vicAra yuktiyukta pratIta nahIM hotA hai| kyoMki maiMne aisA anubhava kiyA hai kisI samaya maiM apanI bAharI upasthAnazAlA meM gaNanAyaka Adi ke sAtha baiThA thaa| taba mere nagara-rakSakoM ne corI ke pramANoM ke sAtha eka cora puruSa ko upasthita kiyaa| maiMne turanta usa puruSa ko prANarahita kara diyA, mAra DAlA aura mArakara eka lohakuMbhI meM DalavAra diyA, majabUta Dhakkana se DhaoNka diyA aura apane vizvAsapAtra puruSoM ko rakSA ke lie niyukta kara diyaa| OM isake bAda kisI dina maiM usa kuMbhI ke pAsa gyaa| usa lohakuMbhI ko ughADakara dekhA, to vaha kRmiyoM (kIDoM) se bharI huI thii| lekina usa lohakuMbhI meM na to koI cheda huA thA, na 2) koI darAra par3I thI ki jisame se ve jIva bAhara se usameM praveza kara skeN| yadi usa lohakuMbhI OM meM koI cheda hotA, darAra hotI to maiM yaha mAna letA ki ve jIva usameM se hokara kuMbhI meM praviSTa hue haiM aura taba maiM zraddhA kara letA ki jIva anya hai aura zarIra anya hai| lekina jaba usa lohakuMbhI me koI cheda Adi nahIM huA, phira bhI usameM jIva praviSTa ho gye| ataH merA yaha vizvAsa hai ki jIva aura zarIra eka hI haiN| arthAt isa zarIra se bhinna jIva nAmaka koI tattva nahIM hai|" EXAMPLE OF NARROW NECKED IRON PCT ___250. At this reply of Keshi Kumar Shraman, king Pradeshi put up another argument in this manner "Reverend Sir ! The illustration given by you is a product of developed intellect. This illustration does not give rise to the belief in my mind that soul and body are different. It is because I have experienced, that once I was sitting in my outer council-hall with my staff and others. Then my security guards of the town presented before me a thief with evidence of his guilt. I made him lifeless at 9 once. I killed him and thereafter put him in a narrow necked big iron pot. I covered it with a strong lid and appointed my trusted a men to guard it. Thereafter, one day I came near that pot. I then found it full of * ants. There was no hole nor any hair-line gap in it through which o those insects could go inside. In case there had been any hole or hair-line gap in the pot, I could believe that the insects (Jiva) have 29 entered through that gap. I could then believe that soul and body rAyapaseNiyasUtra Rai-paseniya Sutra DDARPANDARDARODR2008061654580640556koska.ske.ske. (344)

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are different entities. But since the insects entered the pot even without a hole or gap, I have firm belief that soul and body are one or in other words that soul is not different from the body." tapta loha kA udAharaNa 251. tae NaM kesI kumArasamaNe paesIM rAyaM evaM vayAsI atthi gaM tume paesI ! kayAi ae dhaMtapuvve vA dhammaviyapuvve vA ? haMtA atthi / seNU pasI ! ae dhaMte samANe savve agaNipariNae bhavati ? haMtA bhavati / atha NaM paesI ! tassa ayassa keI chiDDI i vA jeNaM se joI bahiyAhiMto aMto aNupaviTThe ? no imaTThe sama / evAmeva paesI ! jIvo vi appasihayagaI puDhaviM bhiccA, silaM bhiccA bahiyAhiMto aNupavisai, taM saddahAhi NaM tumaM paesI ! taheba / 251. taba pradezI rAjA ke tarka kA uttara dete hue kezIkumAra zramaNa ne kahA "he pradezI ! kyA tumane pahale kabhI agni se tapAyA huA lohA dekhA hai athavA svayaM lohe ko tapavAyA hai ?" pradezI - "haoN, bhadanta !" kezIkumAra zramaNa-"he pradezI ! yaha batAo, tapAne para vaha lohA pUrNatayA agnirUpa meM ho jAtA hai yA nahIM ?" pradezI - "haoN, bhadanta ! ho jAtA hai / " kezIkumAra zramaNa - "he pradezI ! taba usa lohe meM koI chidra Adi hotA hai yA huA kyA, jisase vaha agni bAhara se usake bhItara praviSTa ho gaI ?" pradezI - " bhadanta ! aisA nahIM hotA hai / arthAt usa lohe meM koI chidra Adi nahIM hotA / " kezIkumAra zramaNa - " to isI prakAra jIva bhI apratihata gati vAlA hotA hai, vaha pRthvI, zilA Adi kA bhedana karake bAhara se bhItara praviSTa ho jAtA hai| isIlie tuma isa bAta kI zraddhA-pratIti karo ki jIva bhinna hai aura zarIra bhinna hai / " zIkumAra zramaNa aura pradezI rAjA (345) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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ILLUSTRATION OF RED-HOT IRON 251. Replying to the argument of king Pradeshi, Keshi Kumar Shraman said "O Pradeshi! Have you ever seen the red-hot iron or have you ever heated iron yourself in the fire ?' Pradeshi replied "Yes Sir." Then Keshi Kumar Shraman said-"O Pradeshi! Does the iron become completely fire-like when heated or does it not become so ?" Pradeshi replied - "Sir ! It becomes." Keshi Kumar Shraman asked-"O Pradeshi ! At that time does any hole or suchlike appear in the iron through which the fire entered the iron." Pradeshi replied "Sir! There is no suchlike thing. No hole appears in the iron." Keshi Kumar Shraman then said "Similarly Jiva (soul) is also of uncontrollable movement. It enters through the earth, the heavy stone and suchlike from outside. So you have the belief that soul and body are different." 252. tae NaM paesI rAyA kesIkumArasamaNaM evaM vayAsI atthi NaM bhaMte ! esa paNNA uvamA, imeNa puNa me kAraNeNaM no uvAgacchai atthi NaM bhaMte ! se jahAnAmae kei purise taruNe jAva sippovagae pabhU paMcakaMDagaM nisirittae ? haMtA, pabhU / jati NaM bhaMte ! so cceva purise bAle jAva maMdavinnANe pabhU hojjA paMcakaMDagaM nisirittae, to NaM ahaM sahejA jahA - anno jIvo taM ceva, jamhA NaM bhaMte ! sa ceva se purise jA maMdavinnANe No pabhU paMcakaMDagaM nisirittae, tamhA supaiTTiyA me paiNNA jahA - taM jIvo taM ceva / 252. ina yuktiyoM ko sunakara kezIkumAra zramaNa se pradezI rAjA ne kahA rAyapaseNiyasUtra (346) For Private Personal Use Only Rai-paseniya Sutra

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"ApakI upamA vAstavika nahIM hai / buddhi se kalpita hai, isalie mai inheM nahIM maantaa| kintu jo kAraNa maiM batA rahA hU~, usase jIva aura zarIra kI bhinnatA siddha nahIM hotI hai| vaha kAraNa isa prakAra hai he bhadata / jaise koI eka taruNa, balazAlI, niroga, sthira saMhanana vAlA, kuzala, buddhimAna aura apanA kArya siddha karane meM nipuNa puruSa kyA eka sAtha apane zarIra meM lage pA~ca bANoM ko nikAlane meM samartha hai ?" kezIkumAra zramaNa - "haoN, vaha samartha hai|" pradezI - " lekina vahI puruSa yadi bAlaka tathA maMda jJAna vAlA hotA to bhI kyA pA~ca art at ka sAtha nikAlane meM samartha hotA ? yadi hotA to he bhadanta ! maiM yaha zraddhA kara sakatA thA ki jIva bhinna hai aura zarIra bhinna hai, lekina vahI bAla, mada jJAna vAlA puruSa pA~ca bANoM ko eka sAtha nikAlane meM samartha nahIM hotA hai, isalie merI yaha dhAraNA sahI hai ki jIva aura zarIra eka hI haiN| jo jIva hai vahI zarIra hai aura jo zarIra hai vahI jIva hai / " 252. After hearing these arguments, king Pradeshi said "Your illustrations are not actual events. They are product of intellect, so I do not believe them. But the reasons which I put forward do not prove that soul and body are different entities. My reasoning is as under Reverend Sir ! There is a young, strong, healthy, well-built, clever, intelligent person who is expert in performing his duties. Can he simultaneously take out five arrows that have struck him?" Keshi Kumar Shraman replied - "Yes. He can." Pradeshi said "In case that man had yet been a child and of low intellect, could he then also take out five arrows from his body simultaneously. In case he could do, I could believe that soul is different from the body. But that child with low intellect is not able to take out five arrows simultaneously. So I have the firm belief that soul and body are one. Soul is body and body is soul." dhanuSA dRSTa 253. tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsI se jahAnAmae kei purise taruNe jAva sippovagae NavaeNaM dhaNuNA naviyAe jIvA navaNaM isuNA pabhU paMcakaMDagaM nisirittae ? kezIkumAra zramaNa aura pradezI rAjA (347) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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haMtA, pbhuu| so ceva NaM purise taruNe jAva niuNasippovagae korillieNaM dhaNuNA korilliyAe jIvAe korillieNaM isuNA pabhU paMcakaMDagaM nisirittae ? No tiNamaTTe smtthe| kamhA NaM ? bhaMte ! tassa purisassa apajjattAI uvagaraNAiM hvNti| evAmeva paesI ! so ceva purise bAle jAva maMdavinnANe apanattovagaraNe, No pabhU paMcakaMDayaM nisirittae, taM sadahAhi NaM tumaM paesI ! jahA anno jIvo taM cev| ra 253. pradezI rAjA ke pratyuttara meM kezIkumAra zramaNa ne kahA _ "rAjan ! koI eka taruNa puruSa, jo kArya karane meM nipuNa ho, navIna dhanuSa, naI pratyacA " (DorI) aura navIna bANa se eka sAtha pA~ca bANa choDane meM samartha hotA hai athavA nahIM ?" / pradezI-"hA~, samartha hotA hai|" / __ kezIkumAra zramaNa-"lekina vahI taruNa aura kuzala puruSa jIrNa-zIrNa, purAne dhanuSa, jIrNa pratyaMcA aura vaise hI jIrNa bANa se kyA eka sAtha pA~ca bANoM ko chor3ane meM samartha ho OM sakatA hai?' pradezI-"bhadanta ! aisA nahIM hotaa| arthAt purAne dhanuSa Adi se vaha eka sAtha pA~ca bANa choDane meM samartha nahIM ho sktaa|'' kezIkumAra zramaNa-"pradezI ! isakA kyA kAraNa hai ki vaha eka sAtha pA~ca bANa choDane meM samartha nahIM hotA?" ___ pradezI-"bhadanta ! usa puruSa ke pAsa upakaraNa-sAdhana paryApta nahIM haiN|" ___kezIkumAra zramaNa ne kahA-"pradezI ! isI prakAra vaha bAla maMda vijJAnI puruSa yogyatA rUpa upakaraNa kI aparyAptatA ke kAraNa eka sAtha paoNca bANoM ko chor3ane meM samartha nahIM ho pAtA hai| arthAt usameM jIva kI kSamatA to samAna hI hai kintu zarIra rUpa sAdhana kI akSamatA ra hai| ataH pradezI ! tuma yaha zraddhA-pratIti karo ki jIva aura zarIra pRthak-pRthak haiN| jIva zarIra nahIM aura zarIra jIva nahIM hai|" rAyapaseNiyasUtra (348) Rai-paseniya Sutra *

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- akSama upakaraNa balavAna zarIra durbala zarIra + - - / Alia samAdhAna dete kezI kumAra zramaNa IAS A . YAN PanditorA SARAL / jIrNa dhanuSa sudRr3ha dhanuSa ) " solasanilon

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citra paricaya-13 Illustration No. 13 akSama upakaraNa rAjA pradezI ne prazna kiyA-"kyA koI balavAna puruSa apane zarIra me lage pA~ca bANo ko eka sAtha nikAla sakatA hai ?" ___ kezIkumAra zramaNa-"hA~, nikAla sakatA hai| rAjA pradezI - "koI bAlaka yA durbala vyakti apane zarIra para lage pA~ca bANo ko eka sAtha nikAlane me samartha kyo nahI hotA?" prazna kA samAdhAna karate hue kezIkumAra zramaNa bole-"eka sudRDha zarIra vAlA samartha dhanurdhArI eka sadhe hue dhanuSa se kyA eka sAtha pA~ca bANa choDa sakatA hai ?'' rAjA pradezI-''haoN, choDa sakatA hai|'' kezIkumAra zramaNa-"yadi usa dhanurdhArI kA dhanuSa, pratyacA Adi sAdhana jIrNa-zIrNa, kamajora ho to se kyA usase eka sAtha pA~ca bANa choDe jA sakate hai ?" rAjA pradezI-- "nahI, vaha nahI choDa sktaa|" kezIkumAra zramaNa- "yahI bAta tumhAre prazna ke sambandha me smjho| zarIrarUpI upakaraNa kI durbalatA se AtmA ke pauruSa me antara paDatA hai|" -sUtra 252-253, pRSTha 346-349 WEAK EQUIPMENT King Pradeshi asked--"Can a strong person remove five arrows the embedded in his body at once >>" ___Keshi Kumar Shraman-"Yes, he can" King Pradeshi--"Why a child or a weak person is unable to remove five arrows embedded in his body at once ?" 9 Keshi Kumar Shraman explains--"Can a strong and accomplished archer launch five arrows together with a well balanced bow ?" ___King Pradeshi-"Yes, he can" ___Keshi Kumar Shraman-"If the archer's bow, bow-string and other son equipments are old and wasted, can he still launch five arrows together 9". King Pradeshi-"No, he can't ". Keshi Kumar Shraman--"That answers your question The weakness of the equipment that is the body effects the potency of the soul" -Sutras 252-253, pp 346-349

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Mo ILLUSTRATION OF BROKEN BOW 253. In reply to the argument of king Pradeshi, Keshi Kumar Shraman said ____ "O king ! Is a young man who is expert in performing all duties, capable of throwing five arrows simultaneously with a new bow and a new string." Pradeshi replied-- "Yes. He is capable." Keshi Kumar Shraman said--"Can the same young expert person throw five arrows simultaneously with an old bow, weak a string and weak arrow." / ____Predeshi said "Sir ! It is not possible. He cannot do so with an a old bow." Keshi Kumar Shraman asked--"Why is it so that he is not capable of throwing five arrows simultaneously ?" Pradeshi replied--"Sir ! That man does not have proper to instrument." Keshi Kumar Shraman then said--"O Pradeshi ! Same is the case with a person of low intellect; he has not the instrument of proper skill and, therefore, he is not able to throw five arrows simultaneously. In other words, the capability in the soul is the same but due to weak body, he is not able to do so. O Pradeshi ! You have the belief that soul and body are different. Soul is not the body and body is not the soul." 254. tae NaM paesI rAyA kesIkumArasamaNaM evaM vayAsI__ atthi NaM bhaMte ! esa paNNA uvamA, imeNa puNa kAraNeNaM no uvAgacchai, bhaMte ! se jahAnAmae kei purise taruNe jAva sippovagae pabhU egaM mahaM ayabhAragaM vA tauyabhAragaM vA sIsagabhAragaM vA parivahittae ? __ hatA, pabhU ! so ceva NaM bhaMte ! purise junne jarAjajariyadehe siDhilavalitayAviNaTThagatte daMDaparigahiyaggahatthe paviralaparisaDiyadaMtaseDhI Aure kisie pivAsie dubbale kilaMte no pabhU egaM mahaM ayabhAragaM vA jAva privhitte| kezIkumAra zramaNa aura pradezI rAjA SPONSIBEOM ( 349) Keshu Kumar Shraman and King Pradesha A RAJ "* "*" *" * "*" * "* 00

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jai NaM bhaMte ! sacceva purise junne jarAjajariyadehe jAva parikilaMte pabhU eNaM mahaM OM ayabhAraM vA jAva parivahittae to NaM saddahejA taheva, jamhA NaM bhaMte ! se ceva purise junne jAva kilaMte no pabhU egaM mahaM ayabhAraM vA jAva parivahittae, tamhA supatiTThitA me paiNNA thev| 254. taba pradezI rAjA ne punaH kezIkumAra zramaNa se kahA_ "he bhadanta ! yaha ApakI buddhi se kalpita upamA paryApta nahI hai| kintu mere dvArA prastuta tarka se yaha siddha hotA hai ki jIva aura zarIra meM bheda nahIM hai| vaha tarka isa prakAra hai-bhadanta ! koI eka taruNa balavAna puruSa eka vizAla bahuta baDe lohe ke bhAra ko, sIse ke bhAra ko yA raoNge ke bhAra ko uThAne meM samartha hotA hai athavA nahIM?' __kezIkumAra zramaNa-"hA~, samartha hotA hai|" __ pradezI-"bhadanta ! kintu jaba vahI puruSa vRddha ho jAtA hai taba vRddhAvasthA ke kAraNa zarIra - jarjarita, zithila, jhurriyoM vAlA evaM azakta ho jAtA hai, calate samaya sahAre ke lie hAtha meM lakaDI le letA hai| daMta-pakti meM se bahuta se daoNta gira cuke hote haiM, khA~sI, zvAsa Adi rogoM se pIr3ita hone ke kAraNa kamajora ho jAtA hai| bhUkha-pyAsa se vyAkula rahatA hai, durbala " aura thakA-maoNdA ho jAtA hai taba usa vajanadAra lohe ke bhAra ko, raoNge ke bhAra ko athavA sIse ke bhAra ko uThAne meM samartha nahIM ho pAtA hai| he bhadanta ! yadi vahI puruSa vRddha, jarA-jarjarita zarIra hone para bhI usa vizAla lohe - ke bhAra Adi ko uThAne meM samartha hotA to mai yaha vizvAsa kara sakatA thA ki jIva zarIra se bhinna hai aura zarIra jIva se bhinna hai| lekina vaha puruSa vRddha ho jAne se eka vizAla lohe ke bhAra Adi ko uThAne meM samartha nahIM hotA hai| ataH merI yaha dhAraNA susaMgata-samIcIna hai ki jIva aura zarIra donoM eka hI haiN| kintu jIva aura zarIra bhinna-bhinna nahIM haiN|" 254. Then king Pradeshi again said-- "Reverend Sir ! The illustration which is a creation of your intellect is not sufficient. From my logical argument it is crystal clear that there is no difference between soul and body. That Ko argument is as under-Sir ! Can a young well-built person be capable of lifting a heavy load of iron, of glass or of another metal?" Keshi Kumar Shraman said--"Yes, he can ?" Pradeshi said--"But when the same person becomes old, he he because of old age becomes weak, feeble and wrinkles appear on his rAyapaseNiyasUtra (350) Rai-paseniya Sutra

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body. He walks with the help of a stick. Many of his teeth have fallen. He becomes a prey to cough, breathing trouble and suchlike diseases and therefore, becomes very weak. He remains restless due to hunger and thirst. He feels weak and tired. At that time he is not capable to lift that load of iron, glass or other suchlike. Sir! In can that person could lift such load even at the old age and with the weak, frail body, I could believe that soul and body are different. But that person because of his old age, is not capable of lifting the iron load, so my belief that soul and body are the same is correct. It is thus a fact that soul is not different from the body." 255. tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsI se jahANAmae kei purise taruNe jAva sippovagae NaviyAe vihaMgiyAe, NavaehiM sikkahiM, vahiMpacchayapiMDaehiM pahU egaM mahaM ayabhAraM jAva parivahittae ? haMtA, pabhU / paesI ! se ceva NaM purise taruNe jAva sippovagae junniyAe dubbaliyAe ghuNakkhaiyAe vihaMgiyAe juNNaehiM dubbalaehiM ghuNakkhaiehiM siTilatayApiNaddhaehiM sikkaehiM, ehiM dubbaliehiM ghuNakhaiehiM pacchipiMDaehiM pabhU egaM mahaM ayabhAraM vA jAva parivahittae ? No tiTThe saTTe / kamhA NaM ? bhaMte ! tassa purisassa junnAI uvagaraNAI bhavaMti / paesI ! se ceva se purise junne jAva kilaMte juttovagaraNe no pabhU egaM mahaM ayabhAraM vA jAva parivahittae, taM saddahAhi NaM tumaM paesI ! jahA - anno jIvo annaM sarIraM / 255. taba kezIkumAra zramaNa ne uttara diyA "jaise koI eka taruNa yAvat kArya - nipuNa puruSa navIna kAvar3a se, rassI se bane navIna sIke se aura navIna TokarI se eka bahuta bar3e vajanadAra lohe ke bhAra ko uThAne, Dhone meM samartha hotA hai yA nahIM ?" pradezI - "haoN, samartha hotA hai / " kezIkumAra zramaNa aura pradezI rAjA (351) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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Joose cololololololololo kezIkumAra zramaNa - ( aba maiM punaH tumase pUchatA hU~ ki ) " he pradezI / vahI taruNa yAvat kAryakuzala puruSa kyA saDI-galI, purAnI, kamajora, ghuna se khAI huI kAvaDa se, jIrNa-zIrNa, durbala, dImaka ke khAye evaM DhIleDhAle sIMke se aura purAne, kamajora tathA dImaka lagI TokarI se eka bar3e vajanadAra lohe ke bhAra Adi ko Dhone meM samartha hotA hai ?" pradezI - "he bhadanta ! aisA nahIM ho sakatA hai| jIrNa-zIrNa kAvaDa Adi se bhAra le jAne meM vaha samartha nahIM hotA hai / " kezIkumAra zramaNa - "kyoM nahIM samartha hai ?" pradezI - "kyoMki bhadanta ! usa puruSa ke pAsa bhAravahana karane ke upakaraNa - sAdhana jIrNa-zIrNa haiM isa kAraNa / " kezIkumAra zramaNa - "he pradezI ! isI prakAra vaha puruSa jIrNa yAvat thake hue zarIra Adi upakaraNoM vAlA hone se eka bhArI vajanadAra lohe ke bhAra ko vahana karane meM samartha nahIM hai| isIlie pradezI ! tuma yaha zraddhA aura vizvAsa karo ki jIva anya hai aura zarIra anya hai| jIva zarIra nahIM hai aura zarIra jIva nahIM hai / " 255. Then Keshi Kumar Shraman replied "0 Pradeshi ! Imagine a young, expert person. Is he capable or not, of lifting a big heavy iron load with a new big basket, in a new swing made of string or a new bamboo basket ?" Pradeshi replied "Yes, he is capable." Keshi Kumar Shraman again said "O Pradeshi ! Can the same young expert person lift the heavy load with a rotten, old, weak and insect-eaten basket, very weak, insect-eaten loose swing or old, weak and insect-eaten bamboo basket ?" Pradeshi replies- " Sir ! It is not possible. He can't carry the load is with very weak basket and suchlike others." Keshi Kumar Shraman asked-"Why is he not capable ?" Pradeshi replied "Sir! The instruments with him to carry the load are very weak and old." Keshi Kumar Shraman said "O Pradeshi ! Similarly that man has old upto tired body as his instruments. So he is not able to carry a heavy load. So O Pradeshi ! You have faith, you believe that soul and body are different. Soul is not body and body is not soul." rAyapaseNiyasUtra (352) For Private Personal Use Only Rai-paseniya Sutra

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vivecana-yahA~ pradezI rAjA kA tarka hai ki donI puruSo me zArIrika kSamatA kA antara kyo hai ? yadi zarIra se AtmA bhinna hotA to Apake kathanAnusAra AtmA to dono me hI samAna hai, phira yaha antara kyo ki paDA ? isase yaha siddha hotA hai ki zarIra hI mukhya hai, zarIra ke kAraNa hI vaha zakti-sampanna hai| AtmA * yA cetanA nAma kI bhinna zakti nahIM hai| isake samAdhAna me kezIkumAra zramaNa ne purAne dhanuSa kA udAharaNa diyA hai, bANa phekane vAlA sAdhaka aura dhanuSa va DorI Adi bANa phekane ke sAdhana-dono hI jaba samartha/sakSama hote hai tabhI kArya sampanna hotA hai| isI prakAra jIva sAdhaka hai, zarIra sAdhana hai| yadi zarIra durbala yA rogI hai to zakti-sampanna jIva bhI apanA kArya siddha nahI kara sktaa| dUsarA kAvaDa kA * udAharaNa bhI sAdhano kI aparyAptatA ko hI zarIra kI akSamatA kA kAraNa siddha karatA hai| paryApta * upakaraNo ke abhAva me samartha sudakSa senA bhI hAra jAtI hai, isase yahI siddha hotA hai ki upakaraNa bhinna hai aura upakaraNo se kArya karane vAlA bhinna hai, dono eka nahI hai| Elaboration--Here the argument of king Pradeshi why is there the * difference in physical capability of the two persons ? In case soul is different from the body, soul being identical in the two, why is the difference (in strength) This fact proves that body is the main organ The strength is because of the body. There is no other power such as soul or consciousness In reply Keshi Kumar Shraman gave the example of an old bow. A work is completed if the person throwing, the arrow, the bow and its string are all strong and capable. Similarly Jiva (soul) is the person, body is the instrument If the body is weak and disease-ridden, even a strong person cannot complete his task. The second example of Kavar (the big basket) also indicates the unsufficiency in strength of the means as the body is weak Absence of proper needed instruments leads to the defeat of even a strong army This fact proves that the means (the instruments) and the person using the instruments are different. Both are not the same entities 256. tae NaM se paesI kesikumArasamaNaM evaM vayAsI____ asthi NaM bhaMte ! jAva (esa paNNA uvamA imeNa puNa kAraNeNaM) no uvAgacchai, evaM ka khalu bhaMte ! jAva vihraami| tae NaM mama NagaraguttiyA coraM uvnneti| tae NaM ahaM taM purisaM jIvaMtagaM ceva tulemi, tulettA chaviccheyaM akuvvamANe jIviyAo vavarovemi, mayaM tulemi, No ceva NaM tassa purisassa jIvaMtassa vA tuliyassa vA muyassa vA tuliyassa kei ANatte vA, nANatte vA, omatte vA, tucchatte vA, guruyatte vA, lahuyatte vA, jati NaM bhaMte ! tassa purisassa jIvaMtassa vA tuliyassa muyassa vA tuliyassa kei annatte vA jAva lahuyatte vA to " NaM ahaM saddahejA taM cev| SARDAR.985404999909200000DROPDARPAROSAROSAROSARDAROD8. * kezIkumAra zramaNa aura pradezI rAjA (353) Keshi Kumar Shraman and King Pradesh 5* "* "* * * 09

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jamhA NaM bhaMte ! tassa purisassa jIvaMtassa vA tuliyassa muyassa vA tuliyassa natthi kei * annatte vA lahuyatte vA tamhA supatiTThiyA me painnA jahA-taM jIvo taM cev| 256. isake uttara me pradezI rAjA ne kezIkumAra zramaNa se kahA* "he bhadanta ! ApakI yaha upamA vAstavika nahIM hai, isase jIva aura zarIra kI bhinnatA nahIM * mAnI jA sakatI hai| lekina jo pratyakSa kAraNa maiM batAtA hU~, usase yahI siddha hotA hai ki jIva * aura zarIra eka hI hai| vaha kAraNa isa prakAra hai-he bhadanta ! kisI eka dina mai gaNanAyaka, daMDanAyaka Adi ke sAtha bAharI upasthAnazAlA meM baiThA thaa| usI samaya mere nagara-rakSaka kotavAla cora ko pakar3akara laaye| taba maiMne usa puruSa ko jIvita avasthA meM tolaa| tolakara phira maiMne usake aMga-bhaMga kiye binA hI usako jIvanarahita kara diyA-mAra DAlA aura mArakara phira maiMne use tolaa| usa puruSa kA jIvita rahate jo tola thA utanA hI marane ke bAda thaa| jIvita rahate aura marane ke bAda ke tola meM mujhe kisI bhI prakAra kA antara-nyUnAdhikatA dikhAI nahIM dI, na usakA bhAra baDhA aura na kama huA, na vaha bhArI huA aura na halkA huaa| isalie he bhadanta ! yadi usa puruSa ke jIvitAvasthA ke vajana se mRtAvasthA ke vajana meM kisI prakAra kI nyUnAdhikatA ho jAtI, yadi halkApana A jAtA to mai isa bAta para zraddhA kara letA ki jIva anya hai aura zarIra anya hai; jIva aura zarIra eka nahIM haiN| * lekina maiMne usa puruSa ke jIvita aura mRta avasthA me kiye gaye tola meM kisI prakAra kI bhinnatA, nyUnAdhikatA yAvat laghutA nahIM dekhii| isa kAraNa merA yaha mAnanA yuktisaMgata * hai ki jo jIva hai vahI zarIra hai aura jo zarIra hai vahI jIva hai kintu jIva aura zarIra * bhinna-bhinna nahIM haiN|" 256. In reply king Pradeshi said, "Sir ! Your this example is not factual. From it, it cannot be concluded that soul and body are different. But I tell you the * distinct cause of it that proves, that soul and body are one and the the same. That reason is as under-Once I was sitting in the outer council-hall when my guard of the town brought a thief to me. Then I weighed him when he was alive. Thereafter I killed him, made * him lifeless without breaking the parts of his body. I weighed him again. Air weight was the same as earlier when he was alive. I did not find any difference in the two--weight before death and weight after death. Neither his weight increased nor his weight reduced. See Neither he became heavier nor he became lighter than before. So, le rAyapaseNiyasUtra Rar-paseniya Sutra *** (354)

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* 2 Reverend Sir ! In case there had been any difference in the weight in two states namely in the living state and in the dead state; in case the body had become lighter after death, I could soul and body are different entities--that soul and body are not same entity. But I did not find any difference in weight in the living state of that person and weight when he was dead nor I found him lighter then. So it is my logical deduction that soul is the body and body is the same and that soul and body are not different entities." havA bharI vasti (masaka) kA udAharaNa 257. tae NaM kesI kumArasamaNe parasiM rAyaM evaM vayAsI atthi NaM paesI ! tume kayAi vatthI dhaMtapuve vA dhamAviyapuvve vA ? haMtA atthiA asthi NaM paesI ! tassa vatthissa puNNassa vA tuliyassa apuNNassa vA tuliyassa kei aNNatte vA jAva lahuyatte vA ? No tiNaThe smtthe| ___ evAmeva paesI ! jIvassa agurulahuyattaM puDucca jIvaMtassa vA tuliyassa muyassa vA tuliyassa natthi kei ANatte vA jAva lahuyatte vA, taM saddAhi NaM tumaM paesI ! taM cev| ___257. taba kezIkumAra zramaNa ne samAdhAna dete hue kahA "pradezI ! tumane kabhI dhauMkanI (vasti-masaka) meM havA bharI hai athavA kisI se bharavAI hai?' __ pradezI-"haoN, bhadanta ! bharI hai aura bharavAI bhI hai|' kezIkumAra zramaNa- "he pradezI ! jaba vAyu se bharakara usa masaka ko tolA taba, aura vAyu ko nikAlakara tolA taba tumako usake vajana meM kucha nyUnAdhikatA (halkA-bhArIpana) mAlUma huI?" __ pradezI-"bhadanta ! aisA to nahIM hai, yAnI nyUnAdhikatA-laghutA kucha bhI mAlUma nahIM huii| kezIkumAra zramaNa-"he pradezI ! isI prakAra jIva ke aguru-laghutva svabhAva ko samajhakara usa cora ke zarIra ke jIvitAvasthA meM kiye gaye tola meM aura mRtAvasthA meM kiye * - kezIkumAra zramaNa aura pradezI rAjA (355) Kesh Kumar Shraman and King Pradeshi " *" * - *

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gaye tola meM kucha bhI antara yAnI halkA-bhArIpana nahIM hotA hai| isIlie tuma yaha zraddhA karo ki jIva anya hai aura zarIra anya hai, kintu jIva aura zarIra eka nahIM haiN|" EXAMPLE OF A LEATHER WATER-BAG WITH AIR 257. Then, Keshi Kumar Shraman further illustrating his view point said, "Pradeshi ! Have you ever filled a leather water-bag with air or got it filled ?" ____Pradeshi replied--"Yes Sir ! I have filled it and also got it filled." Keshi Kumar Shraman then said--"O Pradeshi ! When you weighed the water-bag filled with air and later weighed it after all the air was removed, did the weight increase or reduce; did it appear heavier or lighter ?" Pradeshi replied--"Sir ! It is no so. In other words, neither there was change in weight nor it became lighter or heavier." Keshi Kumar Shraman then said--"O Pradeshi ! Same is the nature of soul, its aguru-laghutva-its very nature of not being heavy nor being light. As such there was no change in weight of the thief in two states-namely living state and dead state. So you should believe that soul and body are different entities. They are not the same." 258. tae NaM paesI rAyA kesikumArasamaNaM evaM vayAsI__ asthi NaM bhaMte ! esA jAva. no uvAgacchai, evaM khalu bhaMte ! ahaM anayA jAva coraM uvnneti| tae NaM ahaM taM purisaM savvato samaMtA samabhiloemi, no ceva NaM tattha jIvaM pAsAmi, tae NaM ahaM taM purisaM dahA phAliyaM karemi, karittA savvato samaMtA samabhiloemi, no ceva NaM tattha jIvaM pAsAmi, evaM tihA cauhA saMkhejjaphAliyaM karemi, No ceva NaM tattha jIvaM paasaami| jai NaM bhaMte ! ahaM taM purisaM duhA vA, tihA vA, cauhA vA, saMkhejjahA vA phAliyaMmi vA jIvaM pAsaMto to NaM ahaM saddahejjA no taM ceva, jamhA NaM bhaMte ! ahaM taMsi duhA vA tihA vA cauhA vA saMkhijjahA vA phAliyaMmi vA jIvaM na pAsAmi tamhA supatiTTiyA me paiNNA jahA-taM jIvo taM sarIraM taM cev| rAyapaseNiyasUtra (356) Rai-paseniya Sutra

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jIva bhAra rahita hai RE -- seeyes Hathi ARJAS kazA kumAra kAra samAdhAna vahatamA bharI mazaka MARL ANNA - . .

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| citra paricaya-14 Illustration No.14 jIva bhArarahita hai rAjA pradezI kahatA hai- 'maine eka aparAdhI cora ko tarAjU me tolakara usakA vajana kiyA, phira usako zastra se mArakara puna vajana kiyA to usake vajana me kucha bhI antara nahI pddaa| isa kAraNa maiM mAnatA hU~ ki jIva zarIra se bhinna nahI hai| jIva aura zarIra eka hI hai|'' samAdhAna dete hue kezIkumAra zramaNa kahate hai-'rAjan / jaise zuddha havA se pUrI bharI huI mazaka (dhaukanI) ko tolane para jitanA vajana hotA hai, havA nikAlakara tolane para usake bhAra me kyA koI kamI AtI hai ?" rAjA pradezI- "nahI, dono hI avasthA me vajana samAna rahatA hai|'' kezIkumAra zramaNa-"isI udAharaNa se jIva sahita zarIra va jIvarahita zarIra ke bhAra me koI antara nahI pddtaa|" -sUtra 256-257, pRSTa 353-356 SOUL IS WEIGHTLESS King Pradeshi states-"I weighed a thief in a balance Then I killed him with a weapon and weighed again There was no change in the weight Therefore I believe that soul is not separate from the body Body and soul are one" _Keshi Kumar Shraman explains--"O King ! Have you weighed a leather water-bag filled with air and then after emptying it ? Did you find any change in weight ?" King Pradeshi-"No, I have done so and found that there is no difference in weight" Keshi Kumar Shraman-"In the same way there is no difference in weight of a body with and without soul" -Sutras 256-257, pp 353-356

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__258. kezIkumAra zramaNa kI yukti sunakara pradezI rAjA ne punaH isa prakAra kahA "he bhadanta / ApakI yaha upamA buddhi-kalpita hone se maiM nahIM maantaa| isase yaha siddha OM nahIM hotA hai ki jIva aura zarIra pRthak-pRthak haiN| kintu bhadanta ! maiMne prayoga karake dekhA hai ki eka bAra maiM apane gaNanAyakoM Adi ke sAtha bAhya upasthAnazAlA meM baiThA thaa| taba nagara-rakSaka eka cora ko pakar3akara laaye| maine usa puruSa ko sabhI ora se (sira se paira taka) acchI taraha dekhA-bhAlA, parantu usameM mujhe kahIM bhI jIva dikhAI nahIM diyaa| isake bAda maiMne usa puruSa ke do Tukar3e kara diye| TukaDe karake phira maiMne acchI taraha sabhI ora se dekhaa| taba bhI mujhe jIva nahIM dikhaa| isake bAda maiMne usake tIna, cAra yAvata anekAneka Tukar3e kiye, parantu unameM bhI mujhe kahIM para jIva dikhAI nahIM diyaa| yadi bhadanta ! usa puruSa ke do, tIna, cAra athavA anekAneka TrakaDe karane para bhI majhe kahIM jIva dikhatA to maiM yaha zraddhA-vizvAsa kara letA ki jIva anya hai aura zarIra anya * hai, jIva aura zarIra eka nahIM hai| lekina bhadanta ! jaba maiMne usa puruSa ke do, tIna, cAra * athavA aneka Tukar3o meM bhI jIva nahIM dekhA hai to merI yaha dhAraNA susagata-susthira bana gaI ki jIva hI zarIra hai aura zarIra hI jIva hai| jIva aura zarIra bhinna-bhinna nahIM hai|" / 258. After this argument of Keshi Kumar Shraman, king site Pradeshi again said as under "Reverend Sir! I do not accept this argument as it is creation of the mind. It does not prove that soul and body are separate entities. But I had tried an experiment. Once I was sitting with my staff in the outer council chamber. The guard of the town brought a thief. I saw that thief closely and carefully from head to foot, I did not find the Jiva (soul) anywhere. I then cut him into two. I again saw the or two pieces carefully from all sides. Even then I did not find the soul anywhere. I then again cut him into three, four upto many pieces. But I did not find soul anywhere. Sir! In case I had seen soul anytime while cutting him into two, three, four or many pieces, I could believe that soul and body are different and that they are not one. But, Sir ! When I could not see soul when he was cut into two, three, four and many pieces, I logically concluded that soul and body are the same. Soul is body and body is soul. Soul and body are not different entities." itu 9 kezIkumAra zramaNa aura pradezI rAjA (357) Keshi Kumar Shraman and King Pradeshi * *" *" *

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RoDO araNi kA dRSTAnta 259. (ka) tae NaM kesikumArasamaNe paesiM rAyaM evaM vayAsImUDhatarAe NaM tumaM paesI ! tAo tucchtraao| ke NaM bhaMte ! tucchatarAe ? paesI ! se jahANAmae kei purise vaNatthI vaNovajIvI vaNagavesaNayAe joiM ca * joibhAyaNaM ca gahAya kaTThANaM aDaviM aNupaviTThA, tae NaM te purisA tIse agAmiyAe jAva kiMcidesaM aNuppattA samANA egaM purisaM evaM vayAsI-amhe NaM devANuppiyA ! kaTThANaM aDaviM pavisAmo, etto NaM tumaM joibhAyaNAo joiM gahAya ahaM asaNaM saahejjaasi| aha taM joibhAyaNe joI vijjhavejjA etto NaM tuma kaTThAo joiM gahAya amhaM asaNaM sAhejjAsi, tti kaTu kaTThANaM aDaviM annupvitttthaa| 259.. (ka) pradezI rAjA kI bAta sunakara kezIkumAra zramaNa ne kahA___ "he pradezI ! tuma to mujhe usa mUrkha kaThiyAre se bhI adhika mUDha-ajJAnI pratIta hote ho|' pradezI-(cauMkakara) "he bhadanta ! kauna-sA mUDha-ajJAnI kaThiyArA?' __ kezIkumAra zramaNa-(kaThiyAre kA udAharaNa dete haiM) "he pradezI | eka bAra vana meM rahane vAle aura vana se AjIvikA calAne vAle kucha puruSa vana meM utpanna vastuoM kI khoja karane ke lie Aga aura jalatI a~gIThI sAtha lekara lakar3iyoM ke vana meM cale gye| durgama vana ke meM kisI pradeza meM pahuMcane para una puruSoM ne apane eka sAthI se kahA-'devAnupriya / hama isa lakar3iyoM ke jaMgala meM jAte haiN| tuma yahA~ a~gIThI se Aga lekara hamAre lie bhojana taiyAra krnaa| yadi aMgIThI kI Aga bujha jAye to tuma isa lakaDI (araNi-kASTha) se Aga paidA karake hamAre lie bhojana banAkara taiyAra rkhnaa|' isa prakAra kahakara ve saba usa kASTha-vana me praviSTa ho gye| EXAMPLE OF ARANI ____ 259. (a) After listening the argument of king Pradeshi, Keshi Kumar Shraman said "O Pradeshi ! You appear to me a greater fool than that foolish wood-cutter." ___Pradeshi (feeling perturbed) said-"Sir ! Which foolish, ignorant wood-cutter ?" O9AROON GH rAyapaseNiyasUtra (358) Rar-paseniya Sutra

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Keshi Kumar Shraman then said-"O Pradeshi! Once some persons who were residents of the forest, whose livelihood was based on forest (products), entered a forest of wood in search of things that grow in the forest. They had fire with them. After arriving at a place in that thick forest, they told one of their companions----O the blessed ! We go into this forest of wood. You take fire from the said vessel and prepare food for us. In case the fire extinguishes, you light the fire with this wooden stick (arania type of wood that produces fire when rubbed) and keep the cooked food ready for us.' Thereafter all the remaining persons entered the forest." (kha) tae NaM se purise tao muhuttaMtarassa tesiM purisANaM asaNaM sAhemi tti kaTTu jeNeva joibhAyaNe teNeva uvAgacchai / joibhAyaNe joI vijjhAyameva pAsati / tae NaM se purise jeNeva se kaTTe teNeva uvAgacchai, uvAgacchittA taM kaTTaM savvao samaMtA samabhiloeti, no ceva NaM tattha joiM pAsati / tae NaM se purise pariyaraM baMdhai, pharasuM giNhai, taM kaTTaM duhA phAliyaM karei, savvao samaMtA samabhiloei, No ceva NaM tattha joDUM pAsai / evaM jAva saMkhejjaphAliyaM karei, savvao samaMtA samabhiloei, no ceva NaM tattha joiM pAsai / (kha) unake cale jAne para kucha samaya sustAne ke pazcAt usa puruSa ne vicAra kiyA'calo, una logoM ke lie jaldI se bhojana banA luuN|' aisA vicArakara vaha a~gIThI ke pAsa aayaa| a~gIThI meM Aga ko bujhA huA dekhaa| taba vaha jahA~ ( lakaDiyA~) paDIM vahA~ AyA aura cAro ora se lakaDiyoM ko acchI taraha dekhA / kintu kahIM bhI use Aga dikhAI nahIM dI / taba usa vyakti ne kamara kasI aura kulhADI lekara usa kASTha ke do TukaDe kara diye| phira una TukaDoM ko bhI sabhI ora se acchI taraha dekhA, kintu kahIM bhI Aga dikhAI nahIM dI / taba usane tIna, cAra yAvat aneka TukaDe kiye parantu khUba dekhane para bhI uname kahIM Aga dikhAI nahIM dI / (b) After their departure and after taking rest for time that person thought-'Let me prepare food for them quickly.' Then he came to the fire-vessel He found the fire already extinguished. He then came to the place where sticks were lying. He carefully saw those sticks from all sides. But he did not find fire anywhere. Then he took courage and cut that stick into two. He again saw the two pieces carefully from all sides but he did not see fire anywhere. kezIkumAra zramaNa aura pradezI rAjA (359) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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Then he cut it into three, four upto many pieces but in spite of carefully seeing them, he could not see fire there. (ga) tae NaM se purise taMsi kaTuMsi duhAphAlie vA jAva saMkhejjaphAlie vA joI apAsamANe saMte taMte parisaMte nivviNNe samANe parasuM egaMte eDeDa, pariyaraM muyai evaM vayAsI - aho ! mae tesiM purisANaM asaNe no sAhie tti kaTTu ohayamaNasaMkappe ciMttAsogasAgarasaMpaviTTe karayalapalhatthamuhe aTTajjhANovagae bhUmigayadiTTie jhiyAi / (ga) jaba usa puruSa ko kASTha ke do se lekara aneka TukaDe karane para bhI kahIM Aga dikhAI nahIM dI to vaha zrama se thaka gayA / klAnta, khinna aura duHkhita ho gayA, kulhAr3I ko eka ora rkhaa| kamara ko kholakara mana hI mana isa prakAra bolA- 'are ! maiM una logoM ke lie bhojana nahIM banA skaa| aba kyA karU~ ?' isa vicAra se atyanta nirAza, duHkhI, cintita, zokAtura ho hathelI para mu~ha ko TikAkara ArttadhyAnapUrvaka nIce jamIna meM A~kheM DAkara cintA meM DUba gayA / (c) When that person did not find even after cutting the wooden stick into two, three, four and many pieces, he felt tired due to hard work. He felt tired, dejected and morose. He kept the axe on one side. After loosening the waist-cloth, he spoke to himself 'O, I have not been able to prepare food for my men. What should I do now?' With these thoughts, he felt extremely dejected, sad, worrily brooding and then placing his hand palm on his face, he absorbed himself in miserable thinking posture keeping his eyes downwards deep in the earth. (gha) tae NaM te purisA kaTThAI chiMdaMti, jeNeva se purise teNeva uvAgacchaMti / taM purisaM ohayamaNasaMkappaM jAva jhiyAyamANaM pAsaMti evaM vayAsI - kiM NaM tumaM devANuppiyA ! ohamaNasaMka jAva jhiyAyasi ? taNaM se purise evaM vayAsI - tujjhe NaM devANuppiyA ! kaTThANaM aDaviM aNupavisamANA mamaM evaM vayAsI - amhe NaM devANuppiyA ! kaTThANaM aDaviM jAva paviTThA, tae NaM ahaM tatto muhuttaMtarassa tujjhaM asaNaM sAhemi tti kaTTu jeNeva joibhAyaNe jAva jhiyAmi / (gha) vana me lakaDiyoM ko kATane ke pazcAt ve loga jahA~ apanA sAthI thA, vahA~ Aye aura usako nirAza, duHkhI yAvat cintA meM DUbA dekhakara pUchA - "devAnupriya ! tuma nirAza, duHkhI yAvat cintA meM DUbe hue kyoM baiTho ho ?" rAyapaseNiyasUtra (360) For Private. Personal Use Only Rai-paseniya Sutra

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taba usa puruSa ne batAyA ki "devAnupriyo ! Apa logo ne lakaDI kATane ke lie vana me jAte samaya mujhase kahA thA- devAnupriya ! hama loga lakaDI lAne jagala meM jAte haiM, tuma bhojana banAkara rkhnaa| kucha samaya bAda maiMne vicAra kiyA ki Apa logoM ke lie bhojana banA lU~, aisA vicAra kara jahA~ a~gIThI thI, vahA~ AyA / maine acchI taraha sabhI ora se usa ko dekhA, kintu kahIM bhI mujhe Aga dikhAI nahIM dI / (taba maiMne kulhAr3I lekara usa kASTha ke do Tukar3e kara diye aura unheM bhI idhara-udhara se acchI taraha dekhA / parantu vahA~ bhI mujhe Aga dikhAI nahI dii| isake bAda maiMne usake tIna, cAra yAvat aneka TukaDe kiye / unako bhI acchI taraha dekhA, parantu uname bhI kahIM Aga dikhAI nahIM dI / taba thakakara, khinna aura duHkhita hokara kulhADI ko eka ora rakhakara vicAra kiyA ki maiM Apa logoM ke lie bhojana nahIM banA skaa|) isa vicAra se maiM atyanta nirAza, duHkhI ho zoka aura cintArUpI samudra meM DUbakara hathelI para mu~ha ko TikAye ArttadhyAna kara rahA hU~ / " (d) After cutting the wood, his companions came to the place where they had left him and finding him dejected, sad and morose asked--"O the blessed ! Why are you feeling dejected, sad and morose ?" Then that person replied "O the blessed! While going to the forest for cutting wood, you had told me that you were going to the jungle for bringing wood and that I should prepare food. After some time I thought of preparing food for you; so I came to the fire-vessel. I saw the wooden stick carefully from all sides, but I did not notice fire anywhere. (Then I cut the piece into two, saw the pieces carefully, but could not find fire. Later I cut it into three, four and many pieces. I examined the pieces carefully but I did not notice fire anywhere. Then feeling dejected, I kept the axe aside and thought that I could not prepare food for you.) Due to these thoughts, I am feeling extremely dejected, sad and morose and so having my hand-palm on my face, I am in a deep shock." (Ga) tae NaM tesiM purisANaM ege purise chee, dakkhe, pattaTThe jAva uvae, saladdhe, te purise evaM vayAsI - gacchaha NaM tujjhe devANuppiyA ! NhAyA kayabalikammA jA havvamAgaccheha, jA NaM ahaM asaNaM sAhemi tti kaTTu pariyaraM baMdhai, parasuM giNhai saraM karei, sareNa araNiM mahei joiM pADe / joI saMdhukkhei, tesiM purisANaM asaNaM sAhei / zIkumAra zramaNa aura pradezI rAjA (361) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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(Da) usa puruSa kI bAta sunakara una manuSyo me koI eka puruSa, jo cheka-avasara ko jAnane vAlA, dakSa - catura, kuzalatA se apane icchita artha ko prApta karane vAlA, buddhimAn aura upadeza labdha-gurujanoM se jJAna prApta kiyA huA thA, usa puruSa ne apane dUsare sAthI logoM se kahA-'"he devAnupriyo ! Apa jAo aura snAna, balikarma Adi karake zIghra A o| taba taka mai Apa logo ke lie bhojana taiyAra karatA hU~ / " aisA kahakara usane apanI kamara kasI aura kulhADI lekara sara (bANa jaisA nukIlA) banAyA, sara se araNi-kASTha ko ragaDakara Aga kI cinagArI pragaTa kii| phira use dhauMkakara sulagAyA aura apane sAthiyo ke lie bhojana banAkara taiyAra kiyA / (e) Then one of them who could realise the situation ( Chhek), who was clever, well-versed in finding the result and intelligent (Daksh), who had received proper knowledge from the teachers (Upadest Labdh), told his other companions - "O the blessed ! You go and take your bath, adopt auspicious symbols and come soon. In the mean time, I shall prepare food for you." He then wrapped his waist with a cloth, and with the axe prepared a sharp-pointed stick (like an arrow). He then rubbed the Arani wood with the sharppointed stick. The fire appeared. He blew it (with his mouth) and then with the fire, he prepared food for his companions. (ca) tae NaM te purisA NhAyA kayabalikammA jAva pAyacchittA jeNeva se purise teNeva uvAgacchaMti / tae NaM se purise tesiM purisANaM suhAsaNavaragayANaM taM viulaM asaNaM-pANaM - khAimaM - sAimaM uvaNei / tae NaM te purisA taM viulaM asaNaM 4 (pANaM - khAimaM - sAimaM ) AsAemANA vIsAemANA jAva viharaMti / jimiyabhuttutarAgayA vi ya NaM samANA AyaMtA cokkhA paramasuibhUyA taM purisaM evaM vayAsI - aho ! NaM tumaM devApiyA ! jaDDe - mUDhe - apaMDie - NiciNNANe - aNuvaesaladdhe, je NaM tumaM icchasi kaTuMsi duhAphAliyaMsi vA jotiM pAsittae / vAle se eeNaNaM paesI ! evaM buccai mUDhatarAe NaM tumaM paesI ! tAo tucchatarAo / (ca) itane meM ve snAna Adi karane gaye sabhI sAthI snAna karake vApasa usa bhojana banAne puruSa ke pAsa A gye| sukhapUrvaka apane - apane Asana para baitthe| una logoM ke sAmane usa puruSa ne vipula azana, pAna Adi cAra prakAra kA bhojana parosA / cAroM prakAra ke bhojana kA svAda lete hue khaayaa| bhojana ke bAda Acamana - kullA Adi karake svaccha, zuddha hokara rAyapaseNiyasUtra Rai-paseniya Sutra (362)

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agni nahI milane se cintita lakar3I meM magni gharSaNa kara nikAlI lakar3I meM agni nahIM mila

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citra paricaya-15 Illustration No. 15 * lakar3I meM agni, zarIra meM AtmA (1) kezIkumAra zramaNa araNi-lakaDI me chipI agni kA udAharaNa dete hue kahate hai "jaise lakaDahAro ne jalatI aMgIThI aura araNi kI lakaDI dekara apane sAthI se kahA-'tuma bhojana banAkara taiyAra rakhanA, hama lakaDiyA~ lekara Ate hai'|'' (2) kucha dera vizrAma karake usane dekhA ki agni to bujha gaI hai| usane puna agni prajvalita karane ke lie araNi kI lakaDiyo ke Tukar3e-TukaDe kara liye parantu kahI agni dikhAI nahI dii| (3) hAra-thakakara vaha yo hI cintita huA baiThA rhaa| (4) anya sAthI lauTakara Aye, pUchane para usane kahA- "mujhe to isa lakaDI me kahI agni nahI milI, khAnA kaise pakAtA?'' taba eka sAthI ne do lakaDiyo ko Apasa me ghisakara usase agni prajvalita kara dii| vaha sAthI cakita hokara dekhatA hI rhaa| -sUtra 259, pRSTha 358-362 panississake.ke.ke.ske.ke.ke.skeske.sie.ke.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.ske.sistian FIRE IN WOOD AND SOUL IN BODY (1) Giving the example of fire hidden in Arani-wood Keshi Kumar Shraman says--"Some wood-cutters gave a burning stove and stick of Arni-wood to a companion and said-'You keep the food cooked and ready while we go and fetch wood'" (2) While this companion rested for some time the stove got extinguished In order to make fire he broke the stick of Arni-wood to pieces but failed to find any fire in it __ (3) Tired and disappointed, he brooded and waited (4) When the other wood-cutters returned and asked about food, he said--"I did not find any fire in this stick, how could I cook the food ?" One of his companions took two pieces of Arani-wood and produced fire by rubbing them together The ignorant companion looked agape --Sutra 259, pp 358-362

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apane pahale sAthI se bole - "he devAnupriya / tuma jaDa - anabhijJa, mUDha, pratibhArahita, nipuNatArahita aura azikSita ho, jo tumane kASTha ke Tukar3oM meM Aga DhU~Dhane kA prayAsa kiyaa|" he pradezI ' tumhArI bhI isa prakAra kI pravRtti dekhakara maiMne yaha kahA - "tuma tuccha kaThiyAre se bhI adhika mUr3ha pratIta hote ho ki zarIra ke TukaDe TukaDe karake jIva ko dekhanA cAhate ho / " (f) In the mean time, all the persons came to him after taking bath. They took their seats. That person served cooked food and others in plenty. They took the four types of food-namely cooked food, liquids, fragrant types and sweets to their fill. Thereafter they cleaned their mouth with water and then told their first companions--"O, you are fool, ignorant, unintelligent, unskilled and uneducated that you tried to find fire in pieces of wood." O Pradeshi ! After seeing your behaviour similar to that person, I stated that "You appear to be more foolish than that wood-cutter. You want to see soul by cutting body into pieces." vivecana - kezIkumAra zramaNa ne araNi kASTha kA udAharaNa dekara batAyA hai- araNi me agni vidyamAna hai, parantu use pAne ke lie usake TukaDe TukaDe karane kI jarUrata nahI hotI, jarUrata hai manthana kI / isI pakSa para darzanazAstra me anya udAharaNa bhI diye jAte hai| jaise dUdha meM ghI rahatA hai, tilo me tela rahatA hai, mAcisa kI noka para agni rahatI hai, bijalI ke tAro me vidyut pravAha taragita rahatA hai kintu kabhI dikhAI nahI detaa| usI prakAra zarIra me cetanA yA AtmA vidyamAna hai| araNi se agnibhinna hai, dUdha ghRta bhinna hai, tila se tela bhinna hai, mAcisa se agni alaga hai, tAro se yA pAnI se vidyut bhinna hai / kintu use pAne ke lie manthana kI, sagharSaNa kI va sayojana kI jarUrata hai| usI prakAra zarIra meM vidyamAna caitanya ke darzana karane ke lie cintana, dhyAna, manana, tapa Adi kriyAo kI jarUrata hai| jise ina kriyAo kI vidhi kA jJAna prApta hai vahI deha me sthita caitanya sattA kA anubhava-darzana kara sakatA hai| mUrkha kaThiyAre kI taraha usake TukaDe karane se AtmA kA darzana nahI ho sakatA / kezIkumAra zramaNa ne isa dRSTAnta me rAjA pradezI ke pichale sabhI prazno kA uttara de diyA hai ki tuma zarIra ke Tukar3e karake yA use kubhI Adi me banda karake jIva ko, caitanya ko dekhanA cAhate ho yaha tumhArI mUrkhatA yA ajJAna hai| zarIra me sthita caitanya ko dekhA nahIM jA sakatA, anubhava kiyA jA sakatA hai aura saketa bhI kiyA hai ki usake lie tapa, dhyAna, cintana Adi vidhiyo kA Azraya lo| tabhI usa caitanya sattA kA darzana ho skegaa| Elaboration By the example of Arani wood, Keshi Kumar Shraman clarified that Arani (fire-producing wooden stick) has fire capability, but zIkumAra zramaNa aura pradezI rAjA (363) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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* in order to get fire from it, it need not he cut into pieces, but it has to be someone rubbed In the philosophical literature, many other examples are also given. For instance ghee is present in milk, oil is present in the seed, fire is at the pointed edge of match-stick, electric current is in electric wires but these things are not visible in them. Similarly soul is present in a living body. Arani is different from fire, milk is different from ghee, til is different from its oil, match-stick is different from fire, electricity is different from wires or water. But in order it procure required things from them, they are to the churned, rubbed or connected (as the case may be). Similarly in order to see soul in the living body (Jiva), what is needed is thinking, meditating, mentally concentrating or observing austerities. One who knows the method of these activities, he can experience existence of soul (consciousness) in the body. Soul cannot be seen by cutting the body into pieces like a foolish wood-cutter. Keshi Kumar Shraman, through this example, gave reply to all the questions earlier raised by king Pradeshi He clearly told him that his curiosity to see the soul, the consciousness by cutting body into pieces; by shutting it tightly in a pot and suchlike was just his foolishness, his ignorance The existence of soul in the body cannot be seen; it can be experienced. He also pointed out that for that purpose, one has to observe austerities, do meditation and apply suchlike methods. Only then one can see the soul 260. tae NaM paesI rAyA kesikumArasamaNaM evaM vayAsI juttae NaM bhaMte ! tubhaM iya cheyANaM dakkhANaM buddhANaM kusalANaM mahAmaINaM viNIyANaM viNNANapattANaM uvaesaladdhANaM ahaM imIsAe mahAliyAe mahacca parisAe majjhe uccAvaehi AusehiM Ausittae ? uccAvayAhi uddhaMsaNAhiM uddhaMsittae ? evaM nibhaMchaNAhiM nibhaMchaNittae ? nicchoDaNAhiM nicchoDaNattae ? 260. kezIkumAra zramaNa kI ukta bAta (udAharaNa) ko sunakara pradezI rAjA ne gambhIra hokara kahA___ "bhaMte ! Apa jaise cheka-(avasarajJa), dakSa-(catura), buddha-(tattvajJa), kuzala(karttavyAkarttavya ke nirNAyaka), buddhimAn, vinIta-vinayazIla, viziSTa jJAnI, sat-asat ke viveka se sampanna, upadezalabdha-guru se zikSA prApta puruSa dvArA isa ati vizAla pariSad ke bIca mere lie isa prakAra ke niSThara-AkrozapUrNa zabdoM kA prayoga karanA, anAdarasUcaka rAyapaseNiyasUtra (364) Rai.paseniya Sutra "* "* "*

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zabdoM se merI bhartsanA karanA, aneka prakAra ke avahelanA bhare zabdoM se mujhe pratADita karanA, dhamakAnA kyA ucita hai ?" 260. After hearing this example narrated by Keshi Kumar Shraman, king Pradeshi said___ "Reverend Sir ! You are well trained in knowing the situation. You are intelligent. You know the philosophical principles well. You can very well distinguish between do's and do nots. You are wise. You are humble. You possess supermost knowledge. You can distinguish between right and wrong. You have got education from a real master. Is it then proper for you to use such a harsh, impalatable, contemptuous language for me, insulting me in such a a large gathering, threaten me in such a manner ?" cAra prakAra kI pariSad aura daNDanIti 261. tae NaM kesI kumArasamaNe paesiM rAyaM eva vayAsIjANAsi NaM tumaM paesI ! kati parisAo paNNattAo ? jANAmi, cattAri parisAo paNNattAo, taM jahA-1. khattiyaparisA, 2. gAhAvaiparisA, 3. mAhaNaparisA, 4. isiprisaa|| jANAsi NaM tumaM paesI rAyA ! eyAsiM cauNhaM parisANaM kassa kA daMDaNII paNNattA ? tA ! jaannaami| (1) je NaM khattiyaparisAe avarajjhai se NaM hatthacchiNNae vA, pAyacchiNNae vA, sIsacchiNNae vA, sUlAie vA egAhace kUDAhace jIviyAo * vvrovijji| (2) je NaM gAhAvaiparisAe avarajjhai se NaM taeNa vA, veDheNa vA, palAleNa vA, veDhittA agaNikAeNaM jhaamiji| (3) je NaM mAhaNaparisAe avarajjhai se NaM aNivAhiM akaMtAhiM jAva amaNAmAhiM vaggUhi uvAlaMbhittA kuMDiyAlaMchaNae vA sUNagalaMchaNae vA kIrai, nibbisae vA aannviji| (4) je NaM isiparisAe avarajjhai se NaM NAiaNiTTAhiM jAva NAiamaNAmAhiM vagUrhi uvaalbbhi| OM kezIkumAra zramaNa aura pradezI rAjA (365) Kesh Kumar Shraman and King Pradesh

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evaM ca tAva paesI ! tumaM jANAsi tahA vi NaM tumaM mamaM vAmaM vAmeNaM, daMDaM daMDeNaM, paDikUlaM paDikUleNaM, paDilomaM paDilomeNaM, viviccAsaM viviccAseNaM vttttsi| ___261. pradezI rAjA ke isa upAlaMbha ko sunakara kezIkumAra zramaNa ne samAdhAna diyA "he pradezI ! tuma jAnate ho kitanI pariSadAe~ kahI hai ?" __ pradezI-"jI hA~, jAnatA huuN| cAra pariSadAe~ kahI hai-(1) kSatriya pariSadA, (2) gAthApati pariSadA, (3) brAhmaNa pariSadA, aura (4) RSi prissdaa|" __kezIkumAra zramaNa ne kahA-"pradezI ! tuma yaha bhI jAnate ho ki ina cAra pariSadAo ke meM aparAdhiyoM ke lie kyA daMDanIti batAI gaI hai ?" pradezI-"haoN, jAnatA huuN| (1) jo kSatriya pariSad kA (sadasya) aparAdha-apamAna karatA 9 hai, usake yA to hAtha kATa diye jAte haiM athavA paira kATa diye jAte haiM yA sira kATa diyA jAtA hai, athavA use zUlI para caDhA dete haiM yA eka hI prahAra se kucalakara prANarahita kara diyA jAtA hai-mAra diyA jAtA hai| (2) jo gAthApati pariSad kA aparAdha karatA hai, use ghAsa se athavA peDa ke patto se athavA palAla-puAla se lapeTakara agni meM jhoMka diyA jAtA hai| (3) jo brAhmaNa pariSad kA aparAdha karatA hai, use aniSTa, roSapUrNa, apriya yA amanojJa zabdo se upAlaMbha dekara agni meM tapI huI lohe kI kuMDikA kA cihna athavA kutte ke cihna * se lAMchita kara diyA jAtA hai athavA nirvAsita kara diyA jAtA hai, arthAt deza se nikala jAne kI AjJA dI jAtI hai| (4) jo RSi pariSad kA apamAna-aparAdha karatA hai, use na ati aniSTa yAvat na ati kaThora zabdoM dvArA upAlaMbha diyA jAtA hai|" OM kezIkumAra zramaNa-'he pradezI ! tuma isa prakAra kI daMDanIti ko jAnate hue bhI mere prati viparIta, paritApajanaka, pratikUla, viruddha, sarvathA viparIta vyavahAra kara rahe ho?" me FOUR TYPES OF ASSEMBLY AND PUNISHMENT 261. At these remarks of king Pradeshi, Keshi Kumar Shraman said __Do you know of how many types are the assemblies ?" ___Pradeshi replies "Yes Sir ! I know that the assemblies are of four types--(1) Assembly of Kshatriya (brave), (2) Assembly of rich rAyapaseNiyasUtra Rai-paseniya Sutra Sex (366)

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a businessmen, (3) Assembly of brahmins, and (4) Assembly of saints * (Rishis)." Keshi Kumar Shraman then asked--"Do you also know what punishment is pressible for each of the four examples ?" ___Pradeshi replied-"Yes, I know. (1) In.case a member of assembly of Kshatriya, commits any crime or insults any one, his hands are cut, his feet are chopped or head is removed or he is hanged on the scaffold or he is run over and made lifeless. In other words he is killed. (2) In case a member of the assembly of rich businessmen (Gathapati) commits any crime, he is wrapped in dry grass, in tree leaves or in hay and pushed in burning fire. (3) In case a member of assembly of brahmins commits any crime, he is insulted with undesirable, unpalatable harsh (language) words. Thereafter a hot iron mark or the dog mark is printed on his body or he is exiled. In other words he is expelled * from the state. (4) In case a member of the assembly of saints (Rishis) commits * any crime, he is not addressed with very undesirable words nor very harsh language is used against him to point out his guilt to him. ___Keshi Kumar Shraman then said "O Pradeshi ! You, knowing fully well such a code of punishment are behaving with me in a different, haughty, undesirable and totally opposite way (than the prescribed one)." 262. tae NaM paesI rAyA kesiM kumArasamaNaM evaM vayAsI evaM khalu ahaM devANuppiyaehiM paDhamillueNaM ceva vAgaraNeNa saMlatte, tae NaM mamaM imeyArUve ajjhathie jAva saMkappe samupajjitthA jahA jahA NaM eyassa purisassa vAmaM vAmeNaM jAva vivaccAsaM vivaccAseNaM vaTTissAmi tahA tahA NaM ahaM nANaM ca nANovalaMbhaM ca karaNaM ca karaNovalaMbhaM ca daMsaNaM ca daMsaNovalaMbhaM ca jIvaM ca jIvovalaMbhaM ca uvalabhissAmi, taM eeNaM ahaM kAraNeNaM devANuppiyANaM vAmaM vAmeNaM jAva vivaccAsaM vivaccAseNaM vttttie| 262. taba pradezI rAjA ne kezIkumAra zramaNa se apanI manobhAvanA vyakta karate hue kahA kezIkumAra zramaNa aura pradezI rAjA (367) Keshi Kumar Shraman and King Pradesh

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"bhadanta ! bAta yaha hai ki merA Apa devAnupriya se jaba sabase prathama vArttAlApa huA tabhI mere mana meM isa prakAra kA vicAra / saMkalpa utpanna huA ki maiM isa puruSa ke sAtha jitanA - jitanA aura jaise-jaise viparIta yAvat pratikUla vyavahAra karU~gA, utanA - utanA aura vaise-vaise maiM adhika-adhika tattva ko jAnU~gA, jJAna prApta karU~gA, cAritra ko, cAritra lAbha ko, tattvArtha zraddhArUpa darzana - samyaktva ko, samyaktva lAbha ko, jIva ko, jIva ke svarUpa ko samajha sakU~gA / isI kAraNa Apa devAnupriya ke prati maine ( jAnabUjhakara uddezyapUrvaka) viparIta yAvat atyanta viruddha vyavahAra kiyA hai|" 262. Then king Pradeshi, expressing his inner feelings said-- "Sir! The fact is that when my discussion with you started for the first time, it was in my mind that I shall know reality from you to the extent I behave in an indiscreet and indifferent manner. I shall gain knowledge, I shall learn about right conduct, I shall learn right faith, I shall understand the reality about Jiva (soul) in that fashion. So with this aim in my mind I intentionally behaved with you in an entirely undesirable and opposite manner (than the desired one). vivecana - kezIkumAra zramaNa ne rAjA pradezI ke samakSa cAra prakAra kI pariSad kA varNana karake use muni dvArA kahe gaye kaThora vacano para nArAja nahI hone kA saketa kiyA hai| TIkA me va anya grantho me cAra prakAra kI pariSad kA adhika varNana nahI milatA aura na hI yaha vizleSaNa ki isase kezIkumAra zramaNa kisa daDanIti kI ora saMketa karanA cAhate hai| phira bhI hama yaha anumAna kara sakate hai ki rAjA svaya kSatriya pariSad se sambandhita hai aura kezIkumAra zramaNa RSi pariSad hai / kSatriya pariSad kA sadasya yadi koI aparAdha karatA hai to usakA daMDa bahuta kaThora hotA hai| jabaki RSi pariSad ke aparAdhI ko sAmAnya vacano se hI upAlabha diyA jAtA hai| kSatriya rAjA ne RSi kA apamAna kiyA hai| to daDanIti ke anusAra to usakA bahuta hI kaThora daDa honA caahie| jabaki RSi yadi kisI kA apamAna bhI kara detA hai to use sAmAnya ziSTa vacana hI kahe jAte hai| yahAeN rAjA ne muni ko jaDa, mUDha, ajJAnI, apaNDita Adi atyanta tiraskArapUrNa zabda kahe hai, tathA binA abhivAdana kiye hI unakI dharmasabhA meM Akara prazna pUche hai| muni ne to use 'kara-cora vaNik' aura 'alpajJa mUrkha kaThiyAre' kI upamA dI hai| isa dRSTi se rAjA kA aparAdha adhika bhArI hai, usakI tulanA meM muni ne kucha bhI kaThora yA apriya vacana nahI khe| isa nIti ko samajhakara muni ke apriya zabdo se rAjA ko nArAja nahI honA caahie| lagatA hai isa udAharaNa dvArA kezIkumAra zramaNa yahI kahanA cAhate hai / Elaboration-Keshi Kumar Shraman by referring to four types of assemblies has pointed out to king Pradeshi that he should not be angry at the harsh words of a saint. In the commentary and in other religious rAyapaseNiyasUtra Rai-paseniya Sutra (368) For Private Personal Use Only

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books, the description of four types of assemblies is not available nor any clarification as to which code of punishment was referred to by Keshi Kumar Shraman Still it can be understood that king Pradeshi belongs to assembly of Kshatriyas (warriors) and Keshi Kumar Shraman belongs to the assembly of saints In case a member of assembly of Kshatriyas commits any crime, the punishment is very severe. But when a member of assembly of saints commits any crime he is insulted in just ordinary language Kshatriya king (king Pradeshi) has insulted the saints. So according to the code of punishment, be deserves a very severe punishment On the other hand, a saint even if he insults any one, ordinary proper language has to be used for him Here the king called the saint a fool, a dunce, illiterate, uneducated and used other extremely insulting words Further he started asking question in the religious assembly without proper gratitude. The saint compared him with a trader avoiding taxes, a person having little knowledge and a foolish wood-cutter. Thus the guilt of the king is very great as compared to that of the saint who did not use any harsh or impalatable wordsKnowing the respective code of punishment, the king should not have been angry at the non-affectionate words of the saint. It appears that by this example Keshi Kumar Shraman wanted to bring home to the king this reality. cAra prakAra ke vyavahArI 263. (ka) tae NaM kesI kumArasamaNe paesI rAyaM evaM vayAsI jANAsi NaM tumaM paesI ! kai vavahAragA paNNattA ? haMtA jANAmi / catAri vavahAragA paNNattA - 1. dei nAmege No saNNavei / 2. sannavei nAmege no dei / 3. ege dei vi sannavei vi / 4. ege No dei No saNNave / 263. (ka) pradezI rAjA kI bhAvanA sunakara kezIkumAra zramaNa ne kahA"pradezI ! jAnate ho tuma ki vyavahArakarttA kitane prakAra ke hote haiM ?" pradezI -"haoN, bhadanta ! jAnatA hU~ ki vyavahAra karane vAloM ke cAra prakAra haiM- (1) koI kisI ko dAna detA hai, kintu usake sAtha prItijanaka vANI nahIM bolatA / (2) koI saMtoSaprada bAteM to karatA hai, kintu detA nahIM hai / (3) koI detA bhI hai aura lene vAle ke sAtha santoSaprada madhura vArttAlApa bhI karatA hai / (4) koI detA bhI kucha nahIM aura na saMtoSaprada bAta hI karatA hai / " kezIkumAra zramaNa aura pradezI rAjA (369) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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int T * FOUR TYPES OF DEALERS 263. (a) After listening to the feelings expressed by king * Pradeshi, Keshi Kumar Shraman said____ "Do you know how many types are of the dealers ? O Pradeshi !" Pradeshi replied--"Yes Sir ! I know that the dealers are of four types--(1) Firstly the one who gives in charity but does not speak sweet words with it. (2) Secondly the one who satisfies others with his words but does not give anything. (3) Thirdly the one who gives to in charity and also speaks palatable words. (4) Fourthly one who neither gives any thing nor speaks palatable words." (kha) jANAsi NaM tumaM paesI ! eesiM cauNhaM purisANaM ke vavahArI ke avyavahArI ? haMtA jaannaami| (1) tattha NaM je se purise dei No saNNavei, se NaM purise vvhaarii| (2) tattha NaM je se purise No dei saNNavei, se NaM purise vvhaarii| (3) tattha NaM je se purise dei vi sannavei vi se purise vvhaarii| (4) tattha NaM je se purise No dei No sannavei se NaM avvvhaarii| evAmeva tumaM pi vavahArI, No ceva NaM tumaM paesI avvvhaarii| * (kha) kezIkumAra zramaNa-"pradezI ! tuma jAnate ho ki ina cAra prakAra ke vyaktiyo me * se kauna vyavahArakuzala hai aura kauna vyavahArazUnya hai?' pradezI-"hA~, bhadanta / jAnatA huuN| 7 (1) inameM se jo puruSa detA hai, kintu prItijanaka madhura saMbhASaNa nahIM karatA, vaha ke vyavahArI hai| (2) jo puruSa detA nahI kintu samyak saMbhASaNa bAtacIta se satoSa utpanna karatA hai, dhIraja baeNdhAtA hai, vaha vyavahArI hai| ___ (3) jo puruSa detA bhI hai aura ziSTa, madhura vacana bhI kahatA hai, vaha vyavahArI hai| ___ (4) kintu jo na detA hai aura na madhura vANI bolatA hai, vaha avyavahArI-vyavahArazUnya hai|" kezIkumAra zramaNa-"usI prakAra he pradezI ! (maiM mAnatA hU~) tuma bhI vyavahArI ho, / avyavahArI nahIM ho| arthAt tumane mere sAtha yadyapi ziSTa janocita madhura vAg-vyavahAra nahIM rAyapaseNiyasUtra Rar-paseniya Sutra t lm (370) FORYHORTHORNORM G * *

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cAra prakAra ke vyavahArI ____V mIThA bolatA hai, detA nahIM TRAF mAlaka HI Bad 9 . | "detA hai, mIThA bhI bolatA hai detA bhI nahIM 30 -

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| citra paricaya-16 Illustration No. 16 cAra prakAra ke vyavahArI kezIkumAra zramaNa kahate hai-- "rAjan / sasAra me cAra prakAra ke vyavahArI hote hai(1) jo detA hai, kintu lene vAlo ke sAtha prItijanaka madhura vyavahAra nahI krtaa| (2) jo detA kucha nahI, parantu madhura prItijanaka bolI se sabako prasanna kara detA hai| (3) jo detA bhI hai aura mIThA bolakara sabako prasanna rakhatA hai| (4) jo detA bhI nahI aura vyavahAra meM bhI bahuta rUkhA rahatA hai| rAjan / iname se tuma kisa prakAra ke vyavahArI ho?'' -sUtra 263, pRSTha 369-370 FOUR KINDS OF ASSOCIATES Keshi Kumar Shraman states"O King | There are four kinds of acquaintances or associates in this world (1) One who gives but does not behave affectionately and sweetly with the recipient (2) One who does not give anything but makes people happy with his sweet and affectionate words (3) One who gives as well as makes people happy with his sweet and affectionate words (4) One who does not give and at the same time behaves rudely as well O King Which of these kinds you conform to ?" -Sutra 263, pp 369-370

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kiyA, phira bhI mere upadezoM ke prati bhakti aura sammAna pradarzita karane ke kAraNa tuma vyavahArI ho / " (b) Keshi Kumar Shraman said-"O Pradeshi ! Do you know not of the said four types who are considered expert in their dealing and who is totally ignorant of the code of a dealer." Pradeshi replied - "Yes Sir, I know. (1) The person who gives but does not speak language, worthy of satisfaction to others is a (tolerable) dealer. (2) The person who does not give anything but satisfies others with his word (talk) is also a (tolerable) deader. (3) The person who gives and also speaks sweet words is a (good) dealer. (4) But the person who neither gives nor speaks sweet words is not a good dealer-he is devoid of the code of a dealer." Keshi Kumar Shraman said "O Pradeshi ! On the same principles you are also a (tolerable) dealer and not a person devoid of the conduct or code of a dealer. In other words although you did not have a proper and sweet behaviour with me, yet you showed devotion and respect for my words. So you are a (tolerable) dealer." 264. (ka) tae NaM paesI rAyA kesikumArasamaNaM evaM vayAsI tujjhe NaM bhaMte ! iya cheyA dakkhA jAva uvaesaladdhA, samatthA NaM bhaMte ! mamaM karayalaMsi vA AmalayaM jIvaM sarIrAo abhinivaTTittANaM uvadaMsittae ? teNaM kAleNaM teNaM samaeNaM paesissa raNNo adUrasAmaMte vAuyAe saMvutte, taNavaNassaikAe eyai veyai calai phaMdai ghaTTai udIrai, taM taM bhAvaM pariNamai / taNaM kesI kumArasamaNe paesirAyaM evaM vayAsI pAsasi NaM tumaM paesI rAyA ! evaM taNavaNassaI eyaMtaM jAva taM taM bhAvaM pariNamaMtaM ? haMtA pAsAmi / jANAsi NaM tumaM paesI ! eyaM taNavaNassaikAyaM kiM devo cAlei, asuro vA cAlei, NAgovA, kinnaro vA cAlei, kiMpuriso vA cAlei, mahorago vA cAlei, gaMdhavvo vA cAlei ? kezIkumAra zramaNa aura pradezI rAjA (371) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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hatA jANAmi-No devo cAlei jAva No gaMdhabbo cAlei, vAuyAe caalei| pAsasi NaM tumaM paesI ! etassa vAukAyassa sarUvissa sakAmassa sarAgassa samohassa saveyassa salesassa sasarIrassa rUvaM ? * No tiNaDhe (smdde)| ___264. (ka) isake pazcAt pradezI rAjA ne kahA ___ "he bhadanta ! Apa avasara ko jAnane meM nipuNa haiM, kAryakuzala haiN| Apane guru se zikSA prApta kI hai| to kyA Apa mujhe hathelI meM sthita oNvale kI taraha zarIra se bAhara jIva ko nikAlakara dikhA sakate haiM ?" ra pradezI rAjA ne jaba yaha kahA hI thA ki usI samaya teja havA calane se pradezI rAjA ke nikaTa hI tRNa-ghAsa, vRkSa Adi vanaspatiyA~ hilane-Dulane lagIM, kaoNpane lagIM, pharakane lagIM, paraspara TakarAne lagIM, aneka vibhinna rUpoM meM pariNata hone lgiiN| * yaha dekhakara kezIkumAra zramaNa ne pradezI se pUchA "he pradezI ! tuma ina tRNAdi vanaspatiyoM ko hilate-Dulate, kaoNpate-TakarAte dekha * rahe ho?" pradezI-"hA~, bhadanta ! dekha rahA huuN|" zrI kezIkumAra zramaNa-"to pradezI ! kyA tuma yaha bhI jAnate ho ki ina tRNa-vanaspatiyoM ko koI deva hilA rahA hai athavA asura hilA rahA hai athavA koI nAga, kinnara, kiMpuruSa, H) mahoraga athavA gaMdharva hilA rahA hai ?" pradezI-"hA~, bhadanta ! jAnatA huuN| inako na to koI deva hilA-DulA rahA hai, yAvat na * gaMdharva hilA rahA hai| ye vAyu se hila-Dula rahI haiN|'' kezIkumAra zramaNa-"he pradezI ! kyA tuma usa mUrta (rUpavAna), kAma, rAga, moha, veda, lezyA aura zarIradhArI vAyu ke rUpa ko dekha sakate ho?' pradezI-"bhadanta ! maiM use nahIM dekha pAtA huuN|" * 264. (a) Thereafter, king Pradeshi said "Sir ! You are expert in judging the occasion, you are intelligent * in performing your duties. You have received good education from your master. Can you show me soul (taking it out from the body) like an amla-fruit placed on the palm on the hand ?" * rAyapaseNiyasUtra Rar-paseniya Sutra (372) *

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* * When king Pradeshi had asked this question, just then sharp * wind started blowing and as a result of it, the grass, the trees and the growing vegetation started moving, shivering, fluttering, striking against each other and turning into different shapes. Seeing this Keshi Kumar Shraman asked "O Pradeshi ! Do you see the grass, vegetarian and suchlike d moving, shivering and striking against each other." Pradeshi replied--"Yes Sir ! I see so." Keshi Kumar Shraman asked--"Then O Pradeshi ! Do you also know whether a god, a naag, a kinnar, a kimpurush, a mahorag or a gandharv god is moving them ?" ____Pradeshi replied-"Sir ! I know. Neither any god, a naag, a * kinnar, a kimpurush, a mahorag nor any gandharv is moving them. They are moving because of the wind." ___Keshi Kumar Shraman asked "O Pradeshi ! The wind has @ shape. It has attachment, it has likes, it has feelings, it has physical body. Can you see its shape ?" ___King Pradeshi replied "I cannot see it." (kha) jai NaM tumaM paesI rAyA ! eyassa vAukAyassa sarUvissa jAva sasarIrassa rUvaM na pAsasi taM kahaM NaM paesI ! tava karayalaMsi vA AmalagaM jIvaM uvadaMsissAmi ? ___ evaM khalu paesI ! dasaTTANAI chaumatthe maNusse sababhAveNaM na jANai na pAsai, taM jahA-1. dhammatthikAyaM, 2. adhammatthikAyaM, 3. AgAsatthikAyaM, 4. jIvaM asarIrabaddhaM, 5. paramANupoggalaM, 6. sadaM, 7. gaMdhaM, 8. vAyaM, 9. ayaM jiNe bhavissai vA No bhavissai, 10. ayaM savvadukkhANaM aMtaM karessai vA no vaa| ___ etANi ceva uppannanANadaMsaNadhare arahA jiNe kevalI savvabhAveNaM jANai pAsai taM jahA-dhammatthikAyaM jAva no vA karissai, taM saddahAhi NaM tumaM paesI ! jahA-anno jIvo taM cev| Ma (kha) kezIkumAra zramaNa ne kahA-"rAjan ! jaba tuma isa rUpadhArI (mUrta) yAvat sazarIrI vAyu ke rUpa ko bhI nahIM dekha sakate to he pradezI ! indriyAtIta aise amUrta jIva ko hAtha * meM rakhe oNvale kI taraha kaise dekha sakate ho? ORATOLAROBARODA800 894802.50S hash ion * * * G - kezIkumAra zramaNa aura pradezI rAjA (373) Kesh Kumar Shraman and King Pradeshi *

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OM kyoki chadmastha (alpajJa) manuSya ina dasa vastuo ko unake sarva bhAvo-paryAyoM OM sahita jAnate-dekhate nahI haiN| yathA (unake nAma isa prakAra haiM)-(1) dharmAstikAya, (2) adharmAstikAya, (3) AkAzAstikAya, (4) azarIrI (zarIrarahita) jIva, (5) paramANu pudgala, (6) zabda, (7) gadha, (8) vAyu, (9) yaha jIva bhaviSya meM jina hogA OM athavA nahI hogA, aura (10) yaha samasta duHkhoM kA anta karegA yA nahIM kregaa| 3kintu jJAna-darzana ke dhAraka (kevalajJAnI, kevaladarzI, sarvajJa, sarvadarzI), arhanta, jina, kevalI ina dasa bAtoM ko unakI samasta paryAyoM sahita jAnate-dekhate haiM, yathA-dharmAstikAya yAvat sarvaduHkho kA anta karegA yA nahIM kregaa| isalie pradezI ! tuma yaha zraddhA karo ki jIva anya hai aura zarIra anya hai| jIva aura zarIra eka nahIM haiN| kintu chamastha use nahIM dekha paataa|" (b) Keshi Kumar Shraman said "O King ! The wind has shape upto a physical body and still you cannot see it, then how can you like an amla-fruit place on the palm hand, the soul which is beyond * senses and non-physical. So It is because a person who does not have perfect knowledge cannot see ten substances completely and all of their modes (forms). They are as under--(1) Dharmastikaya--The substance that passively assists in motion, (2) Adharmastikaya-The substance * that passively assists in taking rest, (3) Akashastikaya-The space, a (4) Ashareeri Jiva-Soul without the gross body, (5) Parmanu pudgal--The atom that cannot be further divided, (6) Shabd--The * sound molecules, (7) Gandh-The molecules of fragrance, (8) Vaayu-The wind, the air, (9) Whether this Jiva (soul) shall become Jin-possessor of perfect knowledge in future or not, and (10) Whether this soul (Jiva) will completely finish all the karmas or not. The omniscient Arhant, who possesses perfect knowledge and Ka perfect perception know all these things and all their modes. So Ke king Pradeshi ! You should believe that soul is different from the body and that they are not the same entity. But one who is not 19 having perfect perception cannot see it." vivecana-isa sUtra me vAyukAyika jIvo ke ullekha dvArA sasArI jIvo kA svarUpa batAyA hai ki sabhI sasArI jIva sUkSma aura bAdara (sthUla) ina do prakAro me se kisI na kisI eka prakAra vAle hote haiN| sUkSma ODARA 10. xx cs rAyapaseNiyasUtra (374) Rar-paseniya Sutra

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ra / Nok G GREPRISODEO xx * nAmakarma ke udaya se prApta zarIra indriyo se dikhAI nahI detA, vaha jJAna dvArA hI jAnA jAtA hai, tathA bAdara nAmakarma ke udaya se zarIra me aisA sthUla pariNAma utpanna hotA hai ki jisase ve indriyagrAhya ho * sakate hai| sUkSma aura bAdara nAmakarma kA udaya tiryaca gati ke jIvo me hotA hai aura vAyukAyika jIva ekendriya tiryaca gati vAle hote hai| unake eka sparzanendriya, kRSNa, nIla, kApota, lezyA, napusakaveda aura * audArika, vaikriya, taijas, kArmaNa zarIra hote hai| * dasa sUkSma ajJeya vastuo me zabda, gadha aura vAyu bhI hai| Aja kA vijJAna atyanta sUkSma upakaraNo va yatro ke sahAre zabda, gadha va vAyu kI tarago va prakampano kA vizleSaNa to karatA hai, parantu apanI bhautika A~kho se dekhane kA udAharaNa aba taka sunA nahI hai| Elaboration--In this aphorism, by the illustration air-bodied Jiva (soul), the structure of mundane souls has been described. All the worldly (mundane) souls are of two types-gross and subtle. AJiva which had collected subtle name-karma (is born as subtle Jiva and as such) cannot to be seen by the senses. That Jiva can be known only through Jnan (perfect knowledge). A Jiva that had collected gross name-karma is born with such a body that can be seen by senses. Gross and subtle name-karma * fruitify only in Tiryanch (sub-human) state of Jiva (souls). The air-bodied souls are, one-sensed Jiva having Tiryanch (sub-human) state of existence They have only one sense--the sense of touch. They have Krishan (black), Neel (blue) or Kapot (grey) thought colours (Leshya), they have Napunsakved (sex inclination for both male and female). They have gross, fluid, taijas (electric) and karmic body. ____The ten subtle substances that can be known (with sense-organs) include sound, smell and air. With the help of extremely subtle (fine) instruments, modern science analyses the awareness of sound, smell (fragrance) and air and fire movements in them. But so far, no example has come to our notice that it could be seen with naked eyes kyA hAthI aura kuMthu kA jIva samAna hai ? 265. (ka) tae NaM se paesI rAyA kesi kumArasamaNaM evaM vayAsIse nUNaM bhaMte ! hathissa kuMthussa ya same ceva jIve ? haMtA paesI ! hathissa ya kuMthussa ya same ceva jiive| se NUNaM bhaMte ! hatthIu kuMthU appakammatarAe ceva appakiriyatarAe ceva appAsavatarAe ceva evaM AhAra-nIhAra-ussAsa-nIsAsa-iDIe mahajjui appatarAe ceva, evaM ca kuMthuo hattI mahAkammatarAe ceva mahAkiriya. jAva ? / * kezIkumAra zramaNa aura pradezI rAjA (375) Kesh Kumar Shraman and King Pradeshi *

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haMtA paesI ! hattIo kuMthU appakammatarAe ceva kuMthuo vA hatthI mahAkammatarAe ceva taM cev| kamhA NaM bhaMte ! hathissa ya kuMthussa ya same ceva jIve ? 265. (ka) isake pazcAt pradezI rAjA ne prazna kiyA"bhate ! kyA hAthI aura kuthu kA jIva eka samAna hai ?'' kezIkumAra zramaNa-"haoN, pradezI ! hAthI aura kuMthu kA jIva eka samAna hai, dono ke Atma-pradeza samAna parimANa vAle hai, nyUnAdhika pradeza parimANa vAle nahIM haiN|" ___ pradezI-"bhadanta / kyA hAthI se kuthu alpa karma (AyuSya) vAlA hai, alpa kriyA aura * alpa Asrava vAlA hai ? aura isI prakAra kuMthu kA AhAra, nihAra, zvAsocchvAsa, zArIrika * bala, dyuti Adi bhI alpa hai aura kuMthu se hAthI adhika karma vAlA, adhika kriyA vAlA - yAvat adhika dhuti-sampanna hai?' kezIkumAra zramaNa-"hA~ pradezI ! aisA hI hai-hAthI se kuthu alpa AyuSya karma vAlA, * alpa kriyA vAlA aura kuMthu se hAthI mahAkarma vAlA hai|' __ pradezI-"to phira bhadanta ! hAthI aura kuthu kA jIva samAna parimANa vAlA kaise ho sakatA hai ?" ARE THE SOULS OF ELEPHANT AND KUNTHU (THREE-SENSED BEING) SIMILAR? 265. (a) Thereafter king Pradeshi asked___ "Are the souls of elephant and Kunthu-three-sensed animals similar to each other." Keshi Kumar Shraman replied--"Yes, Pradeshi ! The souls of elephant and Kunthu are similar, the souls-atoms (pradesh) of both the souls are equal-neither more nor less." Pradeshi asked--"Sir ! Are the karmas of Kunthu less than elephant ? Are the activities and inflow of karmic matter in case of Kunthu are less than that of an elephant ? Is the first intake, the waste, the breathing, physical strength and brightness are also less of Kunthu than elephant ?" ___Keshi Kumar Shraman said "Yes, Pradeshi ! It is so. Kunthu has less age-forming karma and it has less activity as compared to rAyapaseNiyasUtra Rai-paseniya Sutra aakakakakakakaks.ke.skskskskskskskskskskskskskskskskskske.ske.skssakese.ssss * (376) Omgrmmmmmmmmmmmmm m mmyyyy *

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elephant ? An elephant has more age-forming karma and more activity than the Kunthu (three-sensed living being)." ___King Pradeshi asked-"Sir ! How then Kunthu (ant) and elephant have souls similar to each other." dIpaka kA dRSTAnta (kha) paesI ! jahA NAmae kUDAgArasAlA siyA jAva gaMbhIrA, aha NaM kei purise joI va dIvaM va gahAya taM kUDAgArasAlaM aMto aNupavisai tIse kUDAgArasAlAe savvao samaMtA 2 ghaNaniciyaniraMtarANi NicchiDDAI duvAravayaNAI piheti, tIse kUDAgArasAlAe bahumajjhadesabhAe taM paIvaM palIvejA, tae NaM se paIve taM kUDAgArasAlaM aMto obhAsai 2 ujjovei tavati pabhAsei, No ceva NaM baahiN| ___ahaNaM purise taM paIvaM iDDaraeNaM pihejA, tae NaM se paIve taM iDDarayaM aMto obhAsei, * No ceva NaM iDDaragassa bAhiM, No ceva NaM kUDAgArasAlAe bAhiM, evaM gokiliMjeNaM, pacchipiMDaeNaM, gaMDamANiyAe, ADhateNaM, addhADhateNaM, patthaeNaM, addhapatthaeNaM, kulaveNaM, * addhakulaveNaM, cAubhAiyAe, aTThabhAiyAe, solasiyAe, battIsiyAe, causaTThiyAe, dIvacaMpaeNaM tae NaM se padIve dIvacaMpagassa aMto obhAsati, no ceva NaM dIvacaMpagassa bAhiM, no ceva NaM causaTThiyAe bAhiM, No ceva NaM kUDAgArasAlaM, No ceva NaM kUDAgArasAlAe baahiN| ____ evAmeva paesI ! jIve vi jaM jArisayaM puvakammanibaddhaM boMdi Nivvattei taM asaMkhejehiM * jIvapadesehi sacittaM karei khuDDiyaM vA mahAliyaM vA, taM saddahAhi NaM tuma paesI ! jahA* aNNo jIvo taM ceva nnN| (kha) kezIkumAra zramaNa- 'he pradezI / hAthI aura kuthu ke jIva ko samAna parimANa vAlA 6 aise samajhA jA sakatA hai-jaise koI eka vizAla kuTAkArazAlA ho aura koI eka puruSa agni aura dIpaka sAtha lekara usa kUTAkArazAlA meM praveza kare tathA usake ThIka madhya bhAga me khaDA ho jaae| tatpazcAt usa kUTAkArazAlA ke sabhI dvAroM ke kivADoM ko isa prakAra saTAkara acchI taraha baMda kara de ki unameM kiMcinmAtra bhI saoNdha-chidra nahIM rhe| phira usa kuTAkArazAlA ke bIcobIca usa dIpaka ko jalAye to jalAne para vaha dIpaka usa kUTAkArazAlA ke bhItara vAle bhAga ko hI prakAzita, udyotita, tApita aura prabhAsita karatA " hai, kintu bAharI bhAga ko prakAzita nahIM karatA hai| kezIkumAra zramaNa aura pradezI rAjA (377) Keshu Kumar Shraman and King Pradeshhex DN* * * * *

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kI (kalpanA karo) aba yadi vahI puruSa usa dIpaka ko dhAtu ke eka vizAla piTAre se Dhaka de to vaha dIpaka kUTAkArazAlA kI taraha usa piTAre ke bhItarI bhAga ko hI prakAzita karegA kintu piTAre ke bAharI bhAga ko prakAzita nahIM kregaa| isI taraha gokiliMja (gAya ko ghAsa kI rakhane kA pAtra-DaliyA), pacchikApiTaka (piTArI), gaDamANikA (anAja mApane kA bartana), ADhaka (cAra sera dhAnya mApane kA pAtra), ardhADhaka, prasthaka, ardhaprasthaka, kulava, ardhakulava, OM caturbhAgikA, aSTabhAgikA, SoDazikA, dvAtriMzatikA, catuSpaSTikA (ina sabake artha anuyogadvArasUtra meM dekheM) athavA dIpacampaka (dIpaka kA DhAkanA) se DhakeM to vaha dIpaka usa Dhakkana ke bhItarI bhAga ko hI prakAzita karegA, Dhakkana ke bAharI bhAga ko nhiiN| na catuSSaSTikA ke bAharI bhAga ko, na kUTAkArazAlA ko, na kUTAkArazAlA ke bAharI bhAga ko prakAzita kregaa| he pradezI ! isI prakAra pUrvabhava meM upArjita karma ke nimitta se jIva ko kSudra-choTe athavA mahat-baDe zarIra kI prApti hotI hai, usI zarIra ke anusAra Atma-pradezoM ko saMkucita aura * vistRta karane kA svabhAva AtmA kA hai| isa kAraNa vaha usa zarIra ko apane asaMkhyAta - Atma-pradezoM se vyApta karatA hai| ataeva pradezI ! tuma yaha zraddhA karo-isa bAta para vizvAsa karo ki jIva anya hai aura zarIra anya hai, jIva zarIra nahIM aura zarIra jIva nahIM hai|'' EXAMPLE OF LAMP (b) Keshi Kumar Shraman said-"O Pradeshi ! The soul of elephant and that of ant can be understood of same size as underImagine a large temple (house) at the summit of a hill. A person enters it with a lamp and fire to ignite it. He then stands exactly at * the centre of that house. Thereafter he closes all the doors of that house in such a way that there is no gap (hole) in between. He then lights the lamp. Then the light of the lamp brightens, shines and lights up only the inner part of the house and the outer part does not get lighted. Imagine that the same person now covers the lighted lamp with a big basket. Then like the house, the lamp sheds light and brightens only the space inside the basket and not the space outside. Similarly if he covers the lamp with basket used for feeding the cows, a bamboo box, a vessel used for measuring corn, a pot used to measure four seers of food grains, two seers of food grains, one seer of food grains, half seer of food grains, a pot equal to ma rAyapaseNiyasUtra Rar-paseniya Sutra (378) * ONAOR ROYGOV * *

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17 hAthI aura cIMTI meM AtmA samAna hai| piTAre se DhakA dIpaka AtmA kUTAkArazAlA me rakhA dIpaka

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citra paricaya-17 Illustration No. 17 hAthI aura cIMTI meM AtmA samAna hai rAjA pradezI ne zakA kI- 'Apa kahate hai, sabame AtmA samAna hai, kintu hAthI aura cITI me AtmA samAna kaise sambhava hai?" kezIkumAra zramaNa ne udAharaNa diyA "(1) jaise kisI kUTAkArazAlA ke madhya me dIpaka jalAne para usa dIpaka kA prakAza zAlA ke pUre bhAga ko prakAzita kara detA hai| (2) usa dIpaka ko yadi dhAtu ke piTAre se DhaMka de to vaha dIpaka kevala piTAre ke bhItarI bhAga ko hI prakAzita karegA na? arthAt dIpaka kA prakAza sImita ho jAtA hai| (3) usI prakAra zarIra ke AkAra ke kAraNa Atma pradezo kA sakoca aura vistAra hotA hai-yaha AtmA kA svabhAva hai|" -sUtra 265, pRSTha 375-379 SOULS OF ELEPHANT AND ANT ARE SAME King Pradeshi expressed his doubt, "You say that soul is similar in all beings but how is it possible that souls of an elephant and an ant are similar ?" Keshi Kumar Shraman explained with an example "(1) Imagine a lamp is lit in a secret room Its glow spreads all around the room (2) Now cover that lamp with a metal basket Isn't the glow of the lamp now limited only to the inner part of the basket ? In other words the light of the lamp gets confined (3) In the same way the space-points of soul shrink and expand according to the shape and size of the body, this is the basic nature of soul" -Sutra 265, pp 375-379

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measure of grains contained in two hands flatly joined, half of that, at one-fourth of that, one-eighth, one-sixteenth, one-thirty twoeth, one sixty fourth of that (chausasthiye) [for meaning of words see Anuyogdvar Sutra] as cover of the lamp. Then that lamp shall lighten only the inner space of the cover and not the outer space. It shall not light up the outside space other than one-sixty fourth, nor o the outer space of the house. O Pradeshi ! Thus due to the karmas accumulated in the al present life-span, the Jiva (soul) gets small (kshudra) or large (mehat) body. It is the nature of the soul to spread or contract the soul-atoms according to the size of the body. So it spreads unlimited soul-atoms. So Pradeshi ! You should trust it, you should believe that soul and body are different. Soul is not body and body is not soul." * paramparAgata mAnyatA kA nirAkaraNa 266. tae NaM paesI rAyA kesi kumArasamaNaM evaM vayAsIevaM khalu bhaMte ! mama ajagassa esa sannA jAva samosaraNe jahA-tajjIvo taM sarIraM, no anno jIvo annaM sriirN| tayANaMtaraM ca NaM mamaM piuNo vi esa saNNA, tayANaMtaraM mama vi esA saNNA jAva samosaraNaM, taM no khalu ahaM bahupurisaparaMparAgayaM kulanissiyaM diddhiM chNddessaami| 266. pradezI rAjA ne kezIkumAra zramaNa se kahA___"bhadanta ! Apane batAyA so ThIka, kintu mere pitAmaha kI yahI dhAraNA-mAnyatA va buddhi thI, siddhAnta thA ki jo jIva hai vahI zarIra hai, jo zarIra hai vahI jIva hai| jIva zarIra se bhinna nahIM aura zarIra jIva se bhinna nahIM hai| pitAmaha ke bAda mere pitA kI bhI aisI hI saMjJA yAvat aisA hI siddhAnta thA aura unake bAda merI bhI yahI mAnyatA hai| to phira aneka puruSo (pIDhiyo) evaM kula-paraparA se calI A rahI apanI mAnyatA ko kaise chor3a dU~ ?' DISCARDING TRADITIONAL BELIEFS __266. King Pradeshi told Keshi Kumar Shraman "Blessed Sir ! Whatever you have stated may be correct, but my grandfather had this belief, this understanding this principle that a soul is a body and a body is a soul and that souls and bodies are not kezIkumAra zramaNa aura pradezI rAjA (379) Keshi Kumar Shraman and King Pradeshi

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* different entities. Later same was the belief of my father, thereafter ** I have also the same faith. So how should I leave the traditional faith having been followed since many generations ?" loha vaNik kA dRSTAnta __267. (ka) tae NaM kesI kumArasamaNe paesirAyaM evaM vayAsI___ mA NaM tumaM paesI ! pacchANutAvie bhavejJAsi, jahA va se purise ayhaare| ke NaM bhaMte ! se ayahArae ? paesI ! se jahANAmae keI purisA atthatthI, atthagavesI, atthaluddhagA, atthakaMkhiyA, atthapivAsiyA atthagavesaNayAe viulaM paNiyabhaMDamAyAe subahuM " bhattapANapatthayaNaM gahAya egaM mahaM akAmiyaM chinAvAyaM dIhamaddhaM aDaviM annupvitttthaa|| 267. (ka) pradezI rAjA kI bAta sunakara kezIkumAra zramaNa ne uttara diyA____ "pradezI ! tuma usa ayohAraka (lohe ke bhAra ko Dhone vAle loha vaNika) kI taraha pazcAttApa karane vAle mata honaa| (arthAt jaise vaha loha vaNik pachatAyA usI taraha tumheM bhI * apanI kula paramparAgata andha-zraddhA ke kAraNa pachatAnA nahIM pdde|)" __ pradezI ne pUchA-'bhadanta ! vaha ayohAraka kauna thA aura use kyoM pachatAnA paDA?" __kezIkumAra zramaNa bole-"pradezI ! kucha dhana ke abhilASI, dhana kI gaveSaNA karane vAle, * dhana ke lobhI, dhana kI kAkSA aura dhana kI lipsA vAle puruSa dhanopArjana karane ke lie vipula parimANa me bikrI karane yogya padArthoM aura khAne-pIne ke lie paryApta pAtheya (bhAtA) sAtha me lekara eka aisI nirjana, hisaka prANiyoM se vyApta bahuta baDI aTI (vana) meM jA * pahu~ce jisa aTavI meM pAra hone ke lie rAstA pAnA bhI kaThina thaa|" EXAMPLE OF DEALER IN IRON 267. (a) After hearing king Pradeshi, Keshi Kumar Shraman replied, "O Pradeshi ! You do not become repentant like that dealer in iron who carried the iron load. In other words just as that dealer repented, you may also not have to repent because of blind faith resulting from family tradition." ___Pradeshi asked-"Sir ! Who was that dealer and what caused him to repent ?" ra rAyapaseNiyasUtra (380) Rai-paseniya Sutra "* "* "* "*

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Keshi Kumar Shraman said-"Pradeshi ! Some persons desirous of wealth, seekers of wealth, greedy, curious and attached to wealth, in order to earn money; entered a wild forest where there were no men and it was dense with wild animals. They had with them things worthy of sale in sufficient quantity and food for their use during their journey. It was very difficult to find the way in the jungle. (kha) tae NaM te purisA tIse akAmiyAe aDavIe kaMci desaM aNuppattA samANA egamahaM ayAgaraM pAsaMti, aeNaM savvao samaMtA AiNNaM vicchiNNaM sacchaDaM uvacchaDaM phuDaM gADhaM pAsaMti haTThatuTTha jAva-hiyayA annamannaM saddAveMti evaM vayAsI - esa NaM devANuppiyA ! ayabhaMDe iTTe kaMte jAva maNAme, taM seyaM khalu devANuppiyA ! amhaM ayabhArae baMdhita ti kaTTu annamannassa eyama paDisurNeti ayabhAraM baMdhaMti, ahANupubbIe saMpatthiyA / (kha) jaba ve loga usa aTavI meM kucha Age baDhe to kisI sthAna para unhone idhara-udhara loha se bharI lambI-caur3I aura gaharI eka lohe kI khAna dekhI / vahA~ lohA khUba bikharA paDA thaa| usa khAna ko dekhakara harSita hokara unhoMne Apasa meM eka-dUsare ko kahA - "devAnupriyo ! yaha lohA hamAre lie acchA hai, lAbhakArI hai / ataH hameM isa lohe kI gaTharI bA~dha lenI cAhie / " isa prakAra vicAra karake unhone lohe kA bhArA bA~dha liyA aura aTavI me Age cala diye| (b) When they went ahead in the forest, they found at some place in the jungle, a large and deep mine of iron ore. Iron was scattered all around. They felt happy and talked among themselves-"O the blessed! This iron is good for us. It is beneficial to us. So we should be it up in a bundle." They then tied iron in a bundle and went ahead (carrying the iron-load). (ga) tae NaM te purisA akAmiyAe jAva aDavIe kiMci desaM aNuppattA samANA egaM mahaM tauAgaraM pAsaMti, taueNaM AiNNaM taM caiva jAva saddAvettA evaM vyAsI - esa NaM devANuppiyA ! tauyabhaMDe jAva maNAme, appeNaM ceva taueNaM subahuM ae labbhati, taM seyaM khalu devANuppiyA ! ayabhArae chaDDettA tauyabhArae baMdhitta tti kaTTu annamannassa aMtie eyamaTTaM paDisuNeMti, ayabhAraM chaDDeMti tayabhAra baMdhaMti / tattha NaM ege purise No saMcAei ayabhAraM chaDDettae tauyabhAraM baMdhittA / zIkumAra zramaNa aura pradezI rAjA (381) Keshi Kumar Shraman and King Pradeshi For Private Personal Use Only

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(ga) aTavI meM Age calate-calate ve loga eka sthAna para pahu~ce, vahA~ unhoMne eka vizAla trapu - sIse kI khAna dekhI, taba eka-dUsare ko bulAkara kahA - "he devAnupriyo ! hameM isa sIse kA saMgraha karanA lAbhadAyaka hogaa| bahuta se lohe ko choDakara hame thoDA sIsA le lenA adhika lAbhadAyaka hai|" Apasa me eka- dUsare ne isa vicAra ko svIkAra kiyA aura lohe ko chor3akara sIse ke poTale bA~dha liye / kintu unameM se eka vyakti lohe ko chor3akara sIse kA bhArA bA~dhane ke lie taiyAra nahIM huA / (c) When they went ahead in the forest, they found a mine of tin. They then called each other and said "O the blessed! The collection of tin shall be more beneficial to us. We should discard the iron-load and collect some tin." Having decided in this manner, they discarded the iron and tied the bundles of tin." But one of them did not agree to discard the iron-load and collect tin. (gha) tae NaM te purisA taM purisaM evaM vayAsI - esa NaM devANuppiyA ! tauyabhaMDe jAva subahu ae labbhati, taM chaDDehi NaM devANuppiyA ! ayabhAragaM, tauyabhAragaM baMdhAhi / tae NaM te purise evaM vayAsI - dUrAha me devANuppiyA ! ae, cirAhaDe me devANuppiyA ! ae, aigADhabaMdhaNabaddhe me devANuppiyA ! ae, asiDhilabaMdhaNabaddhe devANuppiyA ! ae, dhaNiyabaMdhaNabaddhe devANupiyA ! ae, No saMcAemi ayabhAragaM chaDDettA tauyabhAragaM baMdhatta / (gha) taba dUsare sAthiyoM ne apane usa sAthI se kahA - "devAnupriya ! hameM lohe kI apekSA isa sIse kA sagraha karanA adhika acchA hai, isa thoDe se sIse se bahuta-sA lohA prApta kiyA jA sakatA hai| ataeva devAnupriya ! tuma isa lohe ko chor3akara sIse kA bhArA bA~dha lo / " taba usa vyakti ne kahA-"devAnupriyo ! maiM isa lohe ke bhAre ko bahuta dUra se lAde calA A rahA hU~ / isa lohe ko bahuta samaya se lAde hue hU~ | maiMne isa lohe ko bahuta kasakara bA~dhA hai| maine isa lohe ko majabUta badhana se bA~dhA hai / maiMne isa lohe ko atyadhika pragADha baMdhana se bA~dha rakhA hai| isalie mai isa lohe ko chor3akara sIse ke bhAra ko nahIM bA~dha sktaa|" (d) Then his other companions advised him-"O the blessed! It is more beneficial to collect tin instead of iron. From a small rAyapaseNiyasUtra (382) For Private Personal Use Only Rai-paseniya Sutra

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* quantity of tin, a large quantity of iron can be got in exchange. So you should discard the iron and collect tin." Then that person replied--"O the blessed ! I am carrying this iron-load from a great distance since long. I have tied the iron tightly, with very strong knots and with great efforts. So I cannot discard it in order to collect tin in its place." (Ga) tae NaM te purisA taM purisaM jAhe No saMcAyaMti bahUhi AghavaNAhi ya panavaNAhi ya Aghavittae vA paNNavittae vA tayA ahANupubbIe saMpatthiyA, evaM taMbAgaraM ruppAgaraM suvaNNAgaraM rayaNAgaraM viraagrN| ___tae NaM te purisA jeNeva sayA jaNavayA, jeNeva sAiM sAiM nagarAiM, teNeva uvAgacchanti vayaravikkaNaNaM kareMti, subahudAsIdAsa gomahisa gavelagaM giNhaMti, aTThatalamUsiyavaDaMsage kArAveMti, pahAyA kayabalikammA uppiM pAsAyavaragayA phuTTamANehiM muiMgamatthaehiM battIsaibaddhaehiM nADaehi varataruNI-saMpauttehiM uvaNacijamANA uvalAlijjamANA iTTe sadda-pharisa-jAva vihrNti| (Ga) taba dUsare sAthiyoM ne usa vyakti ko anukUla-pratikUla sabhI taraha se samajhAyA, lAbha-hAni batAne vAle vacanoM dvArA smjhaayaa| lekina jaba ve usa puruSa ko samajhAne-bujhAne meM samartha nahI hue to anukrama se Age-Age calate gye| vahA~-vahA~ pahu~cakara unhoMne anukrama me taoNbe kI, caoNdI kI, sone kI, ratnoM kI aura hIroM kI khAne dekhiiN| inako jaise-jaise bahumUlya vastue~ milatI gaIM, vaise-vaise pahale-pahale ke alpa mUlya vAle tA~be Adi ko choDakara adhika-adhika mUlya vAlI vastuoM ko bA~dhate gye| (sabhI sthAnoM para unhone apane usa lohe vAle durAgrahI sAthI ko samajhAyA kintu usake durAgraha ko chuDAne meM saphala nahIM hue) aTavI ko pAra karake ve sabhI vyakti jahA~ apanA janapada-deza thA, jahA~ apane-apane nagara the, vahA~ aaye| vahA~ Akara unhoMne hIroM ko becaa| usase bahuta dhana-sampatti prApta huii| usase aneka dAsa, dAsI, gAya, bhaisa aura bher3oM Adi ko khriidaa| baDe-baDe ATha-ATha maMjila ke U~ce bhavana bnvaaye| aba ve vahA~ para snAna, balikarma Adi karake una prAsAdoM ke UparI bhAgoM meM baiThakara sagIta Adi sunate; taruNiyoM dvArA kI jA rahI nRtya-gAnayukta battIsa prakAra kI nATya lIlAoM ko dekhate, manojJa zabda, sparza, gaMdha mUlaka manuSya-sambandhI kAmabhogoM ko bhogate hue sukhapUrvaka rahane lge| - * kezIkumAra zramaNa aura pradezI rAjA (383) Keshu Kumar Shraman and King Pradeshu Ex OYOYON X4

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(e) Then the other companions tried hard to bring him round. 9 They explained the benefits of the proposal and loss in not agreeing to it. But when they did not succeed in their efforts, they went ahead. Thereafter on the way, they found copper mine, silver mine, gold mine, mine of gems and the mine of diamonds in that very order. Whenever they found a mine of higher value substance, than the one they were carrying, they discarded their load and carried the more beneficial one. (At all such places they tried to bring round their companion to accept their advice but he did not agree.) After crossing the forest, they came to their country and then to their town. They sold the diamonds. They got a big amount in exchange. They bought many servants, cows, buffaloes, sheep and other. They got built eight storeyed buildings. Then after their bath and other suchlike, they used to sit at the top floors of their palatial buildings and enjoy music and thirty two types of dances coupled with music performed by the damsels. They were enjoying sensual pleasures fully satisfying their all the five senses namely pleasant words, pleasant sights, pleasant touch, pleasant smell. (ca) tae NaM te purise ayabhAreNa jeNeva sae nagare teNeva uvAgacchai, ayabhAreNaM gahAya ayavikkiNaNaM kareti, taMsi appamollaMsi nihiyaMsi jhINaparivbae, te purise uppiM pAsAyavaragae jAva viharamANe pAsati, pAsittA evaM vayAsI-aho ! NaM ahaM adhanno apuno akayattho akayalakkhaNo hiri-siri-vajie hINapuNNacAuddase durNtpNtlkkhnne| jai NaM ahaM mittANa vA NAINa vA niyagANa vA saNetao to NaM ahaM pi evaM ceva uppiM * pAsAyavaragae jAva vihrNto| se teNaTTeNaM paesI, evaM vuccai-mA tumaM paesI ! pacchANutAvie bhavijAsi, jahA va 7 se purise aybhaarie| (ca) vaha lohavAhaka puruSa bhI apanA lohabhAra lekara nagara meM aayaa| vahA~ Akara usa lohe ko becA, kintu alpa mUlya vAlA hone se use thoDA-sA dhana milaa| kisI samaya (nagara 6 meM phirate hue) jaba usa puruSa ne apane sAthiyoM ko zreSTha prAsAdo ke Upara rahate hue yAvat bhoga-vilAsa me samaya bitAte hue dekhaa| taba isa prakAra socane-vicArane lagA-'are ! maiM adhanya, puNyahIna (bhAgyahIna), akRtArtha, zubha lakSaNoM se rahita, zrI-hrI (dhana aura prabhAva) rAyapaseNiyasUtra Rai-paseniya Sutra GOON Khairkirt * * *in (384) DIN * *

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TTA - h hIre kI khAna HAL INNI A SM-THANISAN V. WATMLALARMINA

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citra paricaya-18 Illustration No. 18 * lauha-vaNik durAgrahI kezIkumAra zramaNa ne dRSTAnta dete hue kahA "(1) cAra vaNik dhana prApti ke lie nikle| mArga me unhe lohe kI khAna milI to cAro ne lohe kI poTaliyA~ bA~dha lii| (2) Age calane para taoNbe, cA~dI, sonA Adi kI khAne milI to tIna ne lohA choDakara tA~bA, tAMbA choDakara cA~dI, caoNdI choDakara sone kI gaThariyA~ bA~dha lii| kintu cauthA apanI purAnI vastu ke moha para hI aDA rhaa| (3) jaba hIro kI khAna milI to tIno ne to sonA choDakara hIre kI gaThariyA~ bA~dha lI, kintu cauthA apanI jidda para aDA lohe kI poTalI hI DhotA rhaa| (4) nagara me jAkara tIno ne apanA mAla becA, khUba dhana kamA liyA aura vaibhava-vilAsapUrNa jIvana jIne lge| cauthA lauha-vaNik to lohA becakara pherI vAlA hI banA rhaa| jaba usane una tIno kA vaibhava dekhA to vaha apane aDiyala svabhAva para pachatAne lgaa|' -sUtra 267, pRSTha 380-385 ADAMANT IRON-MERCHANT Giving an example Keshi Kumar Shraman stated "(1) Four merchants set out for business On the way they found an iron ore mine and they all collected iron ore in their bags (2) On their journey ahead, one after another, they found copper, silver and gold mines Three of the merchants progressively exchanged iron ore for copper ore, copper ore for silver ore and silver ore for gold ore but the fourth one stuck to his fondness for his old possession of iron ore (3) When the group found a diamond mine the first three exchanged their gold ore with diamonds but the fourth one was adamant on his decision of carrying his load of iron (4) Reaching a city the first three merchants sold their merchandise, earned a lot of wealth and lived in grandeur and comfort The fourth one sold his iron and with his meager earning became a poor vendor When he saw the grandeur of his three companions he repented for his mulish nature" --Sutra 267, pp 380-385

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se varjita huuN| hInapuNya cAturdazika (kRSNa pakSa kI caturdazI ko janmA huA), duraMta-prAnta (azubha) lakSaNa vAlA kulakSaNI huuN| yadi una mitroM, jJAtijanoM aura apane hitaiSiyoM kI bAta mAna letA to Aja maiM bhI isI taraha zreSTha prAsAdoM meM rahatA huA sukhapUvarka apanA samaya vyatIta krtaa|' he pradezI / isI kAraNa maiMne yaha kahA hai ki yadi tuma apanA durAgraha nahI choDoge to usa lohabhAra ko Dhone vAle durAgrahI kI taraha tumheM bhI anta meM pachatAnA pddegaa|" (f) Their companion also came to the town with the iron-load He also sold his iron and got a little amount in exchange. Once while moving in the town, he found his companions residing in palatial buildings and enjoying all the comforts of life and sensual pleasures. He thought to himself--'I am poor, I am unlucky, I am devoid of auspicious sign, I am without the blessings of prosperity and influence, I am devoid of religious merit. I appear to have been born on the fourteenth day of dark fortnight, I possess disgusting signs. In case I had agreed to the advice of my friends, my a companions, my well-wishers, I also would have lived in suchlike palatial buildings enjoying the pleasure of life.' O Pradeshi ! In their context I had mentioned that if you do not discard you such born attitude, you shall also have to repent in the end like that person who carried iron-load." pradezI dvArA zrAvakadharma-grahaNa ___268. ettha NaM se paesI rAyA saMbuddhe kesikumArasamaNaM baMdai jAva evaM vayAsI No khula bhaMte ! ahaM pacchANutAvie bhavissAmi jahA va se purise ayabhArie, taM icchAmi NaM devANuppiyANaM aMtie kevalipannattaM dhammaM nisaamitte| __ ahAsuhaM devANuppiyA ! mA paDibaMdhaM kreh| dhammakahA jahA cittss| taheva gihidhamma paDivajjai jeNeva seyaviyA nagarI teNeva pahArettha gmnnaae| 268. isa prakAra kezIkumAra zramaNa dvArA samajhAye jAne para samyak tattva kA bodha prApta 0 karake pradezI rAjA ne kezIkumAra zramaNa ko vaMdanA kI eva nivedana kiyA - kezIkumAra zramaNa aura pradezI rAjA (385) Keshi Kumar Shraman and King Pradeshi *

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Presentation t o OM "bhadanta ! maiM vaisA kucha nahIM karU~gA jisase usa lohabhAravAhaka puruSa kI taraha mujhe pazcAttApa karanA pdde| ataH maiM Apa devAnupriya se kevali-prarUpita dharma sunanA cAhatA huuN|" kezIkumAra zramaNa ne kahA- "devAnupriya ! jaise tumhe sukha upaje vaisA karo, parantu zubha * kArya meM vilamba mata kro|" ra pradezI kI jijJAsA-vRtti dekhakara kezIkumAra zramaNa ne jisa prakAra citta sArathI ko dharmopadeza dekara zrAvakadharma samajhAyA thA usI prakAra rAjA pradezI ko bhI dharmakathA sunAkara gRhasthadharma (zrAvakadharma) kA vistAra se vivecana kiyaa| rAjA gRhasthadharma svIkAra karake * seyaviyA nagarI kI ora calane ko tatpara huaa| TIE ACCEPTANCE OF VOWS OF A HOUSEHOLDER BY PRADESHI 268. Thus at the advice of Keshi Kumar Shraman and after gaining spiritual knowledge king Pradeshi bowed to him in respect and requested-- "Sir! I shall not do such an act that I may have to repent in the end like that carrier of iron-load. So I want to listen from you the philosophical thought as propounded by Kewali (the perfect souls)." ____Keshi Kumar Shraman replied "O the blessed ! Do what gives you pleasure, but do not delay the good deed." Finding the inward curiosity of king Pradeshi to listen about * religion, he gave him religious discourse in the same manner as he had earlier given to Chitta Saarthi. He explained in detail the vows meants for a householder. King Pradeshi then accepted the vows of the householder and got ready to return to Seyaviya town. AcArya ke prati karttavya-bodha 269. tae NaM kesI kumArasamaNe paesiM rAyaM evaM vayAsIjANAsi tumaM paesI ! kai AyariyA pannattA ? haMtA jANAmi, tao AyariA paNNattA, taM jahA-1. kalAyarie, 2. sippAyarie, * 3. dhmmaayrie| jANAsi NaM tumaM paesI ! tesiM tiNhaM AyariyANaM kassa kA viNayapaDivattI pauMjiyavvA ? a healante teaser talentestant * rAyapaseNiyasUtra (386) Rai-paseniya Sutra

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OM haMtA jANAmi, kalAyariyassa sippAyarissa uvalevaNaM saMmajaNaM vA karejA, purao pupphANi vA ANavejA, maJjAvejA, maMDAvejA, bhoyAvinA vA viulaM jIvitArihaM pIidANaM * dalaejA, puttANupattiyaM vittiM kppejaa| __ jattheva dhammAyariyaM pAsijjA tattheva vaMdejA NamaMsejA sakkArejA sammANejA, kallANaM maMgalaM devayaM ceiyaM pajjuvAsenA, phAsuesaNijjeNaM asaNa-pANa-khAima-sAimeNaM * paDilAbhejA, pADihArieNaM pIDha-phalaga-sijA-saMthAraeNaM uvnimNtejaa| ___ evaM ca tAva tumaM paesI ! evaM jANAsi tahAvi NaM tumaM mamaM vAmaM vAmeNaM jAva vaTTittA mamaM eyamaTuM akhAmittA jeNeva seyaviyA nagarI teNeva pahArettha gamaNAe ? 269. taba kezIkumAra zramaNa ne kahA_ "pradezI / jAnate ho kitane prakAra ke AcArya hote haiM ?" ___ pradezI-"hA~, bhadanta ! jAnatA hU~, tIna prakAra ke AcArya hote haiM-(1) kalAcArya, (2) zilpAcArya, aura (3) dhrmaacaary| * kezIkumAra zramaNa-"pradezI ! tuma jAnate ho ki ina tIna AcAryoM meM se kisakI kaisI * vinaya-pratipatti karanI cAhie ? (kisake sAtha kaisA AdarapUrNa vyavahAra karanA cAhie?)" pradezI-"hA~, bhadanta ! jAnatA huuN| (ziSya ko) kalAcArya aura zilpAcArya ke zarIra para candanAdi kA lepa aura tela Adi kA mardana karanA cAhie, unheM snAna karAnA cAhie tathA unake * sAmane puSpa Adi bheMTa rUpa meM rakhanA cAhie, unake kapar3oM Adi ko surabhigandha se sugandhita karanA cAhie, AbhUSaNo Adi se unhe alaMkRta karanA cAhie, AdarapUrvaka bhojana karAnA cAhie aura AjIvikA ke yogya vipula prItidAna (dhana Adi) denA cAhie evaM unake lie aisI * AjIvikA kI vyavasthA karanI cAhie ki unake putra-pautrAdi paramparA bhI jisakA lAbha le skeN| * dharmAcArya ke jahA~ bhI darzana hoM, vahIM unako vandanA-namaskAra karanA cAhie, unakA satkAra-sammAna karanA cAhie aura unheM kalyANarUpa, maMgalarUpa, devarUpa eva jJAnarUpa mAnakara unakI paryupAsanA karanI caahie| azana, pAna, khAdya, svAdya bhojana-pAna se unheM pratilAbhita karanA caahie| paDihArI pITha, phalaka, zayyA, saMstAraka Adi grahaNa karane ke lie unase prArthanA karanI caahie|' " kezIkumAra zramaNa-"pradezI ! (Azcarya hai) isa prakAra kI vinaya-pratipatti (ziSTAcAra) jAnate hue bhI tuma abhI taka mere prati jo pratikUla vyavahAra evaM pravRtti karate Aye ho, usake lie kSamA mAMge binA hI seyaviyA nagarI kI ora calane ke lie udyata ho rahe ho?' * kezIkumAra zramaNa aura pradezI rAjA (387) Keshi Kumar Shraman and King Pradeshi *

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POINTING OUT DUTIES TOWARDS THE ACHARYA 269. Then Keshi Kumar Shraman asked "O Pradeshi ! Do you know how many classifications are of Acharyas ?" Mar Pradeshi replied--"Reverend Sir ! I know that Acharyas are of three types(1) Acharya of Art, (2) Acharya of Sculpture, and (3) Acharya of Religion." 9 Keshi Kumar Shraman then asked--"Do you know how the respect, the benediction is to be expressed toward the said three types ?" Pradeshi replied--"Yes Sir ! I know. The body of Acharya of art * and Acharya of sculpture should be pasted with sandalwood paste ve and massaged with oil. He should be given a bath and then flowers and suchlike should be offered to them. Their dress should be made fragrant with incense. They should be offered food respectfully. They should be given sufficient material (wealth, money) for their livelihood. Such an arrangement should be made for their livelihood, that their sons, grandsons and further generation may also reap its benefits. Whenever one sees Acharya of religion, he should bow to him in respect, he should honour him. Accepting him as a symbol of welfare, auspicious and godlike and epitome of knowledge, he should serve him. He should offer him food, liquids, sweets and fragrant material. He should also request him to accept seat, board, * bed, straw bedding." Keshi Kumar Shraman then said--"O Pradeshi ! (It is strange that) fully knowing the honour to be shown toward Acharya of religion, you have been dealing with me, so far in a different rude and insolent manner. You are getting ready to go back to Seyaviya town without seeking pardon for such an insolent behaviour ?" p100. ag u A Yew Teen 41440 Tai turit evaM khalu bhaMte ! mama eyArUve ajjhathie jAva samuppajjitthA-evaM khalu ahaM devANuppiyANaM vAmaM vAmeNaM jAva vaTTie, taM seyaM khalu me kallaM pAuppabhAyAe rayaNIe rAyapaseNiyasUtra Rai-paseniya Sutra ( 388 )

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* phulluppalakamalakomalummiliyammi ahApaMDure pabhAe rattAsoga-kiMsuyasuyamuhaguMjaddharAgasarise kamalAgaranaliNisaMDabohae uTThiyammi sUre sahassarassimmi diNayare teyasA jalaMte aMteurapariyAlasaddhiM saMparivuDassa devANuppie vaMdittae namaMsittae etamaTuM bhujo bhuJjo sammaM viNaeNaM khAmittae-tti kaTu jAmeva disi pAutbhUe tAmeva disiM pddige| tae NaM se paesI rAyA kallaM pAuppabhAyAe rayaNIe jAva teyasA jalaMte hadvatuTTha jAva hiyae jaheva kUNie taheva niggacchai aMteurapariyAlasaddhiM saMparibuDe paMcaviheNaM abhigameNaM vaMdai namasai eyamaTuM bhujo bhujo sammaM viNaeNaM khaamei| 270. kezIkumAra zramaNa ke isa saMketa ko sunakara, samajhakara pradezI rAjA ne nivedana kiyA ___"he bhadanta ! ApakA kathana yogya hai, kintu merA isa prakAra kA Antarika vicArasaMkalpa aura bhAvanA hai ki abhI taka Apa devAnupriya ke prati maiMne jo pratikUla, apriya aura viparIta vyavahAra kiyA hai, usake lie Ane vAle kala, rAta bIta jAne para, jaba utpala * aura kamala Adi vikasita ho jAyeMge, prabhAtakAlIna zveta-lAla prabhA bikhregii| rakta ra azoka, palAzapuSpa, tote kI coca aura guMjAphala ke Adhe bhAga jaise lAla (aruNa AbhA lie) sarovara meM sthita kamalinI ko vikasita karane vAlA tejayukta jAjvalyamAna ra sahasra-razmi dinakara (sUrya) kA prakAza hogA taba mai apane antaHpura-parivAra sahita Apa devAnupriya kI vandanA-namaskAra karane aura avamAnanA rUpa apane aparAdha kI bArambAra - vinayapUrvaka kSamApanA ke lie sevA meM upasthita houuNgaa|" aisA nivedana kara vaha pradezI rAjA jisa ora se AyA thA usI ora lauTa gyaa| apanI nagarI ko calA gyaa| * dUsare dina rAtri bItane para, prabhAta ho jAne para jAjvalyamAna teja sahita dinakara ke udita hone para pradezI rAjA hRSTa-tuSTa vikasita hRdaya hotA huA koNika rAjA kI taraha (samArohapUrvaka) darzana karane niklaa| usane antaHpura-parivAra Adi ke sAtha pA~ca prakAra ke abhigamapUrvaka vandana-namaskAra kiyA aura yathAvidhi vinayapUrvaka apane pratikUla AcaraNa ke lie bArambAra kSamA yAcanA kii| 270. Listening to this direction of Keshi Kumar Shraman and properly understanding it, king Pradeshi requested___"Reverend Sir ! Whatever you have said is true, but my inner feeling and thought is that whatever opposite, undesirable, * kezIkumAra zramaNa aura pradezI rAjA (389) Kesh Kumar Shraman and King Pradeshi *

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condemnible behaviour 1 had adopted towards you so far, for that I * should on the following day early in the morning when utpal and lotus bloom, when sunshine of the rising sun appears, when there that shall be brightness of the sun spreading thousands of its rays causing blooming of lotus flowers in the lake (making it red with aura) that appear red like crimson Ashok, Palash flowers beak of a parrot and the middle portion of gunja flowers, I should come to you with my entire family in order to bow to you, honour you and to humbly seek pardon from you for my great sin of insulting you." Saying so, king Pradeshi went in the direction from which he had come. He went to his town. After the night passed on the following day, when the sun brightened, in a very joyous mood king Pradeshi came out like king Kaunik to have the darshan (of Keshi Kumar Shraman). He and the work members of his family, observing five types of restrains, bowed to Keshi Kumar Shraman, honoured him and humbly sought pardon for his rude and undesirable behaviour again and again in the prescribed manner. vivecana-isa sUtra me pradezI rAjA ke kezIkumAra zramaNa kI dharmadezanA sunane ke lie parivAra va senA sahita jAne kA ullekha hai| isakA vistRta varNana jAnane ke lie koNika rAjA ke bhagavAna mahAvIra kI dharmasabhA me jAnane kA varNana paDhane kI sUcanA hai| aupapAtikasUtra me koNika rAjA kI darzana-yAtrA kA * bahuta hI vistRta rocaka varNana hai| isakA sAra yaha hai* campAnagarI meM bhagavAna mahAvIra ke Agamana kA savAda sunakara koNika rAjA atyanta harSita hotA * hai| campAnagarI ko dulhana kI taraha sajAne-sa~vArane kA Adeza detA hai aura senAnAyaka ko darzana-yAtrA me jAne ke lie senA, hAthI Adi taiyAra karane kI AjJA detA hai| svaya snAna Adi karake parivAra sahita taiyAra hokara paTTahastI para ArUDha hotA hai, rAniyA~ Adi parivAra susajjita ratho me baiThatA hai| isa yAtrA meM sabase Age aSTa magala sthApita karake rakhe jAte hai| inake pIche magala-kalaza, jhAriyA~, chatra, caeNvara, dhvajA calatI hai| susajjita eka sau ATha ghoDo para suzikSita ghuDasavAra, unake pIche eka sau ATha vizAlakAya hAthI, phira chatrayukta eka sau ATha ratha, hAtho me aneka prakAra ke zastra dhAraNa kiye hajAro paidala sainik| isa prakAra caturaginI senA ke sAtha unake pIche abhiSeka hastI para koNika rAjA ra * ArUDha hotA hai| koNika ke hAthI ke Age ghaDasavAra donoM bAjao me hAthiyoM para sasajjita sainika aura * pIche aneka saikaDo ratha cala rahe hai| unake pIche matrI, nagara-rakSaka, rAjya-adhikArI, zreSThI, sArthavAha tathA nagarajana calate hai| paTaha-madaga. bherI Adi vAdya bajAte hae vaadk| isa prakAra hajAro logo ke 2 sAtha atyanta ullAsa-utsAhapUrvaka koNika rAjA campAnagarI ke madhya me hokara bhagavAna mahAvIra kI 2 vandanA karane pUrNabhadra caitya kI ora jAtA hai| rAyapaseNiyasUtra (390) Rar-paseniya Sutra

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yadyapi koNika kA vaibhava bahuta vizAla thaa| parantu pradezI rAjA bhI apane vizAla vaibhava va senA, for parivAra ke sAtha usI prakAra hajAro nAgariko ko sAtha lekara kezIkumAra zramaNa kI vandanA karane mRgavana udyAna me AtA hai| paoNca abhigamo ke nAma pahale batAye jA cuke hai, ve isa prakAra hai(9) afar gout (909, yn sifa) 77 MI (2) acitta dravyo (vastra, AbhUSaNa Adi) pAsa meM rakhanA/vyavasthita krnaa| (3) geh mitean (SUET) 01 JTTTH TATI (4) guru para dRSTi paDate hI dono hAtha joddnaa| (4) 49 05 TS Elaboration In this aphorism, there is a mention of the departure of king Pradeshi with his family and the army to listen the spiritual discourse of Keshi Kumar Shraman. For detailed study, it is mentioned that one should see the detailed description of king Kaunik going to Bhagavan Mahavir to listen the spiritual discourse. In Aup-patik Sutra, there is a detailed interesting account of the journey of king Kaunik to have darshan of Bhagavan Mahavir. In brief it is as under King Kaunik felt very happy to learn about the arrival of Bhagavan Mahavir in Champa city. He ordered that Champa should be decorated like a bride. He asked the army chief to prepare army, elephants and others for going to Mahavir in a convoy. He took his bath and got ready with members of his family. He sat on the royal elephant and the queens and family members sat in chariots. In this journey, the eight auspicious symbols are kept ahead of all. Thereafter there are auspicious pitchers, the water pots, the umbrella, the chawari, the flags in respective order. Well trained horsemen are on 108 properly decorated horses, followed by 108 elephants, 108 chariots with umbrellas and thousands soldiers on foot fully armed. Thus with four army wings going ahead, king Kaunik was on the elephant of coronation. Horsemen were ahead of king Kaunik, armed soldiers riding the elephants were on his two sides and behind him were moving hundreds of chariots. Thereafter were the ministers, city guards, government officials, noblemen, traders and citizens. Musicians were beating the drum, playing the flute and other musical instruments. Thus thousands of people in a procession and in a fit of extreme joy were passing through Champa city to Purnabhadra temple for paying their respects to Bhagavan Mahavir along with king Kaunik. kezIkumAra zramaNa aura pradezI rAjA (391) Keshi Kumar Shraman and King Pradeshi

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9 Although prosperity of king Kaunik was very great, king Pradeshi * also goes with his wealth, army, family and thousands of residents (of * Seyaviya) to Mrigavan garden to bow to Keshi Kumar Shraman and to honour him The names of five abhigam (restraints, rules) have already been mentioned. They are as under (1) To discard living substance (flower, betel leaf). (2) To keep non-living things with them properly (clothes, ornaments and suchlike). (3) To cover upper part of the body with a cloth (Uttarasan). (4) To fold the hands immediately on seeing the Master. MET (5) To concentrate the mind on the Master. 271. tae NaM kesI kumArasamaNe paesissa raNNo sUriyakaMtappamuhANaM devINaM tIse ya OM mahati mahAliyAe mahaccaparisAe jAva dhamma prikhei| tae NaM se paesI rAyA dhammaM socA nisamma uTThAe uTheti, kesikumArasamaNaM vaMdai namasai jeNeva seyaviyA nagarI teNeva pahArettha gmnnaae| 271. dharmasabhA meM apane-apane sthAna para baiTha jAne ke pazcAt kezIkumAra zramaNa ne pradezI rAjA, sUryakAntA Adi rAniyoM aura usa ati vizAla pariSad ko dharmakathA sunaaii| ___ dharmadezanA sunakara pradezI rAjA apane Asana se uThA evaM kezIkumAra zramaNa ko OM vaMdana-namaskAra kiyaa| vaMdana-namaskAra karake seyaviyA nagarI kI ora calane ke lie udyata huaa| 271. Keshi Kumar Shraman gave a religious discourse to king Pradeshi, queen Suryakanta, other queens and the large gathering after they had properly taken their seats in the religious assembly. After listening the religious discourse king Pradeshi got up from his seat, and bowed and honoured Keshi Kumar Shraman. Thereafter, he got ready to go back to Seyaviya town. kezIkumAra zramaNa kA udbodhana ___272. (ka) tae NaM kesI kumArasamaNe paesirAyaM evaM vayAsI rAyapaseNiyasUtra (392) Rai-paseniya Sutra

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/ mA NaM tumaM paesI ! puTviM ramaNijje bhavittA pacchA aramaNijje bhavajAsi, jahA se vaNasaMDe i vA, NaTTasAlA i vA ikkhuvADae i vA, khalavADae i vaa| kahaM NaM bhaMte ! 272. (ka) pradezI rAjA ko seyaviyA nagarI kI ora calane ke lie udyata dekhakara kezIkumAra zramaNa ne pradezI rAjA ko sabodhita kara kahA__"rAjan ! jisa prakAra vanakhaNDa, nATyazAlA, ikSuvADa (ganne kA kheta) athavA khalavADa ra (khalihAna) pUrva meM ramaNIya hokara pazcAt aramaNIya (azobhanIya) ho jAte haiM, usa prakAra tuma pahale ramaNIya (lokapriya) hokara bAda me aramaNIya mata ho jaanaa|" " pradezI ne pUchA- "bhadanta ! vanakhaMDa Adi pUrva me ramaNIya (manorama, sundara) hokara bAda " meM aramaNIya kaise ho jAte hai ? ApakA kyA abhiprAya hai? WARNING OF KESHI KUMAR SHRAMAN 272. (a) Finding that king Pradeshi is getting ready to go back to Seyaviya town, Keshi Kumar Shraman told him ___ "O King ! A forest-region, a theatre, a sugarcane field or a thrashing place looks bright initially but later on to gives a despiring (lonely) look. You are loveable (liked by the people popular) now. Be cautious that you may not become unpopular later." Pradeshi asked--"Reverend Sir ! Forest-region and others are beautiful and pl al and pleasant in the beginning but later on how do they become ugly ? What is your message with this example ?" (kha) vaNasaMDe pattie puSphie phalie hariyagarerijjamANe sirIe atIva atIva * uvasobhemANe ciTThai, tayA NaM vaNasaMDe ramaNijje bhvti| jayA NaM vaNasaMDe no pattie, no puSphie, no phalie, no hariyagarerijjamANe, no sirIe aIva uvasobhemANe ciTThai tayA Na junne jhaDe parisaDiya paMDupatte sukkarukkhe iva milAyamANe ciTThai tayA NaM vaNe no ramaNi bhvti| a (kha) kezIkumAra zramaNa ne kahA-"pradezI ! vanakhaDa (udyAna) jaba taka hare-bhare pattoM, puSyo, phalo se sampanna aura suhAvanI saghana chAyA eva hariyAlI se yukta hotA hai taba taka * apanI zobhA se suzobhita hotA huA ramaNIya lagatA hai| use dekhakara sabakA mana prasanna hotA 6 hai| lekina vahI vanakhaDa jaba patto, phUloM, phaloM aura hariyAlI se rahita ho jAtA hai taba harA-bharA, dedIpyamAna na hokara kurUpa, bhayAvanA dikhane lagatA hai| sUkhe vRkSo kI chAla-patte kezIkumAra zramaNa aura pradezI rAjA (393) Keshi Kumar Shraman and King Pradeshi 16 Yonvoyoy AC Nool IT *

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Adi ke jIrNa-zIrNa ho jAne, jhara jAne, sar3a jAne, pIle aura mlAna ho jAne se usakI zobhA samApta ho jAtI hai aura vaha ramaNIya nahIM rahatA hai| (b) Keshi Kumar Shraman said--"Pradeshi ! The forest-region, the garden looks grand and pleasant when it is full of green leaves, blooming flowers, fruit and thick shade, when it is full of greenery. But when it is without leaves, flowers, fruit and green vegetation then it is not longer green or shining. It looks ugly and dreadful. Its grandeur comes to an end when the bark of the dry trees and their leaves become yellow, rotten, ugly and fall down. It no longer looks pleasant and worth enjoying. (ga) jayA NaM NaTTasAlA vi gijjai vAijjai nacinnai hasijai ramijai tayA NaM NaTTasAlA ramaNijjA bhavai, jayA NaM naTTasAlA No gijai jAva No ramijai tayA NaM NaTTasAlA - aramaNijjA bhvti| (ga) isI prakAra nATyazAlA meM bhI jaba taka gIta gAye jA rahe haiM, bAje bajate rahate haiM, nRtya hote rahate haiM, logoM ke hAsya kI dhvaniyA~ vyApta rahatI haiM aura vividha prakAra kI krIr3AyeM hotI rahatI haiM taba taka nRtyazAlA ramaNIya-suhAvanI lagatI hai| kintu jaba usI nRtyazAlA 9 meM gIta nahIM gAye jA rahe hoM, krIDAyeM nahIM ho rahI hoM, janazUnya ho gaI ho, taba vahI nRtyazAlA asuhAvanI aura DarAvanI lagatI hai| ___(c) Similarly when the songs are being sung, the music is being played, dances are being performed, the bubbles of laughter are spreading all over and various types of games and sports are in progress, that dramatic hall looks pleasant and worthy of enjoyment. But when there is no longer any music, there are no * sports and it is without spectators, then the theatre (the dancing hall) presents an ugly look. It appears dreadful. (gha) jayA NaM ikkhuvADe chijjai bhijai sijai piJjai dijai tayA NaM ikkhuvADe ramaNije bhavai, jayA NaM ikkhuvADe No chinnai jAva tayA ikkhuvADe aramaNigne bhvi| (gha) jaba taka ikSuvADa-(Ikha ke kheta) meM Ikha kaTatI hoM, TUTatI hoM, perI jAtI hoM, OM Ate-jAte loga usakA rasa pIte hoM, koI ikSu lete-dete hoM, taba taka vaha ikSuvADa bahuta suhAvanA aura ramaNIya lagatA hai| kintu jaba usI ikSuvADa meM Ikha na kaTatI hoM, logoM kA AvAgamana nahIM hotA ho, taba vahI mana ko aramaNIya-apriya, aniSTakara lagane lagatA hai| * rAyapaseNiyasUtra (394) Rar-paseniya Sutra

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THIM -in sakhA udyAna RA IMa P lewala a. lA ofesta R ASHO phasala kATane ke samaya SWAMIN dhAna rohita khAlA khata

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citra paricaya- 19 ramaNIya-aramaNIya dRzya 1 - udyAna kA udAharaNa praznottara karake pradezI rAjA seyaviyA nagarI kI tarapha jAne lagA to kezIkumAra zramaNa ne kahA- "rAjan / jisa prakAra harA-bharA phala-phUla chAyAyukta udyAna dekhakara pakSI Adi kA mana prasanna hotA hai, kintu sUkha jAne para vahI udyAna bhayAvanA, sunasAna, aramaNIya dIkhane lagatA hai|" | Illustration No. 19 dRzya 2 - nRtyazAlA kA udAharaNa "jisa prakAra nRtyazAlA meM saMgIta, nRtya, hAsya ke vAtAvaraNa se vahA~ kA dRzya suhAvanA, manohArI lagatA hai, kintu vahI nRtyazAlA janazUnya ho jAne para asuhAvanI DarAvanI lagatI hai|" dRzya 3 - ikSu kheta kA udAharaNa "jisa prakAra kheta meM Ikha kaTatI ho, perI jAtI ho, Ate-jAte loga rasa pIte ho, ikSu khAte ho taba vahA~ kA dRzya ramaNIya lagatA hai, kintu kheta kaTa jAne ke bAda to vahA~ kevala pazu carate dikhAI dete hai, taba vaha baDA apriya lagatA hai|" dRzya 4 - khalihAna kA udAharaNa kheta "kheta me phasala kaTane ke samaya jagaha-jagaha dhAna kI DheriyA~ lagI rahatI hai' logo kA AvAgamana banA rahatA hai, vaha bahuta hI ramaNIya pratIta hotA hai, kintu jaba dhAna uThA liyA jAtA hai taba vahI kheta khAlI, sunasAna se dIkhate hai| usI prakAra tuma apanI vartamAna ramaNIyatA khokara aramaNIya mata ho jaanaa|" -sUtra 272, pRSTha 392-395 ATTRACTION AND REPULSION SCENE1-EXAMPLE OF A GARDEN After the dialogue, when king Pradeshi was leaving for Seyaviya city, Keshi Kumar Shraman said "O King' Birds and other things are happy to look at a lush green garden loaded with fruits and flowers and having plenty of shade But when the same garden becomes dry and barren it looks oppressive, forlorn and repulsive * SCENE 2-EXAMPLE OF AN AUDITORIUM "An auditorium looks pleasant and attractive with an atmosphere enriched by music and dance But when abandoned by people the same dance hall appears to be fearsome and unpleasant" SCENE 3-EXAMPLE OF A SUGAR-CANE FARM "A sugar-cane farm lush with its crop looks attractive during the activities of harvesting, extracting juice and visitors chewing sugar-cane and drinking juice However, it looks repulsive after the harvesting is complete and only cattle graze there" SCENE 4-EXAMPLE OF A BARN "During the harvesting season there are heaps of grain all around a barn People continue to frequent the barn and the farm appears very attractive However, once the stock of grains is moved the farm and barn look empty and desolate Keeping this in view ensure that you do not loose your present attraction and turn repulsive" -Sutra 272, pp 392395

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(d) When the sugarcane crop is being harvested, it is being en crushed, the passers by enjoy its juice, the people are exchanging sugarcane, the sugarcane field looks very beautiful and pleasant. * But when the crop is not being harvested, the people are not passing by that side, then it is no longer pleasant, enjoyable and a auspicious. (Ga) jayA NaM khalavADe ucchubbhai uDuijai malaijai muNijai khannai pijai dinnai tayA khalavADe ramaNijje bhavati jayA NaM khalavADe no ucchubbhai jAva aramaNijje bhvti| __se teNaTTeNaM paesI ! evaM vucai mA NaM tume paesI ! pubbiM ramaNijje bhavittA pacchA * aramaNijje bhavijAsi jahA vaNasaMDe i vaa| (Ga) jaba taka kheta ke khalavADa-(khalihAna) meM dhAnya ke Dhera lage rahate haiM, dhAna kI al uDAvanI hotI rahatI hai, dhAnya kA mardana (daoNya) hotA rahatA hai, tila Adi pere jAte haiM, loga * eka sAtha milakara khAte-pIte, eka-dUsare ko dete-lete haiM, taba taka vaha ramaNIya pratIta * hotA hai| lekina jaba dhAnya ke Dhera Adi nahIM rahate, kisI kA AvAgamana nahIM rahatA, sUnA * kheta-khalihAna aramaNIya dikhane lagatA hai| " isIlie maiMne yaha kahA hai ki he pradezI ! ina vanakhaMDa, nATyazAlA Adi kI bhA~ti tuma bhI pahale ramaNIya hokara bAda meM aramaNIya mata ho jaanaa|" ___(e) When there are heaps of harvested crop in the field, the crop is being threshed, the til crop is being crushed, the people eat jointly and give similarly to others also, it looks very charming. But when there are no longer heaps of corn, nobody comes to that side. The barren field op threshing ground looks unpleasant. 0 Pradeshi, due to these facts, I had cautioned you that like the already mentioned forest-region, the dancing hall and others you, who look grand and loveable now may not become unpleasant * later." vivecana-prastuta sUtra me AyA yaha vAkya-'mA NaM tumaM paesI ! puvviM ramaNijje bhavittA pacchA aramaNijje * bhavajAsi' bahuta hI arthapUrNa hai| TIkAkAra AcArya ne isakA Azaya spaSTa karate hue likhA hai-kezIkumAra zramaNa pradezI rAjA se yaha kahanA cAhate hai ki rAjan ! jaba tuma dharmAnugAmI nahI the, taba dUsare logo ko dAna dete the, bahuta logo kA bharaNa-poSaNa karate the, to dAna dene kI aura loka-sagraha kI yaha prathA * aba bhI cAlU rakhanA, banda mata kara denaa| arthAt pUrva meM jaise ramaNIya-dAnI the usI taraha aba bhI ramaNIya-dAnI bane rahanA kintu aramaNIya na honaa| yadi aramaNIya ho jAoge-saMkucita dRSTi vAle ho * kezIkumAra zramaNa aura pradezI rAjA (395) Keshi Kumar Shraman and King Pradeshi **

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VaonVOODOOVOORVAO e hd jAoge to isase nirgrantha pravacana kI apakIrti phailegI, dharma kA apavAda hogA aura hame antarAya karma kA badha hogaa| kyoki manuSya kA yaha svabhAva jaisA bana gayA hai ki use jaba kucha nahI karanA hotA hai, to apanI kajUsI, AlasIpana aura akSamatA ko chipAne ke lie dharma kA va dharmaguruo ke upadeza kA bahAnA lene lagatA hai| jaba kisI kI sahAyatA karane kA mana nahI hotA hai taba kahatA hai-saba apane-apane karmoM kA ra phala bhogeNge| mai kyA kara sakatA huuN| athavA apanI ajJatA va akarmaNyatA ko chipAne ke lie kahatA hai* "Akhira to jo honahAra hai vahI hogaa| koI kisI ko bacA nahIM sakatA, aadi|" lagatA hai kezIkumAra zramaNa bhI isI prakAra kI AzaMkA ko dUra karane ke lie rAjA pradezI se kahate ra hai-"tuma aba vratadhArI zrAvaka bana gaye ho, to sarva sAmAnya janatA kI bhalAI, dAna, sevA Adi lokopakAra ke kAmo se virakta mata ho jaanaa| AtmadhyAna ke bahAne puNya kAryo kI upekSA mata krnaa|" yaha eka bahuta gambhIra aura uddezyapUrNa saketa hai| pradezI jaisA catura, nItijJa rAjA isa saketa ko samajha jAtA hai| Elaboration--In the present aphorism, the sentence, 'Maa nam tumam Payesi ! Puvvim ramanijje bhavitta pachha aramanijje bhavajjaasi' is very important. The commentator Acharya, clarifying the underlying idea has mentioned-Keshi Kumar Shraman wants to convey to king Pradeshi--"O king ! When you were not religious, you were giving in charity. You were looking after many people. You maintain that practice of giving in charity and looking after the needy people. Please do not stop this practice. Just as you were earlier famous for charity and looking after public needs (Lok Sangrah), you continue it. Don't by shy in these matters. In case you become unpopular in these matters, you hesitate in such affairs, it will bring bad name to the word of the detached (Nirgranth Pravachan) The religion shall be defamed and I shall collect Ke obstructive karma. It has become the habit of the man that when he does not want to do, he, in order to cover up his miserly nature, his lethargy and his poor capacity, he makes the pretext of religion and religious teachers. When he does not want to help anyone, he says that everyone reaps the fruit of his Karma and therefore what he can do. In other words in order to conceal his lack of true knowledge and nature of not doing (not helping) says"Whatever is in fate, it is going to happen accordingly and that nobody can save anyone from it." It appear that Keshi Kumar Shraman also in order to remove such doubt (fear) tells king Pradeshi-"You have now become a Shravak observing the vows of a householder. You do not withdraw yourself from SARKAKAKin rAyapaseNiyasUtra (396) ___Rar-pasenuya Sutra

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the project of welfare of the common man, the charity, the service and assistance to the public Do not ignore works of goodwill on the pretext of self-meditation." It is a very important and mind-searching direction. King Pradeshi is intelligent and knows moral and ethical values. He understands this direction. rAjA pradezI kA AzvAsana 273. tae NaM paesI kesi kumArasamaNaM evaM kyAsI__No khalu bhaMte ! ahaM puv iramaNigne bhavittA pacchA aramaNijje bhavissAmi, jahA vaNasaMDe i vA jAva khalavADe i vaa| __ahaM NaM seyaviyAnagarIpamukkhAiM satagAmasahassAiM cattAri bhAge karissAmi, egaM bhAgaM balavAhaNassa dalaissAmi, egaM bhAgaM kuTThAgAre chubhissAmi, egaM bhAgaM aMteurassa dalaissAmi, egeNaM bhAgeNaM mahatimahalayaM kUDAgArasAlaM karissAmi, tattha NaM bahUhiM purisehiM dinabhaibhattaveyaNehiM viulaM asaNaM-pANaM-khAimaM-sAimaM uvakkhaDAvettA bahUNaM samaNa-mAhaNa-bhikkhuyANaM-paMthiyapahiyANaM paribhAemANe bahUhiM sIlavyaya-guNavayaveramaNa-pacakkhANaposahovavAsassa jAva viharissAmi tti kaTu jAmeva disiM pAunbhUe tAmeva tisiM pddige| 273. taba pradezI rAjA ne kezIkumAra zramaNa se isa prakAra nivedana kiyA_ "bhadanta ! Apa dvArA diye gaye vanakhaMDa Adi ke udAharaNoM se mai samajha gayA hU~ ki pahale ramaNIya hokara bAda meM aramaNIya nahIM bnuuNgaa| ____ maiMne yaha vicAra kiyA hai ki apanI seyaviyA nagarI Adi sAta hajAra grAmo ke cAra vibhAga kruuNgaa| unameM se eka bhAga rAjya kI suvyavasthA aura saMrakSaNa ke lie bala (senA) aura vAhana ke lie dUMgA, eka bhAga prajA ke pAlana hetu bhaNDAra meM anna Adi ke saMgrahaNa hetu rakhUgA, eka bhAga aMtaHpura (parivAra) ke nirvAha aura rakSA ke lie dUMgA aura zeSa eka bhAga se eka vizAla kUTAkArazAlA (surakSita bhaNDAra-ghara) banavAU~gA aura phira bahuta se puruSoM ko bhojana, vetana aura dainika majadUrI para niyukta kara pratidina vipula mAtrA meM azana, pAna, khAdima, svAdima rUpa cAroM prakAra kA AhAra banavAkara aneka zramaNoM, mAhanoM, bhikSuoM, yAtriyoM aura pathikoM ko dete hue eva zIlavrata, guNavrata, viramaNa, pratyAkhyAna, pauSadhopavAsa Adi yAvat (tapa dvArA AtmA ko bhAvita karate hue) apanA jIvana-yApana kruuNgaa|" aisA kahakara vaha pradezI rAjA apane nagara kI tarapha calA gyaa| kezIkumAra zramaNa aura pradezI rAjA (397) Keshu Kumar Shraman and King Pradeshi (OANAORVAORMATMA YOUGBYGORYKOnVORTAOntan D R "*" * "* "* ajaga CHECK **

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sekeske.sakse. ASSURANCE OF KING PRADESHI 273. Then king Pradeshi requested "Sir ! I have understood from the examples of forest-region and others mentioned by you that I should not become unpopular later, after being popular and loveable earlier. I have decided that I shall make four divisions of (income from) seven thousand villages of my kingdom. I shall give the responsibility of one part to the army and the transport, one part shall be for collection and storage of food grains for the people, one part shall be for the family and internal security, and with the remaining one part I shall get constructed a huge well-secured store. I shall appoint many persons on food packets, on monthly salary and on daily wages. I shall get prepared foods, liquid, sweets and fragrant substance in large quantity and shall spend my life offering the said four types of Aahar (articles of consumption) to Shramans, Maahans, mendicants, travellers and passess-by and following my vows-substantive vows (Sheel Vrat) and qualitative vows (Guna Vrat), restraints, austerities and Paushadhopavas (remaining for 24 hours at one place observing religious practices without taking any food or water)." After saying so, king Pradeshi left for his town. rAjA pradezI dvArA kRta rAjya-vyavasthA 274. tae NaM se paesI rAyA kallaM jAva teyasA jalaMte seyaviyApAmokkhAiM satta gAmasahassAI cattAri bhAe krei| egaM bhAgaM balavAhaNassa dalai jAva kUDAgArasAlaM karei, tattha NaM bahUhiM purisehiM jAva uvakkhaDAvettA bahUNaM samaNa jAva paribhAemANe vihri|| __ 274. tatpazcAt pradezI rAjA ne agale dina prAtaHkAla tejayukta sUrya ke prakAzita hone para seyaviyA nagarI Adi sAta hajAra grAmoM ke cAra bhAga kiye arthAt una grAmoM se hone * vAlI Aya ke cAra vibhAga kara diye| unameM se eka bhAga bala-vAhanoM ko diyA yAvat / * uparokta kathana ke anusAra kUTAkArazAlA kA nirmANa kraayaa| vahA~ bahuta se vaitanika puruSoM at ko niyukta kara bhojana banavAkara bahuta se Ane-jAne vAle zramaNoM, brAhmaNoM, pathikoM ko dAna dete hue apanA samaya dharmadhyAna meM bitAne lgaa| ke.esakse .ske.ske.ke.sakse.ke.ke.skeske.ske.skskskskskskssekesakeske.skssakskscotal rAyapaseNiyasUtra (398) ___Rar-paseniya Sutra

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* * * * NEW ADMINISTRATION ANNOUNCED BY KING PRADESHI 274. Thereafter, king Pradeshi, on the following day in the morning, after sunrise made four divisions of the income of seven thousand villages of his state including that of his capital Seyaviya. He handed over (earmarked) one part to the army and transport and as above said got a big store constructed. He appointed many person there on salary (in cash or in kind). He got prepared food in large quantity and started distributing it to Shramans, brahmins and travellers in charity. He started spending his remaining time in religious study and meditation. 275. tae NaM se paesI rAyA samaNovAsae jAe abhigayajIvAjIve. vihri|| jappabhiI ca NaM paesI rAyA samaNovAsae jAe tappabhiI ca NaM rajjaM ca, raTuM ca, balaM ca, vAhaNaM ca, koTThAgAraM ca, puraM ca, aMteuraM ca, jaNavayaM ca, aNaADhAyamANe yAvi vihri| 275. pradezI rAjA aba zramaNopAsaka ho gayA aura jIva-ajIva Adi tattvo kA jJAtA hokara dhArmika AcAra-vicArapUrvaka jIvana vyatIta karane lgaa| jaba se vaha pradezI rAjA zramaNopAsaka huA taba se rAjya, rASTra, bala, vAhana, koThAra, pura, antaHpura aura janapada ke prati anurAga va Asakti se rahita hokara udAsInabhAvapUrvaka rahane lgaa| 275. Now king Pradeshi became a Shramanopasak. He gained knowledge of soul and matter, the distinction between the two. He started spending his life according to religious code of conduct. Since the time king Pradeshi became a Shramanopasak, he became non-attached and observed a state of equanimity towards administrative matters, the state, the army, the transport, the treasure, the palace (the home affairs) and the people. sUryakAntA rAnI kA SaDyaMtra __ 276. (ka) tae NaM tIse sUriyakaMtAe devIe imeyArUve ajjhathie jAva samuppajjitthA-jappabhiiM ca NaM paesI rAyA samaNovAsae jAe tappabhiI ca NaM rajjaM ca raTuM ca jAva aMteuraM ca mamaM jaNavayaM ca aNADhAyamANe vihri| taM seyaM khalu me paesiM rAyaM kezIkumAra zramaNa aura pradezI rAjA (399) Keshu Kumar Shraman and King Pradesha *

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hea satyappaoeNa vA aggippaoeNa vA maMtappaogeNa vA visappaogeNa vA uddavettA sUriyakaMtaM kumAraM rajThavittA sayameva rajjasiriM kAremANIe pAlemANIe viharittae tti kaTTu | evaM saMpehei, saMpehittA sUriyakaMtaM kumAraM saddAvei, saddAvittA evaM vayAsI 276. (ka ) [ rAjA pradezI ko rAjya, parivAra aura apanI rAnI Adi ke prati udAsIna anurAgarahita dekhakara ] sUryakAntA rAnI ke mana meM yaha vicAra utpanna huA ki 'jaba se rAjA pradezI zramaNopAsaka huA hai, usI dina se rAjya, rASTra yAvat antapura (rAnI, putra, parivAra Adi) janapada aura mujhase vimukha ho gayA hai, virakta rahane lagA hai| ataH mujhe yahI ucita hai ki aba kisI zastra - prayoga, agni-prayoga, maMtra - prayoga athavA viSa - prayoga dvArA pradezI rAjA ko mArakara sUryakAntakumAra ko rAjya para AsIna karake arthAt rAjA banAkara svayaM rAjyalakSmI kA bhoga karatI huI, prajA kA pAlana karatI huI AnandapUrvaka rhuuN|' aisA usane vicAra kiyA / vicAra karake sUryakAntakumAra ko bulAyA aura bulAkara apanI manobhAvanA batAI CONSPIRACY OF QUEEN SURYAKANTA 276. (a) [Finding that king Pradeshi is non-attached towards administrative matters, the family, the queen and others] Queen Suryakana thought of a plan. She thought-'Since the time king Pradeshi has become a Shramanopasak, he has started ignoring the state, the administration and the family - the queen, the son, the people and me (queen Suryakanta). It is therefore, proper for me to kill him with a weapon, with fire, with some ominous mantra or with poison and to declare her son Suryakant as the king. Then she shall be able to enjoy regal pleasures and lead an ecstatic happy life properly looking after the people.' After thinking in this manner, she called her son Suryakant and disclosed her plan to him (kha) jappabhidaM ca NaM paesI rAyA samaNovAsae jAye tappabhidaM ca NaM rajjaM ca jAva aMteuraM ca NaM jaNavayaM ca mANussae ya kAmabhoge aNADhAyamANae viharai, taM seyaM khalu tava puttA ! esiM rAyaM keNai satthappaogeNa vA jAva uddavittA sayameva rajjasiriM kAremANe pAlemANe viharittae / rAyapaseNiyasUtra ( 400 ) For Private Personal Use Only Rai-paseniya Sutra

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tae NaM sUriyakaMte kumAre sUriyakatAe devIe evaM vutte samANe sUriyakaMtAe devIe / eyamaTU No ADhAi no pariyANAi, tusiNIe sNcitttthi| ra (kha) "he putra ! jaba se pradezI rAjA ne zramaNopAsakadharma svIkAra kara liyA hai, tabhI se rAjya yAvat antaHpura, janapada aura manuSya-jIvana sambandhI kAmabhogoM kI ora se udAsIna aura virakta rahane lage haiN| isalie putra ! tumheM yahI zreyaskara hai ki zastra-prayoga Adi kisI na kisI upAya se pradezI rAjA ko mArakara svaya rAjyalakSmI kA bhoga karo evaM prajA kA pAlana karate hue apanA jIvana bitaao|" sUryakAntA devI ke isa vicAra ko sunakara sUryakAntakumAra ne usakA bilakula Adara nahIM kiyA, usa para dhyAna nahIM diyA kintu zAnta aura mauna hI rhaa| (b) She said--"O Son ! Since the time king Pradeshi has become a Shramanopasak and accepted vows (of householder), he is indifferent and non-attached towards the affairs of the state upto family and the people. He is ignoring even sensual pleasures and enjoyments. So, O Son ! It is in your benefit that you kill king Pradeshi with some weapon or any other thing and enjoy kingship Mit yourself looking after the people." Hearing these thoughts from his mother Suryakanta, he did not pay any attention to it. He did not support it and remained silent. (ga) tae NaM tIse sUrikatAe devIe imeyArUve ajjhathie jAva samuppannitthA-mA NaM al sUriyakaMte kumAre paesissa rano imaM rahassabheyaM karissai tti kaTu paesissa raNNo chiddANi ya mammANi ya rahassANi ya vivarANi ya aMtarANi ya paDijAgaramANI paDijAgaramANI vihri| (ga) taba sUryakAntA rAnI ke hRdaya meM isa prakAra kA aura vikalpa (AzaMkA) utpanna huA ki 'kahIM aisA na ho ki sUryakAntakumAra pradezI rAjA ke sAmane mere isa gupta rahasya ko prakaTa kara de| aisA socakara sUryakAntA rAnI pradezI rAjA ko mArane ke lie usake doSa (asAvadhAnI) rUpa chidro ko, Antarika marmo ko, rahasyo (vyaktigata AcAra-vicAra) ko, * ekAnta nirjana sthAnoM ko aura ghAta karane ke lie anukUla avasara rUpa antaroM ko jAnane * kI tAka meM rahane lgii| (c) Then queen Suryakanta thought to herself as a doubt arose in her mind that 'Suryakant may not disclose her secret plan to - kezIkumAra zramaNa aura pradezI rAjA (401) Keshi Kumar Shraman and King Pradesh * * *.... .

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king Pradeshi.' With these intentions, queen Suryakanta started noticing carefully the mistakes of king Pradeshi, his careless activity any of his secrets, his solitary places (of stay) and the opportunity in order to kill him. asaNaM 277. tae NaM sUriyakaMtA devI annayA kayAi paesissa raNNo aMtaraM jANai, jAva khAimaM savvaM vattha - gaMdha - mallAlaMkAraM visappajogaM pauMjai / paesissa raNNo NhAyassa jAva pAyacchittassa suhAsaNavaragayassa taM visasaMjuttaM asaNaM vatthaM jAva alaMkAraM nisirei, ghAtai / taNaM tassa esissa raNo taM visasaMjuttaM asaNaM AhAremANassa sarIragaMmi veyaNA pAubbhUyA ujjalA vipulA pagADhA kakkasA kaDuyA pharusA niTTurA caMDA tivvA dukkhA duggA durahiyAsA pittajaraparigayasarIre dAhavakkaMtiyA vi vihara / 277. kisI eka dina yojanA ke anukUla avasara milane para sUryakAntA rAnI ne pradezI rAjA ko mArane ke lie azana, pAna Adi bhojana meM tathA zarIra para dhAraNa karane yogya sabhI vastroM meM, sU~ghane yogya sugaMdhita vastuoM me, puSpamAlAoM aura AbhUSaNoM meM viSa DAlakara unheM jaharIlA kara diyaa| jaba vaha pradezI rAjA snAna yAvat maMgala prAyazcitta karake bhojana karane ke lie zreSTha Asana para baiThA taba vaha viSa mizrita ghAtaka azana Adi rUpa AhAra parosA tathA viSamaya vastra pahanane ko diye tathA viSamaya alaMkAra pahanane ko diye jinase usane apane ko alakRta kara liyaa| vaha viSa mizrita AhAra khAne se pradezI rAjA ke zarIra meM tatkAla utkaTa, bhayaMkara, pracura, pragADha (gaharI bhItara taka ), karkaza ( sahane meM kaThina), kaTuka, paruSa - niSThura, raudra, duHkhada, vikaTa aura dussaha vedanA utpanna huI / viSama pittajvara se sAre zarIra me jalana aura tIvra dAha utpanna ho gaI / 277. One day, according to her plans, finding suitable occasion, queen Suryakanta added poison in food and liquids in order to kill king Pradeshi. She further poisoned all the clothes, the articles meant for his fragrance, the flower garlands and the ornaments meant for his use. When king Pradeshi, after taking his bath and wearing auspicious symbols took his royal seat, she served him the poisoned rAyaseNiyasUtra Rai-paseniya Sutra (402) For Private Personal Use Only

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viSAkta bhojamU. . . . Vol PARTY N hara aapaataa A Tamanna stra Adi HIRO kA FHUL IEVEMEMLA - khAdya padArtho me viSa - H TIMIRAMANANCier H A itti. VJA navotpanna sUryAbhadeva deva vimAna me upapAta New - . the R . BF samatAbhAva me ramaNa

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| citra paricaya-20 Illustration No. 20 viSAkta bhojana duSTa vRtti dhAraNa kiye rAnI sUryakAntA ne socA-'mere SaDyatra kA bhaDA phUTe isase pahale hI viSayakta bhojana dekara rAjA ko khatma kara denA caahie| yaha socakara usane pAraNe hetu rAjA ke lie bane bhojana me tIvra jahara milA diyaa| rAjA ke vastra, AbhUSaNa, mukuTa eva phUla mAlA me bhI tIvra jaharIlA padArtha milA diyaa| anajAna rAjA ne jaise hI bhojana grahaNa kiyA usake zarIra me tIvra vedanA aura dAha utpanna ho gyaa| usane samajha liyA-mujhe bhojana me jahara diyA gayA hai, kintu phira bhI kisI para dveSa nahI kiyA, zarIra kI mamatA se mukta rahakara samabhAvo me ramaNa karate hue parama zAntipUrvaka zarIra tyAgakara vaha saudharma devaloka kI puSpa-zayyA me utpanna huaa| vahA~ sUryAbhadeva bnaa| deva-deviyo ne navotpanna deva kA abhinandana kiyaa| -sUtra 277-278, pRSTha 402-405 POISONOUS FOOD With evil intent queen Suryakanta thought--'Lest my conspiracy gets exposed, I should kill the king by feeding him poisonous food, With these thoughts she mixed a deadly poison in the food cooked for the king's breakfast As soon as the ignorant king ate the food he suffered acute pain and burning sensation He understood that he has been poisoned In spite of this he had no feeling of aversion for anyone He abandoned all attachment for his body and dwelt in equanimous thoughts He abandoned his earthly body in extreme peace and reincarnated as Suryabh Dev in the flower bed in the Saudharm heaven The gods and goddesses greeted the newborn god -Sutras 277-278, pp 402-405

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food and gave him the poisoned clothes to wear and poisoned ornaments to put on. King Pradeshi wore those clothes and Me ornaments. ____Due to poisoned food, at once there appeared deep, unbearable, extreme, frightening, harsh, ferocious, cruel, increasing pain. Due to severe bilious fever, he felt burning and heat-producing sensation throughout in his body. rAjA pradezI kA saMlekhanAmaraNa ___278. tae NaM se paesI rAyA sUriyakaMtAe devIe attANaM saMpaladdhaM jANittA sUriyakaMtAe devIe maNasAvi appadussamANe jeNeva posahasAlA teNeva uvAgacchai, posahasAlaM pamajjai, uccArapAsavaNabhUmi paDilehei, danbhasaMthAragaM saMtharei, dabbhasaMthAragaM durUhai, puratthAbhimuhe saMpaliyaMkanisanne karayalapariggahiyaM sirasAvattaM aMjaliM matthae tti kaTu evaM vayAsI___namo'tthu NaM arahaMtANaM jAva sNpttaannN| namo'tthu NaM kesissa kumArasamaNassa mama dhammovadesagassa dhammAyariyassa, vaMdAmi NaM bhagavaMtaM tattha gayaM iha gae, pAsau me bhagavaM gae iha gayaM ti kaTu vaMdai nmsi| puTviM pi NaM mae kesissa kumArasamaNassa aMtie thUlapANAivAe paccakkhAe jAva pariggahe, taM iyANiM pi NaM tasseva bhagavato aMtie savvaM pANAivAyaM paccakkhAmi jAva pariggahaM, savvaM kohaM jAva micchAdasaNasallaM, akaraNijaM joyaM paccakkhAmi, savvaM asaNaM * caubihaM pi AhAraM jAvajjIvAe pnyckkhaami| jaMpi ya me sarIraM iTuM jAva phusaMtu tti evaM pi ya NaM carimehiM UsAsanissAsehi bosiraami| tti kaTu AloiyapaDikkaMte samAhipatte kAlamAse kAlaM kiccA sohamme kappe * sUriyAbhe vimANe uvavAyasabhAe jAva vnnnno| 278. pradezI rAjA ne sUryakAntA devI ke isa utpAta-(SaDyaMtra, dhokhe) ko turanta jAna liyaa| kintu phira bhI rAnI ke prati mana meM lezamAtra bhI dveSa-seSa nahIM aayaa| (apanI mRtyu / nikaTa jAnakara) atyanta zAntabhAva se jahA~ pauSadhazAlA thI, vahA~ aayaa| Akara pauSadhazAlA kI pramArjanA kii| uccAra-prasravaNa bhUmi kA pratilekhana kiyaa| phira darbha kA saMthArA bichAyA 2028090008090090090 NARASIYssaysREPREPREPREPREPOSPREP kezIkumAra zramaNa aura pradezI rAjA ( 403 ) Kesh Kumar Shraman and King Pradeshi *

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aura usa para AsIna huA / AsIna hokara pUrva dizA kI ora mukha karake paryaMkAsana (padmAsana) se baiThA, phira dono hAtha joDa AvarttapUrvaka mastaka para aMjali karake isa prakAra bolA " arihatoM yAvat siddhagati ko prApta bhagavantoM ko namaskAra ho / mere dharmAcArya aura dharmopadezaka kezIkumAra zramaNa ko namaskAra ho / yahA~ rahA huA mai vahA~ virAjamAna bhagavAna kI vandanA karatA huuN| vahA~ para virAjamAna ve bhagavAna yahA~ rahakara vandanA karate hue mujhe dekheM / pahale bhI maine kezIkumAra zramaNa ke samakSa sthUla prANAtipAta yAvat sthUla parigraha kA pratyAkhyAna kiyA hai| aba isa samaya bhI maiM unhIM bhagavantoM kI sAkSI se ( yAvajjIvana ke lie) sampUrNa prANAtipAta yAvat samasta parigraha, krodha yAvat mithyAdarzanazalya rUpa aThAraha pApasthAno kA pratyAkhyAna karatA hU~ / samasta akaraNIya pApa kAryoM evaM (azubha) mana-vacana-kAya yoga kA pratyAkhyAna karatA hU~ aura jIvana- paryaMta ke lie sabhI azana, pAna Adi cAroM prakAra ke AhAra kA bhI tyAga karatA hU~ / yadyapi Aja taka mujhe yaha zarIra priya rahA hai, maiMne yaha dhyAna rakhA hai ki isame koI roga Adi utpanna na hoM parantu aba antima zvAsocchvAsa (mRtyu) taka ke lie isa zarIra kA bhI parityAga karatA hU~ / " isa prakAra ke nizcaya ke sAtha punaH AlocanA aura pratikramaNa karake samAdhipUrvaka sthita huaa| kucha samaya pazcAt maraNa prApta hone para kAla karake saudharmakalpa ke sUryAbha vimAna kI upapAta sabhA me sUryAbhadeva ke rUpa meM utpanna huA / ityAdi pUrva meM kiyA gayA samasta varNana yahAeN jAnanA caahie| sUryAbhadeva kA yaha pUrvabhava bhagavAna mahAvIra ne gautama svAmI ko batAyA / SAMLEKHANA AND DEATH OF KING PRADESHI 278. King Pradeshi soon understood the foul play of queen Suryakanta. But even then he did not have in his mind even the slightest anger towards her. (Knowing that his death is very near) he came to the Paushadhshala (place for observing Paushadh and fasting) in an extremely quiet manner. He cleaned it carefully. He also properly inspected the place for call of nature. He then spread the straw bedding and sat on it facing east with legs crossed. He then folded his hands, placed them near the forehead and then moved them in a circle and said rAyapaseNiyasUtra (404) For Private Personal Use Only Rai-paseniya Sutra

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"I bow to Arihantas upto all those who have reached (the Siddha state) the liberated state. I bow to Keshi Kumar Shraman my master and guide in dharma staying here, I bow to the perfect souls existing in zone of liberated souls. Let the Bhagavan from there see me bowing to him from here. Earlier also I have taken the vow of discarding gross violence upto gross attachment from Keshi Kumar Shraman. Now again, remembering and feeling presence of him, I take vow of restraining from all violence (hurting the life-force of any person) upto all attachment, the eighteen sins namely anger upto wrong belief throughout my life. I restrain myself from all worthless acts in the category of sin and evil mind, word and deed for my entire lifeperiod. I also discard all the four types of food from now onwards till my death. Although I have loved my body uptil today, I have taken proper care to ensure that it does not get any disease, but from today I discard attachment of my body till my last breath." After deciding in this manner, he again made full and voluntary confession (Aalochana) and self-analysis and repentance for faults (Pratikraman) and then adopted a state of equanimity. After some 9 time he died and then he was re-born as Suryabh Dev in Upapat Sabha (chamber of birth) of Suryabh Viman in Saudharma kalp (the name of first heaven). The entire description earlier mentioned South (of Suryabh Viman) may be considered here. The earlier life of Suryabh Dev was thus narrated by Bhagavan Mahavir to Gautam Swami. * kezIkumAra zramaNa aura pradezI rAjA ( 405 ) Kesh Kumar Shraman and King Pradeshi

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(3) dRr3hapratijJakumAra (3) DRIDH PRATIJNA KUMAR sUryAbhadeva kA bhAvI janma __ 279. (ka) tae NaM se sUriyAbhe deve ahuNovavannae ceva samANe paMcavihAe pajjattIe pajjattibhAvaM gacchati, taM.-1. AhArapajattIe, 2. sarIrapajattIe, 3. iMdiyapajattIe, 4. ANa-pANapajjattIe, 5. bhaas-mnnpjjttiie| taM evaM khalu bho ! sUriyAbheNaM deveNaM divvA deviDDI divvA devajutI divve devANubhAve laddhe patte abhismnaage| sUriyAbhassa NaM bhaMte ! devassa kevatiyaM kAlaM ThitI paNNatA ? ___goyamA ! cattAri paliovamAI Thii pnnnnttaa| 279. (ka) (sUryAbha vimAna kI upapAta sabhA meM) tatkAla utpanna huA vaha OM sUryAbhadeva paoNca paryAptiyoM se pUrNa huaa| ve paryAptiyA~ isa prakAra haiM-(1) AhAraparyApti, 9 (2) zarIraparyApti, (3) indriyaparyApti, (4) zvAsocchvAsaparyApti, (5) bhaassaa-mnHpryaapti| (paryApti ke viSaya meM vizeSa varNana sUtra 186 ke vivecana meM dekheN|) ___"he gautama ! isa prakAra usa sUryAbhadeva ne yaha divya devaRddhi, divya devadhuti aura divya devAnubhAva-devaprabhAva upArjita kiyA hai, prApta kiyA hai aura adhigata-svAdhIna kiyA hai|" gautama ne pUchA- "bhadanta ! usa sUryAbhadeva kI AyuSya sthiti kitane kAla kI hai ?" / bhagavAna ne uttara diyA-"gautama / usakI AyuSya sthiti cAra palyopama kI hai|" THE NEXT LIFE OF SURYABH DEV 279. (a) The newly born Suryabh Dev completed five Paryapties (completion of energies). They are as under--(1) Aahar Paryapti (completion of initial stage), (2) Shareer Paryapti (completion of body), (3) Indriya Paryapti (development of sense-organs), (4) Shvasochhvas Paryapti (development of inhaling and exhaling of breath), (5) Bhasha-Manah Paryapti (development of skill of speaking and of mind). (For detailed description see aphorism 186.) rAyapaseNiyasUtra (406) Rai-paseniya Sutra

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* ___"O Gautam ! Thus Suryabh Dev got unique celestial wealth, unique godly brightness and unique heavenly influence." ___Gautam asked--"Bhagavan ! What is the total life-span of Suryabh Dev ?" ___Bhagavan Mahavir replied--"Gautam ! His life-span is four palyopam." (kha) se NaM sUriyAbhe deve tAo logAo AukkhaeNaM bhavakkhaeNaM ThiikkhaeNaM aNaMtaraM cayaM caittA kahiM gamihiti kahiM uvavajjihiti ? ___ goyamA ! mahAvidehe vAse jANi imANi kulANi bhavaMti, taM.-aDDAiM dittAI viulAI vicchiNNavipulabhavaNa-sayaNAsaNa-jANa-vAhaNAI bahudhaNa bahujAtarUva-rayayAI Aoga-paogasaMpauttAi vicchaDDiyapairabhattapANAiM bahudAsI-dAsa-go-mahisagavelagappabhUyAI bahujaNassa aparibhUyAI, tattha annayaresu kulesu puttattAe pccaaissi| (kha) gautama "bhagavan ! AyuSya aura bhavasthiti pUrNa hone evaM sthiti kSaya hone ke pazcAt vaha sUryAbhadeva usa devaloka se cyavana karake kahA~ jAyegA, kahA~ utpanna hogA?" / ____ bhagavAna-"gautama ! mahAvideha kSetra meM jo kula ADhya-dhana-dhAnya se samRddha haiM, dIpta prabhAvazAlI haiM, vipula-baDe kuTumba vAle bhare-pUre parivAra vAle haiM, bahuta se bhavanoM, OM zayyAoM, AsanoM aura yAnavAhanoM ke svAmI haiM, bahuta se dhana, sone-cA~dI ke adhipati haiM, OM arthopArjana ke vyApAra-vyavasAya meM lage hue haiM evaM jinake yahA~ se dIna-anAtha janoM ko pracura mAtrA meM bhojana-pAna prApta hai, jinake pAsa sevA karane ke lie bahuta se dAsa-dAsI rahate haiM, gAya, bhaiMsa, bher3a Adi aneka prakAra kA vipula pazudhana hai aura jinakA bahuta se logoM dvArA bhI parAbhava-tiraskAra nahIM kiyA jA sakatA aise samartha haiN| una prasiddha sampanna kuloM meM se kisI eka kula meM vaha putrarUpa meM utpanna hogaa|" (b) Gautam asked--"Reverend Sir ! After completing his lifespan and godly state, where shall that Suryabh Dev be re-born ?" ____Bhagavan replied--"Gautam ! In Mahavidheh area there are many families which are prosperous (Aadhya), influential (Deepta), large-having many members, many buildings, many beds, many seats and many vehicles. They own great wealth, gold and silver. They are engaged in trade and business. They have many servants both male and female. The poor and orphans get * dRr3hapratijJakumAra (407) Dridh Pratuna Kumar *

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foods and liquids in sufficient quantity from them (for consumption). They have many types of milch cattle including cows, buffaloes, sheep and others. Many people even collectively are not in a position to ignore them. In one of such famous and prosperous families, the soul of Suryabh Dev shall be re-born as a son." mAtA-pitA dvArA janmAdi saMskAra 280. (ka) tae NaM taMsi dAragaMsi gabbhagayaMsi ceva samANaMsi ammApiUNaM dhamme DhA paiNNA bhavissai / tae NaM tassa dArayassa navahaM mAsANaM bahupaDipunnANaM addhaTTamANaM iMdiyANaM vitikkaMtANaM sukumAlapANipAyaM sukumAlapANipAyaM ahINa - paDipuNNa - paMciMdiyasarIraM lakkhaNavaMjaNaguNovaveyaM mANummANa - pamANapaDipunnasujAyasavvaMgasudaraMgaM sasisomAkAraM kaMtaM piyadaMsaNaM surUvaM dArayaM payAhisi / 280. (ka) vahA~ para usa dAraka (bAlaka) ke garbha me Ane para mAtA-pitA kI dharma meM dRDha pratijJA - (zraddhA) hogii| garbha ke nau mAsa aura sADhe sAta rAta-dina pUrNa hone para dAraka kI mAtA sukumAra hAtha-paira vAle, zubha lakSaNo eva paripUrNa pA~ca indriyo aura zarIra vAle, sAmudrika zAstra meM batAye gaye zArIrika zubha lakSaNoM (kamala, matsya, svastika Adi ke cinha) tila, meSa Adi vyaMjanoM; udAratA, dhIratA Adi guNoM se yukta, mApa, tola (vajana) aura nApa (U~cAI) meM barAbara, sujAta, sarvAMga sundara, candramA ke samAna saumya AkAra vAle, kamanIya, priyadarzana eva surUpavAn putra ko janma degI / CEREMONY AT THE BIRTH BY PARENTS 280. (a) When that child shall enter the womb of his mother, the parents will develop strong faith in the religion. After completion of nine months seven and a half days, the mother shall give birth to a son. He shall be having soft hand and feet, auspicious signs, complete five sense-organs, proper structure, good signs as mentioned in astrology, auspicious marks on his body like those of til, lotus, fish, swastik and others. He shall be broadminded, courageous and suchlike good qualities. He shall have proper structure, weight and height. All the parts of his body shall rAyapaseNiyasUtra Rai-paseniya Sutra (408) For Private Personal Use Only

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be in proper proportion and beautiful. His face shall be like the one * moon. He shall be good-looking loveable and handsome. (kha) tae NaM tassa dArayassa ammApiyaro paDhame divase ThitivaDiyaM karehiti. tatiyadivase caMdasUra-daMsaNigaM karissaMti, chaThe divase jAgariyaM jAgarissaMti, ekkArasame divase vIikkaMte saMpatte bArasAhe divase Nibvitte asuijAyakammakaraNe cokkhe * saMmajjiovalitte viulaM asaNa-pANa-khAima-sAimaM uvakkhaDAvessaMti, mitta-NAi Niyaga-sayaNa-saMbaMdhiparijaNaM AmaMtettA tao pacchA vhAyA kAyabalikammA jAva alaMkiyA bhoyaNamaMDavaMsi suhAsaNavaragayA te mittaNAi-jAva parijaNeNa saddhiM viulaM asaNaM AsAemANA visAemANA paribhuMjemANA paribhAemANA evaM ceva NaM vihrissNti| jimiyabhuttuttarAgayA vi ya NaM samANA AyaMtA cokkhA paramasuibhUyA taM mittaNAi-jAva parijaNaM viuleNaM vatthagaMdha-mallAlaMkAreNaM sakkAressaMti sammANissaMti tasseva mitta-jAva-parijaNassa purato evaM vaissaMti" (kha) taba usa dAraka ke mAtA-pitA prathama divasa sthitipatitA-(kula-paraparAgata vidhi kriyAo se putra kA janmotsava) krege| tIsare dina candra aura sUrya-darzana kreNge| chaThe dina rAtri-jAgaraNa kreNge| gyAraha dina bItane ke bAda bArahave dina jAtakarma sambandhI azuci kI nivRtti ke lie ghara jhADa-buhAra aura lIpa-potakara zuddha krege| ghara kI zuddhi karane ke bAda azana, pAna, khAdya, svAdya rUpa vipula bhojana-sAmagrI banavAyeMge aura mitrajanoM, " jJAtijanoM, nijajano, svajana-sambandhiyo evaM dAsa-dAsI Adi parijano, paricitoM ko " Amatrita krege| isake bAda snAna, balikarma, kapAla para kuku, tilaka, kAlI biMdI Adi rUpa kautuka-magala-prAyazcitta karake AbhUSaNoM se zarIra ko alakRta kreNge| bhojanamaDapa o me zreSTha AsanoM para sukhapUrvaka baiThakara mitroM yAvat parijanoM ke sAtha vipula azanAdi rUpa * bhojana kA AsvAdana kareMge, usakA paribhoga kareMge, eka-dUsare ko manuhAra karake parosege - 2 aura bhojana karane ke pazcAt Acamana-kullA Adi karake svaccha, parama zucibhUta hokara una mitroM, jJAtijanoM yAvat parijanoM kA vastra, gaMdha (sugaMdhita dravya), mAlA, alaMkAro Adi se satkAra-sammAna karege aura phira unhI mitro yAvat parijano ke samakSa isa prakAra kahege (b) On the first day, his parents shall celebrate his birth * according to the customary method prevailing in their families. On the third day, they will show him the sun and the moon. On the sixth day, they will remain awake throughout the night (in celebration). After the eleventh day, they will make the house clean dRDhapratijJakumAra Dridh Pratyna Kumar BEDARODAI.P108654954505assistant (409)

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with broom and plaster it with cow-dung so as to remove impurity caused by child-birth. Thereafter they shall get prepared food, @** To liquids, sweets, fragrant material in large quantity. They shall then be invite friends, relatives, members of their brotherhood, distanta en relations, servants, employees and acquaintances. Thereafter they shall take bath, decorate themselves with auspicious symbols, forehead mark and ornaments. They shall then take their meals in the dining hall in the company of friends, relations including all the invitees. They shall offer items of consumption to each other. After taking the food and cleaning the mouth and becoming spotless, they shall give clothes, fragrant, substances, garlands, decorations to the friends, relatives and the invitees as a taken of respect. Thereafter, they shall address them as under (ga) jamhA NaM devANuppiyA ! imaMsi dAragaMsi gabbhagayaMsi ceva samANaMsi dhamme daDhA paiNA jAyA, taM hou NaM amhaM eyassa dArayassa daDhapaiNNe nnaamennN| tae NaM tassa daDhapaiNNassa dAragassa ammApiyaro nAmadhenaM karissaMti-daDhapaiNNo ya daDhapaiNNo y|| tae NaM tassa ammApiyaro ANupubveNaM ThitivaDiyaM ca caMdasUriyadarisaNaM ca dhammajAgariyaM OMca nAmadhijakaraNaM ca pajemaNagaM ca paDivaddhAvaNagaM ca pacaMkamaNagaM ca kanavehaNaM ca saMvaccharapaDilehaNagaM ca cUlovaNayaM ca annANi ya bahUNi gabbhAhANa-jammaNAiyAiM mahayA iTThIsakkArasamudaeNaM krissNti| (ga) devAnupriyo ! jaba se yaha dAraka mAtA kI kukSi meM garbharUpa se AyA thA tabhI se hamArI dharma meM dRDha zraddhA, pratijJA huI hai, dharma ke prati prIti aura ruci baDhI hai, isalie hamAre * isa bAlaka kA nAma 'dRDhapratijJa' ho| isa taraha usa dAraka ke mAtA-pitA 'dRr3hapratijJa' * nAmakaraNa kreNge| ___ isa prakAra se usake mAtA-pitA anukrama se (1) sthitipatitA, (2) candra-sUryadarzana, 6 (3) dharma-jAgaraNa, (4) nAmakaraNa, (5) annaprAzana (anna caTAnA), (6) prativardhApana 6 (AzIrvAda samAroha), (7) pracaMkramaNa (pairoM calanA-Daga bharanA aura zabdoccAraNa karanA), (8) karNavedhana (kAna chedanA), (9) saMvatsara pratilekha (prathama varSa kA janmotsava-pahalA * janma-dina), aura (10) cUlopanayana (muMDanotsava-jhaDUlA utAranA) aadi| anya dUsare bhI * bahuta se garbhAdhAna, janma Adi se sambandhita utsava ati bhavya samAroha ke sAtha krege|| and lesliest saatakes telease stealisealestasks stealiseases * rAyapaseNiyasUtra (410) ____Rai-pasentya Sutra

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___ (c) O, the blessed ! Since the time this Jiva came in the womb of his mother, we have developed strong faith in religion. Our interest in it has increased, our love for it has developed. So we wish to call * him as 'Dridh Pratijna'. Thus he shall be baptised as 'Dridh Pratijna'. Thus his parents in the respective order shall hold the following celebration-(1) Sthiti-patita--The very childbirth, (2) Showing of moon and the sun, (3) Keeping awake throughout singing in 9 devotion, (4) Baptising ceremony (Naamkaran), (5) Tasting of food * (by the child), (6) Blessing ceremony, (7) Crowing of the child * taking steps and uttering words, (8) Piercing the ear, (9) First A birthday (when he is of one year), (10) Shaving of head. Many other celebrations connected with child-birth shall also be performed. dRr3hapratijJa kA lAlana-pAlana 281. tae NaM daDhapaiNNe dArage paMcadhAIparikkhitte-1. khIradhAIe, 2. maMDaNadhAIe, 3. majjaNadhAIe, 4. aMkadhAIe, 5. kIlAvaNadhAIe annAhi bahUhi~ khujAhiM, cilAiyAhiM, vAmaNiyArhi, vaDabhiyAhi, babbarAhiM bausiyAhiM, joNhiyAhiM, paNNaviyAhiM, IsiNiyAhiM, vAruNiyAhiM, lAsiyAhiM, lAusiyAhiM, damilIhiM, siMhalIhiM, puliMdIhiM, ArabIhiM, pakkaNIhiM, bahalIhiM, muraMDIhiM, sabarIhiM, pArasIhi, SNANAdesI-videsa-parimaMDiyAhiM iMgiya-ciMtiya-patthiya-viyANAhiM sadesaNevattha gahiyavesAhiM niuNakusalAhiM viNIyAhiM ceDiyA-cakkavAla-taruNivaMdapariyAlaparibuDe varisadharakaMcui-mahayaravaMdapirakkhitte hatthAo hatthaM sAharijjamANe uvanacijamANe P aMkAo aMkaM paribhujjamANe uvagijjemANe uvalAlijjamANe uvagUhijjamANe ht avatAsiJjamANe pariyaMdijamANe paricuMbijamANe rammesu maNikoTTimatalesu paraMgamANe girikaMdara-mallINe viva caMpagavarapAyave NivyAghAyaMsi suhaMsuheNa privddissi| ___281. usake bAda vaha 'dRDhapratijJa' bAlaka pA~ca dhAyoM ke saMrakSaNa meM baDhane lgegaa| * jaise-(1) kSIradhAtrI-dUdha pilAne vAlI dhAya, (2) maMjanadhAtrI-vastrAbhUSaNa pahanAne vAlI dhAya, (3) majanadhAtrI-snAna karAne vAlI dhAya, (4) aMkadhAtrI-goda meM lene vAlI dhAya, aura (5) krIr3ApanadhAtrI-khela khilAne vAlI dhAya-ina paoNca dhAyamAtAo ke atirikta anya aneka dAsiyA~ usakA pAlana-poSaNa karane ke lie hoNgii| jaise-iMgita-(mukha Adi kI ceSTA ko VAROVALosatoD4809480DRO900 1 india dRr3hapratijJakumAra 411 Dridh Pratyjna Kumar *

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samajhane meM catura), ciMtita - ( mAnasika vicAra ko pahacAnane meM ), prArthita ( abhilaSita) ko jAnane me kuzala aura dakSa hogii| ve apane-apane deza ke veza ko pahanane vAlI, nipuNa, kuzala- pravINa eva prazikSita hogI / unameM koI kubjA (kubar3I) hogI, koI cilAtikA (cilAta - kirAta nAmaka deza me utpanna), vAmanI (cIna), vaDabhI (baDe peTa vAlI), barbarI ( barbara deza kI), bakuza deza kI, yonaka ( yavana) deza kI, palhavikA (palhava deza kI), IsinikA, vAruNikA (varuNa deza kI), lAsikA (tibbata deza kI), lAkusikA (lakusa deza kI), drAvaDI ( draviDa deza kI), sihalI (siMhala deza, laMkA kI ), puliMdI (pulida deza kI ), ArabI (araba deza kI), pakkaNI ( pakkaNa deza kI), bahalI (bahala deza kI), muraNDI (muraMDa deza kI), zabarI ( zabara deza kI), pArasI (pArasa deza kI ) / isa prakAra aneka deza - videzoM kI taruNa dAsiyA~ usakI dekhabhAla karane ke lie raheMgI tathA aneka varSadharoM (napuMsaka banAye hue puruSoM), kaMcukiyoM aura mahattarakoM (antaHpura ke kArya kI cintA rakhane vAloM) ke samudAya se vaha dAraka hara samaya ghirA rhegaa| sevA paricaryA karane vAle use hAthoM hI hAthoM me lete dularAte rheNge| eka goda se dUsarI goda meM lete hue, gA-gAkara bahalAte hue, krIDA Adi ke dvArA lAlana-pAlana manoraMjana karate hue lAr3a kiyA kreNge| loriyA~ sunAte rhege| sneha se cumbana lete aura ramaNIya maNijaTita prAMgaNa meM calAte raheMge / isa prakAra vaha dAraga vyAghAtarahita giri-guphA meM sthita zreSTha campaka vRkSa ke samAna surakSita sukhapUrvaka dinodina parivardhita hogA - baDhegA / BRINGING UP OF DRIDH PRATIJNA 281. Thereafter child Dridh Pratijna, shall start growing in the charge of five nurses, namely - ( 1 ) nurse for providing milk (Ksheer Dhatri), (2) nurse for dressing him up (Majjan Dhatri), (3) nurse for giving him bath (Snan Dhatri), (4) nurse for nursing him in her lap (Ank Dhatri), and (5) nurse for playing with him (Kreera Dhatri). In addition to the above five nurses, many maid-servants shall look after him. For instance, those trained in understanding facial expression of the child (Ingit), those expert in knowing his mental attitude (Chintit) and those dext in knowing the inner desire (Abhilashit) of the child. They shall dress themselves in the usual dress of their country to which they belonged. They shall be intelligent and well trained. Some of them shall be of Kubja, some of Kirat, some dwarf of China, some with swollen belly (Vadabhi), some of Barbar, some of Bakush, some of Yonak, some of Palhavika, some of Eesinika, some of Varunika, some of Lasika, some of rAyapaseNiyasUtra Rai-paseniya Sutra (412) For Private Personal Use Only

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Lakush, some of Dravidian area, some of Ceylon, some of Pulind, some of Arabian countries, some of Pakkan, some of Behal, some of Murand, some of Shabar, some of Persia. Thus young maids of many countries shall look after him. Further that child shall remain surrounded by many eunuchs and those looking after the domestic affairs of the palace. The servants male and female shall be handling him with care while passing from one attendant to the other in their hands, while shifting him from one lap to the other They shall sing nursery songs, play childlike games, keeping him happy and enjoying such things. They shall narrate music that could help him in coming to sleep They shall kiss him with affection and move him in beautiful gem-studded courtyard. Thus that baby state shall develop in a well-guarded enjoyable environment with the passage of time like a grand Champak tree in the cave of hill away from the ferocity of dreadful winds dRdapratijJa kA kalA - zikSaNa 282. (ka) tae NaM taM daDhapaiNNaM dAragaM ammApiyaro sAtirega aTThavAsajAyagaM jANittA sobhaNaMsi tihi-karaNa - Nakkhatta - muhuttaMsi NhAyaM kayabalikammaM kayakouya- maMgalapAyacchittaM savvAlaMkAravibhUsiyaM karettA mahayA iDIsakkArasamudaeNaM kalAyariyassa uvaNehiMti / tae NaM se kalAyarie taM daDhapaiNNaM dAragaM lehAiyAo gaNiyappahANAo sauNaruyapajjavasANAo bAvantari kalAo suttao atthao ya gaMthao ya karaNao ya sehAvehi ya pasikkhAvehi ya / 282. (ka) dRDhapratijJa bAlaka jaba kucha adhika ATha varSa kA ho jAyegA taba kalA-zikSaNa ke lie mAtA-pitA zubha tithi, karaNa (lagna), nakSatra aura muhUrtta me snAna, balikarma, kautuka - magala- prAyazcitta karAke aura alaMkAroM se vibhUSita kara Rddhi-vaibhava, satkAra, samArohapUrvaka kalAcArya ke pAsa le jaayeNge| taba kalAcArya usa dRDhapratijJa bAlaka ko gaNita jinameM mukhya rahatA hai aisI lekha (lipi) Adi zakuniruta (pakSiyo kI bolI ) taka kI bahattara kalAo ko sUtra se, artha se (vistAra se vyAkhyA karake), grantha ke anusAra sUtra aura artha ke anusAra tathA karaNa - prayoga se abhyAsa kraayeNge| dRDhapratijJakumAra (413) Dridh Pratyna Kumar

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EARLY EDUCATION OF DRIDH PRATIJNA 282. (a) When the child Dridh Pratijna shall be a little more than eight years of age, his parents on an auspicious day at an auspicious time shall decorate him with auspicious signs and ornaments, and bring him before an expert teacher exhibiting their respect for the teacher, in a gathering. Then the teacher shall teach mathematics to Dridh Pratijna. He shall teach him the written scripts, the language of birds and seventy two arts of men in verses, their meaning and according to the relevant elaboration. He shall also help him in practising them. (kha) taM jahA - lehaM gaNiyaM rUvaM naTTaM gIyaM vAiyaM saragayaM pukkharagayaM samatAlaM jUyaM jaNavayaM pAsagaM aTThAvayaM pArekavvaM dagamaTTiyaM annavihiM pANavihiM vatthavihiM vilevaNavihiM yaNavihiM / ( 20 ) ajaM paheliyaM mAhiyaM NiddAiyaM gAhaM gIiyaM silogaM / (27) hiraNNajuttiM suvaNajuttiM AbharaNavihiM taruNIpaDikammaM itthilakkhaNaM purisalakkhaNaM hayalakkhaNaM gayalakkhaNaM kukkuDalakkhaNaM chattalakkhaNaM cakkalakkhaNaM daMDalakkhaNaM asilakkhaNaM maNilakkhaNaM kAgaNilakkhaNaM / (42) vatthuvijjaM NagaramANaM khaMdhavAraM mANavAraM paDicAraM vUhaM cakkavUhaM garulavUhaM sagaDavahaM juddhaM niyuddhaM jujuddhaM ajuddhaM muTThijuddhaM bAhujuddhaM layAjuddhaM IsatthaM charUppavAyaM dhaNuveyaM / (61) hiraNNapAgaM suvaNNapAgaM maNipAgaM dhAupAgaM suttakheDDaM vaTTakheDDa NAliyAkheDuDaM / (68) pattacchejjaM kaDagacchejjaM sajjIvanijjIvaM sauNarUyaM ( 72 ) iti / (kha) una bahattara kalAo ke nAma isa prakAra haiM (1) lekhana, (2) gaNita, (3) rUpa sajAne kI kalA, (4) nATya (abhinaya) athavA nRtya karane kI kalA, (5) sagIta, (6) vAdya bajAnA, (7) svara jAnanA, (8) vAdya sudhAranA athavA Dhola Adi bajAne kI kalA, (9) saMgIta me gIta aura vAdyo ke sura-tAla kI samAnatA ko jAnane kI kalA, (10) dyUta - juA khelanA, (11) logoM ke sAtha vArttAlApa aura vAda-vivAda karanA, (12) pAso se khelanA, (13) caupaDa khelanA, (14) tatkAla kAvya - kavitA kI racanA karanA, (15) jala aura miTTI ko milAkara vastu nirmANa karanA athavA jala aura miTTI ke guNoM kI parIkSA karanA, (16) anna utpanna karane athavA bhojana rAyapaseNiyasUtra (414) For Private Personal Use Only Rai-paseniya Sutra

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H banAne kI kalA, (17) nayA pAnI utpanna karanA athavA auSadhi Adi ke saMyoga-saskAra se pAnI ko zuddha karanA, svAdiSTa peya padArtha banAnA, (18) navIna vastra banAnA, vastroM ko raMganA, sIMnA aura pahananA, (19) vilepana vidhi-zarIra para lepa karane kI vidhi, (20) zayyA banAnA aura zayana karane kI vidhi jaannaa| (21) mAtrika chanda banAnA aura pahacAnanA, (22) paheliyA~ banAnA aura bujhAnA, (23) mAgadhika-mAgadhI bhASA me gAthA (kAvya) Adi banAnA, (24) nidrAyikA-nIda meM sulAne kI kalA, (25) prAkRta bhASA meM gAthA (kAvya) Adi banAnA, (26) gIti-chaMda banAnA, (27) zloka (saMskRta bhASA meM chaMda) bnaanaa| (28) hiraNyayukti-cA~dI banAnA aura caoNdI zuddha karanA, (29) svarNayukti svarNa banAnA aura svarNa zuddha karanA, (30) AbhUSaNa-alaMkAra banAnA, (31) taruNI pratikarma-striyoM kA zrRMgAra-prasAdhana karanA, (32) striyo ke zubhAzubha lakSaNoM ko jAnanA, (33) puruSa ke lakSaNa jAnanA, (34) azva ke lakSaNa jAnanA, (35) hAthI ke lakSaNa jAnanA, (36) murgoM ke lakSaNa jAnanA, (37) chatra-lakSaNa jAnanA, (38) cakra-lakSaNa jAnanA, (39) daDa-lakSaNa jAnanA, (40) asi-(talavAra) lakSaNa jAnanA, (41) maNi-lakSaNa jAnanA, (42) kAkaNI-(ratna-vizeSa) lakSaNa jaannaa| (43) vAstuvidyA-gRha, gRhabhUmi ke guNa-doSoM ko jAnanA, (44) nayA nagara basAne Adi kI kalA, (45) skandhAvAra--senA ke par3Ava kI racanA karane kI kalA, (46) mApane-nApane-tolane ke sAdhanoM ko jAnanA, (47) praticAra-zatru senA ke sAmane apanI senA ko calAnA, (48) vyUha-yuddha me zatru senA ke samakSa apanI senA kA morcA banAnA, (49) cakravyUha-cakra ke AkAra kI morcAbandI karanA, (50) garuDavyUha-garuDa ke AkAra kI vyUha racanA karanA, (51) zakaTavyUha racanA, gADI ke AkAra kI yuddha racanA, (52) sAmAnya yuddha karanA, (53) niyuddha-mallayuddha karane kI kalA, kuztI laDanA, (54) yuddha-yuddha-zatru senA kI sthiti ko jAnakara yuddha-vidhi ko badalane kI kalA athavA ghamAsAna yuddha karanA, (55) aTThi (yaSTi-lAThI yA asthi-haDDI) se yuddha karanA, (56) muSThiyuddha karanA, (57) bAhuyuddha karanA, (58) latAyuddha karanA, (59) iSvastrazastra-bANa banAne kI kalA athavA nAgabANa Adi viziSTa bANoM ke prakSepaNa kI vidhi, (60) talavAra calAne kI kalA, (61) dhanurveda-dhanuSa-bANa sambandhI kaushl| (62) cA~dI kA pAka banAnA (auSadhi ke rUpa meM), (63) sone kA pAka banAnA, (64) maNiyo ke nirmANa kI kalA athavA maNiyoM kI bhasma Adi auSadhi banAnA, * * * ra dRDhapratijJakumAra (415) Dridh Pratyna Kumar 4 NEPSMEMENT zAzazuzubha AdSag * * *

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RR. CACIB PAROYALE (65) dhAtupAka-auSadhi ke lie svarNa Adi dhAtuo kI bhasma banAnA, (66) sUtrakhelarassI para khela-tamAze, krIDA karane kI kalA, (67) vRttakhela-gola-gola ghUmane kI krIDA farta, (EC) Flachda-ya-77377 fagman (ES) na ont att hit hall, (90) neity of Oct on chall, (19) feda 07 hoza me lAne aura amUrcchita ko mRtatulya karane kI kalA, (72) kAka, ghUka Adi pakSiyo kI bolI aura usase acche-bure zakuna kA jJAna krnaa| ye bahattara kalAe~ haiN| (b) The names of the seventy two arts are as under (1) The art of writing, (2) The art of counting, (3) The art of beautification, (4) The art of dancing, (5) The art of singing, (6) The art of playing upon musical instruments, (7) The art of tuning, (8) The art of setting right musical instruments and beating drum, (9) The art of knowing harmony in the song and the tuning of instruments, (10) The art of gambling, (11) The art of discussion to with the people and bringing home the view point, (12) The art of playing with dice, (13) The art of playing chess board, (14) The art of composing poems at the spot, (15) The art of making things with earth and water or the art of testing qualities of earth and water, * (16) The art of agriculture and of cooking, (17) The art of purifying water, the art of preparing tasty syrups, (18) The art of preparing new cloth, dyeing the cloth, sewing the cloth and of wearing clothes, (19) The art of applying paste on the body, (20) The art of preparing the cot and of sleeping on it. (21) The art of making mantras or incantations, (22) The art of preparing quiz and offering them for solution, (23) The art of making poems or verses in Magadhi language, (24) The art of making one to sleep, (25) The art of making poems in Prakrit language, (26) The art of making verses, (27) The art of making verses in Sanskrit. (28) The art of making silver and that of purifying silver, (29) The art of preparing gold and that of purifying it, (30) The art of making ornaments, (31) The art of beauty parlour for young ladies, (32) The art of knowing good and bad omens of women, (33) The art of knowing nature of man, (34) The art of knowing rAyapaseNiyasUtra 20GR.R .2 brit OOOOOOOOOORGARRIA ( 416 ) Rai-paseniya Sutra * 120

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characteristics of a horse, (35) The art of knowing characteristics of an elephant, (36) The art of knowing characteristics of cocks, ** (37) The art of knowing characteristics of umbrella, (38) The art of knowing qualities of the wheel, the chakra, (39) The art of wielding a stick, (40) The art of knowing qualities of a sword, (41) The art of knowing qualities of gems, (42) The art of knowing qualities of precious stones. (43) Architecture, the art of knowing good and bad qualities of the land, (44) The art of laying of new township, (45) The art of laying of temporary camping ground for army, (46) The art of knowing weights and measures, (47) The art of organising the army in front of the enemy, (48) The art of preparing army for the battlefield, (49) The art of arranging army in the shape of a wheel, (50) The art of arranging army in the shape of Garuda, (51) The art of arranging army like a chariot, (52) The art of ordinary battle, (53) The art of wrestling, (54) The art of changing style in the battle-field in the light of the position of army of the enemy or the art of arranging fierce battle, (55) The art of fighting with sticks or bones, (56) The art of fighting with fist or boxing, (57) The art of fighting with arms, (58) The art of fighting with creepers, (59) The art of making arrows, (60) The art of wielding a sword, (61) The expertise in bow and arrow. (62) The art of melting silver, (63) The art of melting gold, (64) The art of making gems or making medicines with gems, (65) The art of making powder of silver and gold for preparing medicines, (66) The art of presenting athletic skill on rope, (67) The art of moving in circular motion, (68) The art of special type of gambling. (69) The art of piercing a leaf, (70) The art of piercing hilly land, (71) The art of helping an unconscious person to revive his consciousness and the art of making a normal person almost like a dead one, (72) The art of knowing the language of crows, ghook and other birds and then to analyse them to find good and bad omens. Above mentioned are the seventy two arts. * dRDhapratijJakumAra ( 417) * Dridh Pratyna Kumar * >> WI>> I ***]** ] DjSurvy ] * ]* * * * * * **

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kalAcArya kA sammAna 283. tae NaM se kalAyarie taM daDhapaiNNaM dAragaM lehAiyAo gaNiyappahANAo sauNaruyapajavasANAo bAvattari kalAo suttao ya atthao ya gaMthao ya karaNao ya OM sikkhAvettA sehAvettA ammApiUNaM uvnnehiti|| tae NaM tassa daDhapaiNNassa dAragassa ammApiyaro taM kalAyariyaM viuleNaM * asaNa-pANa-khAima-sAimeNaM vatthagaMdhamalAlaMkAreNaM sakArissaMti sammANissaMti viulaM jIviyArihaM pItidANaM dalaissaMti dalaittA pddivisjehiNti| OM 283. kalAcArya usa dRr3hapratijJa bAlaka ko gaNita pradhAna, lekhana (lipi) se lekara OM zakuniruta paryanta bahattara kalAoM ko sUtra (mUla pATha) se, artha (vyAkhyA) se, grantha evaM prayoga se sikhalAkara, abhyAsa karAkara usa bAlaka ko mAtA-pitA ke pAsa le jaayeNge| * taba usa dRDhapratijJa bAlaka ke mAtA-pitA vipula azana, pAna, khAdya, svAdya rUpa caturvidha * AhAra, vastra, gaMdha, mAlA aura alaMkAroM se kalAcArya kA satkAra, sammAna kareMge aura phira jIvikA ke yogya pUre jIvanabhara ke lie vipula prItidAna (bheMTa) deNge| jIvikA ke yogya OM vipula prItidAna bheMTa dekara vidA kreNge| HONOUR OF THE TEACHER OF ARTS 283. The teacher of arts shall teach Dridh Pratijna mathematics, language, the scripts, the reading of omens and all such seventy two arts of men. He shall teach him in this context the aphorisms, their meanings, its commentaries, their application. When he shall find that Dridh Pratijna has become expert in all the arts, he shall bring him to his parents. Then the parents of Dridh Pratijna shall honour the teacher by offering him sufficient food-stuff, liquids, sweets and fragrant a substances for consumption, clothes, garlands and ornaments. They shall further give him number of gifts that shall be sufficient for his entire remaining life-span. They shall see him off after all such offerings showing their respect for him. * dRr3hapratijJa kI bhogasamarthatA 284. tae NaM se daDhapaiNNe dArae ummukkabAlabhAve viNNAyapariNayamitte jobaNagamaNupatte bAvattarikalApaMDie NavaMgasuttapaDibohae aTThArasavihadesippagAra " rAyapaseNiyasUtra (418) Rai-paseniya Sutra

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bhAsAvisArae gIyaraI gaMdhavvaNaTTakusale siMgArAgAracAruvese saMgayagaya-hasiya-bhaNiya ciTThiya-vilAsa-niuNajuttovayArakusale hayajohI gayajohI rahajohI bAhujohI 9 bAhuppamaddI alaMbhogasamatthe sAhassIe viyAlacArI yAvi bhvissi| ___ 284. isake bAda vaha dRDhapratijJa bAlaka bAlabhAva (bacapana) se mukta ho vijJAna (vizeSa jJAna-paripakva jJAna) yukta, yuvAvasthA ko prApta hogaa| bahattara kalAo meM paNDita hogA, bAlyAvasthA ke kAraNa manuSya ke jo nau aMga-do kAna, do netra, do nAsikA, jihvA, tvacA aura mana supta arthAt avyakta cetanA vAle rahate haiM, ve jAgRta ho jaayege| aThAraha prakAra kI dezI bhASAo meM kuzala ho jAyegA, vaha gIta kA anurAgI, gIta aura nRtya meM kuzala ho jaayegaa| apane sundara veza se zRgAra kA AgAra-jaisA pratIta hogaa| usakI cAla, hAsya, bhASaNa, zArIrika aura netroM kI ceSTAe~ Adi sabhI saMgata-sAmAnya ziSTa janocita hoNgii| pArasparika AlApa-saMlApa evaM vyavahAra meM nipuNa-kuzala hogaa| azvayuddha, gajayuddha, rathayuddha, bAhuyuddha karane evaM apanI bhujAoM se vipakSI kA mAna-mardana karane meM sakSama evaM bhoga bhogane kI sAmarthya se sampanna ho jAyegA tathA sAhasI aisA ho jAyegA ki vikAlacArI (madhya rAtri meM idhara-udhara jAne-Ane meM bhI) bhayabhIta nahIM hogaa| THE PHYSICAL CAPABILITY OF DRIDH PRATIJNA ___284. Thereafter, Dridh Pratijna after crossing the childhood shall reach the stage of youth well equipped with knowledge relevant to that stage. He shall be expert in seventy two arts relating to man. In childhood, the nine parts of the body namely-two ears, two eyes, two nostrils, the tongue, the skin and the mind are comparatively inactive but now (in youth) they shall become fully active. He shall be expert in eighteen native languages of the land. He shall start liking music and shall become expert in singing and dancing. In his beautiful dress he shall look like a treasure of beauty. His gait, smile, talk, physical activities, pointing of eyes and suchlike shall be in accordance with the ideal standard. He shall be expert in friendly relationship and day to day dealings. He shall be capable of * successfully participating in horse-fight, elephant-fight, chariot fight, hand-fight and in subduing the ego of his opponents with his arms. He shall be also capable to enjoy the sensual pleasures. He also shall be so much courageous that he shall not entertain any fear even in going anywhere at mid-night. dRr3hapratijJakumAra Dridh Pratyna Kumar * (419) NRBACHOPRAGNE BENGAPPS DGE*** ""* " X AMS

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vivecana-ina bahattara prakAra kI kalAo ke varNana se prAcInakAla kI zikSA paddhati kI eka jhalaka milatI hai| isa zikSaNa me chAtra kA sarvAMgINa vikAsa kiyA jAtA thaa| " kucha kalAe~ usakA zArIrika vikAsa, zakti aura sAmarthya ko bar3hAne vAlI hai, kucha usakI buddhi kA I bahumukhI vikAsa karane vAlI haiM aura kucha kalAe~ usake bhItara kalA kI suruci, sAhitya ruci, saMgIta * prema, nRtya ruci jagAtI hai aura kucha kalAe~ mAtra manorajana kI bhI hai| kucha kalAe~ use AjIvikA ke * yogya vividha nirmANa kArya kA zikSaNa-prazikSaNa dene vAlI hai| isa prakAra ina kalAo ke mAdhyama se chAtra kA zArIrika, mAnasika, bauddhika vikAsa karake usake cAritrika guNoM ko bhI dIpta kiyA jAtA hai aura use AjIvikA upArjana me svAvalambI aura samAja ke sAtha ghula-milakara jIne yogya banAtI hai| kula milAkara ye kalAe~ eka susaskArI jIvana kA nirmANa karane vAlI hai| yadyapi kalAo ke viSaya meM pratyeka deza ke sAhitya me vicAra kiyA gayA hai, tathApi hama apane deza kI hI mukhya dharma paramparAo ke sAhitya ko dekheM to sarvatra vistAra ke sAtha kalAo kA vivaraNa upalabdha hai| vaidika-paramparA ke rAmAyaNa, mahAbhArata, zukranIti, vAkyapadIya Adi grantho me, bauddha-paramparA ke lalitavistarA me aura jaina-paramparA ke samavAyAMgasUtra, jambUdvIpaprajJapti, jJAtAsUtra, aupapAtikasUtra, * kalpasUtra aura inakI vyAkhyAo me inakA varNana kiyA gayA hai| kintu sakhyA aura nAmo meM antara hai| kahI kalAo kI sakhyA causaTha batAI hai to kSemendra ke kalAvilAsa grantha me sau se adhika kalAo kA varNana kiyA hai| bauddha-sAhitya meM inakI saMkhyA chiyAsI kahI hai| jaina-sAhitya me prAyaH puruSa yogya bahattara aura mahilAo ke lie causaTha kalAoM kA ullekha milatA hai| jisakI puSTi janasAdhAraNa me pracalita isa dohe se ho jAtI hai "kalA bahattara puruSa kI, tAmeM do srdaar| eka jIva kI jIvikA, eka jIva uddhaar||" jIvana dhAraNa karane ke lie mAnava ko jaise roTI, kapaDA aura makAna jarUrI hai, usI prakAra jIvana kI surakSA ke lie zArIrika svAsthya va bala, mAnasika zuddhi aura vikAsa, tathA AjIvikA ke sAdhano kI vyavasthA, ye bhI Avazyaka hai| pUrva sUtra me ullikhita bahattara kalAo ke nAmo me dhyAna dene yogya yaha hai ki unake cayana me dIrghadRSTi se kAma liyA gayA hai| uname jIvana kI surakSA ke tIno aMgo ke sAdhano kA samAveza karane ke sAtha loka-vyavahAro ke nirvAha karane kI kSamatA aura prAkRtika padArtho ko apane * lie upayogI banAne aura unakA samIcIna upayoga karane kI yogyatA arjita karane kA lakSya bhI rakhA gayA hai| vidvattA ke lie tathA vyApAra kI samRddhi eva vyaktitva ko prabhAvazAlI banAne ke lie jaise Aja * aneka dezo kI boliyo aura bhASAo ko jAnanA Avazyaka hai, usI taraha prAcInakAla me bhI kalAo ke * adhyayana ke sAtha pratyeka vyakti aura vizeSakara samRddha parivAro meM janme vyaktiyo aura deza-videza me vyApAra ke nimitta jAne vAlo ke lie aneka bhASAo kA jJAtA honA anivArya thaa| dRDhapratijJa bAlaka ke pAlana-poSaNa ke samaya bhinna-bhinna dezo kI dAsiyoM kA samparka use anAyAsa hI bahubhASAvijJa aura una 8 dezo kI kalA-saskRti, rIti-rivAja kA jJAtA banA detA hai| sampanna kulo me usa samaya aisA pracalana thaa| * rAyapaseNiyasUtra (420) Rar-paseniya Sutra

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* RD Rokook 1009 VARO PARODONARY * yadyapi yahA~ kI taraha anya Agama-pATho me bhI 'aTThArasavihadesippagArabhAsAvisArae' pada AtA hai| * kintu ve aThAraha bhASAe~ kauna-sI thI, isakA ullekha mUla pATho me kahI bhI dekhane me nahI AyA hai| isa * sthiti me yahI mAnA jA sakatA hai ki usa samaya bahumAnya pracalita boliyo ko eka-eka bhASA mAnA jAtA ho aura unako bolane-samajhane me niSNAta hone kA bodha karAne ke lie hI 'aThAraha bhASAvizArada' OM pada grahaNa kiyA gayA ho| Aja saMsAra ke kisI bhI eka vizvavidyAlaya meM itanA sarvAgINa zikSaNa, vyAvahArika jJAna dene ke sAdhana aura suvidhAe~ zAyada hI upalabdha ho, jitanI una prAcIna gurukuloM me thii| gurukula ke AcArya svayaM tyAgI aura vidyA-niSNAta hote the| OM isake sAtha kalAcArya (zikSaka) kA sammAna karane kI paramparA bhI Adarza rahI hai| zikSaka ko kisI 3 ke sAmane hAtha phailAne kI jarUrata nahI paDatI thii| vaha svAbhimAnapUrvaka aura nizcinta hokara chAtro ko kalA-zikSaNa de sakatA thaa| Elaboration--One gets a glimpse of the type of education in ancient ** times in the description of seventy two arts. This type of education * provided all-round development of the student. Some of these arts help in development of physical strength, capacity and the structure, some are going to improve his intellect and all-round mental development and some awaken in him interest in art, literature, music and dance. Some of them are only for self-entertainment, some of the arts educate him in various professions suited for earning the livelihood. Thus by teaching these arts, the physical, mental and intellectual development of the student is aimed at resulting in bringing * out the good qualities of his character. They make him self-dependent in earning the livelihood and in living in harmony with the society. In brief, all these arts build a civilised man. Although the prevalent arts are mentioned in the literature of every country, still even if we study the literature relating to main religious traditions of our country, we find everywhere a detailed description of the prevalent arts. They have been described in Ramayana, Mahabharat, Shukraneeti, Vakyapadiya and suchlike scriptures of Vedic tradition; Lalit-vistara of the Buddhist tradition; Samvayang Sutra, Jambu Dveep Prajnapti, Jnata Sutra, Aup-patik Sutra, Kalp Sutra and their commentaries in Jain tradition. Of course there is some difference in the number and names of the arts. At same place number of arts mentioned is sixty four but in Kala-vilas treatise of Kshemendra their number is more than hundred. In Buddhist literature their number is eighty six. In Jain literature generally seventy two arts for men and sixty four for women have been mentioned. This statement is supported by the prevalent verse (in Hindi) that means as under Ados * dRr3hapratijJakumAra (421) Dridh Pratyna Kumar ROPPINGPOTO 14

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There are seventy two arts meant for men and two of them are most important--one is meant to provide livelihood and the other his spiritual development Just as a man needs food, clothing and shelter to lead a normal life, to enjoy proper health, mental equilibrium and development, proper means and environment for livelihood are also equally important for security in life. When we look at the names of the seventy two arts carefully in previous aphorisms, we find a great experience and far-sightedness in their selection. It is evident that all the three necessities of human life, the proper soul behaviour, the capability of making proper use of natural resources and their skilful use has been aimed at During the modern age, it is very essential to know the language and * scripts of many countries in order to make oneself effective in the expertise and for prosperity in trade and commerce. Similarly in the medieval period, it was essential for every one and in particular for those born in prosperous families and those going abroad for trade to know many languages in addition to the knowledge of arts. The maids belonging to different countries engaged in bringing up Dridh Pratijna during his infancy, automatically shall make him capable of understanding many languages and also well educated in art, culture, customs and traditions of those countries. This was the prevalent practice in well-to-do families of that period Just as in this Sutra, there is mentioned in other Agam also that *9 'Attharas-vih-desippagar-bhasa-visaraye (which means that they had expert knowledge of eighteen languages) but in the original text it is nowhere mentioned which were the eighteen languages referred to. In view of it, it can be presumed that prevalent different spoken dialects were considered as languages. The expert in eighteen languages thus refers to expertise in speaking and understanding them In the modern period there are hardly elaborate arrangements and facilities in any university of the world for all round education and training in complete soul behaviour as compared to the facilities available in gurukuls (educational institutions of those times The head of the gurukul was himself selfless person expert in field of education. The tradition of honouring the teacher was also an ideal one. The teacher never had to resort to request for anything from anyone. He could impart education to his students in a respectful manner commanding their respect and was free from all worries. Serkkokkkkkkkkkkkkkk KEIBUBA kosketukokk - rAyapaseNiyasUtra (422) Rai-paseniya Sutra

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285. tae NaM taM daDhapaiNNaM dAragaM ammApiyaro ummukkabAlabhAvaM jAva viyAlacAri ca viyANittA viulehiM annabhogehi ya pANabhogehi ya leNabhogehi ya vatthabhogehi ya sayaNabhogehi ya uvnimNtihiti| 285. taba usa dRDhapratijJa bAlaka ko, bAlyAvasthA se mukta, nirbhayatApUrvaka vicarane meM samartha huA jAnakara mAtA-pitA vipula annabhogoM, pAnabhogoM (khAne-pIne), prAsAdabhogoM, vastrabhogoM aura zayyAbhogoM-gRhastha jIvana ke bhogoM ko bhogane ke lie AmaMtrita kreNge| (arthAt mAtA-pitA use bhogasamartha jAnakara kaheMge ki he ciraMjIva ! tuma yuvA ho gaye ho ataH aba kAmabhogoM kI isa vipula sAmagrI kA bhoga kro|) ____285. Then finding that Dridh Pratijna is no longer in his childhood and that he is capable of moving freely and independently in the world, his parents shall invite him to enjoy the household life, the tasty food, drinks, palatial residence, the decent clothes, bedding and suchlike. In other words his parents will tell him that he has reached his youth and so he should enjoy sensual pleasures. dRDhapratijJa kI anAsakti __ 286. (ka) tae NaM daDhapaiNNe dArae tehiM viulehiM annabhoehiM jAva sayaNabhogehiM No sajjihiti, No gijjhihiti, No mucchihiti, No ajjhovavajjihiti, se jahA NAmae paumuSpale ti vA paume i vA jAva sayasahassapatteti vA paMke jAte jale saMvuDDhe Novalippai paMkaraeNaM novalippai jalaraeNaM, evAmeva daDhapaiNNe vi dArae kAmehiM jAte bhogehiM saMvaDie govalippihiti. mittaNAiNiyagasayaNa sNbNdhiprijnnennN| 286. (ka) taba vaha dRDhapratijJa dAraka una vipula annarUpa (bhojana sAmagrI) bhogya * padArthoM yAvat zayanarUpa bhogya padArthoM (sukha sAdhanoM) meM Asakta nahIM hogA, gaddha nahIM hogA, mUrcchita nahIM hogA aura anurakta nahIM hogaa| arthAt unake prati AkarSita nahIM hogaa| jaise * ki nIlakamala, padmakamala (sUryavikAsI kamala) yAvat zatapatra yA sahasrapatra kamala kIcar3a meM utpanna hote haiM aura jala meM bar3hate haiM, phira bhI kIcar3a aura jala-kaNoM se lipta nahIM hote haiM, a nirlepa rahate haiN| isI prakAra vaha dRr3hapratijJa dAraka bhI kAmoM meM utpanna huA, bhogoM ke bIca lAlana-pAlana kiye jAne para bhI una kAmabhogoM meM evaM mitroM, jJAtijanoM, nijI-svajana-sambandhiyoM aura parijanoM meM anurakta nahIM hogaa| - dRr3hapratijJakumAra (423) Dridh Pratyna Kumarx Orgs

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MENON-ATTACHMENT OF DRIDH PRATIJNA MED 286. (a) Then Dridh Pratijna shall not get attached to the various types of food, buildings and other sensual enjoyments. He shall not be engrossed in them. He shall not deeply associate himself with them. He shall not get intoxicated with them. In other words he shall not get attracted towards them. Just as Neel Kamal, red lotus *** upto hundred petalled lotus and thousand petalled lotus germinate and grow in mud but do not get attached to mud and water drops and remain away from them, unaffected by them, similarly Dridh Pratijna although born in an atmosphere of sensual pleasures and enjoyment, brought up in such a grand sensitive environment shall not get attached to sensual pleasures, friends, relatives, family My members and neighbours. (kha) se NaM tathArUvANaM therANaM aMtie kevalaM bohiM bujjhihiti, muMDe bhavittA agArAo * aNagAriyaM pabbaissati, se NaM aNagAre bhavissai IriyAsamie jAva suhuyayAsayaNo iva * teyasA jlNte| (kha) kintu vaha tathArUpa sthaviroM (jJAnI, sayamI, zramaNoM) se kevalabodhi-samyagjJAna athavA samyaktva kA lAbha prApta karegA evaM muNDita hokara, gRha tyAgakara anagAra-pravrajyA aMgIkAra kregaa| anagAra hokara IryAsamiti Adi se yukta anagAradharma kA pAlana karate hue suhuta-(acchI taraha se homa kI gaI) hutAzana-(agni) kI taraha apane tapasteja se camakegA, dIptamAna hogaa| (b) He shall, however, receive right knowledge and right perception from monks of the order having developed intellect (and following restraints of the order). He shall leave the household, get 9 his head clean shaved and adopt monkhood. Thereafter he shall strictly observe proper care in walking speaking and others and thus following the code of the religious order for the saints, he shall shine like a well-sacrificed, well lit fire with the aura of his ve knowledge, his austerities and his conduct. * kevalajJAna aura nirvANa (ga) tassa NaM bhagavato aNuttareNaM NANeNaM evaM daMsaNeNaM caritteNaM AlaeNaM vihAreNaM ajjaveNaM mahaveNaM lAghaveNaM khaMtIe guttIe muttIe aNuttareNaM sabbasaMjama- rAyapaseNiyasUtra Rai-paseniya Sutra 60.58.58580580585605505400000DARDARDARODARD109009-RODARDARODARODAROPARDAROORDAROOR0980900908 (424)

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sucariyatavaphalaNivvANamaggeNaM appANaM bhAvemANassa aNaMte aNuttare kasiNe paDipuNNe / nirAvaraNe NivvAghAe kevalavaranANadaMsaNe smuppjihiti| (ga) isake sAtha hI vaha anuttara sarvazreSTha aise tapomArga me AtmA ko ramAyegA, jisase jJAna, darzana, cAritra, apratibaddha vihAra, Arjava, mArdava, lAghava, kSamA, gupti, mukti (nirlobhatA) sarva sayama evaM nirvANa kI prApti rUpa mahAphala milatA hai| anta meM vaha bhagavAna 9 (dRDhapratijJa) ananta, anuttara, sakala, paripUrNa, nirAvaraNa, nirvyAghAta, apratihata, sarvotkRSTa kevalajJAna aura kevaladarzana ko prApta kregaa| PERFECT KNOWLEDGE AND SALVATION (c) Simultaneously he shall engage himself in austerities of the highest order that result in exquisite knowledge, perception, conduct, unrestricted movement, straight forwardness, humility, renunciation, forgiveness, proper control, non-attachment, complete restraint and salvation. In the end Dridh Pratijna shall attain infinite, unique, complete, perfect unclouded, unrestricted, indiminishable knowledge (Keval jnan) and perception (Keval darshan). (gha) tae NaM bhagavaM arahA jiNe kevalI bhavissai sadevamaNuyAsurassa logassa pariyAyaM jANahiti taM.-AgatiM gatiM ThitiM cavaNaM uvavAyaM takkaM kaDaM maNomANasiyaM khaiyaM bhuttaM paDiseviyaM AvIkammaM rahokammaM arahA arahassabhAgI taM taM maNavayakAyajoge vaTTamANANaM savvaloe sabajIvANaM savvabhAve jANamANe pAsamANe vihrissi| OM (gha) taba ve dRDhapratijJa bhagavAna arhat, jina, kevalI ho jaayeNge| jisame deva, manuSya tathA asura Adi rahate hai aise loka kI samasta paryAyo ko ve jaanege| arthAt ve prANimAtra kI Agati-eka gati se dUsarI gati meM Agamana ko, gati-vartamAna gati ko choDakara anya gati me gamana ko, sthiti, cyavana, upapAta (deva yA nAraka jIvoM kI utpatti-janma), tarka (vicAra), kriyA, manobhAvoM, kSayaprApta (bhoge jA cuke), pratisevita (bhoga-paribhoga kI vastuo), AviSkarma (prakaTa kAryoM), rahaHkarma (ekAnta me kiye gupta kAryo) Adi, pragaTa aura C) gupta rUpa se hone vAle mana, vacana aura kAyayoga me vidyamAna lokavartI sabhI jIvoM ke sarvabhAvoM ko jAnate-dekhate hue vicaraNa krege| (d) Then Dridh Pratijna shall become omniscient. He shall know all the modes of the universe where gods, men, demon-gods and dRDhapratijJakumAra (425) Dridh Pratyna Kumar

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suchlike reside. In other words he shall know Aagati-the earlier state from which soul has taken re-birth, Gati-the later state which this Jiva shall attain after completing the present life-span, het by the duration, the descending (from heaven-the godly state), the birth of angelic beings and hellish beings. He shall also know the 9 thoughts, activities, the thought process, the activities already performed, the things of enjoyment available, the activities performed in public and also those performed secretly by the livingbeings. He shall also see and know the thought activities of all types that the embodied souls engage in (Ga) tae NaM daDhapainne kevalI eyAsaveNaM vihAreNaM viharamANe bahUI vAsAiM kevalipariyAgaM pAuNittA appaNo AusesaM AbhoettA bahUI bhattAI paccakkhAissai, bahUI bhattAiM aNasaNAe cheissi| OM jassaTTAe kIrai NaggabhAve kesaloca-baMbhaceravAse aNhANagaM adaMtavaNaM aNuvahANagaM ra bhUmisejjAo phalahasejAo paragharapaveso laddhAvaladdhAI mANAvamANAiM paresiM hIlaNAo niMdaNAo khiMsaNAo tajaNAo tADaNAo garahaNAo uccAvayA virUvarUvA bAvIsaM parIsahovasaggA gAmakaMTagA ahiyaasijNti| tamaTuM ArAhei, carimehiM ussAsanissAsehi sijjhihiti muccihiti parinivvAhiti savvadukkhANamaMtaM krehiti| (Ga) tatpazcAt ve dRDhapratijJa kevalI isa prakAra vihAracaryA se vicaraNa karate hue aura * aneka varSoM taka kevali-paryAya kA pAlana kara, apane Ayu ke anta ko jAnakara aneka bhaktoM-aneka dinoM ke bhojanoM kA pratyAkhyAna va tyAga karege aura anazana dvArA bahuta se 9 bhojanoM kA chedana kareMge arthAt bahuta samaya taka AhAra-pAna kA tyAgakara zarIra tyAga * kreNge| jisa sAdhya kI siddhi ke lie nagnabhAva (munitva), kezaloca, brahmacarya-dhAraNa, snAna kA * tyAga, datadhAvana kA tyAga, pAdukAoM kA tyAga, bhUmi para zayana karanA, kASThAsana para sonA, * bhikSArtha paragRha-praveza, lAbha-alAbha me sama rahanA, mAna-apamAna sahanA, dUsaroM ke dvArA * kI jAne vAlI hIlanA (tiraskAra), nindA, khiMsanA (avarNavAda), tarjanA (dhamakI), tADanA, * gardA (ghRNA) evaM anukUla-pratikUla aneka prakAra ke bAIsa parISaha, upasarga tathA lokApavAda (gAlI-galauja) Adi sahana kiye jAte haiM, usa parama sAdhya-mokSa kI sAdhanA karake ve rAyapaseNiyasUtra (426) Rar-paseniya Sutra COM

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REPRENERGADGORRODUBE OVATOPACO ArAR Aba . 0 AREIN * dRDhapratijJa jina carama zvAsocchvAsa me siddha ho jAyege, mukta ho jAyeMge, sakala karmamala kA kSaya aura samasta duHkhoM kA anta krege| (e) Thereafter omniscient Dridh Pratijna shall move about for many years in the state of perfect knowledge. Later, knowing that his life-span is going to be completed he shall observe complete fast for many days, he shall leave taking of food, water, sweets and others completely and thus shall leave the physical body. ___ The nakedness (sainthood), shaving of head by plucking the hair, celibacy, restraining from taking bath, non-cleaning of teeth, nonwearing of foot-pads, sleeping on floor, sleeping on wooden platform, going to houses in search of food according to their restraints, remaining in state of equanimity in both the states namely when something is got and when nothing is got during wandering in search of food and others, bearing with honour and dishonour, bearing with ill-words, bearing with threats, hurting, disgraces and suchlike twenty two tribulations, equally undergoing crackle afflicted by gods and others, bearing with abuses from the public which is undergone with the specific purpose of attaning liberation Dridh Pratijna by his unique austerities, shall attain liberation and with the last life-breath at the completion of the human life-span he shall attain salvation. He shall completely end up all the chain of his karma and thus all the troubles of the world. upasaMhAra 287. sevaM bhaMte ! sevaM bhaMte ! tti bhagavaM goyame samaNaM bhagavaM mahAvIraM vaMdai namasai, vaMdittA namaMsittA saMjameNaM tavasA appANaM bhAvemANe vihrti| 287. (isa prakAra se bhagavAna mahAvIra ke zrImukha se sUryAbhadeva ke atIta, anAgata aura vartamAna jIvana-prasaMgoM ko sunane ke pazcAt gautama svAmI ne hArdika ullAsa ke sAtha kahA-) "bhagavana ! jaisA Apane pratipAdana kiyA hai vaha aisA hI hai, he bhagavan ! vaha isI prakAra hai, jaisA Apa pharamAte haiN|' isa prakAra kahakara bhagavAna gautama ne zramaNa bhagavAna mahAvIra ko vaMdana-namaskAra kiyaa| vaMdana-namaskAra karake sayama eva tapa meM AtmA ko ramAte hue vicarane lge| * SAKXKinkinkinaatmak " " " Tarers OMEPOMEPRAG0450 dRr3hapratijJakumAra (427) Dridh Pratyna Kumar *

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ON no CONCLUSION 287. (After listening about this part, the present and the future of Suryabh Dev from Bhagavan Mahavir, Gautam Swami said in a state of happiness and satisfaction--) ___ "Reverend Sir ! It is exactly so as you have narrated. It is going to happen as you have mentioned." Saying so, he bowed to the Lord and then again started his life-activities observing restraints and austerities. 288. Namo jiNANaM jiybhyaannN| Namo suyadevayAe bhgvtiie| Namo paNNattIe bhgviie| Namo bhagavao arahao paasss| passe supasse passavaNA nnmo| * rAyapaseNaiyaM samattaM . 288. bhayoM ke vijetA bhagavAna ko namaskAra ho| bhagavatI zruta devatA ko namaskAra ho| prajJapti bhagavatI ko namaskAra ho| arhat bhagavAna pArzvanAtha ko namaskAra ho| pradezI rAjA ke praznoM ke supradarzaka-samAdhAna dene vAle (kezIkumAra zramaNa) ko namaskAra ho| * rAjapraznIyasUtra samApta . 288. Salutation to the Lord who has sabdued all fears. Salutation to the goddess of learning. Salutation to godden expert in commentaries. Salutation to omniscient Bhagavan Parshvanath. Salutation to Keshi Kumar Shraman who properly replied to the queries raised by king Pradeshi. * RAI-PASENIYA (RAJ-PRASHNIYA) SUTRA CONCLUDED . * * Ommo ya 100d0dne ra rAyapaseNiyasUtra (428) Rat-paseniya Sutra

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AgamoM kA anadhyAyakAla (sva. AcAryapravara zrI AtmArAma jI mahArAja dvArA sampAdita nandIsUtra se uddhRta) -sthAnAMgasatra, sthAna 10 svAdhyAya ke lie Agamo me jo samaya batAyA gayA hai, usI samaya zAstro kA svAdhyAya karanA caahie| anadhyAyakAla me svAdhyAya varjita hai| ___ manusmRti Adi smRtiyo me bhI anadhyAyakAla kA vistArapUrvaka varNana kiyA gayA hai| vaidika loga bhI veda ke anadhyAyo kA ullekha karate hai| isI prakAra anya ArSa grantho kA bhI anadhyAya mAnA jAtA hai| jainAgama bhI sarvajJokta, devAdhiSThita tathA svara-vidyA sayukta hone ke kAraNa, inakA bhI Agamo me OM anadhyAyakAla varNita kiyA gayA hai| jaise dasavihe aMtalikkhie asajjhAe paNNatte, taM jahA-ukkAvAte, disidAghe, gajjite, vijjute, nigyAte, juvate, jakkhAlitte, dhUmitA, mahitA, ryugghaate| ____dasavihe orAlie asajjhAe, taM jahA-aTThI, maMsaM, soNite, asutisAmaMte, susANasAmaMte, caMdovarAte, OM sUrovarAte, paDaNe, rAyabuggahe, uvassayassa aMto orAlie sriirge| sa no kappati niragaMthANa vA, nigaMthINa vA cauhiM mahApADivaehiM sajjhAyaM karittae, taM jahAAsADhapADivae, iMdamahapADivae, kattiapADivAe sugimhpaaddive| no kappai nigaMthANa vA niggaMthINa vA, cauhi saMjhAhiM sajjhAyaM karettae, taM jahA-paDhimAte, pacchimAte, majjhaNhe, addddhrtte| kappai nigaMthANaM vA niggaMthINa vA, cAukkAlaM sajjhAyaM karettae, taM jahA-puvaNhe avaraNhe, paose, pccuuse| -sthAnAMgasUtra, sthAna 4, uddezaka 2 sthAnAgasUtra ke anusAra, dasa AkAza se sambandhita, dasa audArika zarIra se sambandhita, cAra mahApratipadA, cAra mahApratipadA kI pUrNimA aura cAra sndhyaa| isa prakAra battIsa anadhyAyakAla mAne gae hai, jinakA sakSepa me nimna prakAra se varNana hai| jaiseAkAza sambandhI dasa anadhyAya ____1. ulkApAta-tArApatana-yadi mahat tArApatana huA hai to eka prahara paryanta zAstra-svAdhyAya nahI karanA caahie| 2. digdAha-jaba taka dizA raktavarNa kI ho arthAt aisA mAlUma paDe ki dizA me Aga-sI lagI hai, taba bhI svAdhyAya nahI karanA caahie| 3. garjita-bAdalo ke garjana para eka prahara paryanta svAdhyAya na kre| 4. vidyut-bijalI camakane para eka prahara paryanta svAdhyAya na kre| * pariziSTa (429) Appendix *

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kintu garjana aura vidyut kA asvAdhyAya cAturmAsa me nahI mAnanA caahie| kyoki vaha garjana aura vidyut prAya Rtu-svabhAva se hI hotA hai| ata ArdrA se svAti nakSatra paryanta anadhyAya nahI mAnA jaataa| 5. nirghAta-binA bAdala ke AkAza me vyantarAdikRta ghora garjanA hone para yA bAdalo sahita AkAza me kaDakane para do prahara taka asvAdhyAyakAla hai| 6. yUpaka-zukla pakSa me pratipadA, dvitIyA, tRtIyA ko sandhyA kI prabhA aura candraprabhA ke milane ko yUpaka kahA jAtA hai| ina dino prahara rAtri paryanta svAdhyAya nahI karanA caahie| 7. yakSAdIpta-kabhI kisI dizA me bijalI camakane jaisA, thoDe-thoDe samaya pIche jo prakAza hotA hai vaha yakSAdIpta kahalAtA hai| ataH AkAza me jaba taka yakSAkAra dIkhatA rahe taba taka svAdhyAya nahI karanA caahie| 8. dhUmikA-kRSNa-kArtika se lekara mAgha mAsa taka kA samaya megho kA garbhamAsa hotA hai| isame dhUmra varNa kI sUkSma jalarUpa dhudha paDatI hai| vaha dhUmikA-kRSNa kahalAtI hai| jaba taka vaha dhudha paDatI rahe, taba taka svAdhyAya nahI karanA caahie| 9. mihikAzveta-zItakAla me zveta varNa kI sUkSma jalarUpa dhudha mihikA kahalAtI hai| jaba taka yaha giratI rahe, taba taka asvAdhyAyakAla hai| 10. raja-udghAta-vAyu ke kAraNa AkAza me cAro ora dhUla chA jAtI hai| jaba taka yaha dhUla phailI rahatI hai, svAdhyAya nahI karanA caahie| ___ uparokta dasa kAraNa AkAza sambandhI asvAdhyAya ke hai| audArika zarIra sambandhI dasa anadhyAya 11-13. haDDI, maoNsa aura rudhira-pacendriya, tiryaca kI haDDI, maoNsa aura rudhira yadi sAmane dikhAI de, to jaba taka vahA~ se yaha vastue~ uThAI na jAe~, taba taka asvAdhyAya hai| vRttikAra AsapAsa ke 60 hAtha taka ina vastuo ke hone para asvAdhyAya mAnate hai| isI prakAra manuSya sambandhI asthi, maoNsa aura rudhira kA bhI anadhyAya mAnA jAtA hai| vizeSatA itanI hai ki inakA asvAdhyAya sau hAtha taka tathA eka dina-rAta kA hotA hai| strI ke mAsika dharma kA asvAdhyAya tIna dina taka tathA bAlaka eva bAlikA ke janma kA asvAdhyAya kramaza sAta evaM ATha dina paryanta kA mAnA jAtA hai| 14. azuci-mala-mUtra sAmane dikhAI dene taka asvAdhyAya hai| 15. zmazAna-zmazAna bhUmi ke cAro ora sau-sau hAtha paryanta asvAdhyAya mAnA jAtA hai| 16. candragrahaNa-candragrahaNa hone para jaghanya ATha, madhyama bAraha aura utkRSTa solaha prahara paryanta svAdhyAya nahI karanA caahie| 17. sUryagrahaNa-sUryagrahaNa hone para bhI kramaza ATha, bAraha aura solaha prahara paryanta asvAdhyAyakAla mAnA gayA hai| palese.ske.ske.ske.ske.ske.ske.ke.skeke.ske.skeke.ke.ke.kesakese.ske.ske.slesslesske sakese ke askesisekssslesarkar pariziSTa (430) Appendut

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ra 18. patana-kisI bar3e mAnya rAjA athavA rASTra-puruSa kA nidhana hone para jaba taka usakA dAha-saskAra na ho, taba taka svAdhyAya nahI karanA cAhie athavA jaba taka dUsarA adhikArI sattArUDha na ho, taba taka zanai -zanai svAdhyAya karanA caahie| 19. rAjavyudgraha-samIpastha rAjAo me paraspara yuddha hone para jaba taka zAnti na ho jAe, taba taka aura usake pazcAt bhI eka dina-rAtri svAdhyAya nahI kre| 20. audArika zarIra-upAzraya ke bhItara pacendriya jIva kA vadha ho jAne para jaba taka kalevara paDA rahe, taba taka tathA 100 hAtha taka yadi nirjIva kalevara paDA ho to svAdhyAya nahI karanA caahie| asvAdhyAya ke uparokta 10 kAraNa audArika zarIra sambandhI kahe gaye hai| 21-28. cAra mahotsava aura cAra mahApratipadA-ASADha-pUrNimA, Azvina-pUrNimA, kArtika pUrNimA aura caitra-pUrNimA ye cAra mahotsava hai| ina pUrNimAo ke pazcAt Ane vAlI pratipadA ko mahApratipadA kahate hai| iname svAdhyAya karane kA niSedha hai| 29-32. prAtaH, sAyaM, madhyAhna aura ardha-rAtri-prAta sUrya ugane se eka ghaDI pahale tathA eka ghaDI piiche| sUryAsta hone se eka ghaDI pahale tathA eka ghaDI piiche| madhyAhna arthAt dopahara me eka ghaDI pahale aura eka ghaDI pIche eva ardha-rAtri me bhI eka ghaDI pahale tathA eka ghaDI pIche svAdhyAya nahI karanA caahie| isa prakAra asvAdhyAyakAla TAlakara dina-rAtri me cAra kAla kA svAdhyAya karanA caahie| CeupPAYOMAYAVADYAARODARODALODAR094809-ROPROD-8092098090090090090090 APPROPRIATE TIME FOR STUDY OF SCRIPTURES Holy books should be studied only at a time as prescribed in the scriptures There are times when this study is prohibited. In scriptures like Manusmriti etc. also the prohibited time has been described Vedic people also mention about this period in the Vedas Other Aryan holy books also agree to this particular period Jain scriptures too, as they have been associated with the omnipresent and established by the devas, are prohibited to be studied in that particular period, e.g, As per the above scripture study, prohibited periods are ten relating to symptoms in the sky, ten relating to the physcial body, four relating to first day of the fortnight, four relating to full moon of the fortnight, four relating to waned moon of the fortnight. ___Thus, 32 periods are forbidden which are briefly described below : RELATING TO SYMPTOMS IN THE SKY 1. If an important star has fallen, then the study is forbidden for three hours 2 If there is red colour in the sky then the study shouldn't be done 3. No study for 6 hours after thunder of clouds. 4 For three hours after lightening, study is not allowed pariziSTa (431) Appendix * "*" *" * * * * * *

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to 5 If there is thunder without clouds in the sky or if there is crackling with presence of clouds, then study is forbidden for 6 hours 6 The evening time of 1st, 2nd and 3rd day of the fortnight when the moon waxes, is forbidden for the study. 7 Till the time when the after glow of lightening is visible in any direction, study should not be done. 8 From October to January, there is fog Till the time there is fog, study is forbidden. 9 During winters, there is five fog of white colour. Till the time there is fog, that is forbidden time. 10 Due to air movement, if there is a dust in the air, then the study is not allowed RELATING TO THE PHYSICAL BODY 11-13 Till bone, flesh or blood of any five sensed being is visible, study is not to be done Similarly, human bone, flesh and blood is also considered ominous for study. Their presence forbids study for 3 days 14. Presence of stool and urine prohibits study 15 666 ft around a funeral place is unfit for study. 16 Study is prohibited during lunar eclipse. 17 Study is prohibited during solar eclipse 18 Till the funeral of a big king or national leader after his death, study is prohibited 19 Till the time when peace prevails after a fight between two neighbouring kings, study is forbidden for 24 hours. 20 Physical Body-In case a five-sensed animal dies or is killed in the upashraya (the place where monks/nuns are staying), scriptures should not be studied till the dead body is there If the dead body is lying at a distance upto 100 hath, then also the scriptures cannot be studied. The above mentioned ten taboos relate to physcial body 21-28 Four auspicious days and four phatipadas (the days prolongs the auspicious day)-Fifteenth days of the bright fortnight (ie the days of full moon) in Ashadh (June), Ashvin (September), Kartik (October) and Chaitra (March) are known as Mahotsava (Auspicious days) The day immediately followings are mahapratipada Scriptures should not be studied in these eight day 29-32 Scriptures should not be studied for 24 minutes immediately preceding and immediately following the sunrise, the noon, the sunset and midnight ** pariziSTa (432) Appendix