Agam 32 Chulika 02 Anuyogdwar Sutra Part 01 Sthanakvasi

Author(s): Amarmuni, Tarunmuni, Shreechand Surana
Publisher: Padma Prakashan
Catalog link: https://jainqq.org/explore/007655/1

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OTI sacitra anuyogadvArasUtra 1 zrI amara muni Illustrated Anuyog-dvar Sutra Shri Amar Muni

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anuyoga dvAra sUtra anuyogadvAra sUtra jaina AgamoM kI vyAkhyA paddhati batAne vAlA apanI zailI kA anUThA Agama hai| ise Agama jJAna ke nagara kA praveza dvAra kahA jA sakatA hai| eka prAcIna dohe meM kahA hai jyoM kele ke pAta meM, pAta-pAta meM paat| tyoM jJAnI kI bAta meM bAta-bAta meM baat| anuyoga dvAra ke viSaya meM yaha sUkti yathArtha lagatI hai| eka sUtra ke bheda-prabheda-upabhedaavAntara bheda isa prakAra isameM bindu kA sindha ke rUpa meM vistAra hotA pratIta hotA hai| aura anta meM punaH usI bindu para pahuMcakara samUce viSaya kA samavatAra kiyA jAtA hai| tattvavivecana kI sArthaka aura saMtulita paddhati ke anusAra isa sUtra meM vividha viSayoM kA vistAra ke sAtha varNana hai| isa Agama kA abhyAsa karane para prAcIna dharmagranthoM kI varNana zailI sahaja hI samajha meM A sakatI hai| ANUYOG-DVAR SUTRA An Introduction Anuyog-dvar Sutra is a unique Scripture that explains the method of detailed interpretation of Jain Agams. It can be called the gateway of the City of Agamic knowledge. A Hindi couplet aptly applies to the Subject matter of Anuyog-dvar. That couplet means that a word of the seer leads to many interpretations just as the branch of a plantation has covering of leaves one after the other. One Sutra has many division, Sub-divisions and further divisions just as a drop expanding and expanding takes the shape of an Ocean. And again arriving at the drop, the entire subject is: Following the meaningful and balanced style to comment on tattvas (the essence), this Sutra deals with many subjects in detail. By studying this book thoroughly, the style of ancient Jain scriptures can be easily understood. For Frate & Personal Use Only ,

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Arya rakSita sthavira saMkalita sacitra anuyogadvAra sUtra (prathama bhAga) ( mUla pATha-hindI-aMgrejI anuvAda, vivecana tathA raMgIna citroM sahita ) * pradhAna sampAdaka * uttara bhAratIya pravartaka bhaNDArI zrI padmacandra jI ma. ke suziSya upapravartaka zrI amara muni * saha-sampAdaka zrI taruNa muni zrIcanda surAnA 'savasa' * aMgrejI anuvAda * surendra botharA padmaprakAzana padma prakAzana, narelA maNDI. dillI-110040

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* sacitra AgamamAlA kA gyArahavA~ puSpa | * AryarakSita sthavira saMkalita zrI anuyogadvAra sUtra (1) KAKKAKASHSS RODAROLAROBARODAROVAROPARDARODAROPARDRODAROPARMER * pradhAna sampAdaka upapravartaka zrI amara muni Shar * saha-sampAdaka zrI taruNa muni zrIcanda surAnA 'sarasa' * aMgrejI anuvAda surendra botharA, jayapura GRAD citrakAra DaoN. zrI triloka zarmA *4 prakAzaka evaM prApti-sthAna padma prakAzana padma dhAma, narelA maNDI, dillI-110040 RAPOYAPO DARSaaloto mudraNa-vyavasthA divAkara prakAzana e-7, avAgar3ha hAusa, ema. jI. roDa, AgarA-282 002 dUrabhASa : (0562) 351165 * prathama AvRtti vi. saM. 2057.caitra IsvI san 2001, mArca pA~ca sau rupayA mAtra

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ILLUSTRATED ANUYOGADVAR SUTRA Original compiled by ARYA RAKSHIT STHAVIR (PART ONE) Original text with Hindi and English translations, elaboration and colourful illustrations of EDITOR-IN-CHIEF - Up-pravartak Shri Amar Muni (the disciple of Uttar Bharatiya Pravartak Bhandari Shri Padmachandra Ji Maharaj) * ASSOCIATE-EDITORS + Shri Tarun Muni Srichand Surana 'Saras' of ENGLISH TRANSLATION - Surendra Bothara PADMA PRAKASHAN PADMA DHAM, NARELA MANDI, DELHI-110 040

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THE ELEVENTH NUMBER OF THE ILLUSTRATED AGAM SERIES * ILLUSTRATED ANUYOGADVAR SUTRA (PART ONE) (Orignially compiled by Arya Rakshit Sthavir) Editor-in-Chief Up-pravartak Shri Amar Muni Associate-Editors Shri Tarun Muni Srichand Surana 'Saras' English Translator Surendra Bothara (Jaipur) Illustrator Dr. Shri Trilok Sharma Publisher and Distributor Padma Prakashan Padma Dham, Narela Mandi, Delhi-110 040 Printer Diwakar Prakashan A-7, Awagarh House, M.G. Road, Agra-282 002 Phone : (0562) 351165 First Edition Chaitra, 2057 V. March, 2001 A.D. Price Five Hundred Rupees only (Rs. 500)

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AgamajJAna mahodaddhi parama zraddheya AcAryasamrATa zrI AtmArAmajI mahArAja CS sAdarasavinaya samarpaNa MP3 bhaNDArI muni panacandra (uttarabhAratIya pravartaka) IASEXPRTAL antiyo

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zruta sevA meM samarpita sahayoga pradAtA zrI o. pI. jaina (hariyANavI) pItamapurA, dillI zrI abhaya kumAra jaina zAstrI nagara, dillI zrI mAmacanda jaina kurukSetra SHARE anua zrI rAjakumAra jaina govindagar3ha maNDI zrI azoka kumAra jaina (zAmar3I vAle) rohiNI, dillI Jain.to

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zrUta sevA meM samarpita sahayogadAtA zrI ramezacandra prabhulAla zAha zrImatI mAlatI bahana rameza bhAI zAha gujarAta vihAra, dillI zrI nimeSa ramezacandra zAha, sau. namitA nimeSa zAha gujarAta vihAra, dillI DaoN. zrI mojI rAma jaina zrImatI puSpA jaina (khevar3e vAle) sAketa, dillI zrI pUrNa canda jaina zrImatI zAntI devI jaina (muAne vAle) rohiNI, dillI Jal Education International zrI rAmezvaradAsa jaina zrImatI sujAnI devI jaina (muAne vAle) pItama purA, dillI t wigainelibrary forg GEORRivate FORSReserbby

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zruta sevA meM samarpita sahayoga pradAtA mAtA zakuntalA devI jaina mAtezvarI zrI bhArata bhUSaNa jaina, zrI svadeza bhUSaNa jaina pazcima vihAra, dillI zrI surendra kumAra jaina ( danaudA vAle) zAlImAra bAga, zrI camanalAla jaina zrImatI suzIlA rAnI jaina (banUDa vAle), sundara nagara, ludhiyAnA dillI zrI sUraja prakAza jaina (syAlakoTa vAle) viveka vihAra, dillI zrI premarAja jaina mukarjI nagara, dillI

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oostel... prakAzakIya ne "jJAnadAna sabase mahAna dAna hai" - isa vacana ke anurUpa parama zraddheya upapravartaka zrI amara muni jI bhagavad vANI ke rUpa meM nibaddha jaina sUtroM kA hindI-aMgrejI anuvAda karAkara citra sahita prakAzana kI mahattvapUrNa dIrghakAlIna yojanA banAI hai| isa yojanA meM aba taka nau Agama prakAzita ho cuke haiN| hamArA yaha parama saubhAgya hai ki uttara bhAratIya pravartaka mahAsthavira gurudeva bhaNDArI zrI padmacandra jI ma. kI satata preraNA se upapravartaka zrI amara muni jI Agama sevA ke isa mahAna puNya kArya meM hama sabako preraNA aura protsAhana pradAna kara yuga-yuga taka cirasthAyI rahane vAlA jJAnadIpa prajvalita kara rahe haiN| yaha jJAna dIpa na tUphAnoM meM caMcala hotA hai aura na hI mahAkAla ke thaper3oM se bujha pAtA hai| vAstava meM 'amara jJAnadIpa jalAkara zrI amara muni jI eka yugAntarakArI kArya kara rahe haiM / sacitra Agama prakAzana yojanA meM isa jaTila anuyogadvAra sUtra kA kArya lagabhaga do varSa se cala rahA hai, abhI bhI yaha prathama bhAga ke rUpa meM AdhA hI prakAzita ho rahA hai| agalA aMga dUsare bhAga meM prakAzita hogaa| agale varSa bhI hama do Agama prakAzita karanA cahAte haiN| jaina dharma darzana ke mUla zabdoM kA abhiprAya samajhakara unake bhAva ke anusAra aMgrejI meM unakA anuvAda karanA vAstava meM bahuta hI kaThina aura vyApaka cintana-manana kA kArya hai| khAsakara anuyogadvAra jaise Agama meM to bahuta hI zrama karanA par3A hai| phira bhI hameM saMtoSa hai ki vidvAna anuvAdaka ne AgamoM ke bhAva ke anusAra manana karake aMgrejI paribhASAe~ banAI haiM aura unako sundara sahaja rUpa se prastuta kI hai| zrIcanda jI surAnA (anuvAda, vivecana va sampAdana ) tathA zrI surendra botharA ( aMgrejI anuvAda) kA sahayoga to prArambha se hI hameM upalabdha hai| isake sAtha hI AgamoM ke abhyAsI vidvAn zrI rAjakumAra jI jaina (riTAyarDa AI. e. esa. dillI) bhI upAsaka dazA va anuttaraupapAtika sUtra ke aMgrejI anuvAdaka ke rUpa meM isa abhiyAna se jur3a gaye haiN| anuyogadvAra sUtra sahita kucha anya AgamoM ke antima prUpha bhI Apa zrI kI najara se nikale haiN| citrakAra DaoN triloka zarmA ne isa Agama ke citra banAye haiN| citroM ke mAdhyama se AgamoM kA gambhIra kathana bahuta hI sarala rUpa meM prakaTa ho gayA hai, jo sabake lie subodha hai| ina citroM ke rekhAMkana AgamoM kI marmajJa viduSI DaoN. saritA jI ma. ko bhI dikhAye gaye haiM aura unake sujhAva anusAra ucita saMzodhana bhI kiyA gayA hai| hama sabhI sahayogI baMdhuoM ke prati kRtajJa haiN| bhaviSya meM unake sahayoga kI AzA / AkAMkSA ke sAtha / ( 5 ) vinIta mahendrakumAra jaina (adhyakSa) padma prakAzana

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PUBLISHER'S NOTE "Imparting knowledge to others is the greatest charity." Translating these words into action Shri Amar Muni ji made a long term plan for publishing the precepts of the Jina, compiled in the form of Jain Sutras (Jain Canon), with Hindi and English translations and suitable multicolored illustrations. In this project the nine Agams have already been published We are extremely fortunate that, with the blessings of Uttar Bharatiya Pravartak Gurudev Bhandari Shri Padma Chandra Ji Maharaj, Up-pravartak Shri Amar Muni Ji is inspiring and encouraging us in this noble work of lighting the everlasting lamp of knowledge. This lamp of knowledge neither flickers in any storm nor gets extinguished by the catastrophic sweeps of time. Actually, by lighting this eternal lamp, Shri Amar Muni Ji is doing an epochmaking work. In this plan of illustrated publications, the work on this complex Anuyogadvar Sutra is going on for about two years. Even now only half of it is ready and is being published as Part 1. The remaining portion will be published as the second part next year when we plan to publish two Sutras once again. To understand the concepts contained in the original terminology of Jain philosophy and then translate them into English is really a difficult task and needs careful contemplation and pondering. Specially for an Agam like Anuyogadvar Sutra real hard work had to be put in. However, we are contented that the translator has put in all the efforts and sources at his command to translate the philosophical terminology and present it in a simple and comprehensible style. The contributions of Srichand Ji Surana (Hindi translation, elaborations, and editing) and Shri Surendra Bothra (English translation) have been available right from the beginning of this project. Shri Raj Kumar Jain (LAS Retd., Delhi), who is well versed with Jain Sutras, has also joined the mission with contributions like English translation of recently published Upasak-dasha and

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Anuttaropapatik-dasha Sutra and going through the final proofs of some other Agams including Anuyogadvar Sutra. Dr. Trilok Sharma has made the illustrations for this Sutra. Through the medium of illustrations, even the complex concepts have been made simple and easily understandable for all. The pencil drawings of these illustrations have been shown to Dr. Sarita Ji Maharaj who possess in depth knowledge of these Sutras. Necessary improvements have been made as per their suggestions. We are thankful to all those who have extended their cooperation to this project. We wish and hope to get their continued co-operation in future as well. (19) Mahendra Kumar Jain PRESIDENT Padma Prakashan

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prastAvanA : svakIyam rAja vyavasthA yA zAsana taMtra meM jo mahattva 'zastra' kA hai, Atma-zAsana yA adhyAtma kSetra meM vahI mahattva 'zAstra' kA hai| zastra ke binA rAja vyavasthA nahIM cala sakatI, zAstra ke binA Atma-jJAna yA saMyama-sAdhanA nahIM ho sktii| zarIra meM jo mahattva A~kha kA hai Atma-kalyANa ke lie vahI mahattva zAstra kA hai| isalie zAstra ko AtmA kI A~kha kahA gayA hai-suyaM taiyaM ckchu| zAstra kA artha hai jo AtmA para, mana para tathA indriyoM para zAsana karatA hai yA zAsana karanA sikhAtA hai| arthAt ina para saMyama karake apanA adhikAra yA svAmitva sthApita karane kA upAya batAtA hai vaha hai shaastr| jaise kahA hai-zAsanAcchAstramidam-AcArya malayagiri kA yaha kathana vAstava meM zAstra ko AtmA para zAsana karane vAlA 'zAsaka' siddha karatA hai| vItarAga sarvajJa bhagavAna kI vANI yA upadeza ko 'zAstra' kahA jAtA hai| una zAstroM kA svAdhyAya, adhyayana, paThana-zravaNa AtmA ko kalyANa ke mArga para prerita karatA hai, Age bar3hAtA hai| jaina paramparA meM 'zAstra' ke lie 'Agama' zabda adhika pracalita hai| vartamAna samaya meM jo Agama upalabdha haiM, unakI gaNanA 45 yA 32 AgamoM ke rUpa meM kI jAtI hai| zvetAmbara mUrti pUjaka AnAya meM 45 tathA sthAnakavAsI terApaMthI AmnAya meM 32 Agama kI mAnyatA pracalita hai| battIsa Agama isa prakAra haiM-11 aMga, 12 upAMga, cAra cheda, cAra mUla aura Avazyaka ye 32 / prastuta anuyogadvAra mUla sUtroM kI gaNanA meM AtA hai| cAra mUla sUtroM meM uttarAdhyayana, dazavaikAlika, nandI aura anuyogadvAra kA nAma hai| jinezvara bhagavAna ne mokSa ke cAra mArga batAye haiM nANaM ca daMsaNa ceva carittaM ca tavo thaa| esa maggu tti pannatto jiNehiM vrdNsiNhiN| -uttarAdhyayana 30 jJAna, darzana, cAritra aura tapa mokSa ke cAra mArga haiN| prAcIna mAnyatA ke anusAra nandI sUtra meM jJAna, anuyodvAra meM darzana, dazavaikAlika meM cAritra tathA uttarAdhyayana meM tapa kA varNana mukhya rUpa meM hai| yoM to anuyogadvAra meM darzana ke sAtha zrutajJAna tathA Avazyaka ke rUpa meM pA~ca cAritra kA varNana bhI upalabdha hai, kintu yaha saba upakrama darzana kI samyak darzana ke rUpa meM zuddhi ke lie hone se 'darzana' ko isakA mukhya viSaya mAnA hai| anuyoga kA artha ___ 'anuyoga dvAra' sUtra ko samajhane ke lie sarvaprathama 'anuyoga' zabda kA artha samajha lenA jarUrI hai| 'anuyoga' kA artha hai, zabda ke sAtha usake anukUla yA upayukta artha kA sambandha jodd'naa| artha ke bhASaka arihaMta bhagavAna hote haiM, arihaMtoM yA tIrthaMkaroM dvArA kathita artha yA zabda rUpa zAstra ko

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unake abhipreta artha se jor3akara dekhanA caahie| eka zabda ke aneka artha hote haiM, isalie vahA~ para kisa prayojanase, kisa naya dRSTi se, kisa nikSepa dRSTi se yaha zabda kahA gayA hai, isakA ucita vicAra karake usakA vahI artha karanA-isI kA nAma anuyoga hai jaisA ki AcAryoM ne kahA hai-aNu oyaNa maNuogo suyassa niyaeNa jmbhiheenn| (AcArya jinabhadragaNi) ___ arthAt zruta ke niyata abhidheya ko samajhane ke lie usake sAtha upayukta artha kA yoga karanAanuyoga hai| anuyoga dvAra sUtra meM anuyoga zabda para adhika cintana nahIM kiyA gayA hai| parantu zAstroM ke prasiddha bhASyakAra AcArya jinabhadra gaNi tathA vRttikAra maladhArI hemacandra Adi AcAryoM ne 'anuyoga' zabda para bar3e vistAra ke sAtha cintana kiyA hai aura yaha spaSTa kiyA hai ki kisa kAraNa isa zAstra ko 'anuyoga dvAra' kahA hai| anuyoga dvAra kA eka sarala-sA artha hai-zAsana rUpI mahAnagara meM apane icchita tattvajJAna ko khojane aura pAne ke lie praveza kA jo dvAra hai, usakA nAma yahA~ anuyoga dvAra samajha lenA caahie| zAstra ko eka mahAnagara mAna leM to usa mahAnagara meM praveza karane kA mArga anuyoga dvAra hai| zAstra ke gambhIra bhAva yA artha ko samajhane ke lie jisa anekAntavAdI, naya-nikSepa pradhAna dRSTi kI jarUrata hai usa dRSTi kA udghATana anuyoga dvAra sUtra karatA hai| ___ anuyoga kA artha samajhAne ke lie AcArya bhadrabAhu svAmI ne sarvaprathama Avazyaka niyukti (gA. 128-129) meM gAya aura bachar3e kA dRSTAnta diyA hai, isI dRSTAnta ko vistRta rUpa meM Avazyaka niyukti ke bhASyakAra jinabhadragaNi kSamAzramaNa ne (gA. 409-410) udAharaNa dekara samajhAyA hai| jisakA varNana aura citra hamane sUtra 2 para kiyA hai| saMkSepa meM jisa gAya kA dUdha duhanA ho, usI ke bachar3e ko usake pAsa lAkara usakA stana pAna karAkara dUdha duhanA yaha eka prakAra se 'yogya saMyoga' hai| isa dRSTAnta se anuyoga kA artha saralatA se samajha meM A jAtA hai| anuyoga ke cAra dvAra ___ yaha jAnanA cAhie ki AcArya Arya rakSita ne jaina AgamoM ke viSayoM kA cAra anuyogoM meM vargIkaraNa kiyA hai| jaise-dharma kathAnuyoga (dRSTAnta udAharaNa) caraNAnuyoga, (AcAra viSaya) gaNitAnuyoga (gaNita, jyotiSa aura samudra parvata Adi kA varNana) tathA dravyAnuyoga (jIva-pudgala Adi kA varNana) inameM prastuta anuyoga dvAra kI gaNanA pramukha rUpameM kisI bhI anuyoga me nahIM kI jA sakatI, kintu isameM prasaMgAnusAra cAroM hI anuyoga samAviSTa ho jAte haiN| vAstava meM isakA viSaya zAstra kA artha karane kI zailI arthAt Agama kI vyAkhyA paddhati samajhAnA hai| isalie isake viSayoM ko 'cAra dvAra' ke rUpa meM vibhakta kiyA hai, jaise-(1) upakrama, (2) nikSepa, (3) anugama, aura (4) ny| ___ ina cAroM dvAroM meM sabase pahale upakrama dvAra hai| yaha sabase adhika vistRta hai| sUtra kA lagabhaga 75% aMza upakrama ke varNana meM hI pUrA huA hai|

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akses sdeg24deges, se diss ses & 4deg4444deg45deg4444deg444degdeg4deg4deg4 kisI ke abhiprAya ko samajhanA aura samajhakara usake anukUla prayatna karanA upakrama hai| nAma, sthApanA, dravya, kSetra kAla aura bhAva-ina chaha dvAroM se upakrama kI aneka prakAra kI vyAkhyAe~ kI gaI haiM aura anta meM prazasta bhAvopakrama ko upAdeya batAyA hai| isake anusAra ziSya guru se jJAna prApta karane ke lie pahale guru ko vinaya Adi se prasanna kare, unake bhAva-iMgita saMketa Adi ko samajhakara zAstra par3hane meM pravRtta ho| upakrama ke bhI AnupUrvI, nAma, pramANa, vaktavya, arthAdhikAra, pA~ca bheda batAkara vibhinna prakAroM se upakrama ko samajhAyA hai| dUsare nikSepa dvAra meM nAma, sthApanA, dravya aura bhAva cAra nikSepa ke AdhAra para tattva ko samajhane kI vidhi batAI hai| tIsarA dvAra hai anugama aura cauthA dvAra hai ny| anugama ke mukhya do bheda batAkara usake upabhedoM kA varNana hai| isake bAda nayadvAra meM sAta nayoM kI vyAkhyA hai| isa prakAra anuyoga dvAra sUtra meM cAra dvAroM dvArA zAstra kA artha samajhane, usakI vyAkhyA karane kI tarka va yukti saMgata zailI kA varNana hai| prAsaMgika sAmagrI : prAcIna granthoM kA ullekha ____ anuyogadvAra meM cAra dvAroM ke varNana meM aneka prakAra kI rocaka, sAMskRtika aura aitihAsika sAmagrI upalabdha hotI hai| isake adhyayana se prAcIna bhArata kI dhArmika, aitihAsika, bhaugolika tathA sAMskRtika sAmagrI vividha rUpa meM milatI hai| dhArmika aura dArzanika sAmagrI meM SaDdravya kA vicAra, jIva ke guNa, zarIra, zarIra kI AkRtiyA~, saMsthAna, jIvoM kI Ayu Adi vividha prakAra ke viSayoM kI saMyojanA hai| ___isa sUtra meM jainetara sAhitya ke 19 prasiddha granthoM ke nAma bhI haiN| (sUtra 49) jaise rAmAyaNa, mahAbhArata, kauTilya, vaizeSika darzana, buddha vacana, lokAyata, purANa, vyAkaraNa aadi| mahAbhArata aura rAmAyaNa ke paThana va vAcana ke samaya kI paramparA kA bhI ullekha hai, kintu Azcarya hai, rAmAyaNa, mahAbhArata kA ullekha karane ke bAda bhAgavata kA ullekha kahIM nahIM hai| isase yaha dhvanita hotA hai ki anuyoga dvAra sUtra kI racanA ke pazcAt bhAgavata kI racanA huI hai| saMgIta-svaramaMDala ___ sAta svaroM kA sundara aura lalita varNana isa sUtra (sUtra 260) kI eka apanI vizeSatA hai| sAmaveda meM saMgIta kA varNana hai| usI prakAra isa sUtra meM bhI saMgIta ke svara utpatti sthAna Adi kA vistRta aura upayogI varNana hai| varNana kI zailI apanI svataMtra hai| vyAkaraNa aSTa nAma meM vyAkaraNa kI ATha vibhaktiyoM kA tathA sAta samAsoM kA varNana vyAkaraNa zAstra ke abhyAsiyoM ke lie upayogI hai| (sUtra 228-31) (10)

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navarasa __ isa sUtra (261-62) meM kAvya zAstra ke navarasoM kA varNana apanI maulika sthApanA lie haiN| kAvya nATaka granthoM meM navarasa hai-zRMgAra, hAsya, karuNA, raudra, vIra, bhayAnaka, vIbhatsa adbhuta aura zAnta rs| jabaki isa satra meM sabase pahale vIra rasa kA krama rakhA hai tathA vIDanakarasa (lajjA rasa) ke rUpa meM eka nayA hI rasa batAyA hai| anya kisI kAvya zAstrIya varNana meM 'vIDanaka rasa' nahIM hai| cUrNikAra tathA TIkAkAra haribhadra ne isa viSaya meM koI spaSTIkaraNa nahIM kiyA hai, parantu AcAryamaladhArI hemacandra kA spaSTIkaraNa hai, ki bhayotpAdaka sAmagrI dekhane se bhayAnaka rasa kI utpatti hotI hai| yahA~ para 'bhayAnaka' rasa ko 'raudra rasa' meM hI vivakSita kara diyA hai aura 'vIDanaka rasa' ko alaga prastuta kiyA hai| sAmudrika zAstra pramANa-mAna-unmAna Adi ke bhedoM meM sAmudrika lakSaNoM vAle uttama-madhyama-adhama puruSa ke lakSaNa batAye haiM-(sUtra 334) jaise jisake zarIra kI U~cAI-108 AMgula pramANa mAtra hai| usa para zaMkha , vRSabha Adi ke lakSaNa-cinha hai| maSa, tila Adi vyaMjana haiM, jisameM kSamA Adi guNa vaha uttama puruSa hai| 104 AMgula kI U~cAI vAlA madhyama puruSa aura 96 AMgula kI UMcAI vAlA adhama puruss| usa samaya ke sAmudrika zAstra kI dhAraNA kA patA isa varNana se calatA hai| isI prakAra sUtra 653-54 meM AkAza darzana, nakSatra Adi ke AdhAra para suvRSTi-kuvRSTisukAla-durbhikSa Adi kA anumAna honA batAyA hai| mAnyatAe~ tathA vyavasAya sUtra 21 meM usa yuga meM pracalita veSa bhUSA tathA kriyAkalApa ke AdhAra para vividha prakAra kI dhArmika mAnyatAoM kA ullekha hai, jaise-caraka-cIrika-carmakhaMDika gautama-gauvratika aadi| vyavasAya yA karma ke anusAra jina jAtiyoM kA nAmakaraNa hotA thA, unakA ullekha yaha sUcita karatA hai ki prAcIna bhArata meM 'jAti' janmanA nahIM, karmaNA mAnI jAtI thii| vyAvasAyika jAtiyoM ke nAma-dausika-kapar3A banAne vAle, sautrika-sUta bunane vAlA, tAMtrika-taMtrI vAdaka-muMjakAra-mUMja kI rassI banAne vAle, vardhakAra-camar3e kI vividha vastue~ banAne vAlA pustakAra-kAgaja banAne vAlA yA pustakeM likhane vAlA, daMtakAra-hAthI dA~ta Adi kA kAma karane vAle aadi| (sUtra 304) vividha kalA nipuNa kalAkAroM ke nAmoM se patA calatA hai, Aja kI taraha prAcIna samaya meM bhI zarIra ke avayavoM ko mor3ane, ghumAne va vividha prakAra se janatA kA manoraMjana karane vAle aneka kalAkAra (jimanAsTika) usa samaya hote the-jaise- nartaka-nRtya karane vaalaa| jalla-rassI para nAcane vAlA, malla-kuztI lar3ane vAlA, plavaka-gaDDe va nadI tAlAba meM gaharI chalAMga lagAne vAlA, laMkhamoTe bA~sa para car3hakara vividha karataba dikhAne vAlA aadi| (sUtra-304) ( 11 )

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dhAnya-rasa-dhAtu Adi nApane ke tola-mApa-bA~Ta-gaja Adi usa yuga meM aneka prakAra ke sAdhana vikasita ho cuke the| 'sUtra 320 se 344 taka se mAna-unmAna-kSetra pramANa Adi kA varNana usa yuga kI pracalita aura vikasita vyApAra vidhiyoM kA acchA digdarzana karAtI hai| isa prakAra anuyogadvAra sUtra meM jahA~ dArzanika va saiddhAntika carcA hai-vahA~ sAMskRtika viSayoM kI bhI vipula sAmagrI hai jo usa samaya kI loka kalA, vyApAra kalA va sAhitya racanA ke vikAsa kI sUcanA detI hai| saMkalanakartA kA nAma aura samaya jaina AgamoM meM anuyogadvAra sUtra aura nandI sUtra sabase arvAcIna zAstra haiN| anuyogadvAra sUtra kisakI racanA hai yaha prazna Aja taka pUrNa rUpa meM samAdhAna nahIM pA sakA hai| kucha vidvAnoM kA anumAna hai ki Arya vajrasvAmI taka to zAstroM kA adhyayana apRthaktvAnuyoga paddhati se hI hotA thaa| kintu unake paTTadhara Arya rakSita sUri jo bhagavAna mahAvIra ke bIsaveM paTTadhara the| (vI. ni. 522 se 597) ne Agama abhyAsiyoM kI mati-durbalatA, dhAraNA zakti kI durbalatA ko samajhakara AgamoM kA cAra anuyogoM meM vargIkaraNa kiyaa| isalie unheM anuyoga pRthakkartA mAnA jAtA hai| parantu anuyoga dvAra sUtra ke racanAkAra bhI ve the yA nahIM, isa viSaya meM koI puSTa pramANa nahIM hai kintu sAtha hI isakA bAdhaka pramANa bhI kucha nahIM hai| isa kAraNa vidvAnoM va itihAsa gaveSakoM ne anuyoga pRthak Arya rakSita ko hI anuyogadvAra sUtra ke racanAkAra yA saMkalanakartA svIkAra kiyA hai| AryarakSita kA samaya vIra nirvANa kI chaThI zatAbdI hai| isa racanA kA samaya vIra nirvANa saMvat 570-584 ke madhya anumAna kiyA gayA hai| arthAt vikrama saMvat 114 se 127 ke madhya IsA kI prathamazatI kA antima caraNa hI isakA racanA samaya mAnA jAtA hai| isa viSaya meM AgamoM ke anusaMdhAnakartA muni puNyavijaya jI, muni jambUvijaya jI tathA AcArya mahAprajJa jI tInoM ekamata hai| vyAkhyA grantha anuyogadvAra sUtra para tIna prAcIna vyAkhyA grantha upalabdha haiN| isa para koI niyukti nahIM hai| cUrNi-cUrNi kI bhASA-prAkRta hai, isake kartA jinadAsagaNi mahattara vikrama kI 7vIM sadI meM hue| haribhadrIyA vRtti haribhadrasUri AgamoM ke prasiddha aura gambhIra TIkAkAra haiN| unhoMne Avazyaka aura dazavaikAlika sUtra para vistRta TIkAe~ likhI hai| nandI aura anuyogadvAra para unakI saMkSipta TIkA hai| inakA samaya vikrama kI AThavIM zatAbdI mAnA jAtA hai| maladhArIyA vRtti haribhadra sUri ke bAda AcArya maladhArI hemacandra ne isa para bahuta vistRta vRtti (vyAkhyA) likhI hai| inakA samaya vikrama kI bArahavIM zatAbdI mAnA gayA hai| ( 12 )

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hamAre sampAdana kA AdhAra ____ anuyogadvAra sUtra kA viSaya gambhIra hai, binA vivecana ke isakA artha samajhanA bahuta hI kaThina hai| saMkSipta vivecana karane para bhI grantha vistAra se ise do bhAgoM meM prakAzita kiyA jA rahA hai| prathama bhAga meM sUtra 262 taka navanAma prakaraNa meM navarasoM ke varNana taka kA pATha hai| isake Age kA pATha va vivecana bhAga do meM hai| aneka TIkAoM ke avalokana pazcAt hamane anuvAda va vivecana kI bhASA zailI sarala, subodha tathA madhyama vivecana vAlI rakhI hai, kyoMki adhika lambA vivecana karane se to isakA vistAra aura adhika ho jaataa| astu, anya AgamoM se anuyogadvAra sUtra kI zailI tathA pratipAdya kucha bhinna hai| isameM pAribhASika zabdoM kI bahulatA hone se artha-bodha itanA sarala nahIM hai| isalie hamane anuvAda tathA vivecana meM hI vizeSa pAribhASika zabdoM ko bhinna TAipa meM dekara vahIM para artha va vyAkhyA karane kA dhyAna rakhA hai| aMgrejI anuvAda meM bhI pAribhASika zabdoM ke artha vahIM para koSThaka meM diye gaye haiM jisase ki pAThaka ko bAra-bAra pRSTa palaTane nahIM pdd'eN| isake anuvAda vivecana meM hamane nimnalikhita pustakoM ko apanA AdhAra mAnA hai| jainAgama ratnAkara zramaNasaMgha ke prathama AcArya samrATa AcArya zrI AtmArAma jI mahArAja ne sarvaprathama prAcIna TIkA Adi ke AdhAra para hindI meM anuyogadvAra kI hindI TIkA likhI thI, jo bahuta hI sarala aura subodha zailI meM hai| do bhAgoM meM usakA prakAzana huaa| prathama bhAga kA prakAzana san 1931 meM zve. sthA. jaina kaoNnphreMsa, mumbaI se tathA uttarArdha kA prakAzana paTiyAlA se huaa| parantu vartamAna meM usakI upalabdhatA bahuta hI durlabha ho rahI hai| ___ AcArya samrATa zrI AtmArAma jI ma. ke vidvAna ziSya ratna AgamoM ke gambhIra adhyetA zrI jJAna muni jI ma. ne AcArya zrI kI sampAdita TIkA ko ati vistRta rUpa dekara punaH sampAdita kiyA hai, jo eka prakAra se sarvathA nayA vyAkhyA grantha hI bana gayA hai| yaha Atma jJAna pIyUSa varSiNI TIkA nAma se prakAzita hai| isakA sampAdana muni zrI nemIcandra jI ma. ne kiyA hai| do bhAgoM meM yaha grantha Aja upalabdha hai aura vyAkhyAkAra ke gambhIra vyApaka jJAna kA sAkSibhUta hai| hamane vivecana meM isa grantha ko AdhArabhUta mAnA hai| ___Agama samiti byAvara se prakAzita yuvAcArya zrI madhukara muni jI ke nidezana meM zrI kevala muni jI dvArA anUdita tathA paM. zobhAcanda jI bhArilla dvArA saMzodhita anuyogadvAra sUtra bhI hamAre lie mUla pATha va vivecana meM upayogI banA hai| ___ tAikena hAnAkI ke anuyogadAraiM nAmaka aMgrejI anuvAda kA upayoga vizeSa kara aMgrejI zabdAvalI sthira karane ke samaya kiyA gayA hai| aNuogadArAiM-nAma se AcArya mahAprajJa jI dvArA sampAdita jaina vizvabhAratI lADanUM dvArA prakAzita grantha bhI hamAre vivecana meM kAphI upayogI tathA sahAyaka banA hai|

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* * * * * *.......................... ..*. VoPAR.90Gk QoXOAVA ina sabake atirikta abhI sadyaH prakAzita 'anuyogadvAra sUtram' cUrNi-vivRtti-vRtti vibhUSitam(bhAga 1) AgamoM ke gambhIra anveSaka-adhyetA tatvamarmajJa munirAja jambU vijaya jI ma. dvArA atyanta zramapUrvaka saMzodhita-saMpAdita grantha hameM isa sampAdana meM mUla-pATha saMzodhana va cUrNi-TIkA Adi ke mUla sandarbha dekhane meM bahuta hI sahAyaka banA hai| aneka duruha sthaloM ko samajhane ke lie saha sampAdaka zrIcanda surAnA 'sarasa' ne muni zrI se vyaktigata samparka kara isa viSaya meM samAdhAna prApta karane kA bhI prayAsa kiyA hai| muni zrI svayaM jJAnAbhyAsI va udAra hRdaya haiM unhoMne atyanta prema va vAtsalyapUrvaka sUtra ke gambhIra arthoM kA spaSTIkaraNa kara saMtuSTa kiyA hai| hama Apake vizeSa AbhArI haiN| sAtha hI ukta sabhI vidvAnoM, munivaroM ke prati kRtajJa haiM ki isa vivecana meM hama unake atyadhika zramapUrNa sampAdana se lAbhAnvita hue haiN| isa sUtra ke sampAdana meM zrIcanda surAnA 'sarasa' ne prazaMsanIya yogadAna diyA hai tathA kaThina parizrama kiyA hai| zrI surendra botharA ne isa grantha-mAlA ke aneka AgamoM ke anuvAda se paripakva anubhava tathA jJAna kA isake aMgrejI anuvAda meM sarAhanIya upayoga kiyA hai| pAribhASika zabdoM ke lie aMgrejI meM upayukta zabdoM tathA padoM ke cayana meM pUrI sAvadhAnI rakhI gayI hai| phira bhI, yaha abhI taka eka vikAsazIla kSetra hai| ataH bhASA tathA vivecana kI kisI bhI bhUla ke lie pAThakoM kA dhairya apekSita hai| suzrAvaka zrI rAjakumAra jI jaina jo AgamoM ke adhyetA tathA aMgrejI ke vidvAna haiM, ne bhI antima prUpha par3hakara saMpAdakIya tathA anuvAdakIya sujhAva ke rUpa meM mahattvapUrNa sevA-sahayoga pradAna kiyA hai| lagabhaga do varSa ke kaThora va satata parizrama pazcAt yaha anuvAda aura aMgrejI bhASAntara taiyAra huA hai| phira bhI kahIM zAstra viruddha, paramparA viruddha, kucha likhA gayA hai, to usake lie maiM Atma-sAkSI se punaH 'micchAmi dukkaDaM' letA huuN| tathA vidvAnoM se nivedana karatA hU~ ki ve ucita saMzodhana Adi sujhAne kI kRpA kreN| ____ anuyoga ke citra banAnA bhI anya AgamoM kI apekSA kucha jaTila kAma thaa| viSaya ko acchI prakAra udAharaNoM dvArA samajhAne meM kucha udAharaNa TIkA, bhASya ke tathA anya sUtroM kI TIkA va artha grantha se bhI lene par3e haiM tathA kucha laukika pracalita udAharaNoM kA bhI prayoga kiyA gayA hai tAki sUtra kA bhAva pAThaka/darzaka acchI prakAra samajha sakeM, phira bhI yadi una udAharaNoM meM kahIM doSa rahA ho to vizeSajJa sUcita kreN| ___sabhI sahabhAgI bandhuoM ke prati punaH hArdika anumodnaa| -upapravartaka amara muni jaina sthAnaka zAstrI nagara, dillI jJAna paMcamI ( 14 )

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FROM THE EDITORS PEN | Scriptures (Shaastra) have the same importance in the spiritual field that weapons (shastra) have in the field of state administration. Administration of a state cannot be run without the help of weapons and spiritual practices and self-discipline cannot be pursued without the help of Shaastras. The role of Shaastras in beatitude of the self is as important as that of eyes in human body. That is the reason Shaastras are said to be the eyes of the soul (Suyam taiyam chakkhu). That which rules over or teaches how to rule over the soul, the mind, and the senses is said to be Shaastra. In other words, that which shows the way to discipline and establish command over these is called Shaastra. Acharya Malayagiri's statement-Shasanacchastramidam' affirms that Shaastra is the ruler who rules over the soul. The words or teachings of the detached omniscient are called Shaastra. Contemplation, study, reading, and listening to the recital of these Shaastras inspires the soul to take to the path of beatitude and helps its progress. In Jain terminology the term 'Agam' instead of 'Shaastra' is in popular use. At present the number of available Agams is said to be 45 and 32. According to the belief in Shvetambar idol-worshipping tradition this number is 45 and according to that in Sthanakavasi tradition it is 32. The list of thirty two Agams is divided into sub-groups as follows-11 Anga Sutras, 12 Upanga Sutras, 4 Mool Sutras, 4 Chhed Sutras and the Avashyak Sutra. This work, Anuyogadvar Sutra, belongs to the sub-group of Mool Sutras. The four Mool Sutras being Uttaradhyayan, Dashavaikalik, Nandi and Anuyogadvar. Bhagavan Mahavir has shown four paths of salvation knowledge (jnana), perception or faith (darshan), conduct (chaaritra), and austerities (tap). According to the ancient tradition Nandi Sutra describes knowledge (jnana), Anuyogadvar describes perception or faith (darshan), Dashavaikalik describes conduct (charitra) and Uttaradhyayan describes austerities (tap). Anuyogadvar includes (84) DO ** NONUM * *

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discussions about Shrut jnana (scriptural knowledge) and five kinds of conduct in the form of avashyak (essential duties) along with darshan (perception). However, as all these are presented as instruments for refining darshan (perception) into samyak darshan (right perception), darshan is considered to be its central theme. MEANING OF ANUYOGA To understand Anuyogadvar Sutra, the first essential step is to understand the meaning of the term anuyoga. To associate (yoga) the intended and appropriate meaning (anu) with a word is called Anuyoga. The concepts (arth) are given by Arihant Bhagavan. The concepts given by Arihants or Tirthankars or the scriptures in lingual form should be studied and understood only after associating them with pertinent and appropriate meaning. One word has many meanings, that is why to contemplate that for what purpose, from which viewpoint and with reference to which attribution a specific word has been used, and then to arrive at the appropriate meaning is called anuyoga (disquisition). As the acharyas have said--"To associate (yoga) the intended and prescribed meaning (anu) with the concept of an aphorism is anuyoga. (In other words to elaborate an aphorism in consonance with the concept of the writer is anuyoga.)" (Acharya Jinabhadragani) In the text of Anuyogadvar Sutra nothing much has been said about the word Anuyoga. However, famous commentators of scriptures, including Acharya Jinabhadra Gani (the author of the Bhashyas) and Acharya Hemchandra (the author of the Vrittis), have presented detailed discussion on the word 'anuyoga' in their commentaries. They have explained why this work has been titled Anuyogadvar. A simple illustrative meaning of Anuyogadvar is-the gate (dvar) to enter, search, and arrive at the desired part of the knowledge of fundamentals in the great city called Jain order (canon). If we consider Shaastra (scripture) to be a great city, Anuyogadvar is the name of its entrance. The non-absolutist (anekant-vadi) approach, with emphasis on multiple perspectives (naya) and attribution (nikshep), necessary to understand the profound concepts and ideas contained in scriptures is elucidated in Anuyogadvar Sutra.

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The analogy of a cow and her calf in order to explain the meaning of Anuyogadvar was given for the first time by Acharya Bhadrabahu in Avashyak Niryukti (verse 128-129). The same analogy with a little elaboration in the form of an example has been used by Jinabhadragani Kshamashraman, the commentator (Bhashya) of Avashyak Niryukti (verses 409-410). We have included it with a suitable illustration in elaboration of aphorism-2. In brief, when a ce is to be milked, the calf of that very cow should be brought for premilking suckle. In a way, this is a fitting association. This example facilitates grasping easily the meaning of anuyoga (disquisition). FOUR DVARS OF ANUYOGA (FOUR DOORS OF DISQUISITION) It should be mentioned here that Acharya Arya Rakshit has divided the subjects contained in Jain Agams in four AnuyogasDharmkathanuyoga (narrative literature or religious tales), Charananuyoga (conduct and praxis), Ganitanuyoga (mathematics, astrology, geography and cosmology), and Dravyanuyoga (entities including the living and the non-living; metaphysics). This Anuyogadvar Sutra does not exclusively belong to any one of these four types. It envelopes all the four types of Anuyogas in some context or the other. In fact, it is aimed at explaining the methodology of interpreting the scriptures or the process of elaborating the Agam texts. Therefore, the topics it deals have been divided into four segments presented as dvars (doors)--1) Upakram (introduction), (2) Nikshep (attribution), (3) Anugam (interpretation) and (4) Naya (viewpoint or aspect). The first and the most elaborate of these four doors of disquisition is Upakram. It takes up almost three fourths of the total volume of the book. To understand the viewpoint of a person and to make efforts to act accordingly is Upakram. Upakram has been described in detail from six different angles namely Naam (name), Sthapana (notional installation), Dravya (physical aspect) Kshetra (area), Kaal (time) and Bhaava (essence). In conclusion prashast bhaavopakram (righteous means of knowing thoughts of others) is termed as the one to be ( ple )

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accepted. According to this, in order to gain knowledge from a guru (teacher) a disciple should first please the guru by his qualities including humble behaviour. After that he should understand the feelings and gestures of the guru and should accordingly indulge in studies of scriptures. Upakram has been further divided into five subcategories and explained from various perspectives. These sub-categories are-Anupurvi (sequence or sequential configuration), Naam (name), Praman (validity), Vaktavyata (explication), Arthadhikar (giving synopsis), and Samavatar (assimilation). In the second door of disquisition, nikshep (attribution), the method of understanding fundamentals from four angles-Naam (name), Sthapana (notional installation), Dravya (physical aspect) and Bhaava (essence or mental aspect) has been explained. The third door of disquisition is Anugam (interpretation) and the fourth is Naya (viewpoint or aspect). After mentioning two principle categories of Anugam their sub-categories have been described. Then in the Door of Naya seven nayas (viewpoints) have been mentioned at length. Thus, Anuyogadvar Sutra describes the method of understanding the scriptures and logical and methodical style of elaborating them with the help of four doors of disquisition (anuyogadvar). RELEVANT REFERENCES: MENTION OF ANCIENT WORKS In the description of four duars (approaches) of Anuyoga, one finds ample material of cultural and historical importance. Its study provides a variety of information about the religious, historical, geographical and cultural conditions in ancient India. The religious and philosophical material includes description of six dravya (substances), attributes of Jiva (the living), the body, its shapes, its structure (sansthan), life-span of beings and many other such topics. This work has mentions of 19 famous books of non-Jain literature (aphorism 49). For instance, Ramayana, Mahabharat, Kautilya, Vaisheshik philosophy, the precepts of the Buddha, Lokayat, Puranas, grammar, etc. The then prevailing tradition about the time of reading and reciting Ramayana and Mahabharat has also been mentioned. But it is strange that though Ramayana and Mahabharat have been ( 86 )

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czek mentioned, there is no mention of Bhagavata with them or otherwise. This indicates that Bhagavata was written after Anuyogadvar Sutra. MUSIC AND MUSICAL NOTES The description of seven Svars (musical notes) in an interesting and lucid style is a special feature of this work ( aphorism 260). Samaved describes music. Similarly musical notes, their places of origin, and other related topics have been mentioned in detail in this work. It employs its own original style of description. GMXGXX330 32 VYAKARAN (GRAMMAR) The description of eight Vibhaktis (declension) and seven Samasas (compounding of words) under the title Ashtnaam is useful for students of grammar (aphorisms 225-231). NAVA RASA (NINE SENTIMENTS) The description of nava rasa (nine sentiments) of poetics (aphorisms 261-262) includes some new concepts and order. Nine sentiments in poetics and drama are-Shringar-rasa (amatory or erotic sentiment), Hasya-rasa (sentiment of humour or comic sentiment), Karun-rasa (pathos or tragic sentiment), Raudra-rasa (sentiment of rage or fury), Vira-rasa (heroic sentiment), Bhayanakrasa (sentiment of fear or horror), Vibhatsa-rasa (sentiment of disgust), Adbhut-rasa (sentiment of wonder), and Shant-rasa (sentiment of tranquillity). But in this Sutra first in the order is heroism (Vira-rasa). A new sentiment is included as Vridanak-rasa (sentiment of shame or bashfulness). This sentiment does not find any mention in any other treatise on poetics. The commentator (Churni and Tika) Haribhadra has given no clarification in this context. But Acharya Maladhari Hemchandra has explained that horrifying things evoke the sentiment of fear or horror. In this work Bhayanak-rasa is included in Raudra-rasa (sentiment of rage or fury) and Vridanakrasa is described as a separate sentiment. 32 32 SAMUDRIK SHAASTRA With the classification of standard and non-standard structure and dimensions of the human body, signs of good, mediocre or average and (88)

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bad persons based on body marks have also been mentioned (aphorism 334). For instance, a person whose height is 105 times the fingerwidth, who has body-marks of conch shell, bullock, etc., has moles and spots on his body, and who has virtues like sense of forgiveness, is called an excellent person. A person whose height is 104 times the finger-width is average and a person whose height is 96 times the finger-width is a bad type. These details help one know about the information contained in the works of that period on interpreting body marks. Similarly Sutras 653 and 654 include information about how on the basis of the observation of the sky and the position of stars and planets, predictions were made about likely rainfall and its intensity, good or poor crops, and other such forecasts. BELIEFS AND TRADES Aphorism 21 gives names of various beliefs on the basis of ways of dressing and other habitual activities prevalent during that period. Some of these are Charak, Cheerak, Charmakhandik, Gautam, Gauvratik, etc. The mention of caste names derived from business or profession indicates that in medieval India caste was based on trade or profession and was not by birth. Some caste names based on trade and profession are-Dausik or weavers, Sautrik or yarn-makers, Tantrik or musicians playing stringed instruments, Munjakar or rope makers, Vardhkar or cobblers, Pustkar or paper manufacturers and writers, Dantkar or those working with ivory and other bones. (aphorism 304) From the names of performing artists, it is revealed that like in present times, there were expert gymnasts and acrobats during that period also. They presented entertaining performances for the masses by their acrobatics and practiced movement of different parts of their body. Some of these were Nartak or a dancer, Jail or one who dances on a string, Malla or a wrestler, Plavak or a diver, Lankh or one who shows his acrobatic skills on a thick pole. (aphorism 304) Many weights and measures had been invented during that period to weigh or measure food-grains, liquids, minerals (aphorisms 320 to ( po )

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344). The description of weights and measures brings out a vivid picture of fairly developed trading practices prevalent during that period. ANTOV V V VO VYVOLVA 49 Thus, Anuyogadvar Sutra contains not only philosophical and religious details, but also ample material on culture. This provides information about the highly developed state of art, literature, trade and commerce during that period. THE NAME AND THE PERIOD OF THE COMPILER In Jain Agams, Anuyogadvar Sutra and Nandi Sutra are the most recent. The question as to who is the author of Anuyogadvar Sutra has not yet been satisfactorily answered. Some scholars are of the view that till the time of Vajra Swami, the Agams were studied without any classification into different Anuyogas. But his chief disciple Arya Rakshit Suri, the twentieth head of the order since Bhagavan Mahavir (570 to 597 ANM), classified the Agams into four Anuyogas. He realized that the understanding and the power of retention of students of Agams has considerably decreased and this inspired him to make this classification. So he is considered to be the first to classify the Agams. But there is no evidence to establish that he was also the author of Anuyogadvar Sutra. There is also no evidence even to contradict this. Therefore, the scholars and researchers in history have accepted Arya Rakshit, the Anuyoga classifier, as the author of Anuyogadvar Sutra. The period of Arya rakshit is sixth century after the nirvana of Mahavir (ANM). The period of this text is believed to be 570-584 ANM or 114 to 127 Vikram Samvat or 57 to 70 A. D. Renowned scholars and researchers of Agams, Muni Punyavijai Ji, Muni Jambuvijai Ji and Acharya Mahaprajna Ji have unanimity on this conclusion. 9 YAYAYYAYAYAYYAPPROXXOXOXOXOXOPROPYRIROYAUMONOPOORLOPMOPARONOPAUPALYMPIALYALYALYNU 0 X60XXXXdegdegdegdegdegB GDD09 COMMENTARIES OF ANUYOGADVAR SUTRA Three ancient commentaries on Anuyogadvar Sutra are available. There is no Niryukti on it. Churni-The language of Churni is Prakrit. Its author is Jinadas 9 Gani Mahattar who lived in the seventh century of the Vikram era. (28)

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COMMENTARY (VRITTI) BY HARIBHADRA Haribhadra Suri is a famous and serious commentator of Agams. He authored detailed commentaries on Avashyak Sutra and Dashavaikalik Sutra. His commentaries on Nandi Sutra and Anuyogadvar Sutra are brief. His period is believed to be eighth century of the Vikram Calendar. COMMENTARY (VRITTI) BY MALADHARI After Haribhadra Suri, Acharya Maladhari Hemchandra has written a much detailed commentary on Anuyogadvar Sutra. His period is twelfth century of the Vikram Calendar. BASIS OF THIS EDITION The subject of Anuyogadvar Sutra is very complex. It is very difficult to understand it without elaboration. Even with brief elaboration it is being published in two parts. In the first part, the portion up to Sutra 262, namely NAVA RASA, in the chapter of NAVA NAAM has been covered. The later portion is included in the second Part. After studying many commentaries on it, a simple and easily intelligible prose style has been adopted for its translation and elaborations. Further, the elaboration is of a medium order because a detailed elaboration would have made it voluminous. The theme and style of Anuyogadvar Sutra is slightly different from those of other Agams. It is not easy to understand this work because it has abundance of technical terms. Therefore care has been taken to provide meanings and definitions of technical terms along with the translation and elaboration using different font. As all such terms do not have equivalent terms in English, the original term has been given in roman script with explanatory translation in parenthesis. This may appear cumbersome at first glance but should be more convenient than repeatedly consulting a glossary at the end of the book. The following books have been consulted for translation and elaboration The first head of Shraman Sangh, Jain Agam Ratnakar, Acharya Samrat Shri Atmaram Ji Maharaj was the first author of a Hindi (PP)

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commentary on Anuyogadvar Sutra based on ancient commentaries. Its style is simple and can be easily understood. It was published in two parts. The first part was published by Shvetambar Sthanakavasi Jain Conference Bombay in 1931 A. D. and the second part was published from Patiala. But at present, its availability is extremely difficult. Shri Jnanamuni Ji, the learned disciple of Acharya Samrat Atmaram Ji who is a great scholar of Agamic literature, re-edited the commentary of Acharya Shri by elaborating it further. It has thus become almost a new treatise on Anuyogadvar Sutra. It was published with the caption-Atma Jnana Piyush Varshini Tika. It was edited by Muni Shri Nemichand M. It is available in two parts and is an evidence of the profound knowledge of the commentator. This work has been taken as the primary reference book for the present edition. Anuyogadvar Sutra translated by Shri Kewal Muni under the direction of Yuvacharya Shri Madhukar Muni and revised by Shri Shobha Chand Bharill, published by Agam Samiti, Beavar, has also been a useful reference work for the text as well as commentary. The English translation titled 'Anuogaddaraim' translated by Taiken Hanaki was also consulted, specially while finalizing English terminology The commentary by Acharya Mahaprajna published under the title Anuogadaraim from Jain Vishvabharati, Ladnu has provided valuable references for the commentary. In addition to all these, recently published 'Anuyogadvar Sutram, Churni-Vivritti-Vritti Vibhushitam (Part 1), corrected and edited by the profound and renowned researcher of Agams and scholar of Agamic knowledge, saint Jambuvijai Ji M., has been extremely useful in correcting and properly interpreting the original text and studying the original references from commentaries, Churni etc. In order to properly understand the complex portions the associate editor, Srichand Surana 'Saras', personally contacted Muni Ji and sought clarifications. Muni Ji is very devoted to studies of Agams and is a broad-minded scholar. He explained the difficult portions of the text with affection and care. We are highly indebted to him. We also express our gratitude to all aforesaid scholars and saints whose ( 23 )

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immaculate and scholarly commentaries and works have been of great help in the editing of this book. In the editing of this Sutra, Srichand Surana 'Saras' has put in admirable efforts and strenuous work. For the English translation Shri Surendra Bothra has made a commendable contribution with all the knowledge and experience he has gained through translating many of the Agams published in this series. A great care has been taken to find appropriate words and terminology for the technical terms in English language. However, as it is still an evolving field forbearance of readers is solicited for any mistake and misinterpretation. Shri Raj Kumar Jain, a devoted shravak well versed with Agams and having a command over English language, has provided valuable services in the form of editorial and translation advise by going through the final proofs of the book. It took hard and continuous efforts lasting over a period of two years to complete this translation and commentary in Hindi and English. 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 feel and convey'Micchami dukkadam' (May my misdeeds be undone). I also request the scholarly readers to oblige us with their advice and suggestions. To prepare illustrations concerning Anuyoga was also difficult as compared to illustrating other Agams. In order to properly elucidate the subject with examples, some of them have been selected from commentaries (Tika and Bhashya) and translations of this as well as other Shaastras and others from commonly used popular analogies. This should help the reader and the listener properly understand the underlying idea of the Sutra. Still in case any example is found unsuitable or improper, the experts in the field may kindly send their suggestions to us. I once again express my heartfelt gratitude for all those who have contributed towards the publication of this work. Up-pravartak Amar Muni Jain Sthanak Shastri Nagar, Delhi Jnan Panchami ( 28 )

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anukramaNikA CONTENTS Avazyaka prakaraNa 3 pA~ca jJAna kA varNana zrutajJAna kA mahattva Avazyaka pada kA nikSepa nikSepa kI sUcanA 24 Avazyaka ke nikSepa (1) nAma Avazyaka (2) sthApanA Avazyaka (3) dravya Avazyaka (1) AgamataH dravya Avazyaka (1) AgamataH dravya Avazyaka aura naya dRSTiyA~ (2) no-AgamataH dravya Avazyaka (7) jJAyaka zarIra dravya Avazyaka (2) bhavya zarIra dravya Avazyaka (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya Avazyaka (1) laukika dravya Avazyaka (2) kuprAvacanika dravya Avazyaka 49 The Discussion on Essentials Five Types of Knowledge The Importance of Shrut-Jnana 10 Attribution of the Term Avashyak Informing about Attribution of Terms Like Avashyak Attributions of Avashyak (1) Naam Avashyak (2) Sthapana Avashyak (3) Dravya Avashyak (1) Agamatah Dravya Avashyak 33 ___ (1) Agamatah Dravya Avashyak and Naya Aspects 46 (2) No-Agamatah Dravya Avashyak 49 (1) Jnayak Sharir Dravya Avashyak 50 (2) Bhavya Sharir Dravya Avashyak 52 (3) Jnayak Sharir-Bhavya Sharir Vyatirikta Dravya Avashyak 53 (1) Laukik Dravya Avashyak 55 (2) Kupravachanik Dravya Avashyak 56 (3) Lokottarik Dravya Avashyak 60 (4) Bhaava Avashyak 65 (1) Agamatah Bhaava Avashyak 66 (2) No-Agamatah Bhaava Avashyak 66 (1) Laukik Bhaava Avashyak 67 (2) Kupravachanik Bhaava Avashyak 68 (3) Lokottarik Bhaava Avashyak 70 Synonyms of Avashyak 51 55 65 (3) lokottarika dravya Avazyaka (4) bhAva Avazyaka (1) AgamataH bhAva Avazyaka (2) no-AgamataH bhAva Avazyaka (1) laukika bhAva Avazyaka (2) kuprAvacanika bhAva Avazyaka (3) lokottarika bhAva Avazyaka Avazyaka ke paryAyavAcI nAma 70 71 The Discussion on Shrut 73 zruta prakaraNa zruta ke bheda (1) nAma zruta (2) sthApanA zruta Categories of Shrut (1) Naam Shrut (2) Sthapana Shrut 74 ( 25 )

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(3) dravya zruta 75 (1) AgamataH dravya zruta (2) no-AgamataH dravya zruta (1) jJAyaka zarIra dravya zruta (2) bhavya zarIra dravya zruta (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya zruta (4) bhAva zruta (1) AgamataH bhAva zruta (2) no-AgamataH bhAva zruta (1) laukika bhAva zruta (2) lokottarika bhAva zruta zruta ke paryAyavAcI nAma 89 (3) Dravya Shrut (1) Agamatah Dravya Shrut 76 (2) No-Agamatah Dravya Shrut 77 (1) Jnayak Sharir Dravya Shrut 78 (2) Bhavya Sharir Dravya Shrut 79 (3) Jnayak Sharir-Bhavya Sharir Vyatirikta Dravya Shrut 80 (4) Bhaava Shrut (1) Agamatah Bhaava Shrut (2) No-Agamatah Bhaava Shrut 88 (1) Laukik Bhaava Shrut 88 (2) Lokottarik Bhaava Shrut 90 Synonyms of Shrut 93 skandha prakaraNa nikSepa dRSTi se skandha nirUpaNa (1) nAma skandha (2) sthApanA skandha (3) dravya skandha (1) AgamataH dravya skandha (2) no-AgamataH dravya skandha (1) jJAyaka zarIra dravya skandha (2) bhavya zarIra dravya skandha (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya skandha (1) sacitta dravya skandha (2) acitta dravya skandha (3) mizra dravya skandha prakArAntara se skandha ke anya bheda (1) kRtsna skandha kA svarUpa (2) akRtna skandha kA svarUpa (3) aneka dravya skandha kA svarUpa (4) bhAva skandha (1) AgamataH bhAva skandha (2) no-AgamataH bhAva skandha skandha ke paryAyavAcI nAma 100 The Discussion on Skandh Attribution of Skandh (1) Naam Skandh (2) Sthapana Skandh (3) Dravya Skandh (1) Agamatah Dravya Skandh 96 (2) No-Agamatah Dravya Skandh 98 (1) Jnayak Sharir Dravya Skandh 99 (2) Bhavya Sharir Dravya Skandh 100 (3) Jnayak Sharir-Bhavya Sharir Vyatirikta Dravya Skandh 100 (1) Sachitta Dravya Skandh 101 (2) Achitta Dravya Skandh 102 (3) Mishra Dravya Skandh 103 Alternative Classification 104 (1) Kritsna Skandh 105 (2) Akritsna Skandh 105 (3) Aneka Dravya Skandh 106 (4) Bhaava Skandh (1) Agamatah Bhaava Skandh 108 (2) No-Agamatah Bhaava Skandh 109 Synonyms of Skandh 110 101 102 103 104 104 105 lah 106 107 107 108 108 109 ( 26 )

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Avazyaka arthAdhikAra prakaraNa arthAdhikAra prarUpaNA anuyogadvAra-nAmanirdeza 112 The Discussion on Purview of Avashyak Purview of Avashyak Anuyogadvar 116 112 116 125 upakrama prakaraNaThe Discussion on Upakram upakrama ke bheda 119 (1) nAma aura (2) sthApanA upakrama 119 (3) dravya upakrama 120 (1) sacitta dravya upakrama 122 (2) acitta dravya upakrama (3) mizra dravya upakrama 126 (4) kSetra upakrama 127 (5) kAla upakrama 128 (6) bhAva upakrama 129 (1) AgamataH bhAva upakrama 129 (2) no-AgamataH bhAva upakrama 130 upakrama ke chaha prakAra 138 126 Types of Upakram 119 (1) Naam and (2) Sthapana Upakram 119 (3) Dravya Upakram 120 (1) Sachitta Dravya Upakram 122 (2) Achitta Dravya Upakram 125 (3) Mishra Dravya Upakram (4) Kshetra Upakram 127 (5) Kaal Upakram 128 (6) Bhaava Upakram 129 (1) Agamatah Bhaava Upakram 129 (2) No-Agamatah Bhaava Upakram 130 Six Kinds of Upakram 138 AnupUrvI prakaraNa AnupUrvI ke dasa bheda nAma-sthApanA AnupUrvI dravyAnupUrvI kA svarUpa anaupanidhikI dravyAnupUrvI ke bheda 980 140 141 145 140 141 141 145 naigama-vyavahAranayasaMmata arthapadaprarUpaNA 147 147 naigama-vyavahAranayasaMmata bhaMgasamatkIrtanatA 151 The Discussion on Anupurvi Ten Kinds of Anupurvi The winds of Anunuri Naama and Sthapana Anupurvi Drvayanupurvi Types of Anaupanidhiki Dravya-Anupurvi Naigam-Vyavahar Naya Sammat ___Arth-Padprarupana Naigam-Vyavahar Naya Sammat Bhang-Samutkirtanata Table of 26 Divisions or Bhangs Naigam-Vyavahar Naya Sammat Bhangopadarshanata Samavatara : Anupurvi Dravya Ananupurvi Dravya Avaktavya Dravya Anugam : Nine Kinds (1) Satpad-Prarupana-Dvar 153 157 156 chabbIsa bhaMgoM kA sthApanA yaMtra naigama-vyavahAranayasaMmata bhaMgopadarzanatA 159 samavatAra prarUpaNA (AnupUrvI dravya) anAnupUrvI dravya avaktavya dravya navavidha-anugama prarUpaNA (1) satpada prarUpaNA dvAra 164 165 166 167 170 161 164 165 166 168 170 ( 27 )

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171 180 9CE 189 02 Same" 203Samgrana (2) dravya pramANa dvAra 171 (2) Dravya-Pramana-Dvar (3) kSetra dvAra 172 (3) Kshetra-Dvar 173 (4) sparzanA dvAra 178 (4) Sparshana-Dvar 178 (5) kAla dvAra 180 (5) Kaal-Dvar (6) antara prarUpaNA dvAra 183 (6) Antar-Dvar (7) bhAga prarUpaNA dvAra (7) Bhaag-Dvar (8) bhAva prarUpaNA dvAra (8) Bhaava-Dvar (9) alpa-bahutva dvAra (9) Alpa-Bahutva-Dvar dravyoM kA alpa-bahutva sthApanA yaMtra 195 Comparative Chart of Quantum of Substances saMgrahanayasammata anaupanidhikI dravyAnupUrvI prarUpaNA 199 / / Samgraha Naya Sammat Anaupanidhiki Dravya-Anupurvi saMgrahanayasammata arthapadaprarUpaNatA 199 Samgraha Naya Sammat Arth-Padaprarupanata saMgrahanayasammata bhaMgasamutkIrtanA Samgraha Naya Sammat Bhang-Samutkirtanata saMgrahanayasammata bhaMgopadarzanatA Samgraha Naya Sammat Bhangopadrshanata samavatAra prarUpaNA 205 Samavatara : Anupurvi Dravya 206 saMgrahanayasammata anugama ke ATha prakAra 206 Samgraha Naya Sammat Anugam : Eight Kinds (1) satpadaprarUpaNA kA artha 207 (1) Satpadprarupana-Dvar 207 (2) dravyapramANaprarUpaNA 207 (2) Dravyapramana-Dvar 208 (3) kSetraprarUpaNA 209 (3) Kshetra-Dvar (4) sparzanA prarUpaNA (4) Sparshana-Dvar 210 (5-6) kAla aura antara kI prarUpaNA 211 (5-6) Kaal-Dvar and Antar-Dvar (7) bhAgaprarUpaNA 212 (7) Bhaag-Dvar 212 (8) bhAvaprarUpaNA 214 (8) Bhaava-Dvar aupanidhikI dravyAnupUrvInirUpaNa 215 Aupanidhiki Dravya-Anupurvi 215 pUrvAnupUrvI kA svarUpa 216 Purvanupurvi pazcAnupUrvI kA svarUpa Pashchanupurvi anAnupUrvI Ananupurvi 218 aupanidhikI dravyAnupUrvI kA dUsarA prakAra 219 Another Aupanidhiki Dravya Anupurvi pUrvAnupUrvI kA svarUpa 219 Purvanupurvi 220 pazcAnupUrvI kA svarUpa 220 Pashchanupurvi anAnupUrvI kA svarUpa 221 Ananupurvi 222 ( 28 ) 207 209 210 211 214 Pasha 216 217 217 217 2.19 92

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PARODOWARD PROP490%A90980PAROPARDARO9000ROPAROPAROPARDAROPARDAROPARDA 222 Khatri 232 kSetrAnupUrvI ke prakAra Kshetranupurvi 223 naigama-vyavahAranayasammata anaupanidhikI kSetrAnupUrvI 223 Naigam-Vyavahar Naya Sammat ___Anaupanidhiki Kshetr-Anupurvi 224 naigama-vyavahAravanayasammata arthapadaprarUpaNA aura Naigam-Vyavahar Naya Sammat prayojana 224 Arth-Padaprarupana 225 kSetrAnupUrvI-bhaMgasamutkIrtanatA evaM prayojana Kshetranupurvi: Bhang-Samutkirtanata 228 naigama-vyavahAranayasammata bhaMgopadarzanatA 229 Naigam-Vyavahar Naya Sammat Bhangopadarshanata 229 kSetrAnupUrvI kI samavatAra prarUpaNA 230 Kshetranupurvi: Samavatara 231 kSetrAnupUrvI kI anugamaprarUpaNA 231 Kshetranupurvi : Anugam (1) kSetrAnupUrvI : satpadaprarUpaNatA 232 (1) Kshetranupurvi : Satpadprarupana-Dvar 232 (2) kSetrAnupUrvI : dravyapramANa 3 (2) Kshetranupurvi: Dravyapramana-Dvar 233 (3) kSetrAnupUrvI kI anugamAntavartI kSetraprarUpaNA 234 / / (3) Kshetranupurvi : Kshetra-Dvar 235 (4) anugama ke anusAra sparzanA prarUpaNA 239 (4) Kshetranupurvi : Sparshana-Dvar 240 (5) anugama se kAlaprarUpaNA 241 (5) Kshetranupurvi : Kaal-Dvar 241 (6) anugama se antaraprarUpaNA 241 (6) Kshetranupurvi : Antar-Dvar 242 (7) anugama se bhAgaprarUpaNA 242 (7) Kshetranupurvi : Bhaag-Dvar 242 (8) anugama se bhAvaprarUpaNA 243 (8) Kshetranupurvi : Bhaava-Dvar 244 (9) anugama se alpa-bahutva prarUpaNA 244 (9) Alpa-Bahutva-Dvar 244 saMgrahanayasammata anaupanidhikI kSetrAnupUrvI 248 Samgraha Naya Sammat Anaupanidhiki Kshetra-Anupurvi 249 aupanidhikI kSetrAnaparvI kI vizeSa prarUpaNA 249 Aupanidhiki Kshetra-Anupurvi 249 pUrvAnupUrvI 250 Purvanupurvi 250 pazcAnupUrvI 250 Pashchanupurvi 251 anAnupUrvI 251 Ananupurvi 251 adholoka kSetrAnupUrvI Adholoka Kshetra-Anupurvi 253 tiryag (madhya) loka kSetrAnupUrvI 255 Tiryak-Loka Kshetra-Anupurvi UrdhvalokakSetrAnupUrvI Urdhvaloka Kshetra-Anupurvi 260 kSetrAnapUrvI ke varNana kA dvitIya prakAra 162 Another Aupanidhiki Kshetra Anupurvi kAlAnupUrvIprarUpaNA 264 Kaal-Anupurvi naigama-vyavahAranayasammata anaupanidhikI kAlAnupUrvI 265 Naigam-Vyavahar Naya Sammat Anaupanidhiki Kaal-Anupurvi 266 253 255 260 262 265 ( 29 )

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(ka) arthapadaprarUpaNatA 267 (kha) bhaMgasamutkIrtanatA 269 (ga) bhaMgopadarzanatA 271 273 (gha) samavatAra (Ga) anugama (Ga-1) satpadaprarUpaNatA 275 275 2.76 (Ga-2) dravyapramANa 276 (Ga-3, 4) kSetra aura sparzanA prarUpaNA 278 (Ga-5) kAlaprarUpaNA (Ga-6) antaraprarUpaNA (Ga-7) bhAgadvAra (Ga-8, 9) bhAva aura alpabahutva dvAra pos 282 284 284 (a) Naigam-Vyavahar Naya Sammat Arth-Padaprarupana 268 (b) Kaal-Anupurvi : Bhang-Samutkirtanata 269 (c) Naigam-Vyavahar Naya Sammat Bhangopadarshanata 272 (d) Kaalnupurvi : Samavatara 273 (e) Kaalnupurvi : Anugam 275 (e-1) Kaalnupurvi: Satpadprarupana-Dvar (e-2) Kaalnupurvi: Dravyapramana-Dvar 276 (e-3,4) Kaalnupurvi: Ksheta-Dvar and Sparshana-Dvar 278 (e-5) Kaalnupurvi : Kaal-Dvar 279 (e-6) Kaalnupurvi : Antar-Dvar 282 (e-7) Kaalnupurvi : Bhaag-Dvar 284 (e-8,9) Kaalnupurvi : Bhaava-Dvar and Alpabahutva-Dvar 285 Samgraha Naya Sammat ___Anaupanidhiki Kaal-Anupurvi 285 Samgraha Naya Sammat ArthPadaprarupana 286 Aupanidhiki Kaal-Anupurvi 287 Another Aupanidhiki Kaal-Anupurvi 289 Utkirtana-Anupurvi Ganana-Anupurvi 297 Samsthana-Anupurvi 300 Samachari-Anupurvi Bhaava-Anupurvi 307 saMgrahanayasammata anaupanidhikI kAlAnupUrvI 285 saMgrahanayasammata arthapadaprarUpaNatA 86 287 289 294 aupanidhikI kAlAnupUrvI aupanidhiko kAlAnupUrvI : dvitIya prakAra utkIrtanAnupUrvI nirUpaNa gaNanAnupUrvI prarUpaNA saMsthAnAnupUrvI prarUpaNA samAcArI-AnupUrvIprarUpaNA bhAvAnupUrvIprarUpaNA 294 297 299 303 307 303 nAmAdhikAra prakaraNa 310 311 nAma (1) eka nAma (2) dvinAma do nAma ke sAmAnya-vizeSa bheda The Discussion on Nama Nama (1) Eka Nama (One-Named) (2) Do Nama (Two-Named) Specific and General 310 312 312 315 312 394 ( 30 )

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ajIva dravya ke sAmAnya vizeSa nAma 339 (3) trinAma (ka) dravyanAma (kha) guNanAma varNanAma ke bheda gaMdhanAma rasanAma sparzanAma saMsthAnanAma (ga) paryAyanAma trinAma kA dUsarA prakAra (4) caturnAma (5) paMcanAma 332 333 334 335 336 337 336 General and Specific Names of Non-Living Substance 331 (3) Trinama 332 (a) Dravya-Nama 334 (b) Guna-Nama 334 Varna-Nama Gandh-Nama 336 Rasa-Nama 337 Sparsh-Nama 338 Samsthana-Nama (Structure-Name) 338 (c) Paryaya-Nama Another Type of Trinama 343 (4) Chaturnama (Four-Named) (5) Panch Nama (Five-Named) 347 337 340 338 339 342 344 347 345 349 Live bhAva prakaraNa bhAva varNana : chaha nAma 349 (1) audayika bhAva jIvodayaniSpanna audayikabhAva kA svarUpa 354 ajIvodayaniSpanna audayikabhAva kA svarUpa 355 (2) aupazamikabhAva kA svarUpa 358 (3) kSAyika bhAva kA svarUpa 360 (4) kSAyopazamikabhAva kA varNana (5) pAriNAmikabhAva 369 (6) sAnnipAtika bhAva 374 dvikasaMyogaja dasa sAnipAtika bhAva nAma 375 358 365 The Discussion on Bhaava Chhaha Nama (Six-Named) (1) Audayik Bhaava 352 Jivodaya-Nishpanna Audayik-Bhaava 355 Ajivodaya-Nishpanna Audayik Bhaava 356 (2) Aupashamik-Bhaava (3) Kshayik-Bhaava (Extinct State) 360 (4) Kshayopashamik-Bhaava 366 (5) Parinamik Bhaava 369 (6) Sannipatik-Bhaava 375 Sannipatik-Bhaava with a Combination of Two 376 Sannipatik-Bhaava with a Combination of Three 382 Sannipatik-Bhaava with a Combination of Four 389 Sannipatik-Bhaava with a Combination of Five trikasaMyogaja dasa sAnnipAtikabhAva 81 catuHsaMyogaja sAnnipAtikabhAva 389 paMcasaMyogI bhAva 388 Sanninatil 394 svara-maNDala prakaraNa saptanAma nirUpaNa sAta svaroM ke svarasthAna 396 398 The Discussion on Svar Saat Nama (Seven-Named) Places of Origin of Seven Svars 396 399 (31 )

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jIvanizrita sapta svara ajIvanizrita sapta svara saptasvaroM ke svaralakSaNa tathA phala saptasvaroM ke grAma aura unakI mUrcchanAe~ sapta svarotpatti viSayaka jijJAsA : samAdhAna gItagAyaka kI yogyatA kA nirUpaNa gIta ke chaha doSa gIta ke ATha guNa dUsarI prakAra se saMgIta ke ATha guNa gIta ke vRtta-chanda gIta kI bhASA gItagAyaka ke prakAra upasaMhAra 400 Svars Associated with Beings 401 809 Svars Associated with Non-Beings 402 403 Characteristics and Results of Seven Svars 405 406 Gram and Murcchana of Seven Svars 406 408 ___Some Queries about Seven Svars 409 409 Attributes of a Singer 409 409 Six Faults of a Singing 410 Eight Merits of Singing 411 411 Other Eight Merits of Singing 412 894 Vritta of Song 415 89EUR Language of a Song 416 416 Types of Singer 417 Conclusion 417 410 417 vibhakti prakaraNa ATha vibhaktiyoM ke udAharaNa The Discussion on Declension Examples of Eight Vibhaktis 411 navarasa prakaraNa The Discussion on Nine-Sentiments 494 424 426 427 428 427 427 ( za 428 navanAma : kAvya-rasa prakaraNa (1) vIrarasa (2) zRMgArarasa (3) adbhutarasa (4) raudrarasa (5) vIDanakarasa (6) vIbhatsarasa (7) hAsyarasa (8) karuNarasa (9) prazAnta rasa battIsa doSa 429 429 No Name (1) Vira-Rasa (2) Shringar-Rasa (3) Adbhut-Rasa (4) Raudra-Rasa (5) Vridanak-Rasa (6) Vibhatsa-Rasa (7) Hasya-Rasa (8) Karun-Rasa (9) Prashant-Rasa Thirty Two Faults 430 431 431 432 433 433 438 ( 32 )

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anuyogadvAra sUtra ANUYOGADVAR SUTRA

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namo nANassa : namo suya devassa NAMO NANASSA : NAMO SUYA DEVASSA Avazyaka prakaraNa THE DISCUSSION ON ESSENTIALS pA~ca jJAna kA varNana 1. nANaM paMcavihaM pnnnnttN| taM jahA-(1) AbhiNibohiyaNANaM, (2) suyaNANaM, (3) ohiNANaM, (4) maNapajjavaNANaM, (5) kevlnnaannN| 1. jJAna pA~ca prakAra kA hai| jaise-(1) AbhinibodhikajJAna, (2) zrutajJAna, (3) avadhijJAna, (4) manaHparyavajJAna, aura (5) kevljnyaan| FIVE TYPES OF KNOWLEDGE 1. Jnana or knowledge is said to be of five types(1) Abhinibodhik-jnana (sensory knowledge), (2) Shrutjnana (scriptural knowledge), (3) Avadhi-jnana (extrasensory perception of the physical dimension; something akin to clairvoyance), (4) Manahparyav-jnana (extrasensory perception and knowledge of thought process and thought-forms of other beings; something akin to but more subtle than telepathy), and (5) Keval-jnana (omniscience). vivecana-nandIsUtra meM pA~ca jJAna kA vistAra se varNana kiyA gayA hai (dekheM, sacitra nndiisuutr)| isa anuyogadvAra sUtra meM jJAna ke dvitIya mukhya bheda zrutajJAna kI carcA vizeSa vistAra se hai| pA~ca jJAnoM meM cAra jJAna-matijJAna, avadhijJAna, manaHparyavajJAna tathA kevalajJAna mUka/abhASaka haiN| kintu zrutajJAna amUka/bhASaka hai| mUlataH jJAna do prakAra kA hotA hai-eka anubhavAtmaka/saMvedanAtmaka tathA dUsarA zabdAtmaka vyaakhyaatmk| anubhavAtmaka jJAna se vyakti svayaM lAbha uThAtA hai| kintu jaba usa jJAna se dUsaroM ko lAbhAnvita karane kA prasaMga AtA hai to vaha anabhavAtmaka jJAna zabdAtmaka Avazyaka prakaraNa ( 3 ) The Discussion on Essentials

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*69 * OPAVOYAYO ZA Co.R * PROGRARO PARROTROPAYARI.COM PAROLAROV.CO YAPO bana jAtA hai| mUka jJAna bhASaka bana jAtA hai| svArtha-sva-hita karane vAlA jJAna parArthaparopakArI bana jAtA hai| matijJAna, avadhijJAna, manaHparyavajJAna aura kevalajJAna kA vANI se koI sambandha nahIM hai| ataH inheM mUka, svArtha yA sva-saMvedya kahA gayA hai| zrutajJAna bhASaka hai| vaha vANI kA viSaya hai| isalie use svArtha aura parArtha donoM hI mAnA gayA hai| __ zrutajJAna kA artha hai, vaha jJAna jo sunA jAtA hai| suNei tti-suyaM (naMdI) jo sunA jAtA hai vaha zruta hai| jaM suNai taM suyaM bhaNiyaM (vi. bhA. 98) / dUsaroM kI vANI se yA paropadeza se jo jJAna prApta hotA hai, vaha zruta-sunA huA jJAna hai| mUlataH aisA sunA huA zrutajJAna svArtha yA sva-saMvedya koTi kA hai| parantu isake pazcAt yaha sunA huA jJAna jaba zabda kA viSaya banatA hai, vANI dvArA prakaTa hotA hai taba vaha parArtha yA paropakArI bana jAtA hai| zabda-Azrita zrutajJAna, dravya zruta hai tathA vaha jJAna, jo jIva kA pariNAma hai, bhAva zruta hai| ____ AcArya jinabhadragaNi kSamAzramaNa ne zrutajJAna ko dIpaka kI upamA dI hai| dIpaka utpatti meM parAzrita hai, kintu prajvalita hone para svayaM ko prakAzita karatA hai aura dUsaroM ko bhI pAeNa parAhINaM dIvo vva parappabohayaM jaM c| suyanANaM teNa parappabohaNatthaM tdnnuogo|| -vizeSAvazyaka bhASya 839 dIpaka kI taraha zrutajJAna bhI paropadeza se prakaTa hotA hai| prakaTa hone para zrutajJAna sva ko bhI prakAzita karatA hai aura dUsaroM ko prabodha dene meM samartha hotA hai| isalie yaha sva-para prakAzaka hai| __jJAna AtmA kA pariNAma hai, jIva kA guNa yA lakSaNa hai| uvaogalakSaNo jIvo(uttarAdhyayanasUtra) pratyeka jIva meM cAhe vaha mukta jIva hai yA saMsArI jIva hai; cAhe manuSya, deva, nAraka, tiryaMca aura nigoda kA jIva hai, jJAna kA kucha na kucha aMza usameM vidyamAna rahatA hI hai| jisameM jJAna (cetanA) nahIM hai, vaha jIva nahIM hai| jJAtiH jJAnam-jAnanA jJAna hai| jisase jAnA jAtA hai vaha AtmA hai, jo AtmA hai vaha bhI jJAna hai-jeNa vi jANai se aayaa| je AyA se vitrANe-yaha Agama vacana jJAna aura AtmA kI ekAtmakatA siddha karatA hai| prazna hotA hai, jJAna jaba AtmA kA abhinna guNa hai to phira usake bheda kyoM kiye gaye? jJAna to eka sampUrNa sUryamaNDala hai, usakA prakAza vibhakta nahIM kiyA jA sktaa| phira jJAna ke mati, zruta Adi pA~ca bheda kisa kAraNa kiye gaye ? anuyogadvAra sUtra Illustrated Anuyogadvar Sutra NA * anA CRUROPOSAOPAROAR *ko ( 4 ) ROPATIOAVAOAVARATAORTHORTHAORMONIAN * * *" " "

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- isakA uttara dete hue nandIsUtra meM sUrya aura bAdala kA dRSTAnta diyA hai| sUrya para jaba bAdala A jAte haiM to usakI prabhA yA prakAza AvRtta ho jAtA hai| yadi bAdala saghana hote haiM to prakAza adhika mAtrA meM AvRtta rahatA hai| jitane bhAga meM bAdala DhaMke rahate haiM utanA sUrya kA prakAza bhI manda rahatA hai| isI prakAra AtmA meM jJAna kI ananta sattA hai, parantu moha karma aura jJAnAvaraNIya karma kI saghanatA ke kAraNa jitanA bhAga AvRtta rahatA hai, jJAna kA prakAza utanA hI kama hotA hai| karmoM ke kSayopazama bhAva kI taratamatA ke kAraNa hI jJAna zakti meM antara par3atA hai| AtmA meM pUrNataH prakAzita ananta jJAna kevalajJAna kahalAtA hai| parantu jaba taka vaha jJAna-sUrya samagra rUpa meM prakAzita nahIM hotA taba taka matijJAnAvaraNa ke kSayopazama se matijJAna, zrutajJAnAvaraNa ke kSayopazama se zrutajJAna kI upalabdhi hotI rahatI hai| isalie jJAna mUlataH eka hone para bhI karmoM ke kSayopazama ke kAraNa usake pA~ca bheda batAye haiN| cUrNikAra ne prazna uThAyA hai ki sUtra kI Adi meM pA~ca jJAna kA varNana kyoM kiyA hai ? jabaki isa sUtra kA viSaya to zrutajJAna kA varNana karanA hI hai| isakA samAdhAna bhI cUrNikAra ne diyA hai-vigdhovasamaNanimittaM AdIe maMgala pariggahaM karei-vighna kI upazAnti ke lie Adi meM 'maMgala' kiyA jAtA hai| jaise-bhAva maMgala ke rUpa meM 'Namo arihaMtANaM' pada kA smaraNa kiyA jAtA hai| usI prakAra NANaM payAsayare-jJAna samasta bhAvoM kA prakAza karane vAlA hai; Atma Ananda pradAtA hone se svayaM maMgala rUpa hai| ataH jJAna ko maMgala rUpa mAnakara yahA~ sarvaprathama pA~ca prakAra ke jJAna kA kathana hai| pA~ca jJAna kA svarUpa (1) Abhinibodhika jJAna (matijJAna)-mana aura indriyoM kI sahAyatA se jo buddhi, saMvedanA aura anubhava rUpa jJAna hotA hai vaha Abhinibodhika jJAna hai| ise sAmAnyatayA matijJAna kahate haiN| (2) zrutajJAna-bole gaye zabda, dhvani yA vacana dvArA artha rUpa meM jJAna hotA hai vaha zrutajJAna hai| yadyapi yaha bhI indriya aura mana kI sahAyatA se hI hotA hai parantu isameM cintana va manana kI mukhyatA rahatI hai, ataH ise buddhi athavA mana kI kriyA mAnA hai| isake do niyama haiM-(1) matipUrvaka, aura (2) paropadeza se| nandIsUtra meM batAyA hai-puvvaM suyaM na mai suyapubbiA matijJAna ke bAda zrutajJAna hotA hai tathA vaha zabda Adi sApekSa hotA hai| tattvArtha sUtra (1/11) ke anusAra yaha paropadeza se hotA hai-paropadezatvAcca shrutjnyaanm| (3) avadhijJAna-indriya aura mana kI sahAyatA ke binA kevala AtmA dvArA jo arthabodha hotA hai, vaha avadhijJAna hai| isameM bhI do niyama haiM-(1) yaha kevala rUpI padArthoM ko hI pratyakSa Avazyaka prakaraNa The Discussion on Essentials

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jAnatA hai, arUpI ko nhiiN| (2) apanI eka avadhi-sImA ke bhItara rahe padArthoM ko hI jAna sakatA hai| (4) manaHparyavajJAna-mana vAle jIva saMjJI jIva kahalAte haiN| saMjJI jIvoM ke manobhAvoM ko, unake cintana rUpa manaHpariNAmoM ko jAnanA manaHparyavajJAna hai| (5) kevalajJAna-samasta jJAnAvaraNIya karmoM ke kSaya se AtmA kI sampUrNa jJAna zakti kA prakAza hone para loka-alokavartI samasta jJeya padArthoM ko unakI trikAlavartI, guNa-paryAyoM ko jAnane vAlA kevalajJAna hai| matijJAna aura zrutajJAna sabhI saMsArI prANiyoM ko hotA hai| avadhijJAna deva, naraka bhUmi meM janma ke sAtha tathA manuSya va tiryaMcoM meM vizeSa karmoM ke kSayopazama se hotA hai| manaHparyavajJAna kevala viziSTa tapasvI zramaNoM ko hI hotA hai| kevalajJAna vItarAga AtmA ke cAra ghanaghAtI karma kSaya hone para hotA hai| kevalajJAna meM anya cAroM jJAna kA astitva svayaM samAhita ho jAtA hai| (pA~ca jJAna kA vistRta varNana sacitra nandIsUtra, pRSTha 70-180 dekheM) Elaboration-Nandi Sutra has discussed five types of knowledge in details (see Illustrated Nandi Sutra). In this Anuyogadvar Sutra shrut-jnana, the second of these five, has been discussed in greater detail. Of the five kinds of knowledge ___four-abhinibodhik-jnana (mati-jnana), avadhi-jnana, manahparyav-jnana and Keval-jnana-are non-vocal or nonlingual. Only shrut-jnana is vocal or lingual. Basically knowledge is of two types-One is intuitive or cognitive and the other is linguistic or descriptive. Cognitive knowledge is beneficial to the individual who experiences it. But when it comes to benefitting others that cognitive knowledge turns into vocal knowledge. Non-lingual knowledge turns into linguistic knowledge. The self-oriented knowledge becomes other-oriented or beneficial to others. ___Mati-jnana, avadhi-jnana, manahparyav-jnana and Keval. jnana have no connection with speech. Thus they are called nonanuyogadvAra sUtra Illustrated Anuyogadvar Sutra POURS ON * *

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vocal, self-oriented or auto-experienced. Shrut-jnana is lingual. It is a subject of speech. Thus it is believed to be self-oriented as well as other-oriented. Shrut-jnana means the knowledge that is heard or listened. That which is listened is shrut (Nandi Sutra). That which is acquired by hearing utterance or discourse of others is called shrut or listened knowledge (Visheshavashyak Bhashya 98). When originally listened, this knowledge belongs to the selforiented or auto-experienced category. But after that when this listened knowledge becomes vocal and expressed through speech it is meant for others or for the benefit of others. Shrut-jnana in lingual form is dravya-shrut (physical aspect of shrut) and that which is intuitive is bhaava-shrut (mental aspect of shrut). Acharya Jinabhadra Gani has used lamp as an analogy for shrut-jnana. A lamp is dependent on others for its origin and emission of light but once lit it enlightens itself as well as others. Like a lamp shrut-jnana is acquired through an act of edifying by others but once acquired it helps one enlighten himself, making him capable of enlightening others. Therefore it is self-enlightening as well as other-enlightening. Knowledge is the activity of soul, an attribute of living being (Uttaradhyayan Sutra). Be it in liberated or worldly (human, god, hell-being, animal, and dormant) form, every soul possesses knowledge no matter in how minute a fraction it is. That which is devoid of knowledge or chetana (sentience or consciousness) is not a soul. To know is knowledge. "That which knows is soul and that which is soul is knowledge.' This statement from Agam is evidence of oneness of knowledge and soul. A question arises-When knowledge is the inherent essential attribute of soul why it has been divided into categories? Knowledge is like the complete orb of the sun, its light cannot be divided. Then why has it been divided into five categories like mati-jnana and shrut-jnana? Avazyaka prakaraNa ( 7 ) The Discussion on Essentials

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The In reply Nandi Sutra gives an analogy of the sun and clouds. When the sun is covered by clouds, its light is obstructed. If the clouds are dense there is greater obstruction. Sunlight is reduced in the portion obstructed by clouds. In the same way the soul has infinite potency of knowledge but the denseness of deluding karmas and knowledge obstructing karmas veils the light of knowledge in the proportion it obstructs. There is a difference in the potency of knowledge depending on the ratio of destructioncum-suppression of karmas. The completely unveiled infinite knowledge of soul is called keval-jnana. But as long as that sun of light does not scintillate with all its radiance the process of acquiring mati-jnana and shrut-jnana through kshayopasham (destruction-cumsuppression) of mati-jnanavarana (sensory-knowledge obscuring) and shrut-jnanavarana (scriptural-knowledge obscuring) karmas respectively continues. For this reason five categories of knowledge have been defined although fundamentally it is singular. The commentator (Churni) has raised another question that when the theme of the book is only shrut-jnana, why the book starts with a description of five kinds of knowledge ? He himself suggests the answer-In order to pacify the source of impediments while commencing a work, first of all an auspicious verse or word or symbol is written or uttered or placed. For example 'Namo Arihantanam' is recited at the beginning. Knowledge is the destroyer of all karmas. As it is the source of bliss, it is auspicious. Therefore, considering knowledge to be auspicious its five categories have been stated at the beginning. DEFINITIONS OF FIVE KINDS OF KNOWLEDGE (1) Abhinibodhik-jnana or Mati-jnana (Sensory knowledge)-The knowledge acquired by means of five sense organs and the mind in the form of wisdom, perception and experience is called abhinibodhik-jnana. It is popularly known as mati-jnana. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra M2

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(2) Shrut-jnana (Scriptural knowledge)-The knowledge acquired by hearing sound, word or speech in the form of meaning is called shrut-jnana. Although this type of knowledge is also received with the help of sense organs and the mind, because of the larger involvement of the processes of thinking and contemplating it is primarily considered to be an activity of mind. There are two processes involved in acquiring this knowledge--(1) Through thinking, and (2) through edifying experience. It is stated in Nandi Sutra that shrut-jnana follows mati-jnana and it is word oriented. According to Tattvarth Sutra (1/11) it is taught by others. (3) Avadhi-jnana (Extra-sensory perception of the physical dimension)-The knowledge acquired by the soul without the help of sense organs and mind is known as avadhijnana. It follows two rules--(1) Its capacity is to see and know only material things; the formless things are beyond its capacity. (2) It has the capacity to directly perceive material things only within certain defined parameters (avadhi). (4) Manahparyav-jnana-Beings endowed with mind are called sanjni or sentient. The knowledge that perceives and interprets transformations taking place within the mind of sentient beings in the form of thoughts and attitudes is known as manahparyav-jnana. (5) Keval-jnana-The knowledge which comes with the total extinction of the Jnanavaraniya Karma is keval-jnana. It covers all attributes and modes of all things worth knowing, in the occupied and unoccupied space, in all the three sections of time. All beings in the world possess mati-jnana and shrut-jnana. The beings of the divine and infernal realms have avadhijnana since birth. Human beings and animals acquire it only as a consequence of kshayopasham (the process of extinction-cumpacification) of specific karmas. Avazyaka prakaraNa The Discussion on Essentials

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Only some ascetics practicing higher level of austerities acquire manahparyav-jnana. Keval-jnana is acquired when the four intense vitiating karmas are destroyed. The other four kinds of jnana merge in keval-jnana. (for detailed description of five kinds of jnana see Illustrated Nandi Sutra, p. 70-180.) zrutajJAna kA mahattva 2. tattha cattAri ThANAI ThappAiM ThavaNijjAiM, No uddissaMti, No samuddissaMti, No annunnnnvijjNti| suyanANassa uddeso samuddeso aNuNNA aNuogo ya pvtti| 2. unameM cAra jJAna (matijJAna, avadhijJAna, manaHparyavajJAna aura kevalajJAna) sthApya haiM (pratipAdana meM asamartha hone ke kAraNa vyavahAra yogya nahIM hai ataH sthApanIya yA upekSA karane yogya hai) unakA (guru dvArA ziSyoM ko) uddeza-(par3hane kI AjJA yA vidhi kA kathana yA upadeza), samuddeza-(par3he hue jJAna ko sthira rakhane ke lie parivartana kA nirdeza), tathA anujJA-(dUsaroM ko par3hAne kI AjJA) nahIM hotii| kintu zrutajJAna kA uddeza, samuddeza, anujJA aura anuyoga (vyAkhyA) hotA hai| THE IMPORTANCE OF SHRUT-JNANA 2. Four out of these (mati-jnana, avadhi-jnana, manahparyav-jnana and keval-jnana) are only to be stabilized or ensconced (as they cannot be conveyed they are beyond propagation, therefore, they can only be ensconcedunt thus conventionally avoidable). They are not permitted to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna). Only shrut-jnana is allowed to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna) as also to be subjected to disquisition or elaboration (anuyoga). vivecana-isa sUtra kI vyAkhyA karate hue cUrNikAra kahate haiM-zrutajJAna ke sivAya cAroM jJAna kevala sthApya haiM, arthAt inakA dUsaroM ke lie koI upayoga nahIM hotaa| ye kevala anuyogadvAra sUtra ( 10 ) Illustrated Anuyogadvar Sutra

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anubhAvAtmaka jJAna hai isalie ye sthApanA yogya hai| parantu zrutajJAna zabda vyavahAra meM samartha hai, paropadeza meM samartha hai, zabdAtmaka hai ataH vaha lokopakArI hai| usake uddeza Adi hote haiN| zrutajJAna kA viSaya sabase adhika vyApaka hai, gambhIra hai, ataH vaha guru ke upadeza Adi kI apekSA rakhatA hai| Elaboration-Elaborating this aphorism the commentator (Churni) states-Besides shrut-jnana all the four kinds of jnana are only to be stabilized and ensconced. This means that they are of no use to others. These are subjects of self-experience and thus worth stabilizing only. But shrut-jnana can be used, can be preached to others, and is verbal. Thus it can be used for the benefit of people. It can be studied, revised and taught. The field of shrut-jnana is very wide and profound, therefore it requires teaching or preaching by a guru. pAribhASika zabda-uddeza-sarvaprathama zAstra par3hane ke lie ziSya guru se AjJA mA~gatA hai| taba guru upadeza yA preraNA dete haiM, mArgadarzana karate haiN| zAstra pATha kI vidhi batAte haiN| yaha uddeza kahA jAtA hai| ___ samuddeza-par3he hue Agama kA, zrutajJAna kA uccAraNa kaise karanA, kaba karanA, usake hInAkSara Adi doSoM kA parihAra karake bAra-bAra svAdhyAya kI preraNA denA, tAki par3hA huA zrutajJAna sthira raha sake, yaha samuddeza hai| ___ anujJA-par3he hue zrutajJAna ko apane hRdaya meM, smRti meM, saMskArabaddha karake dhAraNa karanA aura phira dUsaroM ke upakAra ke lie usakA adhyayana karAne kI preraNA denA anujJA hai| ___ anuyoga-par3he hue zrutajJAna ko yogya artha ke sAtha jor3akara usakI artha-saMgati karanA, usakI vyAkhyA karanA anuyoga hai| sUtra aNurUpa arthAt saMkSipta hotA hai aura artha vistRta hotA hai| eka sUtra ke aneka artha ho sakate haiN| kahA~ para kauna-sA artha upayukta hai, isakA yoga karanA anuyoga hai| vRttikAra ne kahA hai niyayANukUlo jogo suttatthassa jo ya annuogo| suttaM ca aNu teNa jogo atthassa annuogo|| -vRtti patra 7 'anu' arthAt niyata aura nizcita artha ko sUtra abhiprAya ke sAtha jor3anA; 'yoga karanA'-arthAt sUtrakAra ke Azaya ke anurUpa usake artha kI vyAkhyA karanA anuyoga hai| Avazyaka prakaraNa ( 11 ) The Discussion on Essentials

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anuyoga ke mahattva ko samajhAne ke lie TIkAkAra haribhadrasUri ne eka dRSTAnta diyA hai| eka gvAle ke pAsa sapheda, kAlI, citakabarI Adi aneka raMga kI gAyeM haiM aura unake bachar3e bhI haiN| jaba jisa gAya kA dUdha duhanA hotA hai, taba vaha usI gAya ke bachar3e ko usake stanoM se lagAtA hai, to gAya dUdha dene lagatI hai| yadi kAlI gAya ke stanoM se sapheda gAya kA bachar3A lagA degA to gAya dUdha nahIM degii| usI prakAra jisa sUtra kA jahA~ jo artha yA bhAva samajhanA cAhie, vahA~ usI ke anusAra artha kA yoga karanA caahie| ise anuyoga kahA jAtA hai| ___ isa anuyogadvArasUtra kA mUla viSaya par3he hue zrutajJAna kA zikSaNa dene evaM vyAkhyA karane kI yogyatA sikhAnA hai| isalie anuyogadvAra AgamajJAna kI vyAkhyA paddhati tathA zikSA kI vidhi kA pratipAdana karane vAlA zAstra hai| Technical Terms-Uddesh-First step in study of the canon is to seek permission to study scriptures from the teacher. Then the teacher preaches, inspires or gives directions and explains the procedure of reciting. This is called uddesh or consent to study. Samuddesh-To instruct when to recite Agam or shrutjnana that one has read; to correct the mistakes in text and pronunciation; and to advise to study again and again in order to fix it in memory is called samuddesh. Anujna--To first memorize and understand the acquired shrut-jnana so that it can be instantaneously recalled; and then to advise and direct others to study the same for their benefit is called anujna. Anuyoga-To understand the read scriptures with the help of proper meaning of the words; to systematically analyze and elaborate the words and text is called anuyoga (disquisition). An aphorism is brief or minute like an anu (atom) and meaning is detailed or extensive. One aphorism can have various meanings. To fit (yoga) the right meaning at right place is called anuyoga. The commentator (Vritti) states-to associate (yoga) the intended and prescribed meaning (anu) with the concept of an aphorism is anuyoga. In other words to elaborate an aphorism in consonance with the concept of the writer is anuyoga. anuyogadvAra sUtra (12 ) Illustrated Anuyogadvar Sutra

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nanuyoga kA artha MEANING OF ANUYOG anukUla saMyoga aneka prakAra kI gAyeM | guru dvArA sUtra-artha kA bodha Seldrainire Jain e

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citra paricaya 1 / Illustration No.1 anuyoga kA artha sUtra kA usake anUkUla artha ke sAtha yoga karanA anuyoga hai| jisa prakAra kisI gvAle ke pAsa sapheda, kAlI, pIlI, citakabarI aneka raMgoM kI gAyeM haiN| unake vaise hI bachar3e haiN| dUdha duhane ke samaya jisa gAya kA jo bachar3A hai usI bachar3e ko gAya ke stanoM se lagAtA hai to gAya dUdha dene lagatI hai| yaha anuyoga kA udAharaNa hai| yadi kAlI gAya kA bachar3A sapheda gAya ke stanoM se lagA diyA to gAya dUdha nahIM degii| ise ana+anuyoga samajhanA caahie| __ isI prakAra zAstra yA sUtra ke bhAva ke anusAra anukUla artha karate hue guru ziSyoM ko zAstra kA rahasya samajhAte haiM ki kisa sUtra kA kyA artha hai| isa prakriyA kA nAma anuyoga hai| -sUtra 2 PASPASPASPASSPARASIYAPAGAPASPASAPTAPAISAPAGAPPSSPATRASPASPIRITTARo LATOPARA MEANING OF ANUYOGA To associate (yoga) the intended and prescribed meaning (anu) with the concept of an aphorism is anuyoga. In other words to elaborate an aphorism in consonance with the concept of the writer is anuyoga or disquisition. A cowherd has cows of many colours like white, black, and spotted. Each of them has a calf. When he wants to milk a cow he allows the calf of that particular cow to suckle and the cow yields milk. If he will use the calf of the black cow with the white cow it will not yield milk. This is anu + yoga. In the same way a guru reveals the secrets of the scriptures to his disciples by giving appropriate meaning and elaborating an aphorism in consonance with the concept of the writer. This process is called anuyoga. -Sutra : 2 * *69 * DDAROSARON

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To convey the importance of anuyoga, Haribhadrasuri the commentator (Tika) has cited an example. A cowherd has cows of many colours like white, black and spotted. Each of them has a calf. When he wants to milk a cow he allows the calf of that particular cow to suckle and the cow yields milk. If he will use the calf of the black cow with the white cow it will not yield milk. In the same way appropriate meaning or elaboration should be used with a specific aphorism to understand it correctly. This process is called anuyoga. The basic theme of this Anuyogadvar Sutra is to impart to a person the proficiency to teach and elaborate the knowledge of scriptures he has read or studied. Thus Anuyogadvar Sutra is a scripture that defines the process of elaborating and teaching the knowledge contained in Agams. ___3. jai suyaNANassa uddeso samuddeso aNuNNA aNuogo ya pavattai, kiM aMgapaviTThassa uddeso samuddeso aNuNNA aNuogo ya pavattai ? aMgabAhirassa uddeso samuddeso aNuNNA aNuogo ya pavattai ? ___ aMgapaviTThassa vi uddeso samuddeso aNuNNA aNuogo ya pavattai, aMgabAhirassa vi uddeso samuddeso aNuNNA aNuogo ya pvtti| imaM puNa paTThavaNaM paDucca aMgabAhirassa uddeso samuddeso aNuNNA annuogo| 3. (prazna) yadi zrutajJAna meM uddeza, samuddeza, anujJA aura anuyoga kI pravRtti (prayoga) hotI hai, to kyA vaha uddeza, samuddeza, anujJA aura anuyoga kI pravRtti aMgapraviSTa zruta meM hotI hai athavA aMgabAhya zruta meM uddeza, samuddeza, anujJA aura anuyoga kI pravRtti hotI hai? (uttara) aMgapraviSTa (AcArAMga Adi) zruta meM uddeza, samuddeza, anujJA aura anuyoga kI pravRtti hotI hai, tathA aMgabAhya zruta meM bhI uddeza, samuddeza, anujJA aura anuyoga kI pravRtti hotI hai| (kintu) prastuta prasthApanA kI dRSTi se (hama vartamAna meM aMgabAhya zruta kI vyAkhyA karanA cAhate haiM, isa dRSTi se) yahA~ anaMgapraviSTa (aMgabAhya) zruta kA uddeza, samuddeza, anujJA tathA anuyoga karanA hamArA abhISTa hai| Avazyaka prakaraNa The Discussion on Essentials

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3. (Question) If shrut-jnana is allowed to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna) as also to be subjected to disquisition or elaboration (anuyoga) then is only Anga Pravishta Sutra (the corpus of scriptures that is called the Twelve Angas) allowed to be studied or preached, to be revised and memorized, and to be taught as also to be subjected to disquisition or elaboration or is Anga Bahya Sutra (the corpus of scriptures that is called Anga Bahya or other than the twelve Angas) also allowed to be studied or preached, to be revised and memorized, and to be taught as also to be subjected to disquisition or elaboration. (Answer) Anga Pravishta Shrut (the corpus of scriptures that is called the Twelve Angas) is allowed to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna) as also to be subjected to disquisition or elaboration (anuyoga) and Anga Bahya Shrut (the corpus of scriptures that is called Anga Bahya or other than the twelve Angas) is also allowed to be studied or preached, to be revised and memorized, and to be taught as also to be subjected to disquisition or elaboration. (But) In present context (as at present it is intended to discuss the Anga Bahya Shrut) the aim is to indulge in study or preaching (uddesh), revision and memorizing (samuddesh), teaching (anujna) and disquisition or elaboration (anuyoga) of Anga Bahya Shrut. 4. jai aMgabAhirassa uddeso samuddeso aNuNNA aNuogo ya pavattai, kiM kAliyassa uddeso samuddeso aNuNNA aNuogo ? ukkAliyassa uddeso samuddeso 3tquel Bustu ? ___kAliyassa vi uddeso samuddeso aNuNNA annuogo| ukkAliyassa vi uddeso samuddeso aNuNNA annuogo| imaM puNa paTThavaNaM paDucca ukkAliyassa uddeso samuddeso aNuNNA annuogo| * anuyogadvAra sUtra ( 28 ) Illustrated Anuyogadvar Sutra

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MAhmmmmmm m mmmmmmwOoMIOAVAORYAORYAOIWAONKorrowonth wowinoamrone 4. (prazna) yadi aMgabAhya zruta meM bhI uddeza, samuddeza, anujJA evaM anuyoga kI pravRtti hotI hai, to kyA kAlika zruta meM uddeza, samuddeza, anujJA aura anuyoga kI pravRtti hai, athavA utkAlika zruta meM uddeza Adi pravartamAna hote haiM ? (uttara) kAlika zruta meM bhI uddeza Adi (cAroM) kI pravRtti hotI hai aura utkAlika zruta meM bhI uddeza Adi hote haiN| ___aba yahA~ prastuta prasthApanA kI dRSTi se utkAlika zruta kA uddeza, samuddeza, anujJA aura anuyoga kA prArambha/pravartana kiyA jAtA hai| (kAlika tathA utkAlika zruta kA vistRta varNana sacitra nandIsUtra, pR. 368-376 meM dekheN|) 4. (Question) If Anga Bahya Shrut is allowed to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna) as also to be subjected to disquisition or elaboration (anuyoga) then is Kalika Shrut (the scriptures that can be studied at specific time) allowed to be studied or preached, to be revised and memorized, and to be taught as also to be subjected to disquisition or elaboration or is Utkalika Shrut (the scriptures that can be studied at any time) also allowed to be studied or preached (uddesh), etc.? (Answer) Kalika Shrut (the scriptures that can be studied at specific time) is allowed to be studied or preached ___ (uddesh), etc. and Utkalika Shrut (the scriptures that can be studied at any time) is also allowed to be studied or preached (uddesh), etc. Now in present context we commence the study or preaching (uddesh), revision and memorizing (samuddesh), teaching (anujna) and disquisition or elaboration (anuyoga) of Utkalika Shrut (the scriptures that can be studied at any time). (for detailed discussion of Kalika and Utkalika Shrut refer to Illustrated Nandi Sutra, p. 368-376.) Avazyaka prakaraNa ( 15 ) The Discussion on Essentials CelupATORATOPATOVAROVAATOPATOVATOPATOPATOPATOWANLOVALOTATOPATWANLODANLODAMODALOVANDUADVANDAMODANOVATOVAYOVAKOVANOVATODAYOVAYOUN

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5. jai ukkAliyassa uddeso samuddeso aNuNNA aNuogo ? kiM Avassagassa uddeso samuddeso aNuNNA aNuogo ? Avassagavairittassa uddeso samuddeso aNuNNA __ aNuogo ? ___ Avassagassa vi uddeso samuddeso aNuNNA aNuogo, Avassagavairittassa vi uddeso samuddeso aNuNNA annuogo|| imaM puNa paTThavaNaM paDuca Avassagassa annuogo| 5. (prazna) yadi utkAlika zruta ke uddeza, samuddeza Adi hote haiM, to kyA ve uddeza Adi Avazyaka ke hote haiM athavA Avazyaka vyatirikta zruta (AvazyakasUtra se anya) utkAlika zruta ke hote haiM? (uttara) AvazyakasUtra kA bhI uddeza Adi hotA hai aura Avazyaka vyatirikta sUtroM kA bhI uddeza Adi hotA hai| yahA~ prastuta meM AvazyakasUtra kA anuyoga prArambha kiyA jAtA hai| 5. (Question) If Utkalika Shrut is allowed to be studied or preached (uddesh), to be revised and memorized (samuddesh), and to be taught (anujna) as also to be subjected to disquisition or elaboration (anuyoga) then is Avashyak (Sutra) (one of the books falling under the classification of Utkalika Shrut) allowed to be studied or preached (uddesh), etc. or is Avashyak-vyatirikta Shrut (books other than the said Avashyak Sutra, falling under the classification of Utkalika Shrut) also allowed to be studied or preached (uddesh), etc. ? (Answer) Avashyak Sutra is allowed to be studied or preached (uddesh), etc. and Avashyak-vyatirikta Sutras are also allowed to be studied or preached (uddesh), etc. Now in present context we commence the disquisition or elaboration (anuyoga) of Avashyak Sutra. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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vivecana-ukta sUtroM meM yaha spaSTa batAyA hai ki aMgapraviSTa zruta aura aMgabAhya zruta Adi sabhI AgamoM kA adhyayana karane meM uddeza, samuddeza, anujJA aura anuyoga kA vyavahAra hotA hai, kintu phira bhI bAkI sabako chor3akara yahA~ para kevala AvazyakasUtra kA hI anuyoga karane kA prArambha kyoM kiyA jA rahA hai ? cUrNi evaM TIkA Adi meM isakA samAdhAna karate hue kahA hai-"zramaNoM kI samasta samAcArI kA mUla AdhAra AvazyakasUtra hai| isalie anya AgamoM ko chor3akara isI kI vyAkhyA ko prAthamikatA dI gaI hai|" AcArya maladhArI ne isI dRSTi se kahA hai-tatra zramaNaiH zrAvakaizca ubhaya saMdhyaM avazyaM karaNAdAvazyakaM-yaha pratyeka zramaNa aura zrAvaka ke lie ubhayakAla (prAtaH-sAyaM) avazya karaNIya hai, isalie ise 'Avazyaka' kahA gayA hai| isIlie sabase prathama isakI vyAkhyA kI jAtI hai| (Avazyaka ke sambandha meM vistAra ke lie dekheM, anuyogadvAra sUtra hindI TIkA zrI jJAna muni, bhAga 1, pR. 123) Elaboration In the aforesaid aphorisms it has been clearly stated that in study of all Agams included in both Anga Pravishta Shrut and Anga Bahya Shrut the processes of studying or preaching (uddesh), revising and memorizing (samuddesh), teaching (anujna) as also subjecting to disquisition or elaboration (anuyoga) are employed. Then why, leaving all other scriptures, disquisition of only Avashyak Sutra is commenced here? ___Clarifying this the commentaries (Churni, Tika, etc.) state"The basis of all ascetic-praxis is Avashyak Sutra. Therefore priority has been given to this book over all other Agams." Confirming this view Acharya Maladhari has stated-As this (activities mentioned in this book) is obligatory or essential activity or conduct to be performed every morning and evening by every ascetic and Shravak (a householder who has accepted the religious code of conduct) it is named 'Avashyak'. That is why it is discussed first of all. (for details about Avashyak Sutra see Commentary on Anuyogadvar Sutra by Shri Jnana Muni, part 1, p. 123.) Avazyaka prakaraNa ( 17 ) The Discussion on Essentials

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Avazyaka pada kA nikSepa 6. jai Avassayassa aNuogo AvassayaNNaM kimaMgaM aMgAI ? suyakkhaMdho suyakkhaMdhA ? ajjhayaNaM ajjhayaNAI ? uddesago uddesagA ? ___ AvassayaNNaM No aMgaM No aMgAI, suyakhaMdho No suyakkhaMdhA, No ajjhayaNaM, ajjhayaNAI, No uddesago, No uddesgaa| 6. (prazna) yadi Avazyaka kA anuyoga (vyAkhyA) karanA hai to vaha kyA eka aMga hai athavA aneka aMga haiM ? eka zrutaskandha hai yA aneka zrutaskandha haiM ? eka adhyayana hai athavA aneka adhyayana haiM ? eka uddezaka hai athavA aneka uddezaka haiM ? (uttara) Avazyaka eka aMga nahIM hai (aMgabAhya hai) aura aneka aMga bhI nahIM haiN| eka zrutaskandha hai aneka zrutaskandha rUpa nahIM haiN| eka adhyayana nahIM hai, apitu aneka (chaha) adhyayana rUpa haiN| eka uddezaka bhI nahIM hai, aura aneka uddezaka bhI nahIM haiN| ATTRIBUTION OF THE TERM AVASHYAK 6. (Question) If disquisition of Avashyak (Sutra) has to be done then is it one Anga or many Angas ? One Shrutskandh or many Shrutskandhs ? One Adhyayan or or many Adhyayans ? One Uddeshak or many Uddeshaks ? ___(Answer) Avashyak is neither one Anga (it is outside the Anga corpus) nor many Angas ? It is one Shrutskandh (book) not many Shrutskandhs ? It is not one Adhyayan (chapter) but many (six) Adhyayans ? It is neither one Uddeshak (section) nor many Uddeshaks ? vivecana-isa sUtra meM ATha praznoM ke mAdhyama se Avazyaka sambandhI jAnakArI dI hai aMga-tIrthaMkaroM ke dvArA sAkSAt upadiSTa artha ko gaNadharoM dvArA zabda rUpa meM guMthA huA zruta aMga kahalAtA hai| gyAraha aMga prasiddha haiN| * zrutaskandha-aneka adhyayanoM kA samUha, eka vRhatkAya khaNDa, pRthak viSayoM ke vibhAga ko " zrutaskandha kahA jAtA hai| kucha zAstra yA sUtra do vibhAga yA do zrutaskandha ke rUpa meM milate haiN| * anuyogadvAra sUtra ( 86 ) Illustrated Anuyogadvar Sutra

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adhyayana - kisI viziSTa artha ke pratipAdaka aMza ko adhyayana kahA jAtA hai| AgamoM meM adhyayana, zataka, pada yA sthAna ye cAroM zrutaskandha ke upavibhAga ke rUpa meM prasiddha haiN| uddezaka - eka adhyayana ke aneka viSayoM ke choTe-choTe upavibhAga- uddezaka kahe jAte haiM / isako viparIta krama se yoM samajha sakate haiM - aneka sUtra, gAthA yA zlokoM ke samUha ko uddezaka kahA jAtA hai| aneka uddezakoM kA samUha adhyayana, kaI adhyayanoM kA samudAya zrutaskandha aura do (adhika bhI) zrutaskandha ke samudAya ko zAstra kahA jAtA hai| vartamAna meM upalabdha AcArAMga Adi kisI bhI zAstra meM do se adhika zrutaskandha nahIM milate haiN| AvazyakasUtra ke chaha adhyayana haiM - ( 9 ) sAmAyika, (2) caturviMzatistava, (3) vandanA, (4) pratikramaNa, (5) kAyotsarga, aura (6) pratyAkhyAna | jinake viSaya meM Age batAyA jaayegaa| Elaboration-In this aphorism skeletal information about Avashyak (Sutra) has been mentioned with the help of eight questions- Anga-- The lingual compilation (Shrut), done by Ganadhars, of sermons (Artha) by Tirthankars in person is called Anga. The number of popularly known Angas is eleven. Shrutskandh-A collection of chapters or a large section of a book with many different topics is called Shrutskandh or part. There are some scriptures or Sutras having two parts or Shrutskandhs. Adhyayan-A section dealing with some specific topic is called an Adhyayan or a chapter. In Agams the popular names of sub-sections (chapters) of Shrutskandh are popularly known as-Adhyayan, Shatak, Pad and Sthan. Uddeshak-Smaller sections on different topics within a chapter are called Uddeshak. In reverse order it can be explained as a group of numerous aphorisms, verses or couplets is called a section (Uddeshak). A group of many such sections is called a chapter (adhyayan), a group of many chapters is called a part or volume (shrutskandh); and a group of two or more parts is called a scripture (shastra). In the available scriptures including Acharanga none has more than two Shrutskandhs. Avashyak Sutra has six chapters - ( 1 ) Samayik, Avazyaka prakaraNa ( 19 ) The Discussion on Essentials

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(2) Chaturvinshatistava, (3) Vandana, (4) Pratikraman, (5) Kayotsarga, and (6) Pratyakhyan. These will be discussed in due course. nikSepa kI sUcanA ___7. tamhA AvassayaM NikkhivissAmi, suyaM NikkhivissAmi, khadhaM NikkhivissAmi, ajjhayaNaM nnikkhivissaami| 7. isalie maiM yahA~ Avazyaka kA nikSepa karU~gA, zruta kA nikSepa karU~gA, skaMdha kA nikSepa karU~gA, adhyayana kA nikSepa kruuNgaa| INFORMING ABOUT ATTRIBUTION OF TERMS LIKE AVASHYAK 7. Therefore I undertake nikshep (attribution) of Avashyak, attribution of Shrut, attribution of Skandh, and attribution of Adhyayan. 8. jattha ya jaM jANejA NikkhevaM Nikkhive girvsesN| jattha vi ya na jANejA caukkayaM nikkhive ttth||1|| 8. nikSepa karane vAlA jisa viSaya para, jitane nikSepoM kI jarUrata samajhatA ho, vahA~ una sabhI nikSepoM kA nyAsa karanA caahie| yadi nikSeptA ko saba nikSepoM kA jJAna na ho to vahA~ kama se kama nikSepa catuSTaya (cAra nikSepa-nAma, sthApanA, dravya, bhAva) kA nikSepa to karanA caahie| 8. One should apply to a subject all required types of attributions known to him about the subject. Where he does not have the knowledge of all the niksheps, he should at least apply the primary quartet of attributions (naam, sthapana, dravya and bhaav). vivecana-ukta do sUtroM meM nikSepa karane kI bAta kahI gaI hai| jainadarzana anekAntavAdI hai, vaha vastu ke satya svarUpa ko samajhAne ke lie, zabda ke yathArtha samucita artha kA jJAna karAne ke lie aneka dRSTiyoM se usakI vyAkhyA karatA hai| kyoMki zabda bahuta sImita hai aura artha asIma hai| eka zabda meM aneka artha chipe rahate haiN| kauna kahA~ para kauna-sA artha prakaTa karanA anuyogadvAra sUtra Illustrated Anuyogadvar Sutra * ( 20)

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cAhatA hai aura hameM kauna-sA artha grahaNa karanA cAhie isakA samyak vyavahAra tabhI ho sakatA hai jaba hama nikSepa dRSTi se vicAra kreN| jainazAstroM meM zabdoM kI upayukta aura vAMchita vyAkhyA karane ke lie nikSepa paddhati kA upayoga kiyA gayA hai| nikSepa paddhati se 'bhASA' aura 'bhAva' bIca ucita saMgati baiTha sakatI hai| AcAryoM ne nikSepa kI aneka paribhASAe~ aura vyAkhyAe~ kI haiN| zrI jinabhadragaNi ne batAyA hai - 'ni' kA artha hai- 'niyata' aura 'nizcita' / 'kSepa' kA artha hai - nyAsa karanA / vaktA zabda dvArA jisa bhAva ko prakaTa karanA cAhatA hai, usa bhAva ko, usa zabda meM phiTa karanA, kSepa arthAt 'nyAsa' athavA sthApanA karanA 'nikSepa' hai / (vizeSAvazyaka bhASya, gAthA 912) 'nikSepa' kama se kama cAra prakAra kA hotA hai-nAma, sthApanA, dravya aura bhAva / adhika kI koI sImA nahIM hai| (1) nAma - nikSepa - kisI vastu ko pahacAnane ke lie usakA koI na koI nAma yA saMjJA rakhanA nAma-nikSepa hai| jaise kisI kA nAma rakha diyA- 'mahAvIra' yA 'bhagavAna' / usameM mahAvIra yA bhagavAna kA koI bhI guNa nahIM hai, kintu kevala usakI pahacAna yA use pukArane ke lie usakA nAma mahAvIra hai| guNahIna hone para bhI kevala pahacAna mAtra ke lie nAma-nikSepa kI upayogitA hai| kisI mUrkha kA nAma vidyAsAgara rakha denA, bhikhArI ko rAjA kahanA nAmanikSepa ke udAharaNa haiM / (2) sthApanA - nikSepa - vastu kI pahacAna ke lie citra, mUrti yA pratIka meM usa nAma kI sthApanA kara denaa| kisI mUrti yA citra ko 'mahAvIra' nAma se sthApita kara denA, yaha sthApanA- nikSepa hai| nATaka ke vividha pAtra vibhinna vezabhUSA dhAraNa karake rAma, rAvaNa kA abhinaya karate haiM / yaha sthApanA- nikSepa hai| (3) dravya - nikSepa - bAlaka rUpa mahAvIra ko athavA mokSa bAda bhagavAna mahAvIra ke nirjIva zarIra ko yA 'mahAvIra' nAmaka kisI vyakti kI nirjIva deha ko 'mahAvIra' nAma se pahacAnanA, pukAranA / yaha dravya - nikSepa hai / atIta meM jo kabhI adhyApaka rahA hai use 'gurujI' nAma se pukAranA yA bhaviSya meM maMtrI banane vAlA hai, use 'maMtrIjI' kahanA, yaha sabhI dravya - nikSepa meM Ate haiN| dravya-nikSepa ke aneka bhedopabheda haiM- mukhya tIna bheda isa prakAra haiM (1) jJa (jJAyaka) zarIra, (2) bhavya zarIra, (3) tadvyatirikta / dravya-nikSepa, bhAva-nikSepa kI pUrva yA pazcAtvartI avasthA vizeSa hai| Avazyaka prakaraNa ( 21 ) *********** st st khu The Discussion on Essentials

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(4) bhAva - nikSepa - jo kaSToM ko sahana karate hue vAstava meM hI 'mahAvIra' bane haiM yA vAstavika mahAvIra jaba sAkSAt vidyamAna the, unheM 'bhAva mahAvIra' kahanA bhAva-nikSepa hai| mahAvIra ke guNoM se yukta, guNa sampanna avasthA ko mahAvIra kahanA, sevA karate hue ko sevaka mAnanA, par3hAte hue ko adhyApaka kahanA Adi bhAva- nikSepa ke udAharaNa haiM / bhAva-nikSepa 'vartamAna' ko tathA 'guNa sampannatA' ko mahattva detA hai| isake bhI aneka bheda haiM, jinakI carcA yA prasaMga sUtra 534 se Age kI jAyegI / 'nikSepa' paddhati tattvajJAna yA zAstra samajhane meM jitanI upayogI hai, vyavahAra meM bhI utanI hI upayogI hai| hama pratidina ke vyavahAra meM jAne-anajAne ina cAroM kA upayoga karate hI rahate haiM, inhIM cAroM nikSepoM ke mAdhyama se hama apanA icchita abhiprAya dUsaroM ko samajhA sakate haiN| Elaboration-The aforesaid two aphorims inform about nikshep (attribution ). Jain Philosophy is non-absolutistic. In order to explain the true form of a thing and to understand the true and comprehensive meaning of a word it defines that word from numerous viewpoints. Words are limited but their meanings are unlimited. There are numerous meanings concealed in a word. Who wants to convey what meaning at what place and which meaning should one accept can be comprehended correctly and precisely if we employ the process of attribution (nikshep ). In order to properly and appropriately interpret and elaborate words, Jain scriptures have employed the process of nikshep (attribution). Proper harmony between language and idea can be established with the use of this process. Acharyas have given various interpretations and definitions of the term nikshep. Shri Jinabhadragani states-Ni' means niyat (given) and nischita (particular). 'Kshepa' means to install or attribute. To attribute the specific meaning a narrator desires to convey through a word to that particular word is called nikshep or attribution. (Visheshavashyak Bhashya, verse 912) Minimum number of types of niks hep (attribution) can be fournaam (name), sthapana (notional installation ), dravya (physical ( 22 ) anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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ghara prakAra kA nikSepa FOUR ASPECTS nAma nikSepa sthApanA nikSepa JEDICEUTER dravya nikSepa bhAva nikSepa bhaviSya kAlIna bhUta kAlIna NIM 2.

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citra paricaya 2 Illustration No. 2 cAra prakAra kA nikSepa nikSepa meM zabda mukhya nahIM, abhiprAya athavA bhAva mukhya hotA hai| isalie ise cAra prakAra se samajhAyA hai| nAma, sthApanA dravya aura bhAva nikssep| udAharaNa nAma nikSepa-jaise kisI eka dubale-patale sAdhAraNa guNahIna vyakti ko 'mahAvIra' nAma se pukaarnaa| sthApanA nikSepa-kisI citra yA pratimA ko 'mahAvIra' nAma se sthApita kara denaa| dravya nikSepa-bhaviSya meM hone vAle yA bhUtakAla meM ho cuke vyakti ko usI nAma se pukaarnaa| jaise bAlya avasthA meM bhI kumAra varddhamAna ko, mahAvIra kahanA yA mahAvIra ke nirjIva zarIra ko 'mahAvIra bhagavAna' khnaa| ___ bhAva nikSepa-bhayaMkara parISahoM meM kSamA, dhairya, sahanazIlatA Adi guNoM se yukta mahAvIra kI vAstavika guNa sampanna avasthA ko 'mahAvIra' khnaa| -sUtra 8-10 SHOROPRODMRODARDAROPARODRODARODARDARDAROGRAPRADDHADARPRADEPROPEOPHROPARDROPEOPARDARODARODARODARDAROGARIKE FOUR TYPES OF NIKSHEP In nikshep (attribution) word is not important. What is important is its meaning or the concept. Therefore it has been explained four waysnama (name), sthapana (notional installation), dravya (physical aspect), bhaava (mental aspect or essence). Examples ___Nama nikshep (name attribution)-To call an emaciated, ordinary, and worthless person as Mahavir (very strong and brave). Sthapana nikshep (notional installation)--To install a picture or an idol with the name Mahavir or as that of Mahavir. Dravya nikshep (physical aspect of attribution)-To call a person belonging to some future or past time with the same name in the present also. To call prince Vardhaman even in his infancy or the lifeless body of Bhagavan Mahavir as 'Mahavir'. Bhaava nikshep (essence attribution)- To call (Bhagavan) Mahavir as 'Mahavir' (one endowed with great courage) during his life time when he is in the state endowed with qualities of Mahavir' displaying unprecedented endurance while facing grave afflictions. -Sutra : 8-10 ANANORATOPATOAAKOYALODAROVAR0948024802902802480PAROPAROBAROSAROORDARO9020900999999999ROPRODROSAROBARMER

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aspect), bhaav (mental aspect or essence). There is no limit to the maximum number of types of nikshep. (1) Naam nikshep (Name attribution)--To give a name or assign a noun to a particular thing just for its identification is called name attribution. For example, some one is given a name Mahavir or Bhagavan. He has no qualities attributed to the words Mahavir or Bhagavan; it is simply for the convenience of calling him or identifying him that the name is given to him. Irrespective of the absence of specific qualities the usefulness of name attribution lies in identification of things. Some examples are to call a weakling Hercules or to call an idiot Apollo. (2) Sthapana nikshep (Notional installation)-To instal a specific and known name in a thing such as a picture, image or symbol so that it gets identified with that name. For example, an idol is installed with the name Mahavir or as that of Mahavir. Another example is roles of characters like Rama, Ravana, etc. in a drama played by actors wearing various dresses identified with those characters. This is notional installation. (3) Dravya nikshep (Physical aspect of attribution)-To recognize or call the dead or lifeless body of Bhagavan Mahavir or some other person named Mahavir as 'Mahavir' even after his death is physical aspect of attribution. The lifeless body of Mahavir is physical or material Mahavir. To call a person who used to teach in the past as 'teacher' or to call a person who is going to be a minister in future as 'minister' are also inclusive in this category. There are numerous categories and sub-categories of physical aspect of attribution; prominent out of these are three (1) Jna Sharir or Jnayak Sharir (a body that has acquired some thing). (2) Bhavya Sharir (a body that has the potential of acquiring some thing). (3) Tadvaytirikta (other than these two). Avazyaka prakaraNa ( PI ) The Discussion on Essentials

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* WURBARA * * Thus physical aspect of attribution is a specific past or future state of essence attribution. (4) Bhaav nikshep (Essence attribution)-To call a person who shows great courage while enduring afflictions as Mahavir' or to call (Bhagavan) Mahavir as 'Mahavir' (one endowed with great courage) during his life time is essence attribution. In other words it is to call the state having qualities of mahavir (one endowed with great courage) as 'Mahavir'. To accept one who serves as servant and to call one who teaches as teacher are examples of essence attribution. It lays emphasis on the present and "possession of attributes'. This is also of many types, which will be discussed in due course (Aphorism 534). The method of attribution is as useful in context of the mundane as it is in context of understanding metaphysics or scriptures. Consciously or unconsciously we make use of these four kinds of attributions. Only with the help of these we convey our desires and ideas. Avazyaka ke nikSepa S. A too 30R ? Bariri asfalt yourpil A FER-(9) =rehri, (2) dalekti, (3) garanti, (8) frein 8. (427) 31199406 CRIT? (uttara) Avazyaka cAra prakAra kA hai-(1) nAma Avazyaka, (2) sthApanA Avazyaka, (3) fou 3177940, 79 (8) 479 311994061 ATTRIBUTIONS OF AVASHYAK 9. (Question) What is Avashyak ? (Answer) Avashyak is of four types--(1) Naam Avashyak, (2) Sthapana Avashyak, (3) Dravya Avashyak, and (4) Bhaav Avashyak. anuyogadvAra sUtra (28) Illustrated Anuyogadvar Sutra LOGO

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vivecana - 'Avazyaka' eka pAribhASika zabda hai / yoM to jo bhI kArya avazya karane yogya hotA hai, vaha sabhI 'Avazyaka' kahA jAtA hai| jaise- zauca, snAna, bhojana, zayana Adi / parantu yahA~ para inase koI prayojana nahIM hai / yaha adhyAtmazAstra hai, isalie Atma-zuddhi ke lie jo avazya karane yogya kriyA hai use hI yahA~ Avazyaka kahA gayA hai- avazyaM kartavyam Avazyakam - isakI dUsarI paribhASA yaha hai - guNAnAM AsamantAd vazyaM AtmAnaM karotItyAvazyakam - jo durguNoM ko haTAkara AtmA ko guNoM ke vazya/ adhIna karatA hai, arthAt sadguNoM ko apane vaza meM karane kI prakriyA ko Avazyaka kahA gayA hai| sAdhu-sAdhvI, zrAvaka-zrAvikAoM ko pratidina prAtaH - sAyaMkAla Atma zuddhi ke lie jo kriyA karanI hotI hai use 'Avazyaka' kahA hai| usake chaha bheda haiM jise SaDAvazyaka kahA jAtA hai| Elaboration-Avashyak' is a technical term. The literal meaning of avashyak is essential or obligatory. All that has to be essentially or obligatorily performed is called avashyak; for example--excretion, bathing, eating, sleeping, etc. But here it conveys a different meaning. The subject of this book is spiritual. Therefore, the activities that are essential for purification of soul are called avashyak here. Another definition is-that which removes vices from soul and submits it to virtues is called avashyak. In other words the process of acquiring virtues is called avashyak. The obligatory acts to be performed by ascetics and laity every morning and evening with the purpose of purification of soul are called avashyak. As it is inclusive of six acts it is called Shadavashyak (sextet of six obligatory duties). (1) nAma Avazyaka 10. se kiM taM nAmAvassayaM ? nAmAvassayaM jassa NaM jIvassa vA ajIvassa vA jIvANa vA ajIvANa vA tadubhayassa vA tadubhayANa vA Avassae tti nAma kIrae / se taM nAmAvassayaM / 10. ( prazna ) nAma Avazyaka kyA hai ? (uttara) jisa prakAra jIva yA ajIva kA, jIvoM yA ajIvoM kA, jIva- ajIva donoM (tadubhaya) kA, tathA jIvoM-ajIvoM donoM kA, 'Avazyaka' nAma rakhanA / yaha nAma Avazyaka hai| Avazyaka prakaraNa ( 25 ) The Discussion on Essentials

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(1) NAAM AVASHYAK 10. (Question) What is naam avashyak (avashyak as name)? (Answer) To assign avashyak as a name to a living being, a non-living thing, many living beings, many nonliving things, an aggregate of living and non-living, and more many aggregates of living and non-living is called naam avashyak or avashyak as name. (2) sthApanA Avazyaka 11. se kiM taM ThavaNAvassayaM ? jaNaM kaTThakamme vA cittakamme vA potthakamme vA leppakamme vA gaMthime vA veDhime vA pUrime vA saMghAime vA akkhe vA varADae vA ego vA aNegA vA sabbhAvaThavaNAe, asabbhAvaThavaNAe vA Avassae tti ThavaNA tthvijjti| se taM tthvnnaavssyN| 11. (prazna) sthApanA Avazyaka kyA hai ? (uttara) sthApanA Avazyaka kA svarUpa isa prakAra hai-kASThakarma, citrakarma, pustakakarma, lepyakarma, granthima, veSTima, pUrima, saMghAtima, akSa athavA varATaka (kaur3I meM) eka yA aneka sadbhAva sthApanA (vAstavika AkRti) athavA asad bhAva sthApanA (kAlpanika AropaNa) ke dvArA Avazyaka (Avazyaka kriyA karate hue vyakti) kI jo sthApanA, rUpAMkana yA kalpanA kI jAtI hai, vaha sthApanA Avazyaka hai| (2) STHAPANA AVASHYAK 11. (Question) What is sthapana avashyak (avashyak as notional installation) ? (Answer) The notional installation or illustration or imagination of avashyak (an individual performing obligatory duties) in or through (things or medias like) wood work, painting, book or doll, clay moulding, fiber or clother work, knit work or applique work, casting, combining many cloth pieces or flowers, blocks or dice made of fossils or anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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* *. . ... .. . . .* * * * * * * * * * *... U~. wood, and shells realistically or unrealistically is called sthapana avashyak (avashyak as notional installation). 12. nAma dvavaNANaM ko paiviseso ? nAmaM AvakahiyaM, ThavaNA ittariyA vA hojjA AvakahiyA vaa| 12. ( prazna) nAma aura sthApanA meM kyA bhinnatA hai ? (uttara) nAma yAvatkathika (AjIvana) hotA hai, kintu sthApanA itvarika (alpakAlika) aura yAvatkathika (yAvajjIvana) donoM hI prakAra kI hotI hai| 12. (Question) What is the difference between naam and sthapana avashyak (avashyak as name and as notional installation)? (Answer) Name is life long whereas sthapana can be temporary as well as lifelong both. vivecana-kisI jIva yA ajIva ko pukArane yA pahacAnane ke lie usakA 'Avazyaka' nAma rakha denA nAma Avazyaka hai| nAma eka saMketa mAtra hotA hai, jisase hamArA dainika loka-vyavahAra calatA hai| nAma meM usake upayukta guNa bhI hoM yaha koI jarUrI nhiiN| nAma ko yAdRcchika (icchAnurUpa) kahA hai| nAma meM mUla zabda ke artha se koI sIdhA sambandha nahIM hotaa| kisI bhI vyakti kA yA kisI pustaka kA 'Avazyaka' nAma rakhA jA sakatA hai| ise nAma Avazyaka kahA gayA hai| ___ kisI padArtha kA nAmakaraNa karane ke pazcAt yaha vahI hai, usa abhiprAya se usakI vyavasthApanA karane kA nAma sthApanA hai| jaise indra nAmaka vyakti vizeSa kI yaha AkRti (citra, mUrti Adi) hai, isa kalpanA kA AropaNa karanA sthApanA hai| sthApanA meM mUla zabda kA guNa yA bhAva nahIM hotA, kevala kalpita AkRti mAtra hotI hai| AcArya haribhadra tathA maladhArI hemacandrasUri ne vRtti meM isake do bheda kiye haiM-(1) sadbhAva sthApanA-vivakSita (jo hama kahanA cAhate haiM) usa vastu ke samAna AkRti vAlI sthApanA, tathA (2) asadbhAva sthApanA-mukhya AkAra se zUnya kalpita AkRti asadbhAva sthApanA hai| ___ nAma AjIvana ke lie hotA hai ataH vaha yAvatkathita-jaba taka vaha vastu rahe taba taka yAvajjIvana ke lie hotA hai, jabaki sthApanA itvarika-kucha samaya vizeSa ke lie yA Avazyaka prakaraNa (27 The Discussion on Essentials

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alpakAla ke lie bhI hotI hai aura yAvatkathita bhI hotI hai| donoM meM yaha eka mukhya bheda hai| vRttikAra kA kathana hai-yadyapi kabhI-kabhI nAma bhI alpakAlika ho sakatA hai, nAma bhI badala liyA jAtA hai, parantu nAma badalane para bhI nAma vAlA padArtha yA vyakti surakSita rahatA hai, isa apekSA se use yAvatkathita kahA gayA hai| (vRtti patra 13-14) __dUsarA bheda yaha hai ki sthApanA-AkRti dekhane se vastu ke prati jo Adara, anAdara, harSa, ullAsa Adi kA bhAva prakaTa hotA hai, vaisA nAma sunane se nahIM hotA isalie 'nAma' se 'sthApanA' adhika prabhAvotpAdaka hotI hai| jaise 'bhagavAna' nAma sunane se itanA ullAsa utpanna nahIM hotA, jitanA 'bhagavAna' kI AkRti, mUrti yA citra dekhane se hotA hai| nAma meM pahacAna mukhya hotI hai, sthApanA meM AkAra ke prati bhAvanA pradhAna hotI hai| donoM hI guNa zUnya hote haiN| (rAjavArttika 1/5/13/29/25) Elaboration--To give the name 'avashyak' to a living being or non-living thing for the sake of calling it or identifying it is called avashyak as name. Name is just a formal identity for routine social convenience. It is not necessary that the name is inclusive of the attributes of the thing. Name is said to be an arbitrary thing and there is no direct relationship with the meaning of the word. Any person or a book can be named Avashyak. This is said to be avashyak as name. After giving a name to a particular thing the act of installing it with the notion that it is what it has been named is called sthapana. For example-this image (picture, idol, etc.) is of a particular individual named Indra. To instal this notion in the image is called sthapana. In sthapana it is not necessary to have the meaning or essence of the word (name). It is just an imaginary shape. Acharya Haribhadra and Maladhari Hemachandra Suri have stated two types of this--(1) Sadbhaav sthapana or installation of realistic image of a thing, and (2) Asadbhaav sthapana or installation of imaginary or unrealistic image of a thing. Name is for the whole life therefore it is yavatkathit (as long as the thing exists or lifelong), whereas sthapana can be itvarik (for a specific period of time or temporary) as well as yavatkathit anuyogadvAra sUtra ( 28 ) Illustrated Anuyogadvar Sutra

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(lifelong). This is the main difference between the two. The commentator (Vritti) states-Although name can also be temporary because it is also changed, however, in spite of the ange in name the thing or person remains the same. Keeping this in view it is called lifelong. (Vritti leaf 13-14) Another difference between the two is that the respect, disrespect, joy, excitement and other feelings inspired by an image are absent in mere name. Thus installation is more effective than name. For example hearing the word God does not inspire such joy as that inspired by seeing an image, picture, or idol of God. Name is just for identification whereas installation includes feelings towards the image. However, both are devoid of actual attributes. (Raja Varttik 1/5/13/29/25) vizeSa zabdoM ke artha-(1) kaTTha kamme (kASTha karma)-kATha yA lakar3I meM ukerI gaI aakRti| prAcInakAla meM indra, skanda, mukunda Adi kI pratimAe~ kATha kI banatI thiiN| (2) citta kamme (citra karma)-kAgaja yA dIvAra para citrita aakRti| (3) pottha kamme (pustakarma)-kapar3e yA tAr3a-patra Adi para aMkita AkRti yA cheda kara banAye gaye AkAra yA kapar3e kI banI putalI aadi| kucha vidvAnoM kA mata hai-'pusta' zabda pahalavI bhASA kA hai, jisakA artha hai-cmdd'aa| prAcInakAla meM camar3e ke citra banate the va camar3e para grantha bhI likhe jAte the| (anuyogadvAra, AcArya mahAprajJa, pR. 19) (4) lepyakamme (lepya karma)-gIlI miTTI Adi ke lepa se banI aakRti| (5) ganthime (granthima)-vastra, rassI yA sUta, dhAge Adi ko gUMthakara usameM gA~TheM DAlakara banAI gaI aakRti| sUta kI mAlA, jAlI Adi prAcIna samaya meM bhI banatI thii| jisakA ullekha AcArya haribhadra ne kiyA hai| (6) veDhime cipTima)-eka, do yA aneka vastra khaNDoM ko lapeTakara banAI gaI AkRti, jaiseputlii| phUloM ko gUMthakara banI AkRti bhI veSTima kahI jAtI thii| (maladhArI vRtti, pR. 12) / (7) pUrime (pUrima)-garma tA~be, pItala Adi dhAtuoM ko sA~ce meM DhAlakara bharakara banAI gaI aakRti| (8) saMghAime (saMghAtima)-aneka vastra khaNDoM va phUloM ko sA~dhakara, jor3akara banAI aakRti| (9) akkhe (akSa)-caupar3a ke pA~se Adi se banI aakRti| Avazyaka prakaraNa ( 29 ) The Discussion on Essentials

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(10) varADa (varATaka) - kaur3I, zaMkha Adi vastuoM se nirmita AkRti / ye sabhI asadbhAva (atadAkAra) sthApanA ke udAharaNa haiN| Technical Terms-(1) Kattha kamme (kashtha karma)Wood work; a shape or design carved or engraved in wood. In ancient times images of deities like Indra, Skanda, Mukunda, etc. were made of wood. (2) Chitta kamme (chitra karma)-Painting; image or design painted on paper or wall. (3) Pottha kamme (pust karma)-Images drawn or made by making perforations with needle on cloth, palm leaf or other surface; also dolls made of cloth. Some scholars are of the opinion that 'pust' is a word from Pahalvi language and it means leather. In ancient times painting was done and books were written on leather. (Anuyogadvar, Acharya Mahaprajna, p. 19) (4) Lepya kamme (lepya karma)-Images made by plastering or moulding damp clay. (5) Ganthime (granthim or made by stringing)-Things or designs such as garland, net, wall hanging, etc. made by stringing or knitting or knotting cloth, cord or thread. As mentioned by Acharya Haribhadra such things were popular in ancient times also. (6) Vedhime (veshtim or made by wrapping)-Things made by wrapping one or more pieces of cloth, such as dolls. Things made by entwining flowers were also called veshtim. (Maladhari's Vritti, p. 12) (7) Purime (purim made by filling or pouring)-Images made by casting molten metal like copper and brass in a mould. (8) Sanghaime (sanghatim made by interweaving or entwining)-Things made by entwining one or more pieces of cloth or flowers, such as dolls. (9) Akkhe (aksha)-Blocks or dices made of fossils or wood. ( 30 ) anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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sthApanA ke dasa bheda kASTa karma TEN TYPES OF REPRESENTATION (STHAPANA) citra karma pustakarma 44 lepya karma graMthima veSTima saMghAima pUrima akSakarma varATika TRILOR (SHIRA

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Shasoke sex K | citra paricaya 3 Illustration No. 3 sthApanA ke dasa bheda AkRtiyoM meM kisI vastu yA vyakti vizeSa nAma kI sthApanA karanA sthApanA nikSepa samajhanA caahie| isake aneka bheda haiN| jaise (1) kASTha karma-kATha meM indra skanda Adi kisI kI kalpita AkRti sthApita krnaa| (2) citra karma-citra meM lakSmI, sarasvatI Adi kisI AkRti kI sthApanA krnaa| (3) pustakarma-kapar3e kI putalI yA tAr3apatra Adi para likhita pustaka va citra aadi| (4) lepya karma-miTTI Adi ke lepase nirmita pratimA yA dIvAra para soMdhiyA, paharedAra Adi ke citr| (5) graMthima karma-vastra, rassI yA dhAge Adi meM gA~The DAlakara mAlA vRSabha Adi kI koI AkRti bnaanaa| (6) veSTima karma-phUloM se gUMthakara hAthI Adi koI AkRti bnaanaa| (7) pUrima-pItala, cA~dI, cUnA, plAsTara Adi kI pratimA jo bhItara se polI hotI hai| (8) saMghAtima-vastra ke choTe-choTe raMga-biraMge Tukar3oM ko jor3akara manuSya Adi kI banAI huI aakRti| (9) akSa karma-pAsoM yA moharoM se banI aakRti| (10) varATaka-kaur3I yA, sIpa zaMkha Adi se banI aakRti| -sUtra 10 TEN TYPES OF STHAPANA The unrealistic notional installations of some specific thing or person in some images is called sthapana nikshep. This is done through many medias like (1) Kast karma (wood work)--An imaginary form of deities like Indra and Skanda made of wood. (2) Chitra karma (painting)-Image of Lakshmi, Sarasvati, or other deities painted on paper or other surface. (3) Pusta karma-Dolls made of cloth; text or images written or drawn on, palm-leaf, or other surfaces. (4) Lepya karma--Images made by plastering or moulding damp clay; also frescoes painted on walls. (5) Granthim (made by stringing)--Garlands or shapes like a bull made by knitting or knotting cloth, cord, or thread. (6) Veshtim (entwining)-Things, such as shape of an elephant, made by entwining flowers. (7) Purim (made by filling or pouring)-Hollow images made of brass, silver, lime-mortar, plaster, etc. (8) Sanghatim (made by interweaving or entwining)-Human or other form made by entwining or joining multicolored pieces of cloth. (9) Aksha karma-Images made of blocks or dices. (10) Varatak-Images made of shells like kaudi and conch shells. -Sutra : 10 *

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(10) Varadaye (varatak)--Things made of shells like kaudi and conch shells. All these are examples of unrealistic notional installations. (3) dravya Avazyaka 13. se kiM taM davvAvassayaM ? davvAvasmayaM duvihaM pnnnnttN| taM jahA-1Agamato ya 2 No Agamato y| 13. (prazna) dravya Avazyaka kise kahate haiM ? (uttara) dravya Avazyaka do prakAra kA hai-(1) AgamataH (jJAna kI apekSA se), aura (2) no-AgamataH (mAtra kriyA kI apekSA) se| (3) DRAVYA AVASHYAK (PHYSICAL ASPECT OF AVASHYAK) ____13. (Question) What is dravya avashyak (physical aspect of avashyak) ? (Answer) Dravya avashyak (physical aspect of avashyak) is of two kinds--(1) Agamatah dravya avashyak (physical aspect of avashyak in context of Agam or in context of knowledge), and (2) No-Agamatah dravya avashyak (physical aspect of avashyak not in context of Agam or only in context of action). vivecana-dravya zabda ke aneka artha haiN| vRttikAra ke anusAra yahA~ dravya zabda kA artha hai, jo bhUtakAlIna aura bhaviSyakAlIna bhAvoM/dazAoM kA mUla kAraNa hotA hai use dravya kahA hai| vaha cetana yA acetana donoM prakAra kA hotA hai| jaise bhUtasya bhAvino vA bhAvasya hi kAraNaM tu ylloke| tad dravyaM tattvajJaiH sa cetanA'cetanaM kthitm|| udAharaNa ke rUpa meM bhaviSya meM hone vAle jina bhagavAna kA jIva chadmastha avasthA meM bhI 'jina' kahA jAtA hai tathA jinezvara deva kI niSprANa deha bhI 'jina' kahI jAtI hai| tattva dRSTi se yaha donoM hI 'dravya jina' haiN| (paMcAdhyAyI pUrvArddha) Avazyaka prakaraNa ( 31 ) The Discussion on Essentials

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(1) AgamataH dravya Avazyaka-jo Agama kA jJAtA hai, Agama kA artha jAnatA hai, parantu vartamAna kAla meM Agama ke artha meM upayoga zUnya hai, vaha AgamataH dravya Avazyaka kahA jAtA hai| (2) no-AgamataH dravya Avazyaka-Agama ko jAnane vAle vyakti kA zarIra (mRta avasthA meM) Agama kA jJAtA nahIM rahatA, vaha no-AgamataH dravya Avazyaka hai| yahA~ para 'no' zabda kahIM para pUrNa niSedha kA vAcaka hai aura kahIM eka AMzika niSedha meM prayukta huA hai| (vizeSAvazyaka bhASya, gA. 29/44-45) Elaboration--The term dravya has many meanings. According to the commentator (Vritti) here it has been used to indicate that which is the basic cause of past and future states. It can be both conscious and non-conscious. For example the body of the person destined to be a Jina is called Jina even before enlightenment. Also the lifeless body of the Jina even after his nirvana is called Jina. Ontologically these two are dravya-Jina or physical aspect of Jina. (Panchadhyayi, first part) (1) Agamatah dravya avashyak-A person who has studied and understands Agam but is unable to recall it or put to any use at present is called physical aspect of avashyak in context of Agam or physical avashyak with scriptural knowledge. (2) No-agamatah dravya avashyak-The lifeless body of a scholar of Agams, when he is dead, is devoid of the knowledge of Agam. It is called physical aspect of no-avashyak in context of Agam or physical avashyak without scriptural knowledge. The word 'no' has been used both for complete as well as partial negation. (Visheshavashyak Bhashya, verse 29/44-45) (1) AgamataH dravya Avazyaka 14. se kiM taM Agamato davAvassayaM ? __ Agamato davAvassayaM jassa NaM Avassae ti padaM sikkhitaM ThitaM jitaM mitaM parijitaM NAmasamaM ghosasamaM ahINakkharaM aNaccakkharaM abbAiddhakkharaM akkhaliyaM amiliyaM avacAmeliyaM paDipuNNaM paDipuNNaghosaM kaMThoDhavippamukkaM guruvAyaNovagayaM / se NaM tattha vAyaNAe pucchaNAe pariyaTTaNAe dhammakahAe, No annuppehaae| kamhA ? "aNuvaogo dava" miti kaTu / 2 anuyogadvAra sUtra ( 32 ) Illustrated Anuyogadvar Sutra OPPOSPER tA *

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14. (prazna) AgamataH dravya Avazyaka kise kahate haiM ? (uttara) Agama se dravya Avazyaka kA svarUpa isa prakAra hai-jisa (zramaNa) ne Avazyaka pada zikSita-sIkha liyA hai| Thita-(hRdaya meM) sthira kara liyA hai| jita-smRti meM dhAraNa kara liyA hai| mita-zloka, pada Adi kI saMkhyA se bhalIbhA~ti abhyAsa kara liyA hai| parijita-AnupUrvI-anAnupUrvIpUrvaka parAvartita kara liyA hai| nAmasamaM-apane nAma ke samAna yAda kara liyA hai| ghoSasamaM-udAtta-anudAtta svaroM ke anurUpa uccAraNa kiyA hai| ahINakkharaM-akSaroM kI hiintaarhit| anatyakSara-akSaroM kI adhiktaarhit| avyAviddhAkSara-vyatikramarahita, uccAraNa kiyA hai| askhalita-bIca-bIca meM virAma diye binA athavA akSaroM ko chor3e binA dhaaraa-prvaah| amIlita-dUsare padoM ko binA milAye amizrita uccAraNa kiyA hai| avyatyAner3ita-eka hI zAstra ke bhinna-bhinna sUtroM ko ekatrita karake pATha nahIM kiyA hai| pratipUrNa, pratipUrNaghoSayukta, kaNTha aura hoTha se nikalA huA tathA jise guru vAcanA se prApta kiyA gayA hai, vaha Avazyaka pada ke adhyayana, prazna, parAvartana aura dharmakathA meM pravRtta hotA hai, taba AgamataH dravya Avazyaka hai| kintu vaha anuprekSA-artha ke anucintana rUpa upayoga se zUnya hotA hai isalie usa citta kI pravRtti se zUnya ko AgamataH dravya Avazyaka kahA hai| kyoMki anuprekSArahita upayogazUnya kriyA dravya hai| (1) AGAMATAH DRAVYA AVASHYAK 14. (Question) What is agamatah dravya avashyak (physical avashyak with scriptural knowledge) ? (Answer) Physical avashyak in context of Agam is like this--(For instance) a person (an ascetic) has studied properly (shikshit); understood and absorbed (thit); retained in mind (jit); made assessment in terms of number of verses, words, syllables, etc. (mit); perfected by revising in normal and reverse sequence (parijit); committed to memory as firmly as one's own name (naamsamam) the text of Avashyak (Sutra) and recited it fluently with phonetic perfection (ghoshasamam) without shortening syllables (ahinaksharam); without extending syllables (anatyakshar), ( 33 ) The Discussion on Essentials Avazyaka prakaraNa

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without shifting syllables (avyaviddhakshar); and without skipping syllables (askhalit); without mixing up of different phrases (amilit); and without combining different phrases and aphorisms (avyatyamredit). When such person proceeds to study, inquire into, revise and teach this Avashyak Sutra acquired through the discourse of the guru (guruvachanopagat) emanating from vocal cords and lips (kanthoshtavipramukta) and rendered eloquently (pratipurna) in perfect accent (pratipurnaghosh), he is known as physical avashyak in context of Agam. This is so due to the fact that he is devoid of the faculty of contemplating the meaning (spirit) of the text and any action devoid of the faculty of contemplating is only physical (dravya). vivecana-isa sUtra meM AgamataH dravya Avazyaka ke satraha vizeSaNa usakI pUrNa zuddhi ke sUcaka haiN| jaise (1) sikkhitaM (zikSita)-Adi se anta taka pUrNa rUpa se par3ha liyA hai| (2) ThitaM (Thita)-smRti meM acchI prakAra jamA liyA hai| (3) jitaM (jita)-usa pATha ko itanA sthira kara liyA hai ki punarAvartana ke samaya turanta smRti meM A jaaye| (4) mitaM (mita)-sIkhe hue grantha kA zloka, pada, varNa, mAtrA Adi se bhalI prakAra nirdhAraNa kara liyA hai| (5) parijitaM (parijita)-graMtha kA pATha itanA pakkA jamA liyA hai ki use krama yA vyutkrama kisI prakAra pUchane para tatkAla duharA sakatA hai| (6) NAmasamaM (nAmasama)-apane nAma kI taraha grantha ke pratyeka bhAga ko yAda rkhnaa| ye chaha vizeSaNa Agama pATha kaNThastha karane kI prAcIna paddhati ke sUcaka haiN| agale vizeSaNa uccAraNa-zuddhi se sambandhita haiM (7) ghosasamaM (ghoSasama)-guru se sUtra grahaNa karate samaya udAtta, anudAtta svaroM kA Aroha, avarohapUrvaka uccAraNa krnaa| dhvani vijJAna meM use hI rIjiMga-phauliMga Tona kahate haiN| anuyogadvAra sUtra ( 34 ) Illustrated Anuyogadvar Sutra *

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(8)-(9) ahINakkharaM (ahInAkSara) tathA aNaccakkharaM (antyakSara)-hIna va adhika akSara-doSoM se rahita sUtra kA uccAraNa krnaa| kyoMki Agama pATha kA eka akSara kama hone para vAMchita artha kA jJAna nahIM ho sktaa| usI prakAra usameM adhika akSara jor3a dene para artha kA anartha bhI ho sakatA hai| TIkAkAra ne do dRSTAnta dekara ise spaSTa kiyA haihInAkSara doSa kA udAharaNa (1) rAjagRha nagara meM bhagavAna mahAvIra svAmI kA pravacana samApta hone para jaba zreNika rAjA maMtrI abhayakumAra ke sAtha apane rAjamahala ko vApasa lauTane vAle the, tabhI unhoMne AkAza se nIce girate aura punaH AkAza meM ur3ate eka vidyAdhara ko dekhaa| bhagavAna mahAvIra se unhoMne vidyAdhara ke bAra-bAra aisI ceSTA karane kA kAraNa pUchA to unhoMne pharamAyA-"yaha vidyAdhara AkAzagAminI vidyA kI sAdhanA kara rahA hai, parantu yaha apanI sAdhanA meM vidyA kA eka akSara bhUla gayA hai| isI kAraNa usakI yaha vidyA siddha nahIM ho rahI hai aura vaha paMkha kaTe pakSI kI taraha AkAza meM ur3akara vApasa nIce gira jAtA hai|" mahAmaMtrI abhayakumAra ke pAsa padAnusAriNI labdhi thii| ve usa labdhi ke prabhAva se kisI bhI bAta ke eka pada (akSara) ko sunakara anya sabhI akSaroM (padoM) ko jAna lene kI zakti rakhate the| ataH bhagavAna kI bAta sunate hI abhayakumAra turanta usa vidyAdhara ke pAsa Aye aura bole-"bhAI vidyAdhara ! yadi tuma mujhe yaha AkAzagAminI vidyA sunA do to maiM apanI labdhi ke prabhAva se tumheM vidyA ke vismRta akSara ko batA sakatA huuN|" isa para vidyAdhara abhayakumAra kI bAta para sahamata ho gyaa| usane abhayakumAra ko apanI AkAzagAminI vidyA kA maMtra sunaayaa| maMtra sunate hI padAnusAriNI labdhi ke bala para abhayakumAra ne maMtra kA vismRta akSara batA diyaa| isa bAra maMtroccAraNa ke samaya akSara pUrNa hone se vaha vidyAdhara ukta vidyA ke prabhAva se AkAza meM nirvighnatApUrvaka ur3a gyaa| isa kathA se yaha spaSTa hai ki maMtra meM eka bhI akSara kama ho to jJAna lAbhakArI nahIM hotA hai| jaba bhautika maMtroM meM bhI eka akSara kI nyUnatA kSamya yA abhISTa nahIM hai to lokottara mahAmaMtra rUpa zAstra-pATha meM eka bhI akSara kI hInatA kaise kSamya ho sakatI hai ? ataH zAstra-pATha hInAkSara yukta nahIM honA caahie| ahInAkSara zAstra hI parama sAdhya mokSa rUpa phala ko prApta karA sakatA hai| (hAribhadrIyA vRtti, pR. 40 mu. jaM.) isa prasaMga meM vizeSAvazyaka bhASya, gAthA 864 meM kahA hai vijAhararAyagihe uppappapaDaNaM ca hiinndosenn| kahaNo saraNAgamaNaM payANusArissa dANaM c|| ( 34 ) The Discussion on Essentials Avazyaka prakaraNa

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PRASPAPSPAPPASPARAPTSHATSAPPSPASSPIRAPHYSIYAPAGAPPSPRSPRESSPAPER adhika akSara se kyA hAni hai? ise vRttikAra nimna dRSTAnta dvArA samajhAte haiM (2) pATalIputra nagara meM maurya vaMza meM utpanna samrATa azoka rAjya karatA thaa| azoka ko apanI rAnI se eka putra huA thA, jisakA nAma kuNAla thaa| kucha samaya ke bAda hI rAjakumAra kuNAla ko ujjayinI bheja diyA gyaa| rAjakumAra kuNAla ujjayinI meM rahate-rahate jaba ATha varSa kA, huA, taba eka sandezavAhaka dvArA rAjA ko khabara milI ki ApakA rAjakumAra aba ATha sAla kA ho gayA hai| ye samAcAra jAnakara samrATa azoka ne rAjamahala meM baiThe-baiThe hI apane hAtha se eka patra likhaa| jisameM likhA ki "idAnImadhIyatAM kumaarH|" (kumAra aba adhyayana kreN)| paranta rAjA usa patra ko liphAphe meM banda kiye binA vahIM choDakara kisI Avazyaka kAryavaza vahA~ se cale gye| vahA~ jo dUsarI rAnI tiSyarakSitA khar3I thI, usane avasara pAkara vaha patra uThAkara pddh'aa| par3hakara socA-'mere bhI eka putra hai mahendra lekina kuNAla se umra meM choTA hai| rAjA kuNAla ko hI rAjya deMge, kyoMki kuNAla hI rAjagaddI ke yogya hai merA putra nhiiN|' yaha socakara mana hI mana kucha nirNaya kiyA, aura eka salAI lI, use kAjala meM Dubokara usa kAgaja meM jahA~ 'adhIyatAm' zabda thA, vahA~ 'aMdhIyatAm' (kumAra ko aMdhA kara do) kara diyaa| aba to eka mAtrA ke parivartana se sArA hI artha badala gyaa| rAnI ne vaha patra vahIM rakha diyaa| rAjA bAhara se Aye to usa patra ko dubArA par3he binA hI patravAhaka ke sAtha kuNAla ko vaha patra liphAphe meM banda karake bheja diyaa| kumAra ke vizvasta sevaka ne patra meM apriya bAta likhI huI hone se jora se bolakara nahIM sunaaii| kumAra ne use par3hakara sunAne kA Adeza diyA to usane Darate-Darate usa patra ko par3hakara sunA diyaa| patra meM likhita bhASA para se kumAra ne socA ki 'hamAre mauryavaMza meM utpanna kisI bhI vyakti ne Aja taka rAjAoM kI AjJA kA ullaMghana nahIM kiyA hai, phira maiM isI vaMza meM utpanna hokara pitAjI kI AjJA kA ullaMghana kaise kara sakatA hU~? aisA ho nahIM sakatA !' yaha socakara kuNAla ne tatkAla Aga meM tapAI huI lohe kI salAI lI aura zokAkula parivAra ke manA karate-karate hI usa garma salAI se apanI donoM A~khoM ko AMja liyaa| kuNAla aMdhA ho gyaa| (vizeSAvazyaka bhASya, gAthA 861 vRtti; hAribhadrIyA vRtti, pR. 41 mu. jaM.) adhika akSara doSa para bandara kI kathA ___ adhika mAtrA ke sambandha meM (vizeSAvazyaka bhASya, gAthA 863 tathA hAribhadrIyA vRtti, pR. 41) eka udAharaNa hai| (3) kisI vana meM eka bar3A sarovara thaa| janatA meM vaha kAmika tIrtha ke nAma se prasiddha thaa| sarovara ke kinAre baMjula kA per3a thaa| usa tIrtha meM eka camatkAra thA ki agara koI tiryaMca baMjula vRkSa kI zAkhA para car3hakara sarovara ke pAnI meM giratA, to vaha usa tIrtha ke prabhAva se anuyogadvAra sUtra Illustrated Anuyogadvar Sutra - ::::: :::::::::::::::::

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manuSya ho jAtA aura agara koI manuSya giratA, to vaha deva ho jAtA kintu agara koI adhika lobhavaza dubArA isa zAkhA para se sarovara ke jala meM giratA to vaha apanI bhUtapUrva mUla avasthA ko prApta kara letA thaa| eka dina eka vAnara-yugala ke dekhate hI dekhate eka mAnava-yugala (dampatti) usa baMjula vRkSa kI zAkhA para se ukta sarovara meM gira par3A aura usa tIrtha ke prabhAva se deva-yugala ho gyaa| yaha dekhakara bandara kA jor3A bhI isI prakAra sarovara meM girA aura girate hI manuSya-yugala ho gyaa| manuSyarUpa meM bane hue vAnara ne adhika lobhavaza apanI strI se kahA"priye ! aao| hama punaH isa sarovara meM kUdeM, tAki deva rUpa bana jaayeN|" strI ne isa bAta se inkAra karate hue kahA-"phira pAnI meM girane se na mAlUma kyA ho jAye ? hamArA jo yaha manuSya rUpa hai, vahI basa hai| zAstroM meM atilobha ko anarthakara batAkara usakA niSedha kiyA hai|' isa prakAra strI ke manA karane para bhI vaha manuSyarUpadhArI vAnara atilobhavaza punaH usI sarovara meM kada paDA aura darbhAgya se phira apane mala svarUpa vAnararUpa meM vaha bandara bana gyaa| usake pazcAt vahA~ koI rAjA aayaa| vaha usa strI ko dekhakara usake rUpa para mohita ho gayA aura use apanI rAnI banA liyaa| udhara usa bandara ko koI madArI le gyaa| eka dina madArI usa bandara ko lekara khela dikhAne ke lie usa strI (apanI bhUtapUrva patnI) ke sAtha baiThe hue rAjA ke pAsa aayaa| bandara ne apanI manuSyarUpa bhUtapUrva patnI ko pahacAna liyaa| vaha strI bhI bandara ko pahacAna gii| ataH jaMjIra se ba~dhA hone para bhI bandara rAnI ko lene ke lie bAra-bAra usake sammukha daur3ane lgaa| ataH rAnI ne usase kahA-"are bandara ! jaisA jo samaya ho, usI ke anusAra vyavahAra kr| baMjula ke per3a se girane ke lobha meM Akara bhraSTa hue bandara ! aba purAnI bAtoM ko bhUla jaao| aba to jaisI hAlata meM ho, usI meM rho|" ___ jaise adhika lobha meM Akara sarovara meM kUdanA bandara ke lie duHkhadAyI huA, vaise hI adhika lobhavaza zAstra-pATha meM mAtrA, akSara Adi bar3hA dene se vaha bhI anarthakara hotA hai| sArAMza yaha hai ki atthassa visaMvAo sayabheyAo tao crnnbheo| tatto mokkhAbhAvo, mokkhAbhAve'phalA dikkhA // 866 // kama akSara yA adhika akSara hone se sUtra ke artha meM visaMvAda utpanna ho jAtA hai| sUtra kA sUtratva naSTa ho jAtA hai| athavA hInAdhika akSara hone se usa sUtra-pATha meM antara par3a jAtA hai| sUtra-pATha meM bhinnatA hone se artha meM bhI bhinnatA A jAtI hai| artha meM bhinnatA hone se cAritra chinna-bhinna ho jAtA hai, cAritra ke chinna-bhinna ho jAne se mokSa kI prApti nahIM hotI aura mokSa-prApti ke abhAva meM mahAvrata dIkSA yA zrAvaka kI aNuvrata dIkSA niSphala ho jAtI hai| (hAribhadrIyA vRtti, pR. 42) Avazyaka prakaraNa ( 37 ) The Discussion on Essentials

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.*. *...*. *. ... ... .. (10) avvAiddhakkharaM (avyAviddhAkSara)-sUtra ke akSara Age-pIche karake pATha karanA vyAviddhAkSara doSa hai| usase rahita sUtra kA akSara paatth| (11) akkhaliyaM (askhalita)-jaise patharIlI bhUmi para hala bIca-bIca meM ruka-rukakara calatA hai, vaise hI ruka-rukakara athavA akSaroM ko chor3akara zabda kA uccAraNa karane se usakA artha samajha meM nahIM A sktaa| ataH sUtra kA uccAraNa askhalita honA caahie| (12) amiliyaM (amIlita)-aneka sUtroM ko milAkara eka sAtha uccAraNa karanA mIlita doSa hai, jaise aneka prakAra ke dhAnya milAkara pakAne se bhalI prakAra nahIM pkte| amIlita doSa para nimna udAharaNa dhyAna dene yogya haiM (4) kucha taMtuvAya julAhe milakara gokula meM gye| vahA~ khIra banAne kA nizcaya kiyaa| khIra ke lie bahuta-sA dUdha ubAla liyaa| phira socA-'isa ubalate dUdha meM kucha bhI DAlA jAye to khIra bana jaayegii|' yaha socakara cAvala, caulA, mUMga, tila Adi saba kucha usameM DAla diyaa| pariNAma yaha huA ki khIra kI jagaha bhUsA bana gayA, jisakA koI upayoga nahIM huaa| ThIka isI prakAra eka Agama ke sUtroM meM dUsare Agama kA mizraNa hone se vaha kisI bhI kAma kA upayogI nahIM rhtaa| (13) avaccAmeliyaM (avyatyAneDita)-isake do artha haiM-sUtra-pATha uccAraNa karate samaya jahA~ virAma lenA ho vahA~ virAma nahIM lenA aura jahA~ virAma nahIM lenA ho vahA~ virAma lenA tathA bIca-bIca meM apanI buddhi se kalpita sUtroM kA prakSepa karake par3hanA avyatyAneDita doSa hai| vRttikAra ne do dRSTAnta dekara viSaya ko spaSTa kiyA haiavyatyAmeDita doSa para bherI kathA (5) dvArikA nagarI meM mahArAja zrIkRSNa rAjya karate the| unake pAsa devatA dvArA dI huI tIna bheriyA~ thIM-kaumudakI, sAMgrAmikI aura audbhutikii| kaumudI utsava kI sUcanA ke lie pahalI, saMgrAma kI sUcanA ke lie dUsarI aura Akasmika prayojana ko sUcita karane ke lie tIsarI bherI bajAI jAtI thii| zrIkRSNa ke pAsa deva-pradatta zrIkhaNDa gozIrSamayI eka bherI aura thI jo chaha mahIne meM eka bAra bajAI jAtI thii| isa bherI kA zabda sunane vAloM ke chaha mAsa kA roga Adi upazAnta ho jAtA aura anAgata chaha mAsa taka roga utpanna nahIM hotA thaa| eka dina dAha-jvara se pIr3ita koI vyakti aayaa| usane bherI bajAne kA samaya pUchA to bherI rakSaka ne kahA-"aba to chaha mahIne pazcAt bherI bjegii| vaha zrIkRSNa hI bajA skeNge|" anuyogadvAra sUtra ( 36 ) Illustrated Anuyogadvar Sutra

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taba usane bherIrakSaka ko hajAra suvarNa mudrAoM kA pralobhana dekara bherI kA kucha aMza mA~gA / lobhavaza rakSaka ne vaisA kara liyA aura bherI ke kaTe bhAga meM dUsare candana kA thiggala lagavA diyA / isI prakAra kucha aura vyakti bherIrakSaka ke pAsa Aye aura usane dhana ke lobha meM thor3A-thor3A hissA kATakara de diyA tathA sthAna-sthAna para dUsare candana ke thiggala lagavA diye / chaha mahIne bAda niyata samaya para zrIkRSNa ne bherI ma~gAI aura vyAdhiyoM kI upazAnti ke lie use bajAnA prArambha kiyA / bherI to bajI para vyAdhiyoM kI upazAnti nahIM huI / zrIkRSNa ne isa rahasya ko jAnane kI koziza kI taba rakSaka kI aprAmANikatA spaSTa ho gaI / thiggala lagavAne kA itihAsa jAnakara zrIkRSNa ne usa bherIrakSaka ko daNDita kiyA / zrIkRSNa ne punaH devArAdhanA karake dUsarI bherI prApta kI aura dUsarA rakSaka niyukta kiyaa| vaha rakSaka bahuta ImAnadAra thA ataH prayatnapUrvaka bherI kI rakSA meM sajaga rahatA / tAtparya yaha hai ki jo ziSya guru se prApta zruta meM anyatIrthikoM se prApta zruta ke thiggala jor3akara use jarjarita karatA hai, vaha ziSya ayogya hotA hai aura zruta kI yathAvat surakSA karane vAlA ziSya dvitIya bherIrakSaka kI bhA~ti yogya hotA hai / avyatyAmreDita kA Azaya mUla rUpa meM sthita zruta hai / jo Agama gaNadharoM ke dvArA jisa rUpa meM racita hai, usakA usI rUpa meM pATha honA caahie| (vizeSAvazyaka bhASya, gAthA 855 ) (14) paDipuNNaM (pratipUrNa) - bindu, mAtrA chanda Adi meM hIna yA adhika na hoN| (15) paDipuNNaghosaM ( pratipUrNaghoSa ) - sUtra ke punarAvartana ke samaya laghu, guru tathA udAtta Adi ghoSoM se yukta uccAraNa krnaa| (16) kaMThoTThavipyamukkaM ( kaNThoSTavipramukta) - S hoTha / kaNTha va hoTha se spaSTa uccAraNa krnaa| ) - zabda uccAraNa ke do mukhya aMga haiM- kaNTha aura (17) guruvAyaNovayaM ( guru vAcanopagata ) - guru kI vAcanA se prApta / guru dUsaroM ko vAcanA dete hoM taba use chipakara sunanA yA svayaM hI par3hA huA zAstra guru vAcanopagata nahIM hotA / prAcIna samaya meM pratyeka zAstra kI vAcanA vidhipUrvaka gurujanoM se prApta kI jAtI thI / sUtra ke anta meM eka sabase mahattvapUrNa bAta kahI hai ki ina 17 doSoM se rahita Avazyaka kA pUrNa zuddha rIti se uccAraNa, parAvartana karane para bhI vaha dravya Avazyaka kyoM hai ? isake uttara meM kahA hai- aNuvekkhA usameM anuprekSA nahIM hai / jisa prakAra lauha- piNDa ko tapAne para vaha agnimaya bana jAtA hai, usI prakAra sUtra artha ke cintana se vaha Atma-zuddhi pradAtA bana jAtA hai| aise cintana Adi meM tanmaya ho jAnA anuprekSA hai / " taptAyasapiNDavadarpitacetaso manasAbhyAso'nuprekSA / " (tattvArtha vArtika 9 / 25) Avazyaka prakaraNa ( 39 ) The Discussion on Essentials

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Ti Elaboration--The seventeen adjectives used for physical avashyak with scriptural knowledge inform about its absolute correctness. They are (1) Sikkhitam (shikshit)-studied or read properly from beginning to end. (2) Thitam (thit)---understood and absorbed in memory. (3) Jitam (jit)-retained in mind so as to recall at once at the time of revision. (4) Mitam (mit)-studied and assessed in terms of number of verses, words, syllables, meter etc. (5) Parijitam (parijit)-perfected by revising in normal and reverse sequence so as to acquire the ability to recite at will in any desired sequence. (6) Namasamam (namasam)--to commit every part of the book to memory as firmly as ones own name. These six adjectives inform about the ancient process of memorizing the Agam text. The following adjectives are related to perfection in elocution (7) Ghosasamam (ghoshasam)--to recite the text fluently with phonetic perfection in the required high or low pitch. In modern terms it is called rising and falling tone. (8)--(9 Ahinakkharam (ahinakshar) and Anachchakkharam (antyakshar)--to recite without shortening or extending syllables. This is because, if a syllable is missed from the Agam text the desired meaning cannot be grasped. In the same way adding syllables can also cause confusion. The commentator (Tika) has explained this with examples (1) Missing a syllable-In Rajagriha city, on conclusion of the discourse of Bhagavan Mahavir, when king Shrenik and minister Abhaya Kumar were about to return to the palace they saw a vidyadhar (a type of god) falling from the sky and again anuyogadvAra sUtra ( 80 ) Illustrated Anuyogadvar Sutra 2010/GSGODOGONGO DOOR DOO PROPRON

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going up. They asked Bhagavan Mahavir the reason for the vidyadhar's continued failure at efforts to fly. He said, "This vidyadhar is trying to perfect the magical power of flying in the sky. But he is missing one letter from the mantra and therefore is unable to perfect it. He flies and falls back like a bird with clipped wings." Prime minister Abhaya Kumar was endowed with the Padanusarini Labdhi (the skill of knowing the complete verse or mantra by listening just one letter or word of the verse). On hearing Bhagavan's comment he at once went to the vidyadhar and said--"Brother ! If you recite the mantra of the power to fly I will be able to tell you the missing letter." The vidyadhar agreed and recited the mantra. Abhaya Kumar was able to know the missing letter with the help of his skill. When the vidyadhar chanted the then complete mantra he flew in the sky without any problem. This story explains how missing of just one letter from a mantra makes it worthless. When missing of just one letter is not desired in mundane mantras how can it be tolerated in reciting scriptures, which are spiritual mantras ? Therefore, reciting of scriptures should be without missing any letter. Reading without missing a syllable alone can lead to liberation. (for details see Haribhadriya Vritti of Visheshavashyak Bhashya, verse 864, p. 40, Ed. Muni Jambu Vijaya) (2) Extending a syllable-(i) Patliputra was the capital of the Mauryan emperor Ashoka. He had a son named Kunal from his senior queen. When he grew a little he was sent to Ujjaini. When he became eight years old a messenger from Ujjaini brought the news to the emperor. Ashoka at once wrote a note to be sent to Ujjaini--"Idanimadhiyatam kumarah." (make the prince commence his education). After writing, the emperor proceeded to attend some urgent task and left the note unsealed. His other queen, who was standing there, got the chance to read the note. She thought-I too have a son, Mahendra, who is younger than Kunal. The king will make Kunal his heir because it is his right and not that of my son.' Thinking thus she took a Avazyaka prakaraNa ( x ) The Discussion on Essentials

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SKOROLLON decision. She took a needle, dipped it into soot and added a dot over the letter 'a' in the note. This turned adhiyatam into andhiyatam (make the prince blind). Adding of just one syllable had completely changed the meaning. She replaced the note from where she had lifted it. On returning, the king sealed the note without reading it again and sent it with the messenger. When the attendant of the prince read the note he was dumbfounded. He did not read aloud the unpleasant message. When the prince ordered him to read he did so reluctantly. The prince understood the conspiracy but he thought-No one in this Maurya clan had disobeyed an order from the king, how can I disobey this order from my father, the king. This is impossible.' With these thoughts Kunal took a heated needle and pierced both his eyes in spite of opposition from grief-stricken family members. Kunal became blind. (Haribhadriya Vritti of Visheshavashyak Bhashya, verse 861, p. 41, Ed. Muni Jambu Vijaya) (3) There was a large pond in a jungle. It was popularly called Kamik-tirth. On the edge of the pond there was a banjul tree. It was a miraculous place because if some animal climbed the banjul tree and from there jumped into the pond it turned into a human being. If a human being did the same he or she turned into a god or goddess. However, if out of greed someone repeated the act, he would regain the original form. One day in presence of a monkey-couple a human-couple fell from a branch of the banjul tree into the pond and at once turned into a divine-couple. Seeing this the monkey-couple also imitated the act and at once turned into a human-couple. The man turned monkey said to his woman turned mate"Come darling ! Let's do it again so that we become gods." The woman refused, saying--"We don't know what will happen if we fall into the water once again ? I am satisfied with this human form. Excessive greed is harmful and it is censured in the scriptures." But driven by excessive greed the man turned monkey jumped into the pond once again and to his bad luck, he regained his original form, a monkey. Sometime anuyogadvAra sUtra ( 87 ) Illustrated Anuyogadvar Sutra

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later a king came there. When he saw that beautiful woman he fell in love with her and married her. The monkey was captured by a madari (a person who trains animals and earns his living by displaying their tricks). One day this madari happened to take the monkey for a performance before that king and the woman turned monkey: The monkey and the woman, now the queen, recognized each other. In spite of being chained, the monkey kept on jumping to grab the queen. At this the queen said--"O monkey ! Behave yourself in accordance with th prevailing circumstances. You were corrupted by the greed to jump into the pond from the banjul tree. Hey monkey! Now forget your past and be satisfied with your life as a monkey." As jumping once again into the pond out of greed was painful for the monkey, so is extending syllables, letters or sounds in the text of the scriptures for the reader. The conclusion isMeaning gets distorted when syllables are missing or extended. The aphorism or sentence no more remains true to its form. In other words the original text is distorted due to more or less syllables. The distortion in text causes distortion in meaning. This distortion in meaning distorts conduct. A distorted conduct does not lead to liberation. In absence of chance of getting liberated the initiation as an ascetic or a shravak goes waste. (Haribhadriya Vritti, p. 42) (10) Avvaiddhakkharam (avyaviddhakshar)--to recite without shifting syllables. (11) Akkhaliyam (askhalit)--on a stony land the movement of a plough is inconsistant and it also skips areas. Such breaks and skipping in reciting distorts the meaning. To avoid such pauses and skipping while reciting is called askhalit. (12) Amiliyam (ameelit)--to recite without mixing up of different phrases or aphorisms. Mixed grains are difficult to cook properly. The commentator (Tika) has explained this with the following exampleAvazyaka prakaraNa The Discussion on Essentials

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(4) A group of weavers went to a cow-shed and decided to cook and eat Kheer (a pudding of rice cooked in milk). They boiled a large quantity of milk. After that they thought-Whatever they put in the boiling milk will be cooked and turned into Kheer.' With this idea they put a variety of grains like rice, chaula (a type of pulse), moong (green gram), til (sesame), (etc.). The result was that they got an inedible paste instead of Kheer. In the same way mixing aphorisms of one Agam with those of others makes them useless. (13) Avachchameliyam (avyatyamredit)-This includes avoiding two faults. To pause where a pause is not required and not to pause where a pause is required during elocution. Expanding the text by interpolating it with one's own ideas and matter. The commentator (Tika) has explained this with an example. (5) In Dwarka city ruled king Shrikrishna. He had three divine bugles or trumpets named-Kaumudaki, Sangramiki and Audbhutiki. The first was blown to announce the Kaumudi (moonlit night) festival, the second to announce a war and the third for some sudden warning Shrikrishna had one more divine trumpet coated with divine sandalwood paste. This was blown every six months. Those who heard the sound of this trumpet were cured of any disease they contracted during past six months and also became immune to any disease for coming six months. One day a person suffering from high fever came and asked when the trumpet was scheduled to be blown ? The keeper of the trumpet informed that it was to be blown after six months and only Shrikrishna could blow it. The patient now offered the keeper one thousand gold coins and sought a small portion of the sandalwood coating. Out of greed the keeper agreed. He scraped a small part of the coating replacing it with fresh sandalwood paste. Once started, this process continued and many more anuyogadvAra sUtra ( 88 ) Mustrated Anuyogadvar Sutra

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ailing persons enjoyed this benefit on payment. Soon the trumpet was left with a coating of ordinary sandalwood only. After six months, at the scheduled time Shrikrishna called for the trumpet and blew it for pacifying ailments. The trumpet produced sound but it failed to pacify ailments. When Shrikrishna investigated he found about the misdeed by the keeper. He punished the keeper. Shrikrishna again performed worship of gods and acquired a new curative trumpet. This time he appointed another keeper who was very honest and was ever alert to protect the divine trumpet. The lesson of this story is that a disciple who mixes some text obtained from heretics with the lessons given to him by his guru and spoils the scriptures is undeserving and the one who protects the scriptures and keeps it undefiled is deserving like the second keeper of the trumpet. Avyatyamredit means perfect original text or scripture. The original text of Agam as given by Ganadharas should be read and recited as it is. (Visheshavashyak Bhashya, verse 855) (14) Padipunnam (pratipurna)--rendered eloquently and with metrical perfection, not missing any letter or syllable. (15) Padipunnaghosam (pratipurnaghosh)-rendered in perfect accent ensuring perfection in low and high pitch as well. (16) Kanthotthavippamukkam (kanthoshtavipramukta)-- recited perfectly and clearly with vocal cords and lips, these two being the prominent organs of speech in human body. (17) Guruvayanovagayam (guruvachanopagat)--acquired through the discourse of the guru. That acquired by hearing the guru's discourse stealthily or acquired just through reading is excluded from this. In the ancient times each script was learned from the guru strictly following the prescribed procedure. Avazyaka prakaraNa The Discussion on Essentials

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A very important statement is included at the end of this aphorism-even after perfectly reciting and revising the Avashyak without any of these seventeen faults why it is still classified as dravya avashyak (physical avashyak) ? The answer is 'no anuvekkha' or it has not been pondered over. When a lump of iron is heated it turns into a ball of fire. In the same way when the text goes through the process of contemplation, rumination, and so on, it turns into the energy needed for purification of the self. To be absorbed in such contemplation is called anuvekkha (anupreksha). (Tattvarth Vartik 9/25). (1) AgamataH dravya Avazyaka aura naya dRSTiyA~ 15. (1) Negamassa ego aNuvautto Agamao egaM davAvassayaM, doNNi aNuvauttA Agamao doNNi davyAvassayAI, tiNNi aNuvauttA Agamao tiNNi davvAvassayAI, evaM jAvaiyA aNuvauttA tAvaiyAI tAI Negamassa Agamao dvyaavssyaaii| 15. (1) naigama naya (sAmAnya-vizeSa donoM ko grahaNa karatA hai) kI apekSA eka anupayukta-upayogazUnya AtmA AgamataH eka dravya Avazyaka hai| do upayogazUnya AtmAe~ AgamataH do dravya Avazyaka haiN| tIna anupayukta AtmAe~ AgamataH tIna dravya Avazyaka haiN| isa prakAra jitanI bhI anupayukta AtmAe~ haiM, naigamanaya kI apekSA utanI hI AgamataH dravya Avazyaka haiN| (1) AGAMATAH DRAVYA AVASHYAK AND NAYA ASPECTS ___15. (1) According to the Naigam naya (co-ordinated viewpoint that includes ordinary and special both) one noncontemplative soul is one agamatah dravya avashyak (physical avashyak with scriptural knowledge). Two noncontemplative souls are two physical avashyaks with scriptural knowledge. Three non-contemplative souls are three physical avashyaks with scriptural knowledge. In the same way as many non-contemplative souls are, there are that many agamatah dravya avashyaks (physical avashyaks with scriptural knowledge). anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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C ustaste OMO (2) evameva vavahArassa vi| (2) isI prakAra vyavahAra naya (vizeSa athavA bheda ko grahaNa karane vAlA) bhI AgamataH dravya Avazyaka ke bheda svIkAra karatA hai| (naigama aura vyavahAra kI kathanazailI eka samAna hai) (2) Same is true for Vyavahar naya (particularized viewpoint). (The style of stating is same for both co-ordinated and particularized viewpoints). (3) saMgahassa ego vA aNegA vA aNuvautto vA aNuvauttA vA Agamao davyAvassayaM vA davyAvassayANi vA se ege dvyaavsse| (3) saMgraha naya (sAmAnya mAtra ko grahaNa karane vAlA) eka anupayukta AtmA AgamataH eka dravya Avazyaka hai| (kintu aneka anupayukta AtmAe~ AgamataH aneka dravya Avazyaka haiM-aisA svIkAra nahIM karatA hai|) vaha sabhI AtmAoM ko eka dravya Avazyaka hI mAnatA hai| kyoMki vaha samUhagrAhI hai| (3) According to Samgraha naya (generalized viewpoint) one non-contemplative soul is one agamatah dravya avashyak (physical avashyak with scriptural knowledge). (But it does not accept that many non-contemplative souls are many physical avashyaks with scriptural knowledge. According to this all non-contemplative souls fall into just one category of physical avashyak with scriptural knowledge. This is because it is collective standpoint. (4) ujjusuyassa ego aNuvautto Agamao egaM davAvassayaM, puhattaM necchi| (4) RjusUtra naya (paryAya mAtra ko grahaNa karane vAlA) kI apekSA eka anupayukta AtmA AgamataH eka dravya Avazyaka hai| vaha pRthaktva (bhedoM) ko, bhinnatA ko svIkAra nahIM krtaa| ___ (4) According to Rijusutra naya (precisionistic viewpoint; viewpoint related to specific point or period of time) one non-contemplative soul is one agamatah dravya avashyak Avazyaka prakaraNa ( 47 ) The Discussion on Essentials

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* * * * * * (physical avashyak with scriptural knowledge). This viewpoint has no scope for variations or differences. (5) tiNhaM saddanayANaM jANae aNuvautte avtthuu| kamhA ? jai jANae aNuvautte Na bhavai / se taM Agamao dvyaavssyN| (5) tInoM zabda naya (zabda, samabhirUr3ha, evaMbhUta naya) jo zabda ko hI apanA viSaya banAte haiM, jJAyaka yadi anupayukta upayogazUnya hotA hai, to use avastu (avAstavika) mAnate haiN| kyoMki jJAyaka (jJAtA) upayogazUnya nahIM hotaa| yadi upayogazUnya hai to vaha vAstava meM jJAyaka nahIM hai| yaha Agama se dravya Avazyaka kA svarUpa kahA hai| (nayoM kI vistRta vyAkhyA Age nayadvAra meM dI jaayegii| yahA~ para kevala sAta nayoM kI apekSA se Avazyaka kyA hai isI para saMkSipta prakAza DAlA hai|) (5) According to the three Shabda nayas (Shabda naya, Samabhirudha naya and Evambhuta naya) or verbal viewpoints (verbal viewpoint, conventional viewpoint and etymological viewpoint) if a knower is devoid of the faculty of contemplation he is unreal. This is because without the faculty of contemplation he cannot be a knower. Thus if he is non-contemplative he is in fact not a knower. This concludes the description of agamatah dravya avashyak (physical avashyak with scriptural knowledge). (The subject of nayas or viewpoints will be dealt in details in the chapter on nayas. Here only Avashyak has been defined according to the seven viewpoints in brief.) (2) no-AgamataH dravya Avazyaka 16. se kiM taM noAgamato davAvasmayaM ? noAgamato davvAvassayaM tivihaM pnnnnttN| taM jahA-(1) jANagasarIradavvAvassayaM (2) bhaviyasarIradavvAvassayaM (3) jANagasarIra bhaviyasarIravatirittaM davvAvassayaM / 16. (prazna) no-AgamataH dravya Avazyaka kyA hai anuyogadvAra sUtra ( 48 ) Illustrated Anuyogadvar Sutra

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(uttara) no-AgamataH dravya Avazyaka tIna prakAra kA hai-(1) jJAyaka zarIra dravya Avazyaka, (2) bhavya zarIra dravya Avazyaka, (3) jJAyaka zarIra-bhavya zarIra taTa vyatirikta dravya aavshyk| (2) NO-AGAMATAH DRAVYA AVASHYAK ___16. (Question) What is no-agamatah dravya avashyak (physical avashyak without scriptural knowledge) ? (Answer) No-agamatah dravya avashyak (physical avashyak without scriptural knowledge) is of three types-- (1) Jnayak sharir dravya avashyak, (2) Bhavya sharir dravya avashyak, and (3) Jnayak sharir-bhavya sharir vyatirikta dravya avashyak. (1) jJAyaka zarIra dravya Avazyaka 17. se kiM taM jANagasarIradavvAvassayaM ? jANagasarIradavyAvassayaM-Avassae tti payatyAdhigArajANagassa jaM sarIrayaM vavagayacuya-cAviya-cattadehaM jIvavippajaDhaM sejjAgayaM vA saMthAragayaM vA siddhasilAtalagayaM vA pAsittA NaM koi vaejA-aho ! NaM imeNaM sarIramussaeNaM jiNadiTeNaM bhAveNaM Avassae tti payaM AghaviyaM paNNaviyaM parUviyaM daMsiyaM nidaMsiyaM uvdNsiyN| jahA ko didaito ? ayaM mahukuMbhe AsI, ayaM ghayakuMbhe aasii| se taM jANagasarIra dvyaavssyN| 17. (prazna) jJAyaka zarIra dravya Avazyaka kyA hai? (uttara) jJAyaka zarIra dravya Avazyaka isa prakAra hai-yaha Avazyaka pada ke arthAdhikAra ko jAnane vAle kA aisA zarIra hai, jo vyapagata hai-cetanArahita hai| cyutaAyuSyakarma ke kSaya hone se prANa cale gaye haiM-cyAvita athavA zastrAdi prayoga se jise prANarahita kiyA gayA hai| tyaktadeha-anazana Adi dvArA jIva se vipramukta hai| (isakA kAraNa yaha hai ki) usa zarIra ko zayyA, bichaune, zmazAna bhUmi yA siddhazilA tala para dekhakara yaha sAmAnya bAta hai ki koI kahe-aho (Azcarya hai) isa paudgalika zarIra ne Avazyaka prakaraNa ( 49 ) The Discussion on Essentials (40

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jina-upadiSTa bhAva ke anusAra Avazyaka pada kA AkhyAna kiyA thA, guru se adhyayana kiyA thA, prajJApana kiyA thA, ziSyoM ko par3hAyA thA, prarUpaNA kI thii| darzana-apane AcaraNa dvArA ziSyoM ko dikhAyA thaa| nidarzana-akSama ziSyoM ko vizeSa rUpa se samajhAyA thaa| upadarzana-nayoM evaM yuktiyoM dvArA ziSyoM ke hRdayoM meM utArA thaa| prazna-(ziSya pUchatA hai) isakA samarthaka koI dRSTAnta hai ? uttara-(guru) hA~, jaise khAlI ghar3e ko sAmAnyatayA aisA kahate haiM ki yaha madhu ghaTa thA, yaha ghRta ghaTa thA (parantu vartamAna meM madhu yA ghRta se rahita hai)| yaha jJAyaka zarIra dravya Avazyaka kA svarUpa hai| (1) JNAYAK SHARIR DRAVYA AVASHYAK ____17. (Question) What is Jnayak sharir dravya avashyak (physical avashyak as body of the knower). (Answer) Jnayak sharir dravya avashyak (physical avashyak as body of the knower) is explained thus-It is such a body of the knower of the purview of the meaning of the Avashyak that is dead or devoid of life because of end of life-span defining karmas (chyut), that has been killed or deprived of life using a weapon or other means (chyavit), or that has voluntarily embraced death or has been voluntarily abandoned by the soul through fasting or other such religious act (tyaktadeha). (This is because it is a natural reaction that) seeing such a body lying on a bed, mattress, cremation ground or Siddhashila someone utters-Oh ! this physical body was the instrument of learning the Avashyak (Sutra), as preached by the Jina, from the guru; reciting and explaining it to disciples, confirming it by demonstration, giving its special lessons to weak students, and affirming it with the help of logic and multiple perspectives (naya). Question-(asked by a disciple) Is there some analogy to confirm this ? anuyogadvAra sUtra (50) Illustrated Anuyogadvar Sutra

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Answer--(by the guru) Yes, for example (it is conventionally said that) this was a pot of honey or this was a pot of butter (although at present it contains neither honey nor butter). This concludes the description of Jnayak sharir dravya avashyak (physical avashyak as body of the knower). vizeSa zabdoM ke artha-zayyA-deha pramANa bichaunaa| saMstAraka-DhAI hAtha pramANa bichaunaa| siddhazilA-yahA~ siddhazilA kA artha ISat prAgbhArA nAmaka pRthvI se nahIM hai, jahA~ para siddha AtmA virAjamAna haiM, parantu jisa zilA tala para sAdhu anazana Adi svIkAra kara cuke haiM athavA jahA~ kisI mahAna RSi ne zarIra tyAgA hai, vaha zilA paTa yA kSetra 'siddhazilA' kahA jAtA hai| usa kSetra meM prakampana/prabhAva aisA hotA hai ki vahA~ baiThakara sAdhanA karane meM zIghra saphalatA mila jAtI hai| use yahA~ para siddha zilA tala samajhanA caahie| (maladhArI vRtti 12 tathA cUrNi, pR. 9) Technical Terms-Shayya-a body-size bed. Samstarak-a two and a half yard bed. Siddha Shila-Here the term 'Siddha Shila' has not been used in its conventional meaning of Ishat Pragbhara earth or the realm of liberated souls located at the edge of inhabited space (Lokakasha). Here it means the surface of the rock over which ascetics have taken the ultimate vow or a place where some great ascetic has embraced meditational death. Such places are supposed to have an atmosphere or vibrations conducive to spiritual practices. Such a place should be considered a Siddha Shila here. (Maladhari's Vritti 12, Churni, p.9) (2) bhavya zarIra dravya Avazyaka 18. se kiM taM bhaviyasarIradavyAvassayaM ? bhaviyasarIradavyAvassayaM-je jIve joNijammaNaNikhaMte imeNaM ceva sarIrasamussaeNaM AdattaeNaM jiNovadiTTeNaM bhAveNaM Avassae tti payaM seyakAle sikkhissai, na tAva sikkhi| Avazyaka prakaraNa ( 51 ) The Discussion on Essentials

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koTThito ? ayaM mahukuMbhe bhavissai, ayaM ghayakuMbhe bhavissai / se taM bhaviyasarIradavyAvassayaM / 18. ( prazna) bhavya zarIra dravya Avazyaka kyA hai ? (uttara) - garbhakAla kI sthiti pUrNa hone para jaba jIva bAhara nikalatA hai to vaha isa paudgalika zarIra se jina upadiSTa bhAvoM ke anusAra bhaviSya meM Avazyaka pada sIkhegA, kintu abhI vartamAna meM nahIM sIkha rahA hai, taba taka vaha jIva bhavya zarIra dravya Avazyaka kahalAtA hai| prazna - (ziSya pUchatA hai) isako samajhane ke lie koI dRSTAnta hai ? uttara - (guru kahate haiM) yaha madhu kuMbha hogA, ghRta kumbha hogA / yaha bhavya zarIra dravya Avazyaka kA svarUpa hai| ye donoM dRSTAnta saMkalpa mAtra ko grahaNa karane vAle naigama naya kI apekSA se kahe gaye haiM / (2) BHAVYA SHARIR DRAVYA AVASHYAK 18. (Question) What is bhavya sharir dravya avashyak (physical avashyak as body of the potential knower)? (Answer) On maturity a being comes out of the womb or is born and it has the potential to learn the Avashyak (Sutra), as preached by the Jina in future, but it is not learning at present. As long as it is not learning, this being is called bhavya sharir dravya avashyak (physical avashyak as body of the potential knower). (Question) (asked by a disciple) Is there some analogy to confirm this ? (Answer) (by the guru) Yes, for example ( it is conventionally said that) this will be a pot of honey or this will be a pot of butter (although at present it contains neither honey nor butter). anuyogadvAra sUtra ( 52 ) Illustrated Anuyogadvar Sutra

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This concludes the description of bhavya sharir dravya avashyak (physical avashyak as body of the potential knower). These two analogies are based on Naigama naya (co-ordinated viewpoint) that deals with concepts and plurality. (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya Avazyaka 19. se kiM taM jANagasarIra bhaviyasarIravatiritte davvAvassae ? jANagasarIra-bhaviyasarIravatiritte davyAvassae tivihe pnnnntte| taM jahA(1) loie (2) kuppAvayaNie (3) louttrie| 19. (prazna) jJAyaka zarIra-bhavya zarIra vyatirikta dravya Avazyaka kyA hai ? (uttara) jJAyaka zarIra-bhavya zarIra vyatirikta (una donoM se bhinna) dravya Avazyaka tIna prakAra kA hai-jaise-(1) laukika, (2) kuprAvacanika, aura (3) lokottrik| (3) JNAYAK SHARIR-BHAVYA SHARIR VYATIRIKTA DRAVYA AVASHYAK ___19. (Question) What is Jnayak sharir-bhavya sharir vyatirikta dravya avashyak (physical avashyak other than the body of the knower and the body of the potential knower)? (Answer) Jnayak sharir-bhavya sharir vyatirikta dravya avashyak (physical avashyak other than the body of the knower and the body of the potential knower) is of three kinds-(1) Laukik, (2) Kupravachanik, and (3) Lokottarik. vivecana-jo loka vyavahAra meM Avazyaka kRtya hote haiM, unheM laukika dravya Avazyaka kahA hai| yaha samAja meM pracalita artha kI apekSA se hai| kuprAvacanika kA artha hai-ekAntavAdI dharma prarUpaka aura lokottara kA artha hai, anekAntavAdI zreSTha dharma ke prruupk| inakA svarUpa agale sUtroM meM batAyA hai Elaboration-Laukik means mundane and here it includes mundane obligatory duties. Kupravachanik means related to ( 53 ) The Discussion on Essentials bhAvazyaka prakaraNa

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pervert teachings and here it includes teachings of absolutistic schools of thought. Lokottar means exceptional or spiritual, here it includes teachings of non-absolutism, the best of all religions. These have been described in the following aphorisms(1) laukika dravya Avazyaka 20. se kiM taM loiyaM davyAvassayaM ? loiyaM davAvassayaM-je ime rAIsara-talavara-mAiMbiya-koDuMbiya-inbhaseTi-seNAvai-satthavAhappabhiio kallaM pAuppabhAyAe ramaNIe suvimalAe phulluppala-kamala komalummilliyammi ahapaMDure pabhAe rattAsogappagAsa-kiMsuya-suyamuhaguMjaddharAgasarise kamalAgaraHnaliNisaMDabohae uThThiyammi sUre sahassarassimmi diNayare teyasA jalaMte muhadhoyaNa-daMtapakkhAlaNa-tella-phaNiha-siddhatthaya-hariyAliya-addAgadhUva-puppha-malla-gaMdha-taMbola-vatthamAiyAI davAvassayAiM karettA tato pacchA rAyakulaM vA devakulaM vA ArAmaM vA ujjANaM vA sabhaM vA pavaM vA gcchnti| se taM loiyaM dvyaavssyN| 20. (prazna) laukika dravya Avazyaka kyA hai ? (uttara) laukika dravya Avazyaka kA svarUpa isa prakAra hai-jo ye rAjezvara, talavara, mADaMbika, kauTumbika, ibhya, zreSThI, senApati, sArthavAha Adi haiM, ve rAtri vyatIta hone para, prabhAtakAlIna prakAza hone para, rAta kA aMdhakAra chaMTakara nirmala ho jAne para, kamala praphullita hone para, pIlI AbhA vAle aruNima prabhAta ke samaya lAla azoka kI dIpti, palAza ke pattoM jaise lAla AbhA, tote ke mukha aura guMjA (ciramI) ke ardha-bhAga jaise lAla raMga vAle jalAzaya meM rahe kamaloM kA udbodhaka sahasra razmi dinakara sUrya ke udita hone para, teja se dedIpyamAna hone para apanI dainika Avazyaka kriyAe~ karane lagate haiN| jaise-mu~ha dhote haiM, dA~ta mA~jate haiM, tela mAliza karate haiM, snAna, kaMghI Adi karake kezoM ko sa~vArate haiN| maMgala ke lie sarasoM, puSpa, dUba Adi kA prakSepaNa karate haiM, darpaNa meM mukha dekhate haiM, dhUpa jalAte haiM, puSpa aura puSpamAlAe~ dhAraNa karate haiM, pAna khAte haiM, svaccha vastra pahanate haiM, ye Avazyaka kriyAe~ sampanna karake rAja sabhAoM meM, devAlayoM meM, ArAmoM, udyAnoM meM, sabhA athavA prapA kI ora jAte haiM, ye saba kriyAe~ laukika dravya Avazyaka haiN| * 8 anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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(1) LAUKIK DRAVYA AVASHYAK 20. (Question) What is Laukik dravya avashyak (mundane physical avashyak) ? (Answer) Laukik dravya avashyak (mundane physical avashyak) is explained thus--There are people like kings, princes, knights of honour, landlords, village-heads, senior citizens, businessmen, merchants, commanders, caravan chiefs etc. These people commence their daily chores when night ends, light of the dawn spreads, black of the night scatters, lotus blossoms, and when at the time of the crimson hued pale dawn the sun, the lord of the day, rises with its thousands of rays and grows in brilliance stirring the bunch of lotus flowers to blossom in a pond as red as red Ashoka flower, Palash leaves, beak of a parrot and the red half of the Chirmi seed (Abru precatorious). These chores include ablution, brushing teeth, oil massage, bathing and combing hair. They also throw around mustard seeds, flowers and grass as an auspicious act, look into the mirror, burn incense, wear garlands and flowers, chew beetle-leaves and wear clean dress. After concluding these essential duties they proceed to royal assemblies, temples, gardens, parks, congregations or water huts. All these activities are called Laukik dravya avashyak (mundane physical avashyak). (2) kuprAvacanika dravya Avazyaka 21. se kiM taM kuppAvayaNiyaM davyAvassayaM ? kuppAvayaNiyaM davAvassayaM je ime caraga-cIriga-cammakhaMDiya-bhicchuDaga-paMDuraMgagoyama-govvaiya-gihidhamma-dhammaciMtaga-aviruddha-viruddha-vuDDasAvagappabhiiyo pAsaMDatthA kallaM pAuppabhAyAe rayaNIe jAva teyasA jalaMte iMdassa vA khaMdassa vA ruddassa vA sivassa vA vesamaNassa vA devassa vA nAgassa vA jakkhassa vA bhUyassa vA mugudassa vA Avazyaka prakaraNa ( 44 ) The Discussion on Essentials

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ajjAe vA koTTakiriyAe vA uvalevaNasammajjaNA'varisaNa-dhUva-puSpha-gaMdha-mallAiyAI davvAvassayAI kreNti| se taM kuppAvayaNiyaM dvyaavssyN| 21. (prazna) kuprAvanika dravya Avazyaka kyA hai ? (uttara) kuprAvacanika dravya Avazyaka kA svarUpa isa prakAra hai-uSAkAla meM pau phaTane para, rAtri ke nirmala hone para, sUrya teja se jAjvalyamAna dIpta hone para jo ye caraka, cIrika, carma-khaNDika, bhikSoNDaka, pANDuraMga, gautama, gauvratika, gRhIdharmI, dharmacintaka aviruddha, viruddha, vRddha zrAvaka Adi pASaNDI, indra, skanda, rudra, ziva, vaizramaNa, kubera athavA deva, nAga, yakSa, bhUta, mukunda AryAdevI, koTTakriyAdevI Adi kI upAsanA karate haiN| upalepana, saMmArjana, siMcana, dhUpa, phUla, gandha aura mAlA Adi dvArA pUjA karake dravya Avazyaka kriyAe~ sammanna karate haiN| yaha kuprAvacanika dravya Avazyaka hai| (2) KUPRAVACHANIK DRAVYA AVASHYAK 21. (Question) What is Kupravachanik dravya avashyak (pervert physical avashyak) ? (Answer) Kupravachanik dravya avashyak (pervert physical avashyak) is explained thus-When night ends, darkness of the night is shattered, and the sun spreads its brilliance, heretics like Charak, Cheerik, Charmakhandik, Bhikshondak, Pandurang, Gautam, Gauvratik, Grihidharmi, Dharmachintak, Aviruddha, Viruddha, Vriddha Shravak, etc. worship deities like Indra, Skanda, Rudra, Shiva, Vaishraman, Kuber or gods, naags, yakshas, bhoots, Mukund, aryas, Kottakriyadevi, etc. They perform the dravy avashyak activities (physical obligatory duties) by smearing (cowdung or sandalwood paste on the floor), sweeping (with broom or cleaning the floor), sprinkling water, burning incense, offering flowers, perfumes and garlands, etc. These activities are Kupravachanik dravya avashyak (pervert physical avashyak). anuyogadvAra sUtra ( 56 ) Illustrated Anuyogadvar Sutra 8

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vizeSa zabdoM ke artha-caraga (caraka)-samudAya rUpa meM ekatrita hokara bhikSA mA~gane vaale| cIriga (cIrika)-mArga meM par3e vastra khaNDoM va cithar3oM ko pahanane vaale| cammakhaMDiya (carmakhaNDika)-camar3e ko vastra rUpa meM pahanane vaale| bhichuDaga (bhikSoNDaka)-bhikSA meM prApta anna se hI udara-pUrti karane vaale| paMDuraMga (pANDuraMga)-zarIra para bhasma-rAkha kA lepa karane vaale| goyama (gautama)-baila ko kaur3iyoM kI mAlAoM se vibhUSita karake usakI vismayakAraka cAla dikhAkara bhikSAvRtti karane vAle / govvaiya (govratika)-govrata kA pAlana karane vaale| ye gAyoM ke madhya meM rahane kI icchA se gAyeM jaba gA~va se nikalatI haiM taba unake sAtha hI nikalate haiM, ve jaba baiThatI haiM taba baiThate haiM, jaba khar3I hotI haiM taba khar3e hote haiM, jaba caratI haiM taba kanda, mUla, phala Adi kA bhojana karate haiM aura jaba jala pItI haiM taba jala pIte haiN| gihidhamma (gRhidharmA)-gRhastha dharma hI zreyaskara hai, aisI jinakI mAnyatA hai| dhammaciMtaga (dharmacintaka)-yAjJavalkya aura RSi praNIta dharmasaMhitA Adi ke anusAra dharma kA cintana aura tadanusAra dainika AcaraNa karane vaale| aviruddha (aviruddha)-deva, nRpa, mAtA-pitA aura tiryaMcAdi kA binA kisI bhedabhAva ke eka-sA vinaya karane vaale| viruddha (viruddha)-puNya, pApa, paraloka Adi ko nahIM mAnane vAle akriyaavaadii| vuDDha sAvaga (vRddha shraavk)-braahmnn| prAcInakAla kI apekSA inameM vRddhatA mAnI hai kyoMki bharata cakravartI ne apane zAsanakAla meM deva, dharma, guru kA svarUpa sunAne ke lie inakI sthApanA kI thii| athavA vRddhAvasthA meM dIkSA aMgIkAra karake tapasyA karane vAle shraavk| pAsaMDatthA (pASaNDastha)-pASaNDa arthAt kuvratoM kA pAlana karane vaale| iMda (indra)-devatAoM kA raajaa| khaMda (skanda)-kArtikeya-mahezvara kA putr| rudda (rudr)-mhaadev| siva (ziva)-vyaMtaradeva vishess| vesamaNa (vazramaNa)-kubera, dhanarakSaka ykss-vishess| Avazyaka prakaraNa ( 57 ) The Discussion on Essentials

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nAga (nAgakumAra)-bhavanapati nikAya kA dev-vishess| jakkha (yakSa) tathA bhUya (bhUta)-vyaMtara jAtIya dev| que (74) -andai 3tot (3741) - citi kodRkiriyA (koTTakriyA)-mahiSAsura kA kuTTana-vadha karane vAlI devii| Technical Terms--Charag (Charak)--those who beg for alms in groups. Cheerig (Cheerik)--those who wear discarded rags or tattered clothes. Chammakhandiya (Charmakhandik)--those who wear leather. Bhichchhunda (Bhikshondak)--those who live exclusively on begged grains. Pandurang (Pandurang)--those who smear ash on their body. Goyam (Gautam)-mendicants who decorate a bull with garlands of kaudi (small shells) and seek alms by displaying its strange playful gait. Govvaiya (Gauvratik)--those who take a vow of following the routine of a cow. When a herd of cows moves out of a village for grazing, such mendicants accompany the herd. When cows sit they also sit, when cows stand they too stand, when cows graze they also eat fruits or vegetables, and when cows drink water they also drink water. Gihidhamma (Grihidharma)-those who believe that the householders way is the best. Dhammachintag (Dharmachintak)--those who think and act according to the Dharmasamhita written by Yajnavalkya and other sages. Aviruddha (Aviruddha)--those who are modest and courteous in behaviour towards god, king, parents and even animals without any discrimination. anuyogadvAra sUtra (46) Nlustrated Anuyogadvar Sutra 1992

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Viruddha (Viruddha)--those who do not believe in merit, demerit, next world, (etc.) like the Akriyavadis. Vuddha Savag (Vriddha Shravak)--Brahmans. They are taken to be seniors or ancients because their clan is believed to have been established by Bharat Chakravarti for teaching about gods, religion and guru. Also the shravaks who get initiated in old age and indulge in austerities. Pasandattha (Pashandasth)-heretics who observe perverse vows. Inda (Indra)--king of gods. Khanda (Skanda)--the popular deity Kartikeya, the son of Maheshvara. Rudda (Rudra)-Mahadeva. Siva (Shiva)--a specific vyantara deva (interstitial gods). Vesaman (Vaishraman)-Kuber or god of wealth. Naag (Naagkumar)-specific god of Bhavanpati nikaya (the realm of gods living in mansions). Jakkha (Yaksha) and Bhooya (Bhoots)-vyantara devas (interstitial gods). Mugund (Mukund)-Baladeva (elder brother of Vasudev). Ajja (Aryaa)-goddess. Kottakiriya (Kottakriya)--the goddess who killed the buffalo demon. (3) lokottarika dravya Avazyaka 22. se kiM logottariyaM davvAvassayaM ? logottariyaM davyAvassayaM je ime samaNa-guNamukkajogI chakkAyaniraNukaMpA hayA iva uddAmA, gayA iva niraMkusA, ghaTTA maTThA tuppoTThA paMDarapAuraNA jiNANaM aNANAe sacchaMdaM vihariUNaM ubhaokAlaM Avassagassa uvttNti| se taM loguttariyaM dvyaavssyN| se taM Avazyaka prakaraNa (48) The Discussion on Essentials

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jANagasarIra-bhaviyasarIravairittaM dvyaavssyN| se taM noAgamato dvaavssyN| se taM dvaavssyN| 22. (prazna) lokottarika dravya Avazyaka kyA hai ? (uttara) lokottarika dravya Avazyaka kA svarUpa isa prakAra hai-jo (sAdhu) zramaNa ke mUla aura uttara guNoM se rahita hoM, chaha kAya ke jIvoM ke prati anukampA na hone ke kAraNa azva kI taraha uddAma (jaldI-jaldI calane vAle) hoM, hastivat niraMkuza hoM, snigdha padArthoM ke lepa se aMga-pratyaMgoM ko komala, salaunA banAte hoM, jala Adi se bAra-bAra zarIra ko dhote hoM, athavA telAdi se kezoM kA saMskAra karate hoM, oThoM ko mulAyama rakhane ke lie makkhana lagAne hoM, pahanane-or3hane ke vastroM ko dhote hoM aura jinendra bhagavAna kI AjJA kI upekSA kara svacchaMda vihAra karate hoM, phira bhI prAtaHsAyaMkAla donoM kAla Avazyaka karane ke lie upasthita hoM to unakI vaha kriyA lokottarika dravya Avazyaka hai| isa prakAra yaha jJAyaka zarIra-bhavyazarIra tathAtad vyatirikta dravya Avazyaka kA svarUpa hai| yaha no-AgamataH dravya Avazyaka kA nirUpaNa huaa| (3) LOKOTTARIK DRAVYA AVASHYAK 22. (Question) What is Lokottarik dravya avashyak (spiritual physical avashyak) ? (Answer) Lokottarik dravya avashyak (spiritual physical avashyak) is explained thus--There are ascetics who are devoid of the basic and auxiliary attributes of a shraman (Jain ascetic), in absence of any compassion for six lifeforms who gallop (like a horse), who are unrestrained like an elephant, who make every part of body delicate and smooth by rubbing oily preparations, who often wash their body with water, who rub oil to their hair, who apply butter to lips to keep them soft, who wash their dress and other clothes, and who wander around freely ignoring the teachings of the Jina. (While having such wayward ways-) when they still proceed to indulge in obligatory duties 1 anuyogadvAra sUtra ( 60 ) Illustrated Anuyogadvar Sutra

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* * * * * * * * * * * * * * * * wcexiexexexexeKinkinxxbachekakheki KinKhari * * * * RODAROBARODARS (avashyak) every morning and evening, their this act is known as Lokottarik dravya avashyak (spiritual physical avashyak). This concludes the description of Jnayak sharir-bhavya sharir vyatirikta dravya avashyak (physical avashyak other than the body of the knower and the body of the potential knower). This (also) concludes the description of noagamatah dravya-avashyak (physical avashyak without scriptural knowledge). vivecana-yahA~ Avazyaka ke sAtha lokottarika aura dravya ye do vizeSaNa jor3e haiN| isakA abhiprAya hai-Avazyaka eka AdhyAtmika vidhi-vidhAna hai, isalie vaha lokottarika hai, parantu yadi Avazyaka kA pATha bolane vAlA zramaNa guNoM se hIna hai to usakA vaha lokottara kRtya bhI dravya hai, vaha Avazyaka ke phala se zUnya hai| jo Avazyaka karane kA nATaka karatA rahatA hai aura bAra-bAra doSa-sevana bhI karatA jAtA hai, usakA Avazyaka bhI dravya Avazyaka hai| isa viSaya para eka dRSTAnta diyA gayA hai vasantapura nAmaka nagara thaa| vahA~ eka samaya agItArtha (alpajJAnI) evaM asaMvigna (vairAgya vRttirahita) sAdhuoM kA saMgha aayaa| usameM sAdhu-guNoM se rahita eka sAdhu thA jo Upara-Upara se vairAgya dikhAne vAlA thaa| vaha pratidina puraHkarma Adi doSoM se yukta aneSaNIya AhAra le AtA thA, kintu pratikramaNa (Avazyaka) karate samaya bar3e hI vairAgya bhAva se apane doSoM kI AlocanA karatA thaa| gacchAcArya svayaM agItArtha the, isalie use prAyazcitta dete hue samasta sAdhuoM ko lakSya karake kahate the-"dekho ! yaha sAdhu kitanA bhalA hai ki apane eka bhI doSa ko nahIM chipAtA, apitu sarala bhAva se sabakI AlocanA karatA hai| doSoM kA sevana ho jAnA sahaja hai, kintu isa prakAra se unakI AlocanA karanA bar3A kaThina kAma hai| yaha sAdhu kisI prakAra ke mAyAcAra ke binA apane doSoM kI AlocanA karake zuddha ho jAtA hai|" AcArya ke dvArA isa prakAra kI gaI usakI prazaMsA sunakara saMgha ke anya agItArtha zramaNa bhI usakI prazaMsA karane laga jaate| socate ki guru ke sAmane isa prakAra AlocanA karane mAtra se agara doSoM kI zuddhi ho jAtI hai, to bAra-bAra doSoM ke sevana karane meM koI harja nahIM hai| kucha samaya ke bAda eka bAra eka saMvigna (kriyApAtra) gItArtha sAdhu vihAra karatA huA AyA aura usa saMgha ke sAtha rahane lgaa| usane jaba pratidina isa prakAra kI harakateM dekhIM to usase nahIM rahA gyaa| eka dina usane AcArya se kahA-"bhaMte ! isa prakAra se isa zaTha sAdhu Avazyaka prakaraNa ( 61 ) The Discussion on Essentials

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GRE...............kaitriciscuadixxxsakesirabasixxtaarachaKAKTAPAra * * * * * * * NA IMAR61661-66.50.6M.SNO.NEl.EOHDGAGROKAR.0000000000000000000000000004405 kI prazaMsA karanA agnibhakta kI prazaMsA karane vAle rAjA kI taraha hAnikAraka hai|" udAharaNa dete hue usane kahA jaise giri nagara meM eka agnibhakta vyApArI rahatA thaa| vaha prativarSa padmarAgaratnoM se ghara bhara detA thA aura eka dina usameM Aga lagA detA thaa| usake avivekapUrNa kArya kI vahA~ ke rAjA aura prajAjana prazaMsA karane lage-"dhanya hai isa vyApArI ko, jo prativarSa atyanta udAratA aura bhaktivaza padmarAgamaNiyA~ jalAkara agnideva ko prasanna karatA hai|'' eka dina kI bAta hai, usa vyApArI ne ghara meM bharI huI padmarAgamaNiyoM ko Aga lgaaii| usI samaya prabala A~dhI cala rahI thI, usake kAraNa Aga kI lapaTeM dUra-dUra taka itanI adhika phaila gaIM ki unako sa~bhAlanA muzkila ho gyaa| dekhate hI dekhate usa Aga ne rAjamahala sahita sAre nagara ko bhasma kara diyaa| rAjA ne jaba isa paristhiti para vicAra kiyA to use apanI ajJAnatA para bar3A pazcAttApa huaa| anta meM rAjA ne usa vyApArI ko daNDita karake nagara se nikAla diyaa| jaise usa rAjA ne usa vyApArI kI jhUThI prazaMsA karake apanA aura nagara kA vinAza kara liyA, vaise hI Apa bhI avidhipUrvaka pravRtta hue isa sAdhu kI jo prazaMsA karate haiM, vaha Apake aura samasta gaccha ke lie vinAzakArI siddha hogii|" ___ yadi Apa isa saMgha meM se kisI eka sAdhu ko bhI daNDa de deMge to phira Apa aparAdhI ko daNDa dene vAle usa rAjA kI taraha samasta nagarajana sahita nirApada hokara nizcitatA kA anubhava kreNge| jaise, eka rAjA thA, usake rAjya meM usa agnibhakta vyApArI kI taraha eka vyApArI rahatA thaa| vaha bhI padmarAgamaNiyoM ko ghara meM bharakara prativarSa unameM Aga lagA detA thaa| isa taraha agni ko saMtuSTa karane kI usakI pravRtti kA rAjA ko patA lgaa| rAjA ne use apane pAsa bulAkara kahA-"dekho ! yadi padmarAgamaNiyA~ jalAkara agni ko santuSTa karanA tumhAre lie Avazyaka hai, to tuma yaha kArya nagara meM rahakara kyoM karate ho? jaMgala meM jAkara kyoM nahIM karate? kyoMki tumhArI isa pravRtti se kabhI na kabhI sAre nagara ke naSTa hone kI sambhAvanA hai| ataH tuma isa duSpravRtti kA tyAga kara do, anyathA nagara se bAhara nikala jaao|" ___isa prakAra DA~Ta-DapaTakara usa rAjA ne ukta vyApArI ko daNDita karake nagara se bAhara nikAla diyaa| ___isI taraha Apa bhI apane aura saMgha ke kalyANa ke lie aisA hI kiijie| isa prakAra usa saMvigna evaM gItArtha sAdhu ne ukta gacchAcArya ko bahuta smjhaayaa| parantu itanA samajhAne para bhI jaba ve nahIM mAne, taba Agantuka saMvigna gItArtha sAdhu ne usa gaccha ke sAdhuoM se isa prakAra * anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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kahA-"dekho ! yaha gacchAdhipati AcArya asaMvigna (vairAgyarahita) evaM agItIrtha hai, inake sAtha rahane se Apako bar3A bhArI khatarA paidA ho sakatA hai| inase alaga hue binA Apa loga usa bar3e bhArI anartha se baca nahIM skeNge|" ___ isI prakAra jo Avazyaka hai, vaha to lokottara hai, kintu usa Avazyaka prakriyA kA jo AcaraNa hai, vaha doSa sevana karate jAne aura AlocanA kA dikhAvA karate jAne vAle ukta sAdhu kI taraha niSprANa, bhAvazUnya aura thothA hai, isalie use lokottarika dravya Avazyaka kahA gayA hai| (maladhArI hemacandra vRtti, pR. 71 muni jambU vijaya jI) Elaboration-Here two adjectives, lokottarik (spiritual) and dravya (physical) have been added to avashyak (obligatory duties). The intended meaning is--as avashyak is a spiritual code it is supernatural or exceptional but because the ascetic reciting this code is devoid of the virtues of a shraman, this spiritual act by him is a mere formality or just physical (dravya) and is devoid of any fruits of avashyak. There are persons who act as if they are sincere in observing the obligatory duties but continue to commit transgressions. The avashyak (obligatory duties) performed by such a person is also called dravya avashyak (physical avashyak). This has been explained with an example There was a city named Vasantpur. Once a group of ascetics came there. These ascetics were neither scholarly nor completely detached. There was an ascetic in this group who formally pretended to be detached but was in fact devoid of ascetic virtues. Each day he brought unacceptable and faulty food but at the time of pratikraman (critical review; one of the six obligatory duties) he would pose as if he is very sincerely criticizing his faults and wants to atone for them. The acharya (head of the group) was also ill-educated. While prescribing atonement for this ascetic the acharya commended him before all his disciples--"See ! How sincere is this ascetic. Instead of concealing his faults he criticizes each fault sincerely. To commit a fault is a normal human weakness but such sincere self Avazyaka prakaraNa The Discussion on Essentials

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criticism is very difficult. By criticizing his faults without deception this ascetic progresses towards inner purity." This praise by the acharya inspired other ascetics of the group to praise that ascetic. They thought that if such criticism of faults is all that is required for inner purification there is nothing wrong in committing faults frequently. Once a true and steadfast ascetic came wandering and joined this group. When he saw such superficial atonement as a regular feature within that group, he could not contain himself. One day he approached the acharya--"Sir ! Praising a crafty ascetic you are acting like the king who praised the fire-worshipper." And he narreted the story In the town of Giri lived a merchant who worshipped fire. Every year he would collect yellow-sapphire gems in his house and would set the house to fire one day. The king and the townsfolk started praising this irrational act--"This merchant is great. Every year he pleases the fire-god by generously and devotedly offering heaps of gems." As it turned out, one day when the merchant set fire to his house strong wind was blowing and the fire spread rapidly. It became impossible to contain it and soon the conflagration consumed the whole town including the palace. When the king thought over the tragedy he cursed himself for his own foolishness. He finally punished and exiled the merchant. As that king caused the destruction of his kingdom by falsely praising the merchant, likewise your praise for this fraudulent ascetic will prove to be detrimental for you and your sect. However if you punish even a single ascetic for his lax behaviour you will feel relieved like the king and his subjects who dealt punishment to the offender. Illustrating his version, he said There was a king in whose city also lived a merchant like the fire-worshipper in the said town. He also collected sapphire gems and set them to fire every year. The king got the news of his obsession with such fire-worship. He summoned the merchant anuyogadvAra sUtra (88) Illustrated Anuyogadvar Sutra

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and said--"If you feel that to worship fire-god by offering sapphire gems to fire is your essential duty, why do it in the town? Why don't you go to some remote place in the jungle and perform it ? Your indulgence may some day destroy the whole town. Therefore, either you abstain from indulging in this act or leave the town." Reprimanding thus the king punished the merchant and exiled him. You should also take such steps for the good of your sect. The sincere and upright ascetic thus tried to convince the acharya. But when he did not heed to him in spite of all this, the visiting ascetic said to his disciples--"See, this head of your sect is ignorant and driven by mundane attachments. Living with him will lead you to difficult predicament. Unless you abandon him you will not be able to avoid your downfall." Thus what is essential and obligatory duty (avashyak) for ascetics is perfect and spiritual. But by committing faults in observation and pretending self-criticism for such faults turns it into a hollow and non-spiritual ritual. That is why it is classified as lokottarik dravya-avashyak (spiritual physical avashyak). (4) bhAva Avazyaka 23. se kiM taM bhAvAvassayaM ? Aralareri gras your A FET-(9) 37114311 (R) 0134714377 al 23. (427) TE 979 31994ch CRIT? (uttara) bhAva Avazyaka do prakAra kA hai-(1) AgamataH bhAva Avazyaka, aura (2) 71-31144: 919 31994651 (4) BHAAVA AVASHYAK 23. (Question) What is Bhaava avashyak (avashyak as essence or perfect avashyak)? (Answer) Bhaava avashyak (perfect avashyak) is of two types(1) Agamatah bhaava avashyak (perfect avashyak in bhAvazyaka prakaraNa The Discussion on Essentials

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context of Agam or in context of knowledge), and (2) NoAgamatah bhaava avashyak (perfect avashyak not in context of Agam or only in context of action). (1) AgamataH bhAva Avazyaka 24. se kiM taM Agamao bhAvAvassayaM ? Agamao bhAvAvasmayaM jANae uvutte| se taM Agamao bhaavaavssyN| 24. (prazna) AgamataH bhAva Avazyaka kyA hai ? (uttara) jo Avazyaka pada kA jJAtA ho aura sAtha hI upayogayukta ho, vaha AgamataH bhAva Avazyaka kahalAtA hai| (1) AGAMATAH BHAAVA AVASHYAK 24. (Question) What is Agamatah bhaava avashyak (perfect avashyak with scriptural knowledge) ? (Answer) One who knows the Avashyak (Sutra) and is sincerely involved with it is called Agamatah bhaava avashyak (perfect avashyak with scriptural knowledge). (2) no-AgamataH bhAva Avazyaka 25. se kiM taM noAgamao bhAvAvassayaM ? __noAgamao bhAvAvassayaM tivihaM pnnnnttN| taM jahA-(1) loiyaM (2) kuppAvayaNiyaM, (3) loguttriyN| 25. (prazna) no-AgamataH bhAva Avazyaka kise kahate haiM ? (uttara) no-AgamataH bhAva Avazyaka tIna prakAra kA hai| jaise-(1) laukika, (2) kuprAvacanika, aura (3) lokottrik| (2) NO-AGAMATAH BHAAVA AVASHYAK ____25. (Question) What is no-agamatah bhaava avashyak (perfect avashyak without scriptural knowledge) ? anuyogadvAra sUtra ( 66 ) Illustrated Anuyogadvar Sutra

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(Answer) No-agamatah-bhaava-avashyak (perfectavashyak without scriptural knowledge) is of three types(1) Laukik, (2) Kupravachanik, and (3) Lokottarik. (1) laukika bhAva Avazyaka 26. se kiM taM loiyaM bhAvAvassayaM ? loiyaM bhAvAvassayaM puvaNhe bhArahaM, avaraNhe raamaaynnN| se taM loiyaM bhaavaavssyN| 26. (prazna) laukika bhAva Avazyaka kise kahate haiM ? (uttara) dina ke pUrvArdha meM mahAbhArata kA aura uttarArdha meM rAmAyaNa kA vAcana yA zravaNa karane ko laukika no-AgamataH bhAva Avazyaka kahate haiN| (1) LAUKIK BHAAVA AVASHYAK 26. (Question) What is Laukik bhaava avashyak (mundane perfect avashyak) ? (Answer) To listen to the recital of Mahabharat during first half of the day and that of Ramayan during the second half of the day is called laukik no-agamatah bhaava avashyak (mundane perfect avashyak without scriptural knowledge). vivecana-isa sUtra meM mahAbhArata aura rAmAyaNa jaise granthoM kA paThana-zravaNa laukika no-AgamataH bhAva Avazyaka kahane kA abhiprAya yaha hai loka mAnyatA ke anusAra mahAbhArata dina ke prathama do prahara meM aura rAmAyaNa dopahara ke bAda Avazyaka anuSThAna ke rUpa meM par3hA jAtA hai| ye laukika Agama hai arthAt loka meM pracalita jJAna ke sAdhana haiM aura inake par3hane-sunane meM vaktA-zrotA upayoga rUpa dattacitta rahate haiM taba laukika bhAva Avazyaka ho jAtA hai| kintu no-AgamataH kahane kA abhiprAya yaha hai ki jana-sAdhAraNa kI dRSTi meM to ye Agama haiM, parantu pustaka ke panne palaTanA, zrotA dvArA hAtha jor3anA ye saba kriyAe~ sAtha meM jur3I rahane se eka apekSA se ye no-AgamataH bhI haiN| kyoMki kriyA Agama nahIM hai, kevalajJAna kI pravRtti hI Agama hai| yahA~ 'no' zabda sarva niSedhavAcaka haiM, kintu kevala kriyA kA niSedha sUcana karane kI dRSTi se no-AgamataH kahA hai| Elaboration-The reason for stating reading and reciting of Ramayan and Mahabharat as mundane perfect avashyak without scriptural knowledge is that according to the popular belief Avazyaka prakaraNa ( 67 ) The Discussion on Essentials

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Mahabharat was recited during the first quarter of the day and Ramayan after the second quarter of the day as an obligatory ritual. These are widely popular sources of knowledge and are therefore called mundane scriptures. When a reader or listener is sincerely involved in them they are said to be mundane perfect avashyak. Although in popular belief they are Agam (scriptures), reading and reciting them has been called 'without scriptural knowledge' (noagamtah) because turning of pages, joining palms in devotion, and other such ritual activities are also essentially part of the procedure. The true definition of Agam is sincere involvement with knowledge and not just ritual actions. Although the prefix 'no' means complete negation, here the negation is with respect to the rituals only. (2) kuprAvacanika bhAva Avazyaka 27. se kiM taM kuppAvayaNiyaM bhAvAvassayaM ? kuppAvayaNiyaM bhAvAvassayaM je ime caraga-cIriya jAva pAsaMDatthA ijjaMjali-homajappa-uMdurukka-namokkAramAiyAI bhAvAvassayAI kreNti| se taM kuppAvayaNiyaM bhaavaavssyN| 27. (prazna) kuprAvacanika bhAva Avazyaka kyA hai? (uttara) jo ye caraka, cIrika yAvat pASaNDastha-ijyA-yajJa, aMjali, homa-havana, For jApa, undurukka-dhUpaprakSepa yA baila jaisI dhvani, vaMdanA Adi bhAva Avazyaka karate haiM, vaha kuprAvacanika bhAva Avazyaka hai| (2) KUPRAVACHANIK BHAAVA AVASHYAK 27. (Question) What is Kupravachanik bhaava avashyak (pervert perfect avashyak) ? (Answer) The rituals like yajna (the Vedic rite of offerings to deities), anjali (offerings or salutations with hollowed hands), hoam (offerings in fire), jap (reciting mantras), undurukka (burning incense or producing sound like an ox), and namokkaramaiyai (offering salutations or homage) performed as perfect avashyak by heretics like Charak, anuyogadvAra sUtra ( 68 ) Illustrated Anuyogadvar Sutra

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* so, so Chirak, (upto-) Pashandasth (as in aphorism 21 ) are called kupravachanik bhaava avashyak (pervert perfect avashyak). vivecana - sUtra meM kuprAvacanika bhAva Avazyaka kA svarUpa batalAyA hai| mithyA zAstroM ko mAnane vAle caraka, cIrika Adi pASaMDI yathAvasara jo bhAva sahita upayogapUrvaka yajJa Adi kriyAyeM karate haiM, vaha kuprAvacanika bhAva Avazyaka hai| mithyA zAstroM ko mAnane para bhI caraka Adi dvArA nizcita rUpa se kiye jAne se yajJa Adi Avazyaka rUpa haiM tathA inake karane vAloM kI ina kriyAoM meM upayoga evaM zraddhA hone se bhAvarUpatA bhI hai| kintu inakA AdhAra mithyA zAstra hone se ina kriyAoM ko kuprAvacanika bhAva Avazyaka kahA hai| Elaboration-This aphorism explains the meaning of kupravachanik bhaava avashyak (pervert perfect avashyak). The rituals like yajna performed with sincere involvement from time to time by heretics like Charak who believe in heretical scriptures are called pervert perfect avashyak. In spite of their belief in pervert scriptures the yajna like rituals are accepted as obligatory duties by the heretics and they also have sincere involvement in them, thus they indeed are perfect avashyak. But because their basis is pervert scriptures they are called pervert perfect avashyak. (3) lokottarika bhAva Avazyaka 28. se kiM taM logottariyaM bhAvAvassayaM ? logottariyaM bhAvAvassaya-jaNNaM imaM samaNe vA samaNI vA sAvae vA sAviyA vA taccitte tammaNe tallese tadajjhavasie tattivvajjhavasANe tadaTThovautte tadappiyakaraNe tabbhAvaNAbhAvie aNNattha katthai maNaM akaremANe ubhaokAlaM AvassayaM kareMti, se taM logottariyaM bhAvAvastayaM / se taM noAgamato bhAvAvassayaM / se taM bhAvAvastayaM / 28. ( prazna) lokottarika bhAva Avazyaka kyA hai ? (uttara) jo ye zramaNa, zramaNI zrAvaka, zrAvikAyeM dattacitta hokara mana kI ekAgratA ke sAtha, zubha lezyA evaM adhyavasAya se yukta, yathAvidhi kriyA ko karane ke lie udyata adhyavasAyoM se sampanna hokara, tIvra AtmotsAhapUrvaka Avazyaka ke artha meM upayogayukta ( 69 ) The Discussion on Essentials Avazyaka prakaraNa

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hokara evaM tadarpita karaNoM - zarIrAdi ko usameM niyojita kara, usakI bhAvanA se bhAvita hokara, anyatra kahIM bhI mana ko DolAyamAna kiye binA ubhayakAla ( prAtaH - saMdhyA samaya) Avazyaka pratikramaNAdi karate haiM, vaha lokottarika bhAva Avazyaka hai| (3) LOKOTTARIK BHAAVA AVASHYAK 28. (Question) What is Lokottarik bhaava avashyak (spiritual perfect avashyak)? (Answer) There are shramans (male ascetics), shramanis (female ascetics), shravaks (Jain laymen) and shravikas (Jain lay-women) who perform the avashyak (obligatory duties) including pratikraman (critical review of thoughts and deeds of the past) every morning and evening with full attention and concentration, pious attitude (leshya being the colour-code indicator of purity of soul) and perseverance, with assiduous intent to follow proper procedure, with intense enthusiasm, with sincere involvement in the meaning of avashyak, employing all the required equipment including the body, inspired by its essence and without diverting their mind anywhere else. This is called Lokottarik bhaava avashyak (spiritual perfect avashyak). Avazyaka ke paryAyavAcI nAma 29. tassa NaM ime egaTTiyA NANAghosA NANAvaMjaNA NAmadhejA bhavaMti / taM jahA(1) AvassayaM ( 2 ) avassakaraNijaM (3) dhuvaNiggaho ( 4 ) visohI ya / (5) ajjhayaNachakkavaggo (6) nAo ( 7 ) ArAhaNA ( 8 ) maggo // 2 // aMto aho nisissa u tamhA AvassayaM nAma // 3 // setaM AvasyaM / (29) usa Avazyaka ke nAnA ghoSa aura aneka vyaMjana vAle ekArthaka aneka nAma isa prakAra haiM (1) Avazyaka, (2) avazyakaraNIya, (3) dhruva nigraha, (4) vizodhi, (5) adhyayana-SaTkavarga, (6) nyAya, (7) ArAdhanA, aura (8) mArga / anuyogadvAra sU ( 70 ) Illustrated Anuyogadvar Sutra

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zramaNoM aura zrAvakoM dvArA dina evaM rAtri ke anta meM avazya karane yogya hone ke kAraNa isakA nAma Avazyaka hai| yaha Avazyaka kA svarUpa hai| SYNONYMS OF AVASHYAK 29. Some synonyms, having a variety of vowels and consonants, of this avashyak are as follows (1) Avashyak, (2) Avashyakaraniya, (3) Dhruva nigraha, (4) Vishodhi, (5) Adhyayan - shathavarg, (6) Nyaya, (7) Aradhana, and (8) Marg. As it is to be essentially (avashyak) performed by shramans and shravaks both at the end of the day and at the end of the night it is named avashyak or obligatory duty. This concludes the description of avashyak. vivecana - yahA~ Avazyaka ke paryAyavAcI nAma batalAye haiN| jo pRthak pRthak udAttAdi svara vAle aura aneka prakAra ke kakArAdi vyaMjana vAle hone se kiMcit arthabheda rakhate hue bhI ekArtha-samAnArthavAcaka haiM ( 1 ) Avazyaka - avazya karane yogya kArya ko Avazyaka kahate haiM / sAmAyika Adi kI sAdhanA sAdhu Adi ke dvArA avazya - nizcita rUpa se kiye jAne yogya hone se Avazyaka hai| ( 2 ) avazyakaraNIya - mumukSu sAdhakoM dvArA niyamataH avazya karane yogya hone ke kAraNa avazyakaraNIya hai| (3) dhruva nigraha - cUrNi ke anusAra 'dhruva' zabda kA artha hai, ATha prakAra ke - karma, kaSAya tathA indriya / Avazyaka dvArA inakA nigraha hotA hai| athavA anAdi hone ke kAraNa karmoM ko tathA karmoM ke phala janma - jarA - maraNAdi rUpa saMsAra ko dhruva kahate haiM aura Avazyaka usa karmaphalarUpa saMsAra kA nigraha karane vAlA hone ke kAraNa 'dhruva nigraha' hai| (4) vizodhi - karma se malina AtmA kI vizuddhi kA hetu hone se Avazyaka vizodhi kahalAtA hai| (5) adhyayanaSaTkavarga - AvazyakasUtra meM sAmAyika, caturviMzati stava, vandana, pratikramaNa, kAyotsarga aura pratyAkhyAna ye chaha adhyayana hone se yaha adhyayanaSaTkavarga hai| Avazyaka prakaraNa (198) The Discussion on Essentials

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(6) nyAya - abhISTa artha kI siddhi kA samyak upAya hone se nyAya hai / (7) ArAdhanA-ArAdhya - mokSa prApti kA hetu hone se ArAdhanA karane yogya hai| (8) mArga - mArga kA artha hai upAya / mokSa kA prApaka- upAya hone se mArga hai| Elaboration-Here some synonyms of avashyak have been mentioned. Although they are composed of a variety of vowels and consonants and have slight variation in meaning also but generally speaking they are synonyms (1) Avashyak-An essential duty or an act to be performed compulsorily is called avashyak. As it is obligatory for an ascetic to perform samayik and other such practices they are included in avashyak. (2) Avashyakaraniya-As it is to be performed by ascetics as a rule it is called avashyakaraniya. (3) Dhruva nigraha-Dhruva is eternal or permanent and nigraha is to discipline or to restrain. According to the commentator (Churni) the eight types of karmas, passions and sense organs are eternal (dhruva) and the disciplining (nigraha) of these is avashyak. Also the karmas and their fruits in the form of birth, decay and death are without a beginning or an end, therefore eternal (dhruva), that which restrains (nigraha) these fruits of karma is avashyak. Thus avashyak means dhruva nigraha. (4) Vishodhi-That which purifies is called vishodhi. As avashyak is instrumental in cleansing the tarnished soul it is vishodhi. (5) Adhyayan-shatkavarg-six chapters-As Avashyak (Sutra) has six chapters, viz. Samayik, Chaturvimshati Stav, Vandan, Pratikraman, Kayotsarga and Pratyakhyan, it is Adhyayan-shatkavarg. (6) Nyaya-right-As avashyak is the right means of attaining the desired it is nyaya. (7) Aradhana-worship-As avashyak is the cause of attaining liberation it is worth worship and so aradhana. (8) Marg-path, means or instrument-As avashyak is the means of attaining liberation, it is marg. anuyogadvA ( 72 ) Illustrated Anuyogadvar Sutra

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zruta ke bheda 30. se kiM taM suyaM ? suyaM cavvihaM paNNattaM / taM jahA (1) nAmasuyaM, (2) TavaNAsuyaM, (3) davvasuyaM, (4) bhAvasuyaM / 30. ( prazna ) zruta kyA hai ? (uttara) zruta cAra prakAra kA hai so ple zruta prakaraNa THE DISCUSSION ON SHRUT (1) nAma zruta, (2) sthApanA zruta, (3) dravya zruta, aura (4) bhAva shrut| CATEGORIES OF SHRUT 30. (Question) What is Shrut ? (1) nAma zruta (Answer) Shrut (lingual knowledge ) is of four types-- (1) Naam Shrut, (2) Sthapana Shrut, (3) Dravya Shrut, and ( 4 ) Bhaava Shrut. 31. se kiM taM nAmasuyaM ? nAmasuyaM jassaNaM jIvassa vA ajIvassa vA jIvANa vA ajIvANa vA tadubhayassa vA tadubhayANaM vA sue i nAmaMkIrati / se taM nAmasuyaM / 31. (prazna) nAma zruta kyA hai ? (uttara) jisa kisI jIva yA ajIva kA, jIvoM yA ajIvoM kA, jIva-ajIva donoM kA athavA jIvoM-ajIvoM donoM kA 'zruta' nAma rakha liyA jAtA hai, use nAma zruta kahate haiN| zruta prakaraNa ( 193 ) zazazazazazu The Discussion on Shrut PAYO YO YO 504504 504, 504 501504404404

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(1) NAAM SHRUT 31. (Question) What is naam. shrut (shrut as name)? (Answer) To assign shrut as a name to a living being, a non-living being, many living beings, many non-living things, an aggregate of living and non-living, and many aggregates of living and non-living is called nama shrut or shrut as name. (2) sthApanA zruta 32. se kiM taM ThavaNAsuyaM ? ThavaNAsuyaM jaNNaM kaTThakamme vA jAva sue i ThavaNA tthvijnyti| se taM ThavaNAsuyaM / 32. (prazna) sthApanA zruta kise kahate haiM ? (uttara) kASTha yAvat kaur3I Adi AkRti meM yaha zruta hai, isa prakAra kI sthApanA, kalpanA yA Aropa kiyA jAtA hai, vaha sthApanA zruta hai| (vizeSa pATha sUtra 11 ke anusAra smjheN|) (2) STHAPANA SHRUT 32. (Question) What is sthapana shrut (shrut as notional installation) ? (Answer) The notional installation or illustration or imagination of shrut in or through (things or medias like-) wood work, (up to-) kaudi or shells realistically or unrealistically is called sthapana shrut (shrut as notional installation). (refer to aphorism 11 for more details.) 33. nAma-ThavaNANaM ko paiviseso ? nAmaM AvakahiyaM, ThavaNA ittariyA vA hojA AvakahiyA vaa| 33. (prazna) nAma aura sthApanA meM kyA antara hai ? anuyogadvAra sUtra (74) Illustrated Anuyogadvar Sutra

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IRPRISE X POTHOREORYHORRORIAORTAORTAORYAORTAOAVADIYAONYAONTAOINOTAOIYAORMONTAORTAORTAONTAORTAORTAOARADAYAORYAORTAItratar (uttara) nAma yAvatkathika hotA hai, jabaki sthApanA itvarika aura yAvatkathika donoM prakAra kI hotI hai| (vizeSa pATha sUtra 12 ke anusAra smjheN|) ____33. (Question) What is the difference between naam and sthapana (name and notional installation)? ___ (Answer) Name is life-long whereas sthapana. can be both temporary as well as life-long. (refer to aphorism 12 for more details.) (3) dravya zruta 34. se kiM taM davbasuyaM? davvasuyaM duvihaM pnnnnttN| taM jahA-(1) Agamato ya (2) noAgamato y| 34. (prazna) dravya zruta kyA hai ? (uttara) dravya zruta do prakAra kA hai| jaise-(1) AgamataH dravya zruta, (2) no-AgamataH dravya shrut| (3) DRAVYA-SHRUT 34. (Question) What is dravya shrut (physical aspect of shrut)? ___ (Answer) Dravya shrut (physical aspect of shrut) is of two kinds--(1) Agamatah dravya shrut (physical aspect of shrut in context of Agam or in context of knowledge), and (2) No-Agamatah dravya shrut (physical aspect of shrut not in context of Agam or only in context of action). (1) AgamataH dravya zruta __35. se kiM taM Agamato dabbasuyaM ? Agamato davvasuyaM jassa NaM sue tti payaM sikkhiyaM ThiyaM jiyaM miyaM parijiyaM jAva kamhA ? jai jANate aNuvautte Na bhvi| se taM Agamato dvvsuyN| 35. (prazna) AgamoM kI apekSA dravya zruta kyA hai ? zruta prakaraNa ( 75 ) The Discussion on Shrut * za

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(uttara) jisane 'zruta' yaha pada sIkhA hai, sthira, jita, mita, parijita kiyA hai| vaha jAnatA huA bhI artha ke anucintana rUpa anuprekSA meM upayogazUnya hai / yaha AgamataH dravya zruta hai / (1) AGAMATAH DRAVYA SHRUT 35. (Question ) What is Agamatah dravya shrut (physical shrut with scriptural knowledge)? (Answer) Physical shrut in context of Agam is like this(For instance) a person ( an ascetic) has studied, absorbed, retained, assessed, perfected, and memorized the text of Shrut (Sutra). In spite of all this he is devoid of the faculty of contemplating the meaning (spirit) of the text. This is Agamatah dravya shrut (physical shrut with scriptural knowledge). vivecana - sUtra meM AgamataH dravya zruta kA svarUpa batalAyA hai ki zrutapada ke abhidheya AcArAdi zAstroM ko jisane sIkha to liyA hai, kintu usake upayoga se zUnya hai, vaha Agama dravyazruta hai| 'jAva kamhA' pada dvArA Avazyaka viSayaka pUrvokta sUtra 14, 15 kI taraha naigama naya Adi mAnyatA sambandhI sUtrAlApaka kA sUcana kiyA hai| Elaboration-This aphorism describes Agamatah dravya shrut (physical shrut with scriptural knowledge) as a person who has learned the scriptures like Acharanga but is devoid of activities like contemplation. The term java kamha' means that all the details about this aphorism should be considered same as those mentioned in context with avashyak in aphorisms 14, 15. (2) no- AgamataH dravya zruta 36. se kiM taM NoAgamato davvasuyaM ? ( 76 ) anuyogadvAra sUtra za Illustrated Anuyogadvar Sutra

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NoAgamato davvasuyaM tivihaM pnnttN| taM jahA-(1) jANayasarIradavvasuyaM (2) bhaviyasarIradavvasuyaM (3) jANayasarIra-bhaviyasarIravairittaM dvvsuyN| 36. (prazna) no-AgamataH dravya zruta kyA hai ? (uttara) no-AgamataH dravya zruta tIna prakAra kA hai| jaise-(1) jJAyaka zarIra dravya zruta, (2) bhavya zarIra dravya zruta, (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya shrut| (2) NO-AGAMATAH DRAVYA SHRUT ____36. (Question) What is No-Agamatah dravya shrut (physical shrut without scriptural knowledge) ? ___(Answer) No-Agamatah dravya shrut (physical shrut without scriptural knowledge) is of three types-- (1) Jnayak sharir dravya shrut, (2) Bhavya sharir dravya shrut, and (3) Jnayak sharir-bhavya sharir vyatirikta dravya shrut. (1) jJAyaka zarIra dravya zruta 37. se kiM taM jANayasarIradavvasuyaM ? jANayasarIradabbasuyaM suetti padatthAhikArajANayassa jaM sarIrayaM vavagaya-cutacAviya-cattadeha jIvavippajaDhaM sejAgayaM vA saMthAragayaM vA siddhasilAtalagayaM vA, aho ! NaM imeNaM sarIrasamussaeNaM jiNadiTTeNaM bhAveNaM sue i payaM AghaviyaM paNNaviyaM parUviyaM daMsiyaM nidaMsiyaM uvdNsiyN| jahA ko diTuMto ? ayaM madhukuMbhe AsI, ayaM ghayakuMbhe aasii| se taM jaannysriirdvvsuyN| 37. (prazna) jJAyaka zarIra dravya zruta kA kyA artha hai ? (uttara) zrutapada ke arthAdhikAra ko jAnane vAle vyakti ke vyapagata, cyuta, cyAvita, tyakta, jIvarahita zarIra ko zayyAgata, saMstArakagata athavA siddhazilA-tapobhUmigata dekhakara koI kahe-aho ! isa paudgalika zarIra ne jinopadezita bhAvoM ke anusAra zruta prakaraNa ( 77 ) The Discussion on Shrut

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'zruta' isa pada kI guru se vAcanA lI thI, ziSyoM ko sAmAnya rUpa se prajJApita aura vizeSa rUpa se prarUpita, darzita, nidarzita, upadarzita kiyA thA, usakA vaha zarIra jJAyaka zarIra dravya zruta hai| (ziSya) isakA dRSTAnta? (AcArya) (jaise kisI ghar3e meM se madhu yA ghI nikAla lie jAne ke bAda kahA jAye ki) yaha madhu kA ghar3A hai, yaha ghI kA ghar3A hai| (isI prakAra nirjIva zarIra bhUtakAlIna zruta-paryAya kA AdhArarUpa hone se jJAyaka zarIra dravya zruta kahalAtA hai|) yaha jJAyaka zarIra dravya zruta hai| (1) JNAYAK SHARIR DRAVYA SHRUT 37. (Question) What is jnayak sharir dravya shruthi (physical shrut as body of the knower) ? ___(Answer) Jnayak sharir dravya shrut (physical shrut ast body of the knower) is explained thus. It is such a body of the knower of the true meaning of the Shrut who is dead, who has been killed, or who has voluntarily embraced death. (This is because it is a natural reaction that) seeing such a body lying on a bed, mattress, cremation ground or Siddhashila someone utters-Oh ! this physical body was the instrument of learning the Shrut (Sutra), as preached by the Jina, from the guru; reciting and explaining it to disciples, confirming it by demonstration, giving its special lessons, and affirming it with the help of logic and multiple perspectives (naya). (details same as aphorism 17) (Question asked by a disciple) Is there some analogy to confirm this? ___(Answer by the guru) Yes, for example (it is conventionally said that) this was a pot of honey or this was a pot of butter (although at present it contains neither honey nor butter). (In the same way a lifeless body, being anuyogadvAra sUtra ( 78 ) Illustrated Anuyogadvar Sutra DeupPiroxAYOPALov65509808809809ROPROP-269209969-809RDAROSARODARATOPARDPRODDDDR.DR.RRDE.

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dravya zruta ke bheda bhavya zarAra ghRta ghaTa 0000 AgamataH dravya zruta lAbha ghaTa | jJAyaka zarIra dravya zruta Kalinch KINDS OF DRAVYA SHRUT Kleucuna ubhaya vyatirikta dravya zruta + kalpasUtra + + AcArAMga sUtra 4 www.alnelibrary

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citra paricaya 4 dravyazruta ke bheda ( 1 ) AgamataH dravyazruta - eka vyakti zruta kA adhyayana kara rahA hai| usakA artha Adi bhI samajhatA hai, parantu vartamAna meM vArtAlApa meM saMlagna hone se zruta meM upayoga zUnya hai / (2) no AgamataH dravyazruta ke tIna bheda haiM (a) jJAyaka zarIra - bhUtakAla meM jisane zrutajJAna kA abhyAsa kiyA thA, ziSyoM ko bhI zrutajJAna par3hAyA thA, parantu vartamAna meM usase nivRtta hai| jaisa - zrutajJAna ke abhyAsI guru kA mRta zarIra / Illustration No. 4 (ba) bhavya zarIra - jina ghar3oM meM bhaviSya meM madhu yA ghRta bharA jAyegA yA bharA jA rahA hai, kintu abhI taka bharA nahIM hai| bhaviSya kI apekSA unako vartamAna meM madhu kA ghar3A, ghI kA ghar3A kahA jAtA hai| (sa) ubhaya vyatirikta dravyazruta - kAgajoM va tAr3a patroM para likhita zAstra - bhAvazruta kA kAraNa hai| ukta donoM prakAroM se bhinna hone kA kAraNa ise ubhaya vyatirikta dravyazruta kahA jAtA hai| - sUtra 35 se 37 TYPES OF DRAVYA-SHRUT (PHYSICAL-SHRUT) (1) Agamatah-dravya-shrut-A person is studying the text of Shrut (Sutra). He also understands its meaning but at the moment he is busy talking. Thus his attention is diverted from contemplating the text or its meaning. (2) No-Agamatah-dravya-shrut is of three types (a) Jnayak sharir-is a person who had learned the Shrut and taught it to disciples but is no more doing so. For example--the dead body of a learned guru. (b) Bhavya sharir-Pots in which honey or butter will be filled in future but are empty at present, are conventionally called pots of honey or butter in context of future. (c) Ubhaya vyatirikta dravya-shrut-The texts written on palm leaves or paper are instruments of scriptural knowledge. As they are other than the said two they are called ubhaya vyatirikta dravya-shrut (physical-shrut other than the said two). - Sutra : 35 to 37

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the instrument of scriptural knowledge in the past, is called physical shrut as merely body of the knower.) This concludes the description of jnayak sharir dravya shrut (physical shrut as body of the knower). (2) bhavya zarIra dravya zruta 38. se kiM taM bhaviyasarIdavvasuyaM ? bhaviyasarIradavvasuyaM je jIve joNIjammaNaM nikkhaMte imeNaM ceva sarIrasamussaeNaM AdattaeNaM jiNovaiTeNaM bhAveNaM sue i payaM seyakAle sikkhissati, Na tAva sikkhti| jahA ko diEto ? ayaM madhukuMbhe bhavissati, ayaM ghayakuMbhe bhvissti| se taM bhviysriirdbbsuyN| 38. (prazna) bhavya zarIra dravya zruta kyA hai ? (uttara) bhavya zarIra dravya zruta kA svarUpa isa prakAra hai-samaya paripakva hone para jo jIva yoni meM se nikalA aura prApta paudgalika zarIra dvArA bhaviSya meM jina dvArA upadiSTa bhAva ke anusAra zruta sIkhegA, kintu vartamAna meM sIkha nahIM rahA hai, taba taka usa jIva kA vaha zarIra bhavya zarIra dravya zruta kahA jAtA hai| (ziSya) isakA dRSTAnta kyA hai ? __ (AcArya) (madhu aura ghI jina ghar3oM meM bharA jAne vAlA hai, parantu abhI bharA nahIM hai, unake lie) 'yaha madhughaTa hai, yaha ghRtaghaTa hai' aisA kahA jAtA hai| (yahA~ bhaviSya meM bhAva zruta kI kAraNarUpa paryAya hone kI yogyatA kI apekSA bhavya zarIra dravya zruta kA svarUpa batAyA hai|) (2) BHAVYA SHARIR DRAVYA SHRUT 38. (Question) What is bhavya sharir dravya shrut (physical shrut as body of the potential knower) ? (Answer) On maturity a being comes out of the womb or is born and with its physical body it has the potential to learn the shrut (Sutra), as preached by the Jina, but it is zruta prakaraNa ( 79 ) The Discussion on Shrut GRANGPOMGDEPREPAREPREMEDIEPISOMETEOX -

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Pro2 she apo als als als als als not learning at present. As long as it is not learning, that physical body of this being is called bhavya sharir dravya shrut (physical shrut as body of the potential knower). (Question asked by a disciple) Is there some analogy to confirm this? (Answer by the guru) Yes, for example (it is conventionally said that) this will be a pot of honey or this will be a pot of butter (although at present it contains neither honey nor butter). (In the same way physical shrut as body of the potential knower has been described in context of the future potential of learning essence of scriptures.) This concludes the description of bhavya sharir dravya shrut (physical shrut as body of the potential knower). (3) jJAyaka zarIra - bhavya zarIra vyatirikta dravya zruta 39. se kiM taM jANayasarIra-bhaviyasarIravatirittaM davvasuyaM ? jANayasarIra - bhaviyasarIravatirittaM pattayapotthayalihiyaM / 39. (prazna) jJAyaka zarIra bhavya zarIra vyatirikta dravya zruta kyA hai ? (uttara) tAr3a - patroM athavA patroM ke samUha rUpa pustaka meM athavA vastra - khaNDoM para likhita zruta jJAyaka zarIra bhavya zarIra vyatirikta dravya zruta hai| (3) JNAYAK SHARIR-BHAVYA SHARIR VYATIRIKTA DRAVYA SHRUT sharir-bhavya 39. (Question) What is jnayak sharir vyatirikta dravya shrut (physical shrut other than the body of the knower and the body of the potential knower)? anuyogadvAra sUtra ( 80 ) PAGES IN IN NAKON Illustrated Anuyogadvar Sutra

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(Answer) Jnayak sharir-bhavya sharir vyatirikta dravya shrut (physical shrut other than the body of the knower and the body of the potential knower) is the shrut (scriptural knowledge) written on palm-leaves, bunch of palm-leaves (in book form) or pieces of cloth. vivecana-pUrvokta jJAyaka zarIra aura bhavya zarIra dravya zruta kA lakSaNa jahA~ ghaTita na hotA ho unase bhinna yaha dravya zruta kA lakSaNa yahA~ nirUpita kiyA hai| patrAdi para likhita zruta bhAva zruta kA kAraNa to hai kintu svayaM meM upayoga ke abhAva meM vaha dravya zruta hI hai| jJAyaka tathA bhavya * donoM na hone ke kAraNa ise ubhaya vyatirikta-donoM se bhinna dravya zruta kI zreNI meM rakhA hai| Elaboration-The Shrut (scriptural knowledge not included in the aforesaid two categories, jnayak sharir and bhavya sharir dravya shrut, is described here. Although the shrut written on palm-leaves, (etc.) is a source of bhaava shrut (mental or spiritual shrut), in absence of the faculty of contemplation it remains dravya shrut (physical shrut). As it is neither the body of a knower nor that of a potential knower it has been classified as dravya shrut other than these two. 40. ahavA suttaM paMcavihaM pnnnnttN| taM jahA-(1) aMDayaM, (2) boMDayaM, 9 (3) kIDayaM, (4) vAlayaM, (5) vkkyN| 40. athavA anya prakAra se sUtra pA~ca prakAra kA kahA hai-(1) aMDaja, (2) boMDaja, (3) kITaja, (4) vAlaja, (5) blkj| 40. Also, sutra (fiber or yarn) is said to be of five types-- (1) of egg origin (silk), (2) of fruit origin (cotton), (3) of insect origin (silk), (4) of hair origin (wool), (5) of bark origin (hessian and linen). vivecana-isI Agama ke 51veM sUtra meM sUtra ke dasa paryAyavAcI nAma batAye gaye haiN| unameM prathama do nAma 'suya' aura 'sutta' haiN| 'suya' kA saMskRta rUpa 'zruta' aura 'sutta' kA saMskRta rUpa sUtra hotA hai| sUtra kA artha zAstra tathA subhASita (saMkSipta gadyAMza yA arthagarbhita vAkya) ke atirikta sUta (taMtu) bhI hotA hai| bauddhika vikAsa meM artha vaividhyatA ko dhyAna meM rakhakara yahA~ para sUtra ke (sUta ke artha meM) pA~ca prakAra-bheda batAye gaye haiN| | zruta prakaraNa The Discussion on Shrut RROROSHOltoiledh

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Elaboration-In aphorism 51 of this book ten synonyms of sutra (scripture) have been listed; first two in this list being suya and sutta. The Sanskrit transcription of suya is shrut and that of sutta is sutra. Besides scripture and aphorism, sutra also means yarn or fiber. In view of the usefulness of a broader range of meanings in mental development the five kinds of been included here. yarns have 41. se kiM taM aMDayaM ? aMDayaM haMsagabhAdi / se taM aMDayaM / 41. (prazna) aMDaja kise kahate haiM ? (uttara) haMsagarbhAdi se bane sUtra ko aMDaja kahA jAtA hai| 41. (Question ) What is andayam or andaj (of egg origin)? (Answer) Yarn made of fiber produced by hamsagarbh (cocoon) is called andaj. 42. se kiM taM boMDayaM ? aisi phahimAdi se taM boMDayaM / 42. (prazna) boMDaja kise kahate haiM ? (uttara) boMDaja - kapAsa yA ruI ( athavA anya vanaspati ke phala ) se banAye gaye sUtra ko boMDaja kahA jAtA hai| 42 (Question ) What is bondayam or bondaj (of fruit origin) ? (Answer) Yarn made of fiber produced by fruit of the cotton plant (and other plants) is called bondaj. 43. se kiM taM kIDayaM ? kIDayaM paMcavihaM paNNattaM / taM jahA - (1) paTTe, (2) malae, (3) aMsue, (4) cINaMsue, (5) kimirAge / setaM kIDayaM / anuyogadvAra sUtra ( 82 ) Illustrated Anuyogadvar Sutra

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43. ( prazna) kITaja sUtra kyA hai ? (uttara) kITaja sUtra pA~ca prakAra kA hai - (1) paTTa sUtra, (2) malaya sUtra, (3) aMzuka sUtra, (4) cInAMzuka sUtra, aura (5) kRmirAga sUtra / yaha kITaja sUtra kA varNana hai| 43. (Question) What is kidayam or kitaj (of insect origin)? (Answer) Kitaj yarn (of insect origin) is of five kinds-- (1) patte (patta yarn ), ( 2 ) malaye (malay yarn), (3) anshue (anshuk yarn), (4) chinanshue (chinanshuk yarn), and (5) kimirage (krimirag yarn). This is the description of yarn of insect origin. 44. se kiM taM vAlayaM ? vAlayaM paMcavihaM paNNattaM / taM jahA - ( 1 ) uNNie, (2) uTTie, (3) miyalomie, (4) kutave, (5) kiTTise / se taM vAlayaM / 44. ( prazna) vAlaja sUtra kyA hai ? (uttara) vAlaja sUtra pA~ca prakAra kA hai - ( 1 ) aurNika, (2) auSTrika, (3) mRgalomika (mRgaromaja), (4) kautava (cUhe ke romoM kA), (5) kiTTisa (mizrita bAloM se banA ) / 44. (Question) What is valayam (of hair or fur origin) ? (Answer ) Valayam yarn is of five kinds - (1) unniye (aurnik yarn), (2) uttiye (aushtrik yarn ), ( 3 ) miyalomiye (mrigalomik yarn ), ( 4 ) kutave (kautav yarn), and (5) kittise kittis yarn). This is the description of yarn of hair or fur origin. 45. se kiM taM vakkayaM ? vakkayaM smaaii| setaM vakkayaM / setaM jANagasarIra bhaviyasarIra vatirittaM davvasuyaM / se taM noAgamato davvasuyaM / setaM davyayaM / prakaraNa ( 83 ) The Discussion on Shrut

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45. (prazna) valkaja sUtra kise kahate haiM ? (uttara) sana Adi se nirmita sUtra ko valkaja kahA jAtA hai| isa prakAra yaha jJAyaka zarIra-bhavya zarIra vyatirikta dravya zruta kA varNana pUrNa huA aura isake sAtha hI no-AgamataH dravya zruta evaM dravya zruta kA nirUpaNa samApta huaa| ____45. (Question) What is vakkayam or valkaj (of bark origin)? ___ (Answer) Yarn made of fiber produced by san (hession) or bark of other trees is called valkaj. ___This concludes the description of jnayak sharir-bhavya sharir vyatirikta dravya shrut (physical shrut other than the body of the knower and the body of the potential knower). This also concludes the description of NoAgamatah dravya shrut (physical shrut without scriptural knowledge) as well as dravya-shrut (physical shrut). vivecana-aMDaja Adi kI vyAkhyA-aMDaja ke rUpa meM haMsagarbha kA ullekha kiyA gayA hai| haMsa kA pracalita artha pakSI vizeSa hai kintu yahA~ isakA artha pataMgA hai| ye caturindriya jAti ke jIva haiM, jise kozA bhI kahate haiN| garbha zabda bhI yahA~ thailI ke artha meM prayukta huA hai| pataMge ke aNDe se eka kITa (laTa) janma letI hai| yaha laTa apane mu~ha se lAra nikAlatI hai jo havA ke saMparka meM Ate hI taMtu bana jAtI hai| isa taMtu se yaha laTa apane cAroM ora eka thailI banAkara usI meM baMda ho jAtI hai| ataH isa taMtu athavA sUtra kA nAma aMDaja hai aura yaha rezama hotA hai| (anuyogadvAra cUrNi, pR. 86, muni jambUvijaya jI) boMDa arthAt kapAsa kA phala yA koza aura usa kapAsa se bane sUta ko boMDaja kahate haiN| kITa caturindriya jIva hote haiN| kucha kIToM kI lAra se utpanna sUtra ko kITaja kahate haiM yaha bhI rezama hotA hai| paTTa Adi pA~coM bheda kITajanya hone se kITaja kahe jAte haiN| ___ paTTasUtra kI utpatti ke viSaya meM aisA mAnA jAtA hai ki jaMgala meM saghana latAcchAdita za sthAnoM meM mA~sa-puMja rakhakara usakI AjU-bAjU kucha antara meM U~cI-nIcI aneka kIleM gAr3a dI kI jAtI haiN| mA~sa ke lobhI kITa-pataMge mA~sa-puMjoM para ma~DarAte haiM aura kIloM ke AsapAsa ghUmakara * apanI lAra ko chor3ate haiN| usa lAra ko ekatrita karake jo sUta banatA hai, use paTTasUtra kahate haiN| (anuyogadvAra cUrNi, pR. 87, muni jambUvijaya jI) anuyogadvAra sUtra ( 84 ) Illustrated Anuyogadvar Sutra DR0900900900999RODAROBARODA802.800000000000000000000090DROSARODARODARODARDAR2.00000000020580500 NGOAVAONVROMA GOGRator (OVKOTVOINOD HEPROPEMEPRMER * Magar XT

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.... ... ....* malaya deza meM bane kITaja sUtra ko malaya kahate haiM tathA cIna deza se bAhara kIToM kI lAra se banA sUtra aMzuka aura cIna deza meM banA sUtra cInAMzuka kahalAtA hai| kRmirAgasUtra kA sAmAnya artha hai kUmaciyA raMga kA suutr| vRttikAra ke anusAra isa viSaya meM aisA sunA jAtA hai ki kucha kSetra-vizeSoM meM manuSya kA rakta bartana meM bharakara usameM rAsAyanika padArtha milAkara usake mukha ko chidroM vAle Dhakkana se DhaMka dete haiN| usameM bahuta se lAla raMga ke kRmi-kIr3e utpanna ho jAte haiN| ve kRmi chidroM se nikalakara bAhara AsapAsa ke pradeza meM ur3ate hue apanI lAra chor3ate haiN| isa lAra ko ikTThA karake jo sUta banAyA jAtA hai, vaha kRmirAga sUtra kahalAtA hai| lAla raMga ke kRmiyoM se utpanna hone ke kAraNa isa sUta kA raMga bhI lAla hotA hai| yaha bhI rezama hotA hai| __ romoM-bAloM se bane sUta ko 'vAlaja' kahate haiM, yaha Una hotA hai| bher3a ke romoM-bAloM se jo sUta banatA hai vaha aurNika, U~Ta ke romoM se banA sUta auSTrika, mRga ke romoM se banA sUta mRgalomika tathA cUhe ke romoM se banA sUta kautava kahalAtA hai| ina aurNika Adi sUtroM ko banAte samaya idhara-udhara bikhare bAloM kA nAma kiTTisa hai| inase nirmita athavA aurNika Adi sUta ko duharA-tiharA karake banAyA gayA sUta athavA ghor3oM Adi ke bAloM se banA sUta kiTTisa kahalAtA hai| (sacitra AcArAMga, bhAga 2, pR. 311 meM pA~ca prakAra ke vastroM kA varNana) Elaboration Details of andaj and other terms-Andaj has been described as hamsagarbh. The popular meaning of hamsa is swan but here it means moth. These are four sensed beings and are also called kosha. Garbh generally means womb but here it means cocoon. The egg of a moth gives birth to a worm, which produces saliva that turns into fiber when it comes in contact with air. The worm weaves a cocoon around itself with this fiber. Therefore yarn made of this fiber is called andaj or of egg origin and is included in silk. (Anuyogadvar Churni by Jambuvijaya ji, p. 86) Bonda means the fruit of cotton plant. The fiber produced by this fruit is called bondaj or of fruit origin. Yarn made of this and other such fibers are included in cotton. Kita (insects) are four-sensed beings. Some of these produce saliva that turns into fiber. Yarn made of this fiber is called kitaj or of insect origin and is also included in silk. The said five kinds zruta prakaraNa (85 ) The Discussion on Shrut

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of yarns are of insect origin and thus included in the kitaj category. About the patta sutra it is said that selecting a dense area in a forest a lump of meat is placed. Around this some large and small pegs are struck in the ground. Attracted by the meat some species of moths hover around and release saliva. This saliva is caught in the pegs in the form of fiber. The yarn made out of these fibers is called patta sutra. (Anuyogadvar Churni by Jambuvijaya ji, p. 87) The yarn of insect origin (silk) produced in Malaya is called malay sutra and that produced in China is called chinanshuk. Krimirag sutra is generally red coloured silk yarn. According to the commentator (Vritti) it is believed that in some areas a pot filled with human blood and some chemical additives is covered with a perforated cover. In a few days a lot of red insects are produced and they come out of the holes. While flying around these insects salivate. This fiber-turned-saliva is collected and spun into yarn. This is called krimirag sutra. The colour of this yarn is permanent red. This is also included in silk. Yarns made of animal hair or fur are called valaj or of hair origin and are included in wool. Those produced from sheep are called Aurnik. Those produced from camel are called aushtrik, those produced from deer are called mrigalomik, and those produced from rat (Rodentia) are called kautava. Loose fibers scattered during processing are also collected and mixed with other fibers to spin yarn, this and the one made of horse-hair is called kittis. Also, yarns made of different fibers are entwined to make thicker yarn, this is also called kittis. (refer to Illustrated Acharanga Sutra, p. 311 for five types of cloth.) (4) bhAva zruta 46. se kiM taM bhAvasuyaM ? tari graE VARILNI TET-(9) 37114397 a, (2) FS17431 01 anuyogadvAra sUtra ( CE ) Illustrated Anuyogadvar Sutra

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46. (prazna) bhAva zruta kyA hai ? (uttara) bhAva zruta do prakAra kA kahA hai-(1) AgamataH bhAva zruta, aura (2) no-AgamataH bhAva shrut| (4) BHAAVA SHRUT ___46. (Question) What is bhaava shrut (shrut as essence or perfect shrut) ? (Answer) Bhaava shrut (perfect shrut) is of two types-- (1) Agamatah bhaava shrut (perfect shrut in context of Agam or in context of knowledge), and (2) No-Agamatah bhaava shrut (perfect shrut not in context of Agam or only in context of action). (1) AgamataH bhAvazruta 47. se kiM taM Agamao bhAvasuyaM ? Agamao bhAvasurya jANae uvutte| se taM Agamao bhaavsury| 47. (prazna) AgamataH bhAva zruta kyA hai ? (uttara) jo zruta (pada) ko jAnatA hai aura usameM upayoga sahita hai, vaha AgamataH bhAva zruta hai| yaha AgamataH bhAva zruta kA varNana hai| (1) AGAMATAH BHAAVA SHRUT 47. (Question) What is Agamatah bhaava shrut (perfect shrut with scriptural knowledge) ? __ (Answer) One who knows the Shrut (Sutra) and is sincerely involved with it is called Agamatah bhaava shrut (perfect shrut with scriptural knowledge). (2) no-AgamataH bhAva zruta 48. se kiM taM noAgamato bhAvasuyaM ? noAgamato bhAvasuyaM duvihaM pnnttN| taM jahA-(1) loiyaM, (2) louttariyaM ca / zruta prakaraNa (87 ) The Discussion on Shrut

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48. (prazna) noAgama kI apekSA bhAva zruta kyA hai ? (uttara) no- AgamataH bhAva zruta do prakAra kA hai| jaise- (1) laukika, aura (2) lokottarika / (2) NO-AGAMATAH BHAAVA SHRUT 48. ( Question) What is No-Agamatah bhaava shrut (perfect shrut without scriptural knowledge)? (Answer) No Agamatah bhaava shrut (perfect shrut without scriptural knowledge) is of two types - (1) Laukik, and (2) Lokottarik. (1)- laukika bhAva 49. se kiM taM loiyaM bhAvasuyaM ? loiyaM bhAvasuyaM jaM imaM aNNANiehiM micchadiTThIhiM sacchaMdabuddhi-maivigappiyaM / taM jahA - bhArahaM rAmAyaNaM bhImAsurukkaM koDillayaM ghoDamuhaM sagaDabhaddiAo kappAsiyaM nAgasuhumaM kaNagasattarI vaisesiyaM buddhavayaNaM vesiyaM kAvilaM loyAyayaM saTThitaMtaM mADharaM purANaM vAgaraNaM nADagAdI, ahavA bAvattarikalAo cattAri ya vedA saMgovaMgA / setaM loiyaM bhAvasuyaM / 49. (prazna) laukika bhAva zruta kyA hai ? (uttara) jo ajJAnI (alpajJAnI) mithyAdRSTiyoM dvArA apanI svacchanda buddhi aura mati se racita zruta laukika bhAva zruta hai / jaise - mahAbhArata, rAmAyaNa, bhImAsurokta, kauTilya (arthazAstra), ghoTakamukha, zaTakabhadrikA, kArpAsika, nAgasUkSma, kanakasaptati, vaizeSikazAstra, bauddhazAstra, kAmazAstra, kapilazAstra, lokAyatazAstra, SaSThitaMtra, mADharazAstra, purANa, vyAkaraNa, nATaka Adi athavA bahattara kalAe~ aura aMga - upAMga sahita cAra veda ye saba laukika no-AgamataH bhAva zruta haiM / (1) LAUKIK BHAAVA SHRUT 49. (Question) What is laukik bhaava shrut (mundane perfect shrut)? anuyogadvAra sUtra ( 88 ) Illustrated Anuyogadvar Sutra

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Roses, so sesses storieskool (Answer) The scriptures written by the ignorant and heretics with their willful mind and perspective are called laukik bhaava shrut (mundane perfect shrut). This includes--Mahabharat, Ramayan, Bhimasurokta, Kautilya (Arthashastra), Ghotakmukh, Shatakbhadrika, Karpasik, Nagasukshma, Kanak-saptati, Vaisheshik scriptures, Buddhist scriptures, Kama- shastra, Kapil scriptures, Lokayat scriptures, Shashtitantra, Mathar scriptures, hagiographies, grammar, plays, etc. as also the seventy two kalas (subjects including various arts, crafts and skills) and the four Vedas with their Angas and Upangas (auxiliary literature of the Vedas). This concludes the description of laukik No-Agamatah bhaava shrut (mundane perfect shrut without scriptural knowledge). vivecana - - ukta sUtra meM laukika no- AgamataH bhAva zruta kA svarUpa batalAyA hai ki sarvajJokta pravacana se viparIta abhiprAya vAlI buddhi aura mati dvArA viracita sabhI zAstra laukika bhAva zruta haiM / ( isakA vizeSa varNana sacitra nandIsUtra, pR. 353 para dekheM / ) Elaboration-This aphorism describes laukik bhaava shrut (mundane perfect shrut) as all the scriptures having views contradictory to the sermons of omniscients, and written by heretics with their willful mind and perspective. (refer to Illustrated Nandi Sutra, p. 353 for more details.) (2) lokottarika bhAva zruta 50. se kiM taM logottariyaM bhAvasuyaM ? logottariyaM bhAvasuyaM jaM imaM arahaMtehi bhagavaMtehiM uppannanANa- daMsaNadharehiM tIta - paDuppanna - maNAgatajANaehiM savvannUhiM savvadarisIhiM telokkavahiya - mahiya - pUiehiM appaDihayavaranANa- daMsaNadharehiM paNItaM duvAlasaMgaM gaNipiDagaM / taM jahA - ( 1 ) AyAro, (2) sUyagaDo, (3) ThANaM, (4) samavAo, (5) viyAhapaNNattI, (6) nAyAdhammakahAo, (7) uvAsagadasAo, (8) aMtagaDadasAo, (9) aNuttarovavAiyadasAo, zruta prakaraNa ( 89 ) The Discussion on Shrut

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(10) paNhAvAgaraNAiM, (11) vivAgasuyaM, (12) didvivAo yA se taM logottariya bhAvasuyaM / se taM noAgamato bhaavsuyN| se taM bhaavsuyN| 50. (prazna) lokottarika bhAva zruta kyA hai ? (uttara) kevalajJAna aura kevaladarzana ko dhAraNa karane vAle, bhUta-bhaviSyat aura vartamAnakAlika padArthoM ko jAnane vAle, sarvajJa, sarvadarzI, trilokavartI jIvoM dvArA avalokita, mahita-pUjita, apratihata zreSTha jJAna-darzana ke dhAraka arihaMta bhagavantoM dvArA praNIta-(1) AcArAMga, (2) sUtrakRtAMga, (3) sthAnAMga, (4) samavAyAMga, (5) vyAkhyAprajJapti, (6) jJAtAdharmakathA, (7) upAsakadazAMga, (8) antakRddazAMga, (9) anuttaraupapAtikadazAMga, (10) praznavyAkaraNa, (11) vipAka zruta, (12) dRSTivAda rUpa dvAdazAMga gaNipiTaka lokottarika bhAva zruta haiN| (2) LOKOTTARIK BHAAVA SHRUT 50. (Question) What is lokottarik bhaava shrut (spiritual perfect shrut) ? 50. (Answer) This lokottarik bhaava shrut (spiritual perfect shrut) is the canon made available to us in the form of Dvadashanga Ganipitak (the twelve part canon compiled by Ganadharas) and expounded by those who are Arhantas (the venerated ones); Bhagavantas (the divinely magnificent ones); who have acquired ultimate knowledge and ultimate perception; who know all things in past, present and future; who are all knowing and all seeing; who are beheld, extolled and worshipped in the three worlds; and who possess uninterrupted excellent knowledge and perception. This Ganipitak includes--(1) Acharanga, (2) Sutrakritanga, (3) Sthananga, (4) Samavayanga, (5) Vyakhyaprajnapti, (6) Jnatadharmakatha, (7) Upasakadashanga, (8) Antakrid-dashanga, (9) Anuttaraupapatik-dashanga, (10) Prashnavyakarana, (11) Vipak shrut, (12) Drishtivad. anuyogadvAra sUtra ( 90 ) Illustrated Anuyogadvar Sutra paatt kttk kttk kttk kttk khi

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zruta ke dasa nAma 51. tassa NaM ime egaTTiyA nANAghosA nANAvaMjaNA nAmadhejjA bhavaMti / taM jahA susutta gaMtha siddhaMta sAsaNe ANavayaNa uvdese| paNNavaNa Agame ya egaTThA pajavA sutte // 4 // taM suyaM / 51. udAttAdi aneka ghoSoM svaroM tathA kakArAdi aneka vyaMjanoM se yukta usa zruta ke ekArthavAcaka (paryAyavAcI) nAma isa prakAra haiM (1) zruta, (2) sUtra, (3) grantha, (4) siddhAnta, (5) zAsana, (6) AjJA, (7) vacana, (8) upadeza, (9) prajJApanA, tathA (10) Agama / ye sabhI zruta ke ekArthaka paryAya haiM / isa prakAra zruta kI vaktavyatA samApta huI / SYNONYMS OF SHRUT 51. Some synonyms, having a variety of vowels and consonants, of this shrut are as follows (1) Shrut, (2) Sutra, (3) Granth, (4) Siddhant, (5) Shasan, (6) Ajna, (7) Vachan, (8) Upadesh, (9) Prajnapana, and (10) Agam. This concludes the description of shrut. vivecana - yahA~ zruta ke paryAyavAcI dasa nAma batAye haiM, jinameM zabdabheda hone para bhI arthabheda nahIM hai 1. guru ke mukha se nikale vacana sune jAne ke kAraNa yaha zruta hai| 2. arthoM kI sUcanA milane ke kAraNa isakA nAma sUtra hai / 3. tIrthaMkara rUpa kalpavRkSa ke vacana rUpa puSpoM kA guMthana hone se inakA nAma grantha hai| 4. pramANasiddha artha ko prakaTa karane vAlA hone se yaha siddhAnta hai| 5. mithyAtvAdi se dUra rahane kI zikSA dene ke kAraNa athavA mithyAtvI ko zAsita, saMyamita karane vAlA hone se yaha zAsana hai / 6. mukti ke lie AjJA dene vAlA hone se ise AjJA kahate haiM / zruta prakaraNa ( 11 ) The Discussion on Shrut

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7. vANI dvArA prakaTa kiye jAne se yaha vacana hai| 8. upAdeya meM pravRtti aura heya se nivRtti kI zikSA dene vAlA hone se ise upadeza kahate haiN| 9. jIvAdika padArthoM ke yathArtha svarUpa kA prarUpaNa karane vAlA hone se yaha prajJApanA hai| 10. sudharmA svAmI-paramparA se Ane athavA Apta vacana rUpa hone se yaha Agama hai / Elaboration-Ten synonyms of the word shrut have been mentioned here. Although they are different words they have the same meaning (1) As it is the utterance directly listened from the guru it is called shrut (that which is listened). (2) As it is pregnant with meaning it is called sutra (aphorism, or the thread linking seeker and preceptor). (3) As it contains the flower-like words of the wish-fulfilling tree that is the Tirthankar, in strung and entwined form it is called granth (that which is strung and entwined). (4) As it exposes the authenticated meaning it is called siddhant (principle or that which has been authenticated). (5) As it edifies about avoiding heretical doctrines, or governs and disciplines the heretic it is called shasan (that which governs or disciplines). (6) As it orders to seek liberation it is called ajna (order). (7) As it is conveyed through speech it is called vachan (speech). (8) As it advises to accept good and reject bad it is called upadesh (preaching). (9) As it establishes the true form of things it is called prajnapana (validation). (10) As it comes from Sudharma Swami, the genuine source, it is called agam (the word of the Tirthankar; the canon). anuyogadvAra sUtra ( 92 ) Illustrated Anuyogadvar Sutra

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skandha prakaraNa THE DISCUSSION ON SKANDH SPONSOONSOONGRESPONGEBOBBYGORIGDISORIGONOMEDNETBHETITIONEDIEODISODEODESEXSX608460016ORNHOBNHORNHORNHORVAOHAR nikSepa dRSTi se skandha nirUpaNa 52. se kiM taM khaMdhe ? khaMdhe caubihe pnnnntte| taM jahA-(1) nAmakhaMdhe, (2) ThavaNAkhaMdhe, (3) davvakhaMdhe, A (4) bhaavkhNdhe| 52. (prazna) skandha kyA haiM ? (uttara) skandha ke cAra prakAra haiN| jaise-(1) nAma skandha, (2) sthApanA skandha, (3) dravya skandha, tathA (4) bhAva skndh| ATTRIBUTION OF SKANDH ____52. (Question) What is skandh ? (Answer) Skandh is of four types--(1) Naam Skandh, 6 (2) Sthapana Shandh, (3) Dravya Shandh, and (4) Bhaava Skandh. vivecana-khaMdhaM (skandha) kA artha hai pudgalapracaya-pudgaloM kA pinndd| samUha-samudAya, ot kaMdhA, vRkSa kA dhar3a (jahA~ se zAkhAyeM nikalatI haiM) ke lie bhI skandha zabda kA prayoga hotA hai 6 (pAia sadda mhnnnno)| yahA~ para skandha zabda adhyayanoM ke samUha ke artha meM prayukta hai| Elaboration--Skandh means a lump or cluster of material particles. The term is also used for a herd or a group, shoulder, trunk of a tree (from where branches stem out). (Paia-saddamahannao) Here skandh conveys the meaning--"a group of chapters". (1) nAma skandha 53. se kiM taM nAmakhaMdhe ? nAmakhaMdhe jassa NaM jIvassa vA ajIvassa vA jAva khaMdhe tti NAmaM kjjti| se taM nnaamkhNdhe| skandha prakaraNa The Discussion on Skandh ,

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53. ( prazna ) nAma skandha kyA hai ? (uttara) jisa kisI jIva yA ajIva kA yAvat skandha yaha nAma rakhA jAtA hai, use nAma skandha kahate haiM / (1) NAAM SKANDH 53. (Question) What is naam skandh (skandh as name)? (Answer) To assign skandh as a name to a living being, a non-living thing, (etc.) is called naam skandh or skandh as name. (refer to aphorism 10 for more details.) (2) sthApanA skandha 54. se kiM taM ThevaNAkhaMdhe ? ThavaNAkhaMdhe jaNNaM kaTukamme vA jAva khaMdhe i ThavaNA Thavijjati / se taM vvaNAkhaMdhe / 54. (prazna) sthApanA skandha kyA hai ? (uttara) kASThAdi meM 'yaha skandha hai' isa prakAra kA jo Aropa kiyA jAtA hai, vaha sthApanA skandha hai / (2) STHAPANA SKANDH 54. (Question) What is sthapana skandh ? (What is this skandh as notional installation)? (Answer) The notional installation or illustration or imagination of skandh in or through (things or medias like--) wood work, ( etc.) realistically or unrealistically is called sthapana skandh (skandh as notional installation). (refer to aphorism 11 for more details.) 55. NAma-ThavaNANaM ko pativiseso ? nAmaM AvakahiyaM, ThavaNA ittariyA vA hojjA AvakahiyA vA / 55. (prazna ) nAma aura sthApanA meM kyA antara hai ? (uttara) nAma yAvatkathika ( vastu kA astitva rahane taka) hotA hai parantu sthApanA itvarika-svalpakAlika aura yAvatkathika donoM prakAra kI hotI hai / ( nAma - sthApanA Avazyaka kI taraha samajheM sUtra 13-14 ke anusAra) anuyogadvAra sUtra ( 94 ) Illustrated Anuyogadvar Sutra

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55. (Question) What is the difference between naam and sthapana (name and notional installation)? (Answer) Name is life-long whereas sthapana can be temporary as well as life-long both. (refer to aphorism 12 for more details.) (3) dravya skandha 56. se kiM taM davvakhaMdhe ? davvakhaMdhe duvihe paNNatte / taM jahA - ( 1 ) Agamato ya, (2) noAgamato ya / 56. (prazna) dravya skandha kyA hai ? (uttara) dravya skandha do prakAra kA hai / yathA - ( 1 ) AgamataH dravya skandha, aura (2) no-AgamataH dravya skandha / (3) DRAVYA SKANDH 56. (Question) What is dravya skandh (physical aspect of skandh)? (Answer) Dravya skandh (physical aspect of skandh) is of two kinds (1) Agamatah dravya skandh (physical aspect of skandh in context of Agam), and (2) No-Agamatah dravya skandh (physical aspect of skandh not in context of Agam). (1) AgamataH dravya skandha 57. ( 1 ) se kiM taM Agamao davvakhaMdhe ? Agamao davvakhaMdhe jassa NaM khaMdhe i payaM sikkhiyaM ThiyaM jiyaM miyaM jAva Negamassa ege aNuvautte Agamao ege davvakhaMdhe, do aNuvauttA Agamao do davvakhaMdhA, tiNNi aNuvattA Agamao tiNNi davvakhaMdhAI evaM jAvaiyA aNuvauttA tAvaiyAI tAI davyadhAI | 57. ( prazna ) ( 9 ) AgamataH dravya skandha kyA hai ? (uttara) (1) jisane skandha pada sIkha liyA hai, sthita kiyA hai, jita, mita kiyA hai yAvat (zeSa sUtra 14 ke anusAra) use AgamataH dravya skandha kahate haiM / naigama nayI skandha prakaraNa ( 95 ) The Discussion on Skandh an t srs

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M apekSA eka anupayukta AtmA Agama se eka dravya skandha hai, do anupayukta AtmAyeM do, tIna anupayukta AtmAyeM tIna AgamataH dravya skandha haiM, isa prakAra jitanI bhI anupayukta AtmAe~ haiM, utane hI AgamataH dravya skandha jAnanA caahie| (1) AGAMATAH DRAVYA SKANDH 57. (Question) What is Agamatah dravya skandh (physical skandh with scriptural knowledge) ? ___ (Answer) (1) Physical skandh in context of Agam is like this--(For instance) a person (an ascetic) has studied properly (shikshit); retained in mind (chitt); understood and absorbed (it); made assessment in terms of number of verses, words, syllables, etc. (mit); (and so on as in aphorism 14). This is called Agamatah dravya skandh (physical skandh with scriptural knowledge). According to the Naigam naya (co-ordinated viewpoint that includes ordinary and special both) one non-contemplative soul is one Agamatah dravya skandh (physical skandh with scriptural knowledge). Two non-contemplative souls are two physical skandhs with scriptural knowledge. Three non-contemplative souls are three physical skandhs with scriptural knowledge. In the same way as many non-contemplative souls are, there are that many Agamatah dravya skandhs (physical skandhs with scriptural knowledge). (2) evameva vavahArassa vi| (2) (naigama naya kI taraha) vyavahAra naya bhI AgamataH dravya skandha ke bheda svIkAra karatA hai| ___ (2) Same is true for Vyavahar naya (particularized viewpoint). (The style of stating is same for both coordinated and particularized viewpoints). ___ (3) saMgahassa ego vA aNegA vA aNuvautto vA aNuvauttA vA davvakhaMdhe vA davvakhaMdhANi vA se ege dvvkhNdhe| anuyogadvAra sUtra ( 96 ) Illustrated Anuyogadvar Sutra issiokaoole.sks.sis.siksiksake.kekesaks.ske.ske.ske.skskskskske.ke.ke.ke.ke.ke.ske.ke.sis.sis.ske.sat.sis 2

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(3) sAmAnya mAtra ko grahaNa karane vAlA saMgraha naya "sabhI ko eka hI AgamataH dravya skandha mAnatA hai| vaha eka anupayukta AtmA eka dravya skandha aura aneka anupayukta AtmAyeM aneka AgamataH dravya skandha" naigama vyavahAra kI isa mAnyatA ko svIkAra nahIM karatA / (3) According to Samgraha naya (generalized viewpoint) all non-contemplative souls fall into just one category of physical skandh with scriptural knowledge. It does not accept the Naigam concept that one non-contemplative soul is one Agamatah dravya skandh (physical skandh with scriptural knowledge) and many non-contemplative souls are many physical skandhs with scriptural knowledge. (4) ujjusuyassa ego aNuvautto Agamao ege davvakhaMdhe, puhattaM Necchati / (4) RjusUtra naya se eka anupayukta AtmA eka AgamataH dravya skandha hai / vaha bhedoM ko svIkAra nahIM karatA hai| (4) According to Rijusutra naya (precisionistic viewpoint; viewpoint related to specific point or period of time) one non-contemplative soul is one Agamatah dravya skandh (physical skandh with scriptural knowledge). This viewpoint has no scope for variations or differences. (5) tinhaM saddaNayANaM jANae aNuvautte avatthU / kamhA ? jai jANae kaha aNuvatte bhavati ? setaM Agamao davvakhaMdhe / (5) tInoM zabda naya jJAyaka yadi anupayukta ho to use avastu-asat mAnate haiM / kyoMki jo jJAyaka hai vaha anupayukta nahIM hotA hai / yaha AgamataH dravya skandha kA svarUpa hai / (5) According to the three Shabda nayas (Shabda naya, Samabhirudha naya and Evambhuta naya) or verbal viewpoints (verbal viewpoint, conventional viewpoint and etymological viewpoint) if a knower is devoid of faculty of contemplation he is unreal. This is because without the skandha prakaraNa ( 97 ) The Discussion on Skandh

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faculty of contemplation he cannot be a knower. Thus if he is non-contemplative he is not a knower. This concludes the description of Agamatah dravya skandh (physical skandh with scriptural knowledge). (2) no- AgamataH dravya skandha 58. se kiM taM NoAgamato davvakhaMdhe ? goAgamato davvakhaMdhe tivihe paNNatte / taM jahA - ( 1 ) jANagasarIradavvakhaMdhe, (2) bhaviyasarIradavvakhaMdhe, (3) jANagasarIra - bhaviyasarIravairitte davvakhaMdhe / 58. ( prazna ) no - AgamataH dravya skandha kyA hai ? (uttara) no- AgamataH dravya skandha tIna prakAra kA hai / yathA - ( 1 ) jJAyaka zarIra dravya skandha, (2) bhavya zarIra dravya skandha, aura (3) jJAyaka zarIra - bha ra bhavya zarIra vyatirikta dravya skandha / (2) NO-AGAMATAH DRAVYA SKANDH 58. (Question) What is No-Agamatah dravya skandh (physical skandh without scriptural knowledge)? (Answer) No-Agamatah dravya skandh (physical skandh without scriptural knowledge) is of three types(1 ) Jnayak sharir dravya skandh, ( 2 ) Bhavya sharir dravya skandh, _and_(3) Jnayak sharir - bhavya sharir vyatirikta dravya skandh. (1) jJAyaka zarIra dravya skandha 59. se kiM taM jANagasarIradavvakhaMdhe ? jANa sarIradavvakhaMdhe khaMdhe i payatthAhigArajANagassa jAva khaMdhe i payaM AghaviyaM paNaviyaM parUviyaM jAva se taM jANagasarIradavvakhaMdhe / 59. (prazna) jJAyaka zarIra dravya skandha kyA hai ? (uttara) isa skandha pada ke arthAdhikAra ko jAnane vAle yAvat jisane skandha pada kA ( gurugama se) adhyayana kiyA thA, pratipAdana kiyA thA, prarUpita kiyA thA, Adi pUrvavat samajhanA caahie| yaha jJAyaka zarIra dravya skandha hai / anuyogadvAra sUtra ( 98 ) Illustrated Anuyogadvar Sutra

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(1) JNAYAK SHARIR DRAVYA SKANDH 59. (Question) What is jnayak sharir dravya skandh (physical skandh as body of the knower) ? (Answer) Jnayak sharir dravya skandh (physical skandh as body of the knower) is explained thus-It is such a body of the knower of the purview of the meaning of skandh, which is dead (and so on up to 'from the guru'); reciting and explaining it to disciples, confirming it by demonstration, giving its special lessons to weak students, and affirming it with the help of logic and multiple perspectives (naya). (refer to aphorism 17 for details.) This concludes the description of jnayak sharir dravya skandh (physical skandh as body of the knower). (2) bhavya zarIra dravya skandha 60. se kiM taM bhaviyasarIradavvakhaMdhe ? bhaviyasarIradavvakhaMdhe je jIve joNijammaNanikkhaMte jAva khaMdhe i payaM seyakAle sikkhissi| jahA ko diTTato ? ayaM mahukuMbhe bhavissai, ayaM ghayakuMbhe bhvissti| se taM bhviysriirdvvkhNdhe| 60. (prazna) bhavya zarIra dravya skandha kyA hai? (uttara) samaya paripakva hone para yathAkAla koI yoni sthAna se bAhara nikalA aura vaha yAvat bhaviSya meM 'skandha' isa pada ke artha ko sIkhegA (kintu abhI nahIM sIkha rahA hai), usa jIva kA zarIra bhavya zarIra dravya skandha hai| (ziSya) isakA dRSTAnta? (AcArya) dRSTAnta isa prakAra hai (vartamAna meM madhu yA ghI nahIM bharA hai kintu bhaviSya meM bharA jAyegA aise ghar3e ke lie kahanA) yaha madhukuMbha hai, yaha ghRtakuMbha hai| yaha bhavya zarIra dravya skandha kA svarUpa hai| skandha prakaraNa ( 99 ) The Discussion on Skandh ODYOHTO XJAPAN

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(2) BHAVYA SHARIR DRAVYA SKANDH 60. (Question) What is bhavya sharir dravya skandh (physical skandh as body of the potential knower) ? (Answer) On maturity a being comes out of the womb or is born and it has the potential to learn the Skandh (Sutra), as preached by the Jina, but it is not learning at present. As long as it is not learning this being is called bhavya sharir dravya skandh (physical skandh as body of the potential knower). (Question asked by a disciple) Is there some analogy to confirm this? (Answer by the guru) Yes, for example to say that this is a pot of honey or a pot of butter (for a pot that will be filled with honey or butter, although at present it contains neither honey nor butter). This concludes the description of bhavya sharir dravya skandh (physical skandh as body of the potential knower). (3) jJAyaka zarIra-bhavya zarIra vyatirikta dravya skandha 61. se kiM taM jANagasarIra-bhaviyasarIravairitte davvakhaMdhe ? Tereta u formiraskan cerca falara young N 461-(9) HRAI, (2) straat, (3) fagi 61. (prazna) jJAyaka zarIra-bhavya zarIra vyatirikta dravya skandha kyA hai ? (uttara) jJAyaka zarIra-bhavya zarIra vyatirikta dravya skandha ke tIna prakAra haiN| jaise(9) afara, (2) zfan, Bite (3) f4991 agnaananaananaanan JNAYAK SHARIR-BHAVYA SHARIR VYATIRIKTA DRAVYA-SKANDH 61. (Question) What is this jnayak sharir-bhavya sharir vyatirikta dravya-skandh (physical-skandh other than the and body of the knower and the body of the potential knower)? anuyogadvAra sUtra ( poo) Illustrated Anuyogadvar Sutra aananaalent

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(Answer) Jnayak sharir-bhavya sharir vyatirikta dravya skandh (physical skandh other than the body of the knower and the body of the potential knower) is of three kinds(1) Sachitta, (2) Achitta, and (3) Mishra. (1) sacitta dravya skandha 62. se kiM taM sacittadavyakhaMdhe ? sacittadavvakhaMdhe aNegavihe pnnnntte| taM jahA-hayakhaMdhe gayakhaMdhe kinnarakhaMdhe kiMpurisakhaMdhe mahoragakhaMdhe usbhkhNdhe| se taM scittdvvkhNdhe| 62. (prazna) sacitta dravya skandha kyA hai? (uttara) sacitta dravya skandha ke aneka prakAra haiN| jaise-haya (azva) skandha, gaja (hAthI) skandha, kinnara skandha, kiMpuruSa skandha, mahoraga skandha, vRSabha (baila) skndh| isa prakAra yaha sacitta dravya skandha kA svarUpa hai| (1) SACHITTA DRAVYA SKANDH ___62. (Question) What is sachitta dravya skandh (living physical skandh)? __(Answer) Sachitta dravya skandh (living physical skandh) are of many types, such as-skandh (herd) of horses, skandh (herd) of elephants, skandh (group) of kinnars, skandh (group) of kimpurush, skandh (group) of mahorags, (these three are vyantar dev or interstitial gods), skandh (herd) of bulls. This concludes the description of sachitta dravya skandh (living physical skandh). vivecana-isa sUtra meM Aye kinnara, kiMpuruSa aura mahoraga-ye tInoM vyantara jAti ke deva haiN| prajJApanAsUtra, pada 27 meM ATha prakAra ke vyantara jAti ke devoM kA varNana hai| ye deva caMcala prakRti vAle, krIr3A va kutUhalapriya hote haiN| sundara vastra, AbhUSaNa pahananA, phUloM kI sugandhita mAlAe~ dhAraNa karanA aura mana icchita vividha rUpa banAnA inakI ruci ke viSaya haiN| sthAnAMgasUtra ke anusAra kinnara-asurarAja camarendra kI ratha senA kA adhikArI hai tathA kiMpuruSa bali vairAcanendra kA ratha senaadhikaarii| skandha prakaraNa ( 101 ) The Discussion on Skandh ks, suk i k k k k k k k k k k ks &

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Elaboration-Kinnar, Kimpurush and Mahorag are vyantar gods or interstitial gods. Description of eight types of vyantar gods is available in Prajnapana Sutra. These gods are frivolous (chanchal), playful and curious in nature. They love to wear beautiful dresses, ornaments and garlands of fragrant flowers. They are also fond of acquiring a variety of forms and appearances. According to Sthananga Sutra Kinnar gods are commanders in the chariot division of Asuraraj Chamarendra, and Kimpurush gods in that of Bali Vairochanendra. (2) acitta dravya skandha 63. se kiM taM acittadavvakhaMdhe ? acittadavvakhaMdhe aNegavihe paNNatte / taM jahA- dupaesie khaMdhe tipaesie khaMdhe jAva dasapaesie khaMdhe saMkhejjapaesie khaMdhe asaMkhejjapaesie khaMdhe anaMtapaesie khaMdhe / setaM acittadavvakhaM / 63. ( prazna ) acitta dravya skandha kyA hai ? (uttara) acitta dravya skandha aneka prakAra kA hai| jaise- dvipradezika skandha, tripradezika skandha yAvat dasa pradezika skandha, saMkhyAta pradezika skandha, asaMkhyAta pradezika skandha, ananta pradezika skandha | yaha acitta dravya skandha kA svarUpa hai| (2) ACHITTA DRAVYA SKANDH 63. (Question ) What is achitta dravya skandh (nonliving physical skandh)? (Answer) Achitta dravya skandh (non-living physical skandh) are of many types, such as-skandh with two space-points (pradesh), skandh with three space-points, (and so on), skandh with ten space-points, skandh with countable space-points, skandh with uncountable spacepoints and skandh with infinite space-points. This concludes the description of achitta dravya skandh (non-living physical skandh). anuyogadvAra sUtra ( 102 ) Illustrated Anuyogadvar Sutra

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vya skandha ke tIna bheda THREE KINDS OF DRAVYA SKANDH kiMpuruSa do pradezI skandha 7 asaMkhyAta pradezI skandha kinnara pA~ca pradezI skandha ananta pradezI skandha mizra dravya skandha mahoraga For Privale & Personal use only El Education international wabrdty.org

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| citra paricaya 5 Illustration No.5 dravya skandha ke tIna bheda (1) sacitta dravya skandha-sajIva padArthoM kA samUha jaise-hAthI, ghor3e, kinnara, kiMpuruSa, mahoraga Adi kA samUha (skandha) paricaya-kinnara Adi tInoM vyantara nikAya ke ATha devoM meM se haiN| inheM yakSa bhI kahate haiN| kinnara-yaha asurarAja camarendra kI ratha senA kA adhikArI hai| kiMpuruSa-vairocana balIndra kI senA kA adhikArI azva zarIra va nara mukha vAlA hai| tathA mahoraga mahAkAya vAlA, nAga ke zarIra va mAnava AkRti vAlA vyantara deva hai| kinnaroM kA azoka, kiMpuruSa kA-caMpaka tathA mahoragoM kA nAga-vRkSa, caitya vRkSa haiM, ye vRkSa inheM sarvAdhika priya haiN| (2) acitta dravya skandha-do pradezI, paMca pradezI se lekara asaMkhya pradezI tathA ananta pradezI skandha taka sabhI acitta dravya skandha hai| (3) mizra dravya skandha-jisameM hAthI, ghor3e, sainika Adi sacetana tathA talavAra, dhanuSa Adi acetana donoM kA mizraNa ho, jaise senA yA sainik| -sUtra 62 se 64 THREE TYPES OF DRAVYA-SKANDH (PHYSICAL-AGGREGATE) (1) Sachitt dravya-skandh (living physical-skandh)-Skandh (aggregate or herd or group) of horses, elephants, Kinnars, skandhs of Kimpurush, Mahorags, etc. Details-Kinnar, etc. are among the eight species of vyantar devas (interstitial gods). They are also called yaksha. Kinnar-they are commanders in the chariot fleet in the army of Chamarendra, the king of asuras. Kimpurush--they have body of a horse with human face and are officers in the army of Vairochan Balindra. Mahorag--Mahorag is a vyantar god with giant serpent's body and human face. Ashoka, Champak, and Naag trees are the temple-trees of Kinnar, Kimpurush, and Mahorag gods respectively as they like these most. (2) Achitt dravya-skandh (non-living physical-skandh)-skandh with two space-points (pradesh), skandh with five space-points, (and so on) up to skandh with uncountable space-points, and skandh with infinite spacepoints are all included in this. (3) Mishra dravya-skandh (mixed physical-skandh)-A mixture of living things like elephants, horses, soldiers, (etc.) and non-living things like sword, bow, (etc.). For example an army or a soldier. -Sutra : 62-64 YO

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vivecana-do pradezI skandha se lekara ananta pradezI skandha taka jo aura jitane bhI pudgala skandha haiM ve saba acitta dravya skandha haiN| sabase alpa parimANa vAle pudgalAstikAya kA nAma pradeza-paramANu hai| do Adi aneka paramANuoM ke mela se banane vAle skandhoM kA mUla paramANu hai| paramANu skandhoM kA utpAdaka hai isalie use astikAya kahA hai| Elaboration--Any aggregate or mass of matter starting with a combination of two ultimate particles (pradesh or space-point here means ultimate particle) to a heap of infinite ultimate particles are called non-living physical skandh. The name of the smallest particle of matter is pradesh-paramanu (ultimate particle). Two or more ultimate particles are the constituents of skandhs or mass of matter. Therefore it is called astikaya (conglamorative ontological category according to Jain philosophy). (3) mizra dravya skandha 64. se kiM taM mIsadabakhaMdhe ? mIsadavvakhaMdhe aNegavihe pnnnntte| taM jahA-seNAe aggimakhaMdhe seNAe majjhimakhaMdhe * seNAe pcchimkhNdhe| se taM miisdvvkhNdhe| 64. (prazna) mizra dravya skandha kyA hai ? (uttara) mizra dravya skandha aneka prakAra kA kahA gayA hai| yathA-senA kA agrima skandha, senA kA madhya skandha, senA kA antima skndh| ___ yaha mizra dravya skandha kA svarUpa hai| (3) MISHRA DRAVYA SKANDH ___64. (Question) What is mishra dravya shandh (mixed physical skandh)? __(Answer) Mishra dravya skandh. (mixed physical skandh) are of many types, such as-advance skandh (group) of an army, middle skandh (group) of an army and rear skandh (group) of an army. skandha prakaraNa ( 103 ) The Discussion on Skandh

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This concludes the description of mishra dravya skandh (mixed physical skandh). vivecana - sacetana tathA acetana ina donoM kA mizraNa (saMyoga ) rUpa avasthA senA hai| hAthI, ghor3e, manuSya Adi sacetana tathA talavAra, dhanuSa, kavaca, bhAlA Adi acetana vastuoM ke samudAya kA nAma senA hai| isIlie ise mizra dravya skandha kahA hai| Elaboration-Army is a mixture or combination of living and non-living. Elephants, horses, soldiers, etc. are the living constituents and sword, bow, shield, lance, etc. are the non-living constituents. A combination of these two is an army. That is why it is called mixed physical skandh. prakArAntara se skandha ke anya bheda 65. ahavA jANagasarIra-bhaviyasarIravatiritte davvakhaMdhe tivihe paNNatte / taM jahA - ( 1 ) kasiNakhaMdhe, (2) akasiNakhaMdhe, (3) annegdviykhNdhe| 65. athavA jJAyaka zarIra bhavya zarIra vyatirikta dravya skandha ke prakArAntara se tIna prakAra kahe gaye haiM / jaise - ( 1 ) kRtsna skandha (pUrNa skandha), (2) akRtsna skandha (apUrNa skandha), aura (3) aneka dravya skandha / ALTERNATIVE CLASSIFICATION 65. Also, jnayak sharir - bhavya sharir vyatirikta dravya skandh (physical skandh other than the body of the knower and the body of the potential knower) is alternatively of three types--(1) Kritsna skandh, (2) Akritsna skandh, and (3) Aneka dravya skandh. kRtsna skandha kA svarUpa 66. se kiM taM kasiNakhaMdhe ? sikhaMdhe se caiva hayakkhaMdhe gayakkhaMdhe jAva usabhakhaMdhe / se taM kasiNakhaMdhe / 66. (prazna) kRtsna skandha kyA hai ? (uttara) haya skandha, gaja skandha yAvat vRSabha skandha jo pUrva meM kahe, vahI kRtsna skandha haiM / yahI kRtsna skandha kA svarUpa hai| anuyogadvAra sUtra ( 104 ) Illustrated Anuyogadvar Sutra

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INSPIRING RISPYERSPIPRAGNERSONSISTSPASPASONSPARSPASACSAGPSICOBREPBASdeg/5degBR6degX3deg6X6AROAMROATAORNA KRITSNA SKANDH 66. (Question) What is kritsna skandh (complete skandh)? ___ (Answer) The aforesaid skandh of horses, skandh of elephants (and so on up to skandh of bulls) are called kritsna skandh (complete skandh). This concludes the description of kritsna skandh (complete skandh). akRtsna skandha kA svarUpa 67. se kiM taM akasiNakhaMdhe ? akasiNakhaMdhe se ceva dupaesiyAdI khaMdhe jAva aNaMtapadesie khNdhe| se taM aksinnkhNdhe| 67. (prazna) akRtsna skandha kyA hai? __(uttara) akRtsna skandha pUrva meM kahe gaye dvi-pradezika skandha Adi yAvat ananta pradezika skandha haiN| isa prakAra akRtsna skandha kA svarUpa jAnanA caahie| AKRITSNA SKANDH 67. (Question) What is akritsna skandh (incomplete skandh)? (Answer) The aforesaid mentioned skandh with two space-points (pradesh) (and so on up to skandh with infinite space-points) are called akritsna skandh (incomplete skandh). This concludes the description of akritsna skandha (incomplete skandh). vivecana-akRtsna yAni apripuurnn| jisa skandha se anya koI dUsarA bar3A skandha hotA hai, vaha aparipUrNa hone ke kAraNa akRtsna skandha kahalAtA hai| dvi-pradezika (do paramANu vAlA) Adi skandha apUrNa haiM aura inameM aparipUrNatA isa prakAra hai ki dvi-pradezika skandha eka skandha prakaraNa (105 ) The Discussion on Skandh

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paramANu bar3hAne se AkAra bar3hAye jA sakane kI saMbhAvanA ke kAraNa aparipUrNa tri-pradezika skandha se nyUna hone ke kAraNa aparipUrNa hai| isI taraha uttarottara kI apekSA pUrva-pUrva kA skandha akRtsna skandha jAnanA caahie| Elaboration-Akritsna means incomplete. A skandh (aggregate) that is smaller than some other skandh (aggregate) is comparatively incomplete and thus it is called akritsna skandh. Aggregates with two or more paramanus (ultimate particles) are incomplete because one with two ultimate particles is smaller (has the scope of becoming larger by adding more ultimate particles, thus incomplete) than that with three ultimate particles and so on. Thus, in this progression every earlier skandh should be considered akritsna or incomplete as compared to any later skandh. This concludes the description of akritsna skandh (incomplete skandh). aneka dravya skandha kA svarUpa 68. se kiM taM aNegadaviyakhaMdhe ? aNegadaviyakhaMdhe tasseva dese avacite tasseva dese uvcie| se taM annegdviykhNdhe| se taM jANagasarIra-bhaviyasarIravatiritte dvvkhNdhe| se taM noAgamato dvvkhNdhe| se taM dvvkhNdhe| 68. (prazna) aneka dravya skandha kyA hai? (uttara) eka deza apacita (rahita) tathA eka deza upacita (vyApta) bhAga milakara unakA jo samudAya banatA hai, vaha aneka dravya skandha hai| isa prakAra se jJAyaka zarIra-bhavya zarIra vyatirikta dravya skandha kA nirUpaNa samApta huaa| no-AgamataH dravya skandha kA aura sAtha hI dravya skandha kA varNana bhI pUrNa huaa| ANEKA DRAVYA SKANDH ____68. (Question) What is aneka dravya skandh (skandh of many entities)? anuyogadvAra sUtra ( 106 ) Illustrated Anuyogadvar Sutra

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(Answer) An aggregate of one apachit (devoid of life) component and one upachit (endowed with life) component is called aneka dravya skandh (skandh of many entities). This concludes the description of jnayak sharir-bhavya sharir vyatirikta dravya skandh (physical skandh other than the body of the knower and the body of the potential knower). This also concludes the description of NoAgamatah dravya skandh (physical skandh without scriptural knowledge) as well as dravya skandh (physical a skandh). vivecana-eka deza apacita bhAga arthAt jIva pradezoM se rahita (nirjIva) nakha, kezAdi rUpa bhAga evaM eka deza upacita-jIva pradezoM se vyApta pITha, udara Adi bhAgoM ke saMyoga se eka viziSTa AkAra vAlA jo deha rUpa samudAya banatA hai, vaha aneka dravya skandha hai| jaisehaya skandha, gaja skandha aadi| Elaboration--A specific aggregate in shape of a body constituted of some components with space-points devoid of life (such as nails, hair, etc.) and some components with space-points endowed with life (such as back stomach, etc.) is aneka dravya skandh (skandh of many entities). For example a horse, an elephant, etc. (4) bhAva skandha 69. se kiM taM bhAvakhaMdhe ? __ bhAvakhaMdhe duvihe pnnnntte| taM jahA-(1) Agamato ya, (2) noAgamato y| 69. (prazna) bhAva skandha kyA hai ? (uttara) bhAva skandha do prakAra kA gayA hai| vaha isa taraha-(1) AgamataH bhAva skandha, (2) no-AgamataH bhAva skndh| (4) BHAAVA SKANDH 69. (Question) What is bhaava skandh (skandh as essence or perfect skandh)? ( 107 ) The Discussion on Skandh KBPORSPONSOMEMEDIEPOXESXEPBASPBXEPBXEPOREPBASPBXSEXSTOR skandha prakaraNa

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(Answer) Bhaava skandh (perfect skandh) is of two types--(1) Agamatah bhaava skandh (perfect skandh in context of Agam), and (2) No-Agamatah bhaava skandh (perfect skandh not in context of Agam). (1) AgamataH bhAva skandha 70. se kiM taM Agamato bhAvakhaMdhe ? Agamato bhAvakhaMdhe jANae uvutte| se taM Agamato bhaavkhNdhe| 70. (prazna) AgamataH bhAva skandha kyA hai ? (uttara) jo skandha isa pada ke artha ko jAnatA hai aura upayogayukta hai, vaha AgamataH bhAva skandha hai| (1) AGAMATAH BHAAVA SKANDH ___70. (Question) What is Agamatah bhaava skandh (perfect skandh with scriptural knowledge) ? (Answer) One who knows the meaning of the word skandh (lump or aggregate) and is sincerely involved with it is called Agamatah bhaava skandh (perfect skandh with scriptural knowledge). (2) noAgamataH bhAva skandha 71. se kiM taM noAgamao bhAvakhaMdhe ? noAgamao bhAvakhaMdhe eesiM ceva sAmAiyamAiyANaM chaNhaM ajjhayaNANaM samudaya-samii-samAgameNaM nippanne AvassagayasuyakkhaMdhe bhAvakhaMdhe tti lbbhi| se taM noAgamato bhaavkhNdhe| se taM bhaavkhNdhe| 71. (prazna) no-AgamataH bhAva skandha kyA hai ? (uttara) sAmAyika Adi inhIM chaha adhyayanoM ke samudaya ke milane se niSpanna 2 Avazyaka zruta skandha no-AgamataH bhAva skandha kahalAtA hai| isa prakAra se no-AgamataH bhAva skandha tathA bhAva skandha kI vaktavyatA jAnanA caahie| OM anuyogadvAra sUtra ( 108 ) Illustrated Anuyogadvar Sutra

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(2) NO-AGAMATAH BHAAVA SKANDH 71. (Question) What is No-Agamatah bhaava skandh (perfect skandh without scriptural knowledge) ? (Answer) No-Agamatah bhaava skandh (perfect skandh without scriptural knowledge) is Avashyak shrut skandh (the book of this name) made up of the aggregate of six chapters including Samayik. This concludes the description of No-Agamatah bhaava skandh (perfect skandh without scriptural knowledge). This also concludes the description of bhaava skandh (perfect skandh). vivecana-isa sUtra meM samudaya (samUha), samiti (avyavahita milana) tathA samAgama (paraspara sambaddha honA) ina tInoM zabdoM se yahA~ sAmAyika Adi chahoM AvazyakoM kI ekAtmakatA batAI hai| Elaboration-This aphorism reveals the oneness of the six obligatory duties (avashyak) including Samayik by using the three terms samudaya, samiti and samagam. Samudaya means collection or aggregate. Samiti means unrestricted union. Samagam means joined together or interwoven. skandha ke paryAyavAcI nAma 72. tassa NaM ime egaDhiyA nANAghosA nANAvaMjaNA nAmadhejA bhvNti| taM jahA gaNa kAya nikAya khaMdha vagga rAsI puMje ya piMDa niyare ye| saMghAya Akula samUha bhAvakhaMdhassa pjjaayaa||5|| se taM khaMdhe 72. usa bhAva skandha ke vividha ghoSoM evaM vyaMjanoM vAle ekArthaka (paryAyavAcI) nAma isa prakAra haiM (gAthArtha) (1) gaNa, (2) kAya, (3) nikAya, (4) skandha, (5) varga, (6) rAzi, (7) pu~ja, (8) piNDa, (9) nikara, (10) saMghAta, (11) Akula, aura (12) samUha-ye sabhI bhAva skandha ke paryAya haiN| skandha prakaraNa ( 109 ) The Discussion on Skandh

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SYNONYMS OF SKANDH 72. Some synonyms, having a variety of vowels and consonants, of this skandh are as follows __ (1) Gana, (2) Kaya, (3) Nikaya, (4) Skandh, (5) Varg, (6) Rashi, (7) Punj, (8) Pind, (9) Nikar, (10) Samghat, (11) Akul, and (12) Samuh. vivecana-paryAyavAcI zabdoM kI vyAkhyA isa prakAra hai(1) gaNa-aneka ikAiyoM ke saMgaThita rUpa ko 'gaNa' kahate haiN| (2) kAya-eka sAtha ghanIbhUta aneka samAna ikAiyoM ke lie 'kAya' zabda kA prayoga kiyA jAtA hai, jaise-pRthviikaay| (3) nikAya-'nikAya' zabda kA prayoga pRthak-pRthak samUhoM ke saMyukta samUha ke lie kiyA jAtA hai, jaise-SaDjIva nikaay| (4) skandha-aneka paramANu nirmita samUha 'skandha' kahA jAtA hai, jaise-tripradezI skndh| (5) varga-samAna jAti vAle samUha ke lie 'varga' zabda kA vyavahAra hotA hai, jaise-govrg| (6) rAzi-Dhera ke lie 'rAzi' zabda kA prayoga hotA hai, jaise-dhnraashi| (7) pu~ja-bikharane vAlI yA vikIrNadharmI vastuoM ke ekatra samUha ke lie 'pu~ja' zabda kA prayoga hotA hai, jaise-prakAza puNj| (8) piNDa-'piNDa' zabda kA prayoga pRthak bikharane vAlI vastuoM ke apekSAkRta sthAyI ekatra rUpa ke artha meM hotA hai, jaise-gur3a kA pinndd| (9)nikara-'nikara' zabda kA artha hai eka pAtra meM DAlI huI vastuoM kA smuuh| (10) saMghAta-dUrI kama karate hue ekatra hone ke artha meM 'saMghAta' zabda kA prayoga hotA hai, jaise-tIrtha sthAnoM para ekatra jana sNghaat| (11) Akula-saMkIrNa sthAna para bahuta bhIr3a ikaTThI hone ke artha meM 'Akula' zabda kA prayoga hotA hai, jaise-janAkula raajmaarg| (12) samUha-samudAya ke artha meM 'samUha' zabda kA prayoga hotA hai, jaise-jnsmudaay| Elaboration--(1) Gana means an organized group of many units, such as a clan or a group of ascetics. anuyogadvAra sUtra ( 110 ) Illustrated Anuyogadvar Sutra

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(2) Kaya means numerous units coalesced in the form of a body, such as prithvikaya or earth-bodied. (3) Nikaya means a group formed by bringing together many groups, such as shadjiva nikaya or six life-forms. (4) Skandh means a cluster of many particles, such as a cluster of three ultimate particles. (5) Varg means a group of same species, such as a herd of cows. (6) Rashi means a heap of many things, such as a heap of money. (7) Punj means a mass of things with tendency to scatter or diffuse, such as a mass of light. (8) Pind means a comparatively stable lump of things with tendency to scatter or fall apart, such as a lump of sugar. (9) Nikar means numerous things collected in a vessel. (10) Samghat means coming together to form a group, such as a group of pilgrims. (11) Akul means crowding together in a confined area, such as a crowded highway. (12) Samuh a is a general term for group or herd or mass, such as a mass of people. skandha prakaraNa The Discussion on Skandh

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Avazyaka arthAdhikAra prakaraNa THE DISCUSSION ON PURVIEW OF AVASHYAK arthAdhikAra prarUpaNA 73. Avassagassa NaM ime atthAhigArA bhvNti| taM jahA(1) sAvajjajogaviratI, (2) ukkittaNaM, (3) guNavao ya pddivttii| (4) khaliyassa niMdaNA, (5) vaNatigicche, (6) guNadhAraNA cev||6|| 73. Avazyaka ke arthAdhikAroM ke nAma isa prakAra haiM (gAthArtha) (1) sAvadyayoga virati, (2) utkIrtana, (3) guNavat pratipatti, (4) skhalita nindA, (5) vraNa cikitsA, aura (6) guNa dhaarnnaa| PURVIEW OF AVASHYAK 73. The purview of Avashyak (Sutra) includes the following themes (1) Savadyayog virati, (2) Utkirtan, (3) Gunavat Pratipatti, (4) Skhalit ninda, (5) Vrana. chikitsa, and (6) Guna dharana. 74. Avassagassa eso piMDattho vaNNito smaasennN| etto ekkekkaM puNa ajjhayaNaM kittissaami||7|| taM jahA-(1) sAmAiyaM, (2) cauvIsatthao, (3) vaMdaNaM, (4) paDikkamaNaM, (5) kAussaggo, (6) pcckkhaannN| 74. isa prakAra se Avazyaka ke samudAyArtha kA saMkSepa meM kathana kiyA hai| aba eka-eka adhyayana kA varNana kruuNgaa| (1) sAmAyika, (2) caturviMzatistava, (3) vaMdanA, (4) pratikramaNa, (5) kAyotsarga, aura (6) prtyaakhyaan| 74. I have already discussed Avashyak (Sutra) as an aggregate in brief. Now I will take up each individual _chapter, which are listed hereanuyogadvAra sUtra ( 112 ) 2 Illustrated Anuyogadvar Sutra

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(1) Samayik, (2) Chaturvimshatistav, (3) Vandana, (4) Pratikraman, (5) Kayotsarg, and vi. Pratyakhyan. vivecana-Avazyaka kA arthAdhikAra se matalaba hai Avazyaka kA pratipAdya vissy| sUtra 74 meM Avazyaka ke chaha adhyayanoM ke nAma batAye haiM aura sUtra 73 meM unake pratipAdya viSaya kA kathana hai| isa prakAra donoM sUtra paraspara sambaddha haiN| pahale Avazyaka ke pratipAdya kA kathana kiyA jAtA hai (1) sAvadyayoga virati-Avazyaka kA prathama adhyayana hai saamaayik| isa sAmAyika adhyayana kA viSaya haiM-sAvadha yogoM se virti| hiMsA, asatya Adi pApakArI pravRttiyA~ sAvadyayoga haiM, ina pravRttiyoM se nivRtta honA sAvadyayoga virati hai| eka prakAra se prathama sAmAyika Avazyaka kA yahI uddezya hai, yahI usakA pratipAdya hai| (2) utkIrtana-svayaM sarva sAvadyayogoM se virati karane vAle tathA virati rUpa dharma kA upadeza dene vAle tIrthaMkara Adi sadguNI puruSoM ke guNoM kA kIrtana (kathana) karanA utkIrtana hai| dUsarA adhyayana hai, cturviNshtistv| isameM caubIsa tIrthaMkaroM ke guNoM kA kIrtana hai| isase samyaktva rUpa darzana kI vizuddhi hotI hai tathA jJAnAvaraNIya Adi karmoM kA kSaya hotA hai| (3) guNavat pratipatti-'guNa' se abhiprAya hai pA~ca mahAvrata rUpa, mUlaguNa tathA kSamA Adi uttaraguNoM ko dhAraNa karane vAle guNI puruSoM kI prtiptti-bhumaan-vNdnaa| vandanA tIsare vandanA Avazyaka kA viSaya hai| Avazyaka niyukti (1128) ke anusAra dIkSA aura Ayu meM jyeSTha puruSoM kA yathAyogya bahumAna karanA guNavat pratipatti hai| (4) skhalita nindA-Avazyaka ke caturtha adhyayana pratikramaNa meM skhalita arthAt doSoM kI nindA kI jAtI hai| arihaMta deva dvArA prarUpita sAdhanA ke niyamoM va maryAdAoM kA atikramaNa karanA skhalanA hai| atikramaNa se vApasa lauTanA pratikramaNa hai| pratikramaNa mukhyataH cAra viSayoM kA kiyA jAtA hai (1) niSiddha kArya karanA, (2) vihita kArya na karanA, (3) mokSa ke sAdhanoM meM azraddhA karanA, tathA (4) viparIta prarUpaNA krnaa| (5) vraNa cikitsA-pA~caveM kAyotsarga nAmaka adhyayana kA mukhya viSaya hai vraNa cikitsaa| zarIra meM ghAva ho jAne para malahama oNparezana Adi se usakI cikitsA karake zarIra ko rogamukta rakhA jAtA hai| usI prakAra saMyama meM doSa lagane para usakI zuddhi hetu kAyotsarga kiyA jAtA hai| AcAryoM ne upamA dvArA batAyA hai-cAritra puruSa zarIra rUpa hai| cAritra kA nAza karane vAlI kriyAe~ ubhare vraNa ke samAna haiM, dasa prakAra ke prAyazcitta, zarIra vyutsarga (dhyAna) 12 anuprekSA-bhAvanA Adi ke dvArA una ghAvoM kI cikitsA karanA vraNa cikitsA hai| bhAvazyaka arthAdhikAra prakaraNa ( 113 ) The Discussion on Purview of Avashyak

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(6) guNa dhAraNA - chaThe pratyAkhyAna Avazyaka kA viSaya hai guNoM ko dhAraNa karanA / ahiMsA, satya Adi mUlaguNa tathA dasa prakAra ke pratyAkhyAna rUpa uttaraguNoM ko jIvana meM dhAraNa kara niraticAra saMyama pAlane kA saMkalpa guNa dhAraNA hai| pratyAkhyAna anAgata arthAt bhaviSya kA hotA hai| vigata kI bhUloM kA pratikramaNa kiyA jAtA hai tathA bhaviSya ke lie guNoM ko dhAraNa karanA pratyAkhyAna kA viSaya hai / (inakA vistRta vivecana AtmajJAna pIyUSavarSiNI TIkA, bhAga 1, pR. 377-400 dekheM / ) Elaboration-The meaning of the term arthadhikara is purview or theme. In aphorism 74 are listed the titles of the six chapters in Avashyak (Sutra) and in aphorism 73 are listed their themes or the topics discussed. Thus both aphorisms are related. The themes are discussed first (1) Savadyayog virati (abstinence from sinful activities)-The first chapter of Avashyak (Sutra) is Samayik. The topic discussed in this chapter is abstinence from sinful or vile activities. Violence, falsity and other sinful attitudes are included in this. To dissociate from all these is abstinence from vile activities. In a way this is the purpose of samayik, the first obligatory duty and, therefore, the theme of this chapter. (2) Utkirtan (eulogize)-To recite, chant and eulogize the virtues of Tirthankars and other sagacious persons who abstain from sinful activities as well as preach such religion. The second chapter is Chaturvimshatistava. This contains praise of twenty four Tirthankars in the form of panegyrics, etc. This helps purify perception leading to righteousness and destruction of the Jnanavaraniya karma (knowledge obscuring karma) and other karmas. (3) Gunavat Pratipatti (homage to venerable ones)Guna means virtues and here it specifically means the five great vows including ahimsa and auxiliary virtues like forgiveness. Pratipatti means to pay homage. As such, the phrase means to pay homage to the venerable ones endowed with the said virtues. This is the theme of the third chapter, Vandana. According to Avashyak Nirykti (1128) to offer due respect and veneration to individuals senior in age and initiation is called Gunavat Pratipatti (homage to venerable ones). anuyogadvAra sUtra ( 114 ) Illustrated Anuyogadvar Sutra

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Avazyaka ke chaha adhikAra SIX FACETS OF AVASHYAK sAmAyika vandanA caturviMzati stava pratikramaNa kAyotsarga pratyAkhyAna Took SARIRMO

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citra paricaya 6 Illustration No.6 Avazyaka ke chaha adhikAra Avazyaka ke chaha arthAdhikAra isa prakAra haiM- (ArAdhanA kI mudrAe~ citra meM dekheM) (1) sAmAyika-sthira Asana se baiThakara hiMsA, rAga-dveSa Adi sAvadha vyApAra kA tyAga krnaa| (2) caturviMzatistava-sthiratA va ekAgratA pUrvaka khar3A hokara caubIsa tIrthaMkaroM kI stuti utkIrtanA krnaa| ___ (3) vandanA-guNoM meM zreSTha arihaMta deva tathA guru Adi ko bhakti pUrvaka vandanA karanA donoM ghuTane Tekakara, do hAtha, tathA mastaka yoM paMcAMga namAkara vandanA kI jAtI hai| (4) pratikramaNa-sAmAyika grahaNa ke pazcAt sAdhanA kAla meM pramAda Adi vaza huI skhalanA rUpa doSoM kI zuddhi karake punaH saMyama meM sthira honaa| yaha khar3e hokara yA sthira Asana se baiThakara kiyA jAtA hai| (5) kAyotsarga-zarIra evaM mana kI caMcalatA tathA Asakti kA tyAga kara dhyAna meM sthira honaa| baiThakara yA khar3e-khar3e kAyotsarga kiyA jAtA hai| ___ (6) pratyAkhyAna-gurujanoM ke samakSa tathA Atma-sAkSi pUrvaka mUla guNa evaM uttara guNoM kI vRddhi karate hue bhaviSya ke lie vratabaddha honA -sUtra 74 THE SIX THEMES OF AVASHYAK The six themes of Avashyak are as follows (refer to the illustration for the postures) (1) Samayik-To sit firmly in a meditative posture and resolve to practice equanimity by abstaining from violence, attachment-aversion and other sinful activities. (2) Chaturvimshatistava-To stand firmly and with all concentration recite panegyrics of twenty four Tirthankars. This helps purify perception and is also called Utkirtana (eulogizing). (3) Vandana-To pay homage with all devotion to the venerable ones, including Tirthankars, endowed with all virtues. This is done by bowing five parts of the body (placing knees on the ground, joining palms and touching forehead to ground). (4) Pratikraman-To undo the faults committed due to ignorance and stupor during the practice of Samayik by a critical review and regain the level of concentration. This is done both in standing as well as sitting postures. (5) Kayotsarga-To abandon fondness for the body, dissociate one's mind from it and be firm in meditation. This can be done in sitting as well as standing posture. (6) Pratyakhyan-To take a vow for future observance, in presence of seniors and keeping one's soul as witness, aimed at enhancing basic and auxiliary virtues. -Sutra : 74

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* * * * * ras DD 291292 COORDIKLIS (4) Skhalit ninda (criticizing faults)-Skhalit means fallen and here it means cause of falling or faults and failures. Ninda means criticism or censure. In the fourth chapter, Pratikraman, faults and failings are criticized and censured. Faults and failures mean transgressions (atikraman) of codes and disciplines propounded by Tirthankars. The process of undoing is through critical review (pratikraman). On the spiritual path pratikraman (critical review) is done with respect to four actions, (i) To indulge in censured or proscribed activities. (ii) To avoid prescribed or pious activities. (iii) To disbelieve and show disrespect for means of liberation. (iv) To propagate dissenting or heretic views. (5) Vrana chikitsa (healing wounds)--The central theme of the fifth chapter, Kayotsarg, is vran (wound or sore) chikitsa (to heal). When the body is wounded, efforts are made to treat it with the help of surgery or medicine or other such means. In the same way kayotsarg (practice of dissociating mind from the body) is done to purge and absolve oneself from the faults and failings in observing ascetic discipline. This has been stated by some acharyas metaphorically---'Consider ascetic conduct to be a human body. Sinful activities and transgressions are like wounds on this body. To heal this body with the help of ten types of atonements, meditation and dissociation of mind from body (kayotsarg), and twelve types of sublime contemplation is called vrana chikitsa (healing wounds). (6) Guna dharana (acquiring virtues)--The theme of the sixth chapter, Pratyakhyan, is to acquire virtues. The resolve to acquire the basic virtues like ahimsa and other great-vows along with the auxiliary virtues like the ten pratyakhyans (practice of specific preparatory codes that help acquire virtues) and practice ascetic discipline without any transgressions is called guna dharana (acquiring virtues). Stayerah terffurcht wahru (884) The Discussion on Purview of Avashyak

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Pratyakhyan (acquiring virtues) is aimed at future. Pratikraman (critical review) is meant for the failures in the past whereas pratyakhyan is meant for acquisition of virtues for the future. (refer to the Tika of Anuyogadvar Sutra by Shri Jnana Muni, pp. 377-400 for more details.) anuyogadvAra - nAmanirdeza 75. tattha paDhamajjhayaNaM sAmAiyaM / tassa NaM ime cattAri aNuogaddArA bhavaMti / taM jahA - ( 1 ) uvakkame, (2) Nikkheve, (3) aNugame, (4) gae / 75. ina (chaha adhyayanoM) meM se prathama sAmAyika adhyayana ke yaha cAra anuyoga dvAra haiM- (9) upakrama, (2) nikSepa, (3) anugama, aura (4) naya / ANUYOGADVAR 75. First of these chapters is Samayik and it has following four anuyogadvars (approaches of disquisition)(1) Upakram, (2) nikshep, (3) anugam, and (4) naya. vivecana - "ekkekkaM puNa ajjhayaNaM kittaissAmi" ke nirdezAnusAra sUtrakAra ne sarvaprathama sAmAyika sambandhI vicAraNA prArambha kI hai| sAmAyika kI niyukti - "samasya AyaH - samAyaH prayojanamasyeti sAmAyikam / " - sarvabhUtoM meM Atmavat dRSTi se sampanna rAga-dveSarahita AtmA ke (samabhAva rUpa ) pariNAma ko sama aura isa sama kI Aya - prApti yA jJAnAdi guNotkarSa ke sAtha lAbha ko samAya kahate haiN| yaha samAya hI jisakA prayojana hai, unakA nAma sAmAyika hai| arthAt samabhAva-prApti kI sAdhanA / pahale batAyA jA cukA hai ki adhyayana ke artha kA kathana karane kI vidhi kA nAma anuyoga hai / athavA sUtra ke sAtha artha kA anukUla artha sthApita karanA anuyoga hai| jisa prakAra nagara meM praveza karane ke cAra dvAra hone se nagara meM jAnA-AnA sarala hotA hai usI prakAra zAstrarUpI nagara meM cAra dvAroM se praveza karane para zAstra kA rahasya samajhane meM saralatA hotI hai| cAra dvAra haiM- upakrama, nikSepa, anugama aura naya / upakrama - zAstra kI vyAkhyA karane kA pahalA dvAra hai upakrama / jisase zrotA aura pAThaka ko zAstra kA prArambhika paricaya prApta hotA hai, arthAt zAstra kA gambhIra viSaya jisase apane samIpa A jAtA hai usa prayatna ko 'upakrama' kahA jAtA hai| isakA samAnArthaka zabda hai| anuyogadvAra sUtra ( 116 ) Illustrated Anuyogadvar Sutra

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upakrama aura anugama UPKRAM AND ANUGAM upakrama anugama

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citra paricaya 7 / Illustration No. 7 upakrama aura anugama anuyoga ko samajhane ke cAra dvAra haiM, upakrama, nikSepa, anugama aura ny| upakrama jaise kisI ne aMdhakAra pUrNa sthAna para rakhI huI vastu ko dekhane ke lie dIpaka kA prakAza kiyA to sabhI vastue~ dIkhane laga giiN| usI prakAra zAstra kA bhAva yA rahasya samajhane ke lie pahale usakA prArambhika paricaya pAnA upakrama kahA gayA hai| anugama jaise maMjila kI ora koI jA rahA hai, usakI chAyAkRti ko dekhakara athavA nadI kI bAlU reta para ma~r3e caraNa cinhoM kA anugamana karake dUsarA vyakti lakSya sthala taka pahu~cA jAtA hai, usI prakAra sUtra rUpa padoM ke AdhAra para prasaMga ke anurUpa usake vistRta gambhIra bhAva ko udghATita karanA-anugama hai| -sUtra 75 UPAKRAM AND ANUGAM To understand anuyoga (disquisition) there are four dvaras (doors or approaches)-upakram, nikshep, anugam, and naya. Upakram (introduction) As things lying in dark become visible by lighting a lamp, likewise the theme or essence of a scripture is revealed by introduction. Anugam (interpretation) By following the shadow or foot-prints in sand of a person proceeding towards a goal, another person can also reach the goal. In the same way by deriving suitable meaning from aphorisms according to the theme or context it is possible to interpret the profound and detailed meaning. This process is called anugam. -Sutra : 75

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upodghaat| isakI upayogitA kA kathana karate hue jinabhadra gaNi kahate - "jaise a~dhere meM rakhI huI vastu dIpaka jalAne se sApha dikhAI detI hai, usI prakAra zAstra meM nihita bhAva 'upakrama' yA upodghAta dvArA abhivyakta ho jAtA hai| (AcArya mahAprajJa, pR. 71) nikSepa - zAstra kI vyAkhyA karane kA yaha dUsarA dvAra hai| zabda meM artha kA nikSepa karake hama usase apane kathanIya bhAva ko vyakta kara sakate haiN| isakI vyAkhyA sUtra 7 ke vivecana meM kI jA cukI hai| anugama - zAstra kI vyAkhyA karane kA yaha tIsarA dvAra hai| sUtra ke anukUla artha kA kathana karanA anugama hai| nikSepa se kiye hue bhedoM meM se prakaraNa yA prasaMga ke anusAra artha kI udbhAvanA karanA anugama hai| cUrNikAra ke anusAra suttaM aNu tassa aNurUva gamaNattAto aNugamo'sUtra' ko aNu kahA hai| usake anukUla ucita artha kA gamana karanA - grahaNa karanA anugama hai| naya-sUtra kI vyAkhyA karane kA cauthA dvAra hai 'naya' / vastu ananta dharmAtmaka hotI hai, parantu usake ananta dharmoM kA eka sAtha kathana nahIM kiyA jA sktaa| usameM rahe anya dharmoM kA niSedha nahIM karate hue eka dharma kA sApekSa kathana karanA naya hai| isakI vyAkhyA Age kI jaayegii| Elaboration-Following the statement that Now I will take up each individual chapter.' the author first of all starts the discussion about Samayik, the first chapter. Meaning of samayik-The attitude of equanimity present in a soul devoid of attachment and aversion and endowed with a perception of sameness of all elements with the self is called sam (equality). The acquisition (aaya) of this attitude of equality (sam) through enhancing virtues like knowledge is called samaya. The instrument or means of this acquisition is called samayik. Thus samayik means the practice of acquiring the attitude of equality or equanimity. As already stated, to systematically analyze and elaborate the words and text or to fit (yoga) the right meaning at right place is called anuyoga (disquisition). It is easy to go in and come out of a city that has four gates (dvars). In the same way it is easy to grasp the meaning of a city-like complex scripture if we enter it through four gates (dvar or approach). These four dvars (approaches) are upakram, nikshep, anugam and naya. Avazyaka arthAdhikAra prakaraNa ( 117 ) The Discussion on Purview of Avashyak

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Upakram (introduction)-The first approach is upakram or introduction. That which provides preliminary information or an overview of a scripture to audience or reader is called upakram (introduction). In other words, the effort to bring the profound and complex content of a scripture within the reach of a reader is called introduction or preface. Stressing its importance Jinbhadra Gani states--As things lying in dark become visible by lighting a lamp, likewise the theme or essence of a scripture is revealed by introduction. (commentary by Acharya Mahaprajna, p. 71) Nikshep (attribution)-The second approach is nikshep, which means to attribute meanings to words to facilitate expressing ideas. (for details see aphorism 7) Anugam (interpretation)--The third approach is anugam. To correctly interpret an aphorism or a text is called anugam. To select proper terms or meanings from the variety of interpretations made through attribution in accordance with the theme or context is called anugam (interpretation). According to the commentator (Churni) Sutra or aphorism is called 'anu'; to derive a suitable meaning is called gaman. Thus to interpret correctly means anugam. Naya--The third approach is naya. Everything in this universe is multifaceted. All its attributes cannot be expressed at once. To express one of its attributes in relative terms without negating all the other attributes is called naya (aspector viewpoint). This will be discussed in details in due course. anuyogadvAra sUtra ( 886 ) Illustrated Anuyogadvar Sutra

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upakrama ke bheda 76. se kiM taM uvakkame ? upakrama prakaraNa THE DISCUSSION ON UPAKRAM uvakkame chavvihe paNNatte / taM jahA - ( 1 ) nAmovakkame, (2) TavaNovakkame, (3) dabbovakkame, (4) khettovakkame, (5) kAlovakkame, (6) bhAvovakkame / 76. (prazna) upakrama kyA hai ? (uttara) upakrama ke chaha bheda haiN| ve isa prakAra haiM - ( 1 ) nAma upakrama, (2) sthApanA upakrama, (3) dravya upakrama, (4) kSetra upakrama, (5) kAla upakrama, aura (6) bhAva upakrama | TYPES OF UPAKRAM 76. (Question) What is upakram ? (Answer) Upakram (introduction) is of six types-- (1) Naam upakram, (2) Sthapana upakram, (3) Dravya upakram, (4) Kshetra upakram, (5) Kaal upakram, and (6) Bhaava upakram. ( 9 ) nAma aura ( 2 ) sthApanA upakrama 77. nAma-ThavaNAo gyaao| 77. nAma upakrama aura sthApanA upakrama kA svarUpa nAma Avazyaka evaM sthApanA Avazyaka ke samAna jAnanA caahie| (1) NAAM AND (2) STHAPANA UPAKRAM 77. Naam and sthapana upakram should be taken to be same as naam avashyak and sthapana avashyak. vivecana- kisI cetana yA acetana padArtha Adi kA 'upakrama' aisA nAma rakha lenA nAma upakrama hai aura kisI padArtha meM upakrama kA Aropa karanA, upakrama rUpa se use mAna lenA sthApanA upakrama kahalAtA hai| ( nAma sthApanA kI vyAkhyA sUtra 12 ke anusAra samajhanA caahie|) ( 119 ) The Discussion on Upakram upakrama prakaraNa

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Elaboration--To assign upakram as a name to a living being, a non-living thing, (etc.) is called naam upakram or upakram as name. The notional installation or illustration or imagination of upakram in or through a thing is called sthapana upakram (upakram as notional installation). (refer to aphorisms 10-12 for details.) (3) dravya upakrama 78. se kiM taM dabovakkame ? davyovakkame duvihe pnnnntte| taM jahA-(1) Agamao ya, (2) noAgamao y| jAva jANagasarIra-bhaviyasarIravatiritte dabovakkame tivihe pnnnntte| taM jahA(1) sacitte, (2) acitte, (3) miise| 78. (prazna) dravya upakrama kyA hai ? (uttara) dravya upakrama do prakAra kA hai-(1) AgamataH dravya upakrama, (2) no-AgamataH dravya upakrama ityAdi pUrvavat jAnanA cAhie yAvat jJAyaka zarIra-bhavya zarIra vyatirikta dravya upakrama ke tIna prakAra haiN| ve isa taraha haiM-(1) sacitta dravya upakrama, (2) acitta dravya upakrama, (3) mizra dravya upkrm| (3) DRAVYA UPAKRAM 78. (Question) What is dravya upakram (physical aspect of upakram)? (Answer) Dravya upakram (physical aspect of upakram or introduction) is of two kinds-Agamatah dravya upakram (physical aspect of upakram in context of Agam) and No-Agamatah dravya upakram (physical aspect of upakram not in context of Agam or only in context of action). From this point up to inayak sharir-bhavya sharir vyatirikta dravya upakram (physical upakram other than the body of the knower and the body of the potential knower) should be considered same as mentioned earlier. However, jnayak sharir-bhavya sharir vyatirikta dravya upakram (physical upakram other than the body of the knower and the body of the potential knower) is of three anuyogadvAra sUtra ( 120 ) Ilustrated Anuyogadvar Sutra

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SSSSSSVDEOBEEPERSPENTEXTENSEXSEXHORRHORVARAN types--(1) Sachitt dravya upakram, (2) Achitta dravya a upakram, and (3) Mishra dravya upakram. vivecana-dravya upakrama kI vyAkhyA isa prakAra samajhanA cAhie bhUtakAlIna athavA bhaviSyatkAlIna upakrama kI paryAya ko vartamAna meM upakrama rUpa se kahanA dravya upakrama hai| isake bhI dravya Avazyaka ke bhedoM kI taraha Agama aura no-Agama ko Azrita karake do bheda haiN| unameM se upakrama ke artha meM upayoga zUnya jJAtA kI apekSA dravya upakrama hai aura noAgama ko Azrita karake jJAyaka zarIra, bhavya zarIra tathA donoM se vyatirikta, ye tIna bheda hote haiN| unameM upakrama ke anupayukta jJAtA kA nirjIva zarIra no-AgamataH jJAyaka zarIra dravya upakrama tathA jisa prApta zarIra se jIva Age upakrama ke artha ko sIkhegA vaha bhavya zarIra dravya upakrama hai aura ina donoM se vyatirikta no-Agama dravya upakrama kA sUtra meM isa prakAra se saMketa kiyA hai jisa upakrama kA viSaya sacitta dravya hai, acitta dravya hai aura sacitta-acitta donoM prakAra kA dravya hai, use anukrama se sacitta dravya upakrama, acitta dravya upakrama aura ubhaya-vyatirikta mizra dravya upakrama jAnanA caahie| inakI vizeSatA ke sAtha spaSTIkaraNa Age sUtroM meM kiyA jA rahA hai9 Elaboration-Dravya upakram (physical introduction) is explained as follows To call the past and future variant of upakram as upakram even at the present time is dravya upakram (physical introduction). Like dravya avashyak this also has two classes in context of Agam (physical aspect in context of Agam) and NoAgam (physical aspect not in context of Agam). Of these dravya upakram is in context of the knower uninvolved in the meaning of upakram. In context of No-Agam there are three classifications jnayak sharir, bhavya sharir, and other than these two. The lifeless body of an uninvolved knower is No-Agam inayak sharir dravya upakram (physical upakram as the body of the knower not in context of Agam). The existing body with which he will learn the meaning of upakram is bhavya sharir dravya upakram (physical upakram as the body of the potential knower not in context of Agam). The No-Agam dravya upakram other then these two has been defined as followsupakrama prakaraNa ( 121 ) The Discussion on Upakram

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The kinds of upakram that deal with sachitt dravya, achitta dravya and mishra dravya are called sachitt dravya upakram, achitta dravya upakram and mishra dravya upakram (other than the said two) respectively. These will be elaborated in the following aphorisms (1) sacitta dravya upakrama 79. se kiM taM sacittadavvovakkame ? sacittadavbovakkame tivihe paNNatte / taM jahA - ( 1 ) dupayANaM, (2) cauppayANaM, (3) apayANaM / ekkekke duvihe - ( 1 ) parikamme ya ( 2 ) vatthuviNAse ya / 79. (prazna ) sacitta dravya upakrama kyA hai ? (uttara) sacitta dravya upakrama tIna prakAra kA hai / yathA - (1) dvipada- do paira vAle manuSyAdi dravyoM kA upakrama, (2) catuSpada - cAra paira vAle pazu Adi kA upakrama, (3) apada - binA paira vAle vRkSAdi dravyoM kA upakrama / inameM se pratyeka upakrama do-do prakAra ke haiM - ( 1 ) parikarma dravya upakrama, (2) vastuvinAza dravya upakrama | (1) SACHITT DRAVYA UPAKRAM 79. (Question) What is this sachitt dravya upakram (physical upakram pertaining to the living)? (Answer) Sachitt dravya-upakram (physical upakram pertaining to the living) is of three types-(1) dvipad or pertaining to bipads, (2) chatushpad or pertaining to quadrupads, and ( 3 ) apad or pertaining to those without feet. Each of these have two sub-categories - (1) parikarma dravya upakram ( nourishment oriented) and (2) vastuvinash dravya upakram ( destruction oriented). vivecana- yahA~ upakrama kA prayoga prArambha karane ke artha meM kiyA gayA hai| isa sUtra meM upakrama kI prakriyA do taraha se batAI hai - parikarma rUpa aura vastuvinAza rUpa / manuSya, pazu va vRkSa Adi ko ghI, dUdha, cArA se puSTa karanA, jala- khAda Adi se saMvarddhana karanA parikarma hai tathA hAnikAraka tattvoM va zastra Adi se unako naSTa karanA vastuvinAza dravya upakrama hai| anuyogadvAra sUtra ( 122 ) Illustrated Anuyogadvar Sutra

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Elaboration-In this context upakram conveys the sense of 'to begin a work'. This aphorism explains the process of upakram (commencing the act of) in two ways-as parikarma (nourishment) and as vastuvinash (destruction). To start nourishing human beings, animals and plants by providing butter and milk, animal-feed, and water and manure respectively is called parikarma dravya upakram. To start destroying them with the help of weapons, etc. is vastuvinash dravya upakram. 80. se kiM taM dupae uvakkame ? __ dupae uvakkame dupayANaM naDANaM naTTANaM jallANaM mallANaM muTThiyANaM velaMbagANaM kahagANaM pavagANaM lAsagANaM AikkhagANaM laMkhANaM maMkhANaM tUNailANaM tuMbavINiyANaM kAyANaM maaghaannN| se te dupae uvkkme| 80. (prazna) dvipada upakrama kyA hai ? (uttara) nATyakAra (nATaka karane vAle), naTa (rasse para khela karane vAle), nartakoM (nRtya karane vAle), malloM (pahalavAnoM), mauSTikoM (muTThI se prahAra karane vAloM, paMjA lar3Ane vAloM), velabakoM (vidUSakoM, bahurUpiyoM), kathakoM (kathA-kahAnI kahane vAloM), plavakoM (chalA~ga lagAne vAloM, tairane vAloM), lAsakoM (hAsyotpAdaka kriyAe~ karane vAloM), bhAMDoM (AkhyAyakoM, zubhAzubha batAne vAloM, bhaviSyavaktA), laMkhoM (bA~sa Adi para car3hakara khela dikhAne vAloM), maMkhoM (citrapaTa dikhAne vAle bhikSuoM), tUNikoM (taMtuvAdya-vAdakoM), tuMbavINakoM (tumbe kI vINA-vAdakoM), kAvaDiyAoM tathA mAgadhoM (maMgala-pAThakoM) Adi do paira vAloM kA (parikarma aura vinAza karane ke lie) upakrama-dvipada dravya upakrama hai| 80. (Question) What is dvipad upakram (upakram pertaining to bipads)? (Answer) The upakram related to bipads (men) like nat (actors), nrityak (dancers), jalla (rope-dancers), malla (wrestlers), maushtik (boxers and arm-wrestlers), velambak (clowns and disguise artists), kathak (story tellers), plavak (divers, swimmers, artists of show jumping), lasak (dancedrama artists, eulogizers), akhyayak (fortune-tellers), lankha (acrobats, specially those who use a pole), mankha upakrama prakaraNa ( 123 ) The Discussion on Upakram

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(mendicants seeking alms by displaying pictures), tunika (beggars playing one-stringed musical instrument), tumbavink (musicians playing sitar-like stringed instruments), kabadik (those who carry luggage in slings tied at both ends of a pole), and magadh (bards) is called dvipad upakram (upakram pertaining to bipads). vivecana-AcArya zrI AtmArAma jI ma. ne isakI vyAkhyA kI hai-vastu ke mUlaguNoM kA prakAza karanA parikarma dravya upakrama hai, yadi mUlaguNa kA nAza kiyA jAye to use vinAza dravya upakra ___Elaboration-This includes both as parikarma (nourishment) and as vastuvinash (destruction). Acharya Shri Atmaram ji M. has defined these two as to expose or enhance the fundamental properties of a thing is parikarma dravya upakram and to conceal or destroy the same is vastuvinash dravya upakram. 81. se kiM taM cauppae uvakkame ? cauppae uvakkame cauppayANaM AsANaM hatthINaM iccaai| se taM cauppae uvkkme| 81. (prazna) catuSpada upakrama kyA hai ? (uttara) cAra paira vAle azva, hAthI Adi pazuoM ke upakrama ko catuSpada upakrama kahate haiN| 81. (Question) What is chatushpad upakram (upakram pertaining to quadrupads)? (Answer) The upakram related to quadrupads like horse, elephant, and other such animals is called chatushpad upakram (upakram pertaining to quadrupads). vivecana-unako prazikSita karanA, tela Adi mAliza se puSTa banAnA tathA prahAra Adi se vinaSTa karane kA upakrama isI meM samajhanA caahie| Elaboration--This includes training them, making them strong by providing nourishment as well as injuring and destroying them. 82. se kiM taM apae uvakkame ? anuyogadvAra sUtra ( 124 ) Illustrated Anuyogadvar Sutra

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parikarma aura vastu vinAza PARIKARM AND VASTU VINASH vastu vinAza parikarma catuSpada parikarma dvipada parikarma (acitta dravya parikarma mizra dravya parikarma apada parikarma TRICK SHTRARI 8

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citra paricaya 8 Illustration No. 8 parikarma aura vastu vinAza sacitta dravya upakrama ke tIna bhedoM ke do rUpa haiM-(1) parikarma, aura (2) vastu vinaash| jaise-vRkSa ko khAda pAnI dekara sundara aura sudRr3ha banAne kA prayAsa parikarma hai aura usakA samUla uccheda kara denA, vastu-vinAza hai| (1) dvipada parikarma-do paira vAle (manuSyoM ko) jaise-pahalavAna ko khilA-pilAkara, tela, mAliza karake zarIra ko puSTa krnaa| (2) catuSpada parikarma, jaise-ghor3A ityAdi pazuoM ko ghAsa, dAnA Adi khilAnA mAliza krnaa| (3) apada parikarma, jaise-Ama Adi phaloM ko sApha karake unake kAgaja meM lapeTa kara puAla Adi meM surakSita rkhnaa| (4). acitta dravya parikarma-acitta dravya ko adhika guNakArI banAnA jaise gur3a yA zakkara se mizrI patAse bnaanaa| (5) mizra dravya parikarma-jaise-AbhUSaNa pahane hue ghor3e ke pA~voM yA pITha para mAliza krnaa| -sUtra 79 se 84 PARIKARMA AND VASTU-VINASH The three types of sachitt dravya-upakram have two sub-categories each--parikarma (nourishment) and vastu-vinash (destruction). For example to nourish a tree by providing manure and water is parikarma. To pull it out from roots is vastu-vinash. (1) Dvipad-parikram--To make a bipad (man), like a wrestler, strong by giving him nourishing food and oil-massage. (2) Chatushpad-parikram-To give fodder and grains, and to massage quadrupeds like horse. (3) Apad-parikram-To clean, wrap in paper, and place in hay fruits like mango. (4) Achitt dravya parikarm-To improve qualities of a material thing, for example to make crystals or condiments from sugar or jaggery. (5) Mishra dravya parikarm-To massage the legs or back of a horse adorned with ornaments. -Sutra : 79-84

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apae uvakkame aMbANaM aMbADagANaM iccaai| se taM apae uvkkme| se taM scittdbovkkme| 82. (prazna) apada dravya upakrama kyA hai ? (uttara) Ama, AmrAtaka Adi binA paira vAloM se sambandhita upakrama ko apada upakrama kahate haiN| ___ yaha apada upakrama kA varNana huaa| yaha sacitta dravya upakrama kA varNana huaa| (isake bhI pUrvokta do bheda samajha lene caahie|) 82. (Question) What is apad upakram (upakram pertaining to those without feet) ? (Answer) The upakram related to those without feet like mango, amla (Emblica officinalis), and other such plants is called apad upakram (upakram pertaining to those without feet). This includes the two sub-categories of nourishing and destroying. This concludes the description of apad upakram (upakram pertaining to those without feet). This also concludes the description of Sachit dravya upakram (physical upakram related to the living). (2) acitta dravya upakrama 83. se kiM taM acitta davyovakkame ? acitta dabokkame khaMDAINaM guDAdINaM mtsyNddiinnN| se taM acittdvbovkkme| 83. (prazna) acitta dravya upakrama kyA hai ? (uttara) khA~r3a (zakkara), gur3a, mizrI athavA rAba Adi padArthoM se sambandhita upakrama ko acitta dravya upakrama kahate haiN| (2) ACHITTA DRAVYA UPAKRAM 83. (Question) What is achitta dravya upakram. (physical upakram pertaining to the non-living) ? upakrama prakaraNa ( 125 ) The Discussion on Upakram

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(Answer) The upakram related to sugar, jaggery, mishri (large crystals of sugar), raab (molasses) and other such non-living things is called achitta dravya upakram (physical upakram pertaining to the non-living). vivecana-acitta dravya upakrama ke bhI upAya vizeSa se madhuratA kI vRddhi karane aura inake vinAza karane rUpa pUrvokta do bheda samajhane caahiye| Elaboration--This includes the two sub-categories of nourishing and destroying. (3) mizra dravya upakrama 84. se kiM taM mIsae dvyovkke| mIsae davvovakkame se ceva thAsaga-AyaMsagAimaMDite aasaadii| se taM mIsae dvyovkkme| se taM jANayasarIra-bhaviyasarIravairitte dvvovkkme| se taM noAgamao dvyovkkmme| se taM dvyovkkme| 84. (prazna) mizra dravya upakrama kyA hai ? (uttara) bubuda ke AkAra vAle AbhUSaNa aura gale ke AbhUSaNa Adi se vibhUSita azva Adi ke parikarma ko mizra dravya upakrama kahate haiN| (isake bhI pUrvokta do bheda samajhane caahiye|) isa prakAra se jJAyaka zarIra-bhavya zarIra vyatirikta dravya upakrama kA svarUpa jAnanA cAhie aura isake sAtha hI no-AgamataH dravya upakrama evaM dravya upakrama kI vaktavyatA pUrNa huii| (3) MISHRA DRAVYA UPAKRAM 84. (Question) What is mishra dravya upakram (mixed physical upakram)? (Answer) The upakram related to animals like horses (living) embellished with drop shaped and other ornaments (non-living) is called mishra dravya upakram (mixed physical upakram). (This includes the two sub-categories of nourishing and destroying as well as enhancing and reducing.) anuyogadvAra sUtra ( 126 ) Illustrated Anuyogadvar Sutra

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FORUMEXXEXEBIDIEOXEXPRGdeg06deg058586degEXGORIGORRHORIGORNAORTAORNAONKORMAOINIORMAORMAOMIO This concludes the description of mishra dravya upakram (mixed physical upakram). This concludes the description of jnayak sharir-bhavya sharir vyatirikta dravya upakram (physical upakram other than the body of the knower and the body of the potential knower). This concludes the description of No-Agamatah dravya upakram (physical aspect of upakram not in context of Agam) and dravya upakram (physical aspect of upakram). (4) kSetra upakrama 85. se kiM taM khettovakkame ? khettovakkame jaNaM hala-kuliyAdIhiM khettAI uvkkaamijjNti| se taM khettovkkme| 85. (prazna) kSetra upakrama kyA hai? (uttara) hala, kulika Adi ke dvArA kSetra ko upakrAnta karanA kSetra upakrama hai| (4) KSHETRA-UPAKRAM 85. (Question) What is kshetra upakram (area upakram)? ___ (Answer) The upakram related to changes in a farmland with the help of plough, kulik (a stick-like wooden implement) and other such implements is called kshetra upakram (area upakram). vivecana-yahA~ kSetra upakrama kA svarUpa batalAyA hai ataH kSetra zabda se gehU~ Adi anna utpanna karane vAle sthAna-kheta ko grahaNa kiyA hai| ataeva hala aura kulika-kheta meM se tRNAdi ko haTAne ke kAma meM Ane vAlA eka prakAra kA hala (dezI bhASA meM ise 'bakhara' kahate haiN|) se jotakara kheta ko bIjotpAdana yogya banAnA parikarma viSayaka kSetra upakrama hai aura usI kSetra ko hAthI Adi bA~dhakara bIjotpAdana ke ayogya (baMjara) banA denA vinAza-viSayaka kSetra upakrama hai| kyoMki hAthI ke mala mUtra se tathA usake bhAra se daba jAne ke kAraNa kheta kI bIjotpAdana zakti kA nAza ho jAtA hai| Elaboration-Here the area related upakram is defined. Area is taken to be an agricultural land or farm. Thus to start making the land suitable for farming by using plough and a stick-like upakrama prakaraNa ( 127 ) The Discussion on Upakram CpYAYVAYOVATOVAYOVAYODAYOVAYOVAYODAYODAYOVAYOVAYOVAYOVATOVAYODAYOVAYOVAYOVAYOvAYOVAYOVAYOVAYOVANOVAYOVAYOVAYOVAYOVAYOVAYODAYAVAYS

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wooden implement (for removing weeds) is called area related upakram in context of improvement (parikarm). The excreta of an elephant and compression of the soil by its weight makes the soil infertile. Thus to start making a farm land unsuitable for farming by tethering elephant or other animals there, is area related upakram in context of spoiling (vastuvinash). (5) kAla upakrama 86. se kiM taM kAlovakkame ? kAlovakkame jaM NaM nAliyAdIhiM kAlassovakkamaNaM kIrati / se taM kAlovakkame / 86. (prazna) kAla upakrama kyA hai ? (uttara) nAlikA Adi ke dvArA jo kAla kA yathAvat jJAna hotA hai, vaha kAla upakrama hai| (5) KAAL - UPAKRAM 86. (Question) What is kaal upakram (time upakram) ? (Answer) The upakram related to understanding the changes in time with the help of nalika (tube-shaped-clock) and other such instruments is called kaal-upakram (time upakram). vivecana - nAlikA (tA~be kA banA peMde meM eka chidra sahita pAtra - vizeSa, jalaghar3I, retaghar3I Adi) athavA kIla Adi kI chAyA dvArA kAla kA jo yathArtha parijJAna kiyA jAtA hai vaha parikarmarUpa tathA nakSatroM Adi kI cAla se jo kAlavinAza hotA hai vaha vastuvinAza rUpa kAla upakrama hai; yahA~ isameM jyotiSa ke anusAra burA samaya bhI sammilita hai| Elaboration-Nalika is a tube-shaped copper vessel with a measured hole. When filled with water or sand it gets empty within a specific time thereby providing a means of measuring time. Other such instruments are sand clock, sun-dial, etc. Knowing of exact time with the help of such instruments is kaal upakram (time upakram) in context of parikarm (enhancement; here it means correctness or exactness). Knowing of variations (shortening, etc.) in standard time scale by studying the movement of planets is kaal upakram (time upakram) in context anuyogadvAra sUtra ( 128 ) Illustrated Anuyogadvar Sutra

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of vastuvinash (destruction or shortening); this also includes the unfavourable times in astrological terms. (6) bhAva upakrama 87. se kiM taM bhAvovakkame ? bhAvovakkame duvihe pnnnntte| taM jahA-(1) Agamato ya, (2) noAgamato y| . 87. (prazna) bhAva upakrama kyA hai ? (uttara) bhAva upakrama ke do prakAra haiN| ve isa taraha haiM-(1) AgamataH bhAva upakrama, (2) no-AgamataH bhAva upkrm| (6) BHAAVA-UPAKRAM 87. (Question) What is bhaava upakram (upakram as essence or perfect upakram)? (Answer) Bhaava upakram (perfect upakram) is of two types--(1) Agamatah bhaava upakram (perfect upakram in context of Agam), and (2) No-Agamatah bhaava upakram (perfect upakram not in context of Agam). (1) AgamataH bhAva upakrama 88. se kiM Agamao bhAvovakkame ? Agamao bhAvovakkame jANae uvutte| se taM Agamao bhaavovkkme| 88. (prazna) AgamataH bhAva upakrama kyA hai ? (uttara) upakrama (sAdhana) ke artha ko jAnatA ho sAtha hI jo usake upayoga se bhI yukta ho, vaha AgamataH bhAva upakrama hai| (1) AGAMATAH BHAAVA UPAKRAM 88. (Question) What is Agamatah bhaava upakram (perfect upakram with scriptural knowledge) ? (Answer) One who knows the meaning of the word upakram (means) and is sincerely involved with it is called Agamatah bhaava upakram (perfect upakram with scriptural knowledge). upakrama prakaraNa ( 129 ) The Discussion on Upakram

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(2) no- AgamataH bhAva upakrama 89. se kiM noAgamato bhAvovakkame ? noAgamato bhAvovakkame duvihe paNNatte / taM jahA - ( 1 ) pasatthe ya, (2) apasatthe ya / 89. (prazna ) no - AgamataH bhAva upakrama kyA hai ? (uttara) no- AgamataH bhAva upakrama (dUsaroM ke bhAvoM ko jAnane kA sAdhana ) do prakAra hai / yathA - ( 9 ) prazasta, aura (2) aprazasta / (2) NO-AGAMATAH BHAAVA UPAKRAM 89. (Question) What is No-Agamatah bhaava upakram (perfect upakram without scriptural knowledge)? (Answer) No-Agamatah bhaava upakram (perfect upakram without scriptural knowledge; here bhaava upakram conveys 'the means or effort of knowing the thoughts and intentions of others') is of two types(1) Prashast (righteous ), and (2) Aprashast ( unrighteous). 90. se kiM taM apasatthe bhAvovakkame ? apasatthe bhAvovakkame DoDiNi-gaNiyA'maccAINaM / se taM apasatthe bhAvovakkame / 90. ( prazna) aprazasta bhAva upakrama kyA hai ? (uttara) jaise DoDiNI brAhmaNI, gaNikA aura amAtyAdi kA anya ke bhAvoM ko jAnane rUpa jo upakrama hai vaha aprazasta bhAva upakrama hai ? 90. (Question ) What is aprashast bhaava upakram (unrighteous means of knowing thoughts of others)? (Answer) The means employed by Dodini Brahmani, courtesan, minister, etc. (this refers to characters in some stories stated hereafter) to know the thoughts or intentions of others falls in the category of aprashast bhaava upakram (unrighteous means of knowing thoughts of others). vivecana - aprazasta bhAva upakrama ko samajhane ke lie DoDiNI brAhmaNI Adi ke tIna udAharaNa diye gaye haiM, jinakA vistRta rUpa TIkAoM meM isa prakAra milatA hai anuyogadvAra sUtra ( 130 ) Illustrated Anuyogadvar Sutra

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bhAva upakrama BHAVA UPKRAM gamo arihaMtANaM. nAmo sidhdANe, gamo AyariyANaM gamovajhAyANaM, no AgamataH prazasta bhAvopakrama gamoloesabasAhaNe AgamataH bhAva upakrama NOJA no Agamata::aprazasta bhAvopakrama

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| citra paricaya 9 / Illustration No.9 bhAva upakrama (1) AgamataH bhAva upakrama ___ jo jisa vastu ko jAnatA hai, vaha usake artha meM upayukta (saMlagna) rahe, yaha bhAvopakrama hai| jaise koI Avazyaka kA yA 'Namo arihaMtANaM' pada kA artha jAnatA hai aura vaha usI artha meM lIna huA arihaMta siddha bhagavAna kA dhyAna karatA huA unako vandanA karatA hai-yaha AgamataH bhAvopakrama hai| (2) no AgamataH prazasta bhAvopakrama ___gurujanoM ke saMketa ko samajhakara ziSya guru ke pAsa zAstra adhyayana karatA hai to yaha no AgamataH prazasta bhAvopakrama hai| jaise-guru yadi ghar3I kI tarapha dekheM to ziSya samajha jAtA hai zAstra svAdhyAya kA samaya ho gayA hai| vaha zAstra par3hane A jAtA hai| (3) no AgamataH aprazasta bhAvopakrama kisI ke A~khoM, hAthoM Adi ke izAroM se usake bhAvoM, vicAroM ko jAna lenaa| jaise-rAjA sabhA meM jAne ko taiyAra hokara rAja mukuTa kI tarapha dekhatA hai| taba sevaka mukuTa lekara hAjira ho jAtA hai| -sUtra 88 se 90 BHAVA UPAKRAM (1) Agamatah-bhaava-upakram One who knows the meaning of a particular thing and is sincerely involved with it. For example--some one who knows the meaning of Avashyak or the phrase Namo Arihantanam and offers homage to Arihant Siddha Bhagavan sincerely meditating about his virtues is called Agamatah-bhaava-upakram. (2) No-Agamatah-Prashast-bhaava-upakram While studying from a teacher the disciple who understands his gestures and acts accordingly is called No-Agamatah-Prashast-bhaava. upakram. For example when the teacher looks at the clock the student understands that it is time to study. He comes to study scriptures. (3) No-Agamatah-Aprashast-bhaava-upakram To understand the mind of a person through his gestures with eyes or hands. For example-The king, ready to go to the assembly, glances at his crown. The attendant at once brings the crown. -Sutra : 88-90

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ODUPROOROOROROOROOROOROOROORPALOYALYAYOYAYOYATOVAVOTATOUT (1) DoDiNI brAhmaNI ___kisI grAma meM DoDiNI nAma kI brAhmaNI rahatI thii| usakI tIna putriyA~ thiiN| unakA vivAha karane ke samaya mA~ ke mana meM vicAra huA ki 'jamAiyoM ke svabhAva ko jAnakara mujhe apanI putriyoM ko vaisI zikSA-sIkha denI cAhie, jisase usI ke anurUpa vyavahAra kara ve apane jIvana ko sukhI banA skeN|' aisA vicAra kara usane apanI tInoM putriyoM ko bulAkara salAha dI-"suhAgarAta ke samaya jaba tumhAre pati sone ke lie zayana-kakSa meM AyeM taba tuma koI na koI kalpita doSa lagAkara unake mastaka para lAta maarnaa| taba vaha jo kucha tumase kaheM vaha dUsare dina Akara mujhe batA denaa|" putriyoM ne mAtA kI bAta mAna lI aura rAtri ke samaya apane-apane zayana-kakSa meM baiThakara pati kI pratIkSA karane lgiiN| jaba jyeSTha putrI kA pati zayana-kakSa meM AyA, taba usane kalpita doSa lagAkara usake mastaka para eka lAta maarii| lAta lagate hI pati ne usakA paira pakar3akara kahA-"priye ! patthara se bhI kaThora mere sira para tumane jo ketakI puSpa ke samAna komala paga pArA, usase tumhArA caraNa dukhane lagA hogaa|" isa prakAra kahakara vaha usake paira ko sahalAne lgaa| dUsare dina bar3I putrI ne Akara rAta vAlI ghaTanA mA~ ko sunaaii| sunakara brAhmaNI bahuta harSita huii| jamAI ke isa bartAva se vaha usake svabhAva ko samajha gaI aura putrI se bolI"tU apane ghara meM jo karanA cAhegI, kara skegii| kyoMki tere pati ke vyavahAra se lagatA hai ki vaha terI AjJA ke adhIna rhegaa|" dUsarI putrI ne bhI mAtA kI salAha ke anurUpa apane pati ke mastaka para lAta maarii| taba usakA pati thor3A ruSTa huA aura usane apane roSa ko mAtra zabdoM dvArA prakaTa kiyA"mere sAtha tUne jo vyavahAra kiyA vaha kula-vadhuoM ke yogya nahIM hai| tujhe aisA nahIM karanA caahie|" aisA kahakara vaha zAnta ho gyaa| Pal prAtaH dUsarI putrI ne bhI saba prasaMga mAtA ko kaha sunaayaa| mAtA ne saMtuSTa hokara usase kahA-"beTI ! tU bhI apane ghara meM icchAnurUpa pravRtti kara skegii| tere pati kA svabhAva aisA hai ki vaha cAhe jitanA ruSTa ho, lekina kSaNa mAtra meM zAnta-tuSTa ho jaayegaa|" tIsarI putrI ne bhI kisI doSa ke bahAne apane pati ke mastaka para lAta maarii| isase pati ke krodha kA pAra nahIM rahA aura DA~Takara bolA-"arI duSTA ! kula-kanyA ke ayogya yaha vyavahAra mere sAtha kyoM kiyA?" phira mAra-pITakara use ghara se bAhara nikAla diyaa| taba OM rotI-kalapatI mA~ ke pAsa AI aura saba ghaTanA kaha sunaaii| ___ ( 131 ) The Discussion on Upakram K upakrama prakaraNa PHOTopHoPHOTOHOTODHODIEODYEOS ADDINDIAN

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___putrI kI bAta se brAhmaNI ko usake pati ke svabhAva kA patA laga gayA aura usI samaya vaha usake pAsa aaii| mIThe-mIThe boloM se jamAI ke krodha ko zAnta karake bolI-"jamAIrAja ! hamAre kula kI yaha rIti hai ki kisI zApa ke duSprabhAva se mukta hone ke lie suhAgarAta meM prathama samAgama ke samaya pati ke mastaka para caraNa-prahAra kiyA jAtA hai, isI kAraNa merI putrI ne Apake sAtha aisA vyavahAra kiyA hai, kintu durbhAvanA yA duSTatA se yaha saba nahIM kiyA hai| isalie Apa zAnta hoM aura isa bartAva ke lie use kSamA kreN|" ___ sAsU kI bAta se usakA gussA zAnta huaa| usake bAda brAhmaNI ne tIsarI putrI ko salAha dI-"beTI ! terA pati durArAdhya hai, isalie usakI AjJA kA barAbara pAlana karanA aura sAvadhAnIpUrvaka devatA kI taraha usakI sevA krnaa|" (2) vilAsavatI gaNikA kI kathA kisI nagara meM vilAsavatI nAma kI eka gaNikA rahatI thii| vaha cauMsaTha kalAoM meM nipuNa thii| usane apane yahA~ Ane vAle puruSoM kI ruci tathA abhiprAya jAnane ke lie apane rati-bhavana meM dIvAroM para bhinna-bhinna prakAra kI rati-kriyAe~ karate vividha jAti ke puruSoM ke citra lagavAye the| jo puruSa vahA~ AtA vaha use apane jAti svabhAva ke anusAra citra ke nirIkSaNa meM tanmaya hokara dekhtaa| use dekhakara gaNikA usakI ruci, jAti, svabhAva Adi ko samajha jAtI thI aura usI ke anurUpa usa puruSa ke sAtha bartAva kara usakA Adara-satkAra karake prasanna kara detI thii| pariNAmasvarUpa usake yahA~ Ane vAle vyakti prasanna hokara inAma meM khUba dravya dekara jaate| (3) suzIla amAtya kI kathA kisI nagara meM bhadrabAhu nAma kA rAjA rAjya karatA thaa| usake amAtya kA nAma suzIla thaa| vaha dUsaroM ke manobhAvoM ko jAnane meM nipuNa thaa| ___ eka dina azva-krIr3A karane ke lie amAtya sahita rAjA nagara ke bAhara gyaa| calate-calate rAste ke kinAre baMjara bhUmi meM ghor3e ne laghu-zaMkA (pezAba) kara dii| vaha mUtra vahA~ jaisA kA taisA bharA rahA, sUkhA nhiiN| azva-krIr3A karane ke bAda rAjA punaH usI rAste se vApasa lauttaa| taba bhI mUtra ko pahale jaisA bharA dekhakara rAjA ke mana meM vicAra AyA-'yadi yahA~ tAlAba banavAyA jAye to vaha hamezA jala se bharA rhegaa| yaha bhUmi bahuta kaThora hai|' ___ isa prakAra kA vicAra karatA-karatA rAjA bahuta dera taka usa bhUmi-bhAga kI ora tAkatA rahA aura usake bAda apane mahala meM lauTa aayaa| anuyogadvAra sUtra ( 132 ) Illustrated Anuyogadvar Sutra

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-aprazasta bhAvopakrama CUTTER. Exotka tAr3anA Fox Private & Personal Use Only APRASHAST BHAVOPKRAM XXXXX cetAvanI anunaya 10

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| citra paricaya 10 / Illustration No. 10 aprazasta bhAvopakrama vyavahAra, saMketa, cehare ke bhAva Adi se dUsare ke bhAvoM/vicAroM ko samajhanA bhAvopakrama hai| jisa bhAvopakrama meM sAMsArika vRttiyA~ pradhAna hoM vaha aprazasta bhAvopakrama hai| udAharaNa ke rUpa meM (1) eka brAhmaNa kanyA ne mAtA kI salAha se vivAha kI prathama rAtri meM pati ke sira para lAta maarii| sneha, anurAga vaza pati usake pA~va sahalAne lagatA hai ki kahIM tumhAre komala pA~voM ko coTa to nahIM lagI? isase patnI ne pati kI manovRtti samajha lI-"yaha sadA hI patnI kA AjJAdhIna rhegaa|" (2) dUsarI kanyA ne bhI pati ke sira para lAta mArI, taba pati ne kucha ruSTa hokara kahA-'aisA vyavahAra ucita nahIM hai|' isase samajhA ki pati ke sAtha vyavahAra meM thor3I-sI sAvadhAnI baratanI caahie| (3) tIsarI kanyA ne bhI pati ke sira para lAta mArI, taba pati ne krodha karake use DA~Tate hue lAThI se pITA, coTI pakar3akara dhakke mArakara ghara se nikAla diyaa| isase yaha niSkarSa nikalA ki pati kA svabhAva bahuta kaThora hai| usako sadA prasanna rakhane kA prayAsa karanA caahie| -sUtra 90 APRASHAST-BHAAVA-UPAKRAM To understand the feelings and thoughts of a person through his behaviour, gestures, and expressions on the face is bhaava-upakram. When worldly attitudes are given importance it is called Aprashastbhaava-upakram. Examples (1) At the advise of her mother a Brahmin girl kicks at the head of husband on the honeymoon night. Out of love and affection the husband caresses her foot saying that her delicate foot might have been hurt. This reveals his disposition that he will always be a hen-pecked husband. ___ (2) The second daughter also kicked her husband. He got a little angry and said, "This does not behove you." This revealed that she will have to be a little careful in dealings with her husband. (3) Third daughter also kicked her husband. The husband lost his temper, beat her with a stick, caught her with her hair and threw her out of the house. This revealed that the husband was unsparing and he should always be kept in good humour. -Sutra : 90

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catura amAtya rAjA ke manogata bhAvoM ko barAbara samajha rahA thaa| usane rAjA se pUche binA hI usa sthAna para eka vizAla tAlAba banavAyA aura usake kinAre SaD RtuoM ke phala-phUla vAle vRkSa lagavA diye| isake bAda kisI samaya punaH rAjA amAtya sahita usI rAste para ghUmane niklaa| vRkSa-samUha se suzobhita jalAzaya ko dekhakara rAjA ne amAtya se pUchA-"yaha ramaNIka jalAzaya kisane banavAyA hai ?" / ___ amAtya ne uttara diyA-"mahArAja ! Apane hI to banavAyA hai|" amAtya kA uttara sunakara rAjA ko Azcarya huaa| vaha bolA-"sacamuca hI yaha jalAzaya maiMne banavAyA hai ? jalAzaya banavAne kA koI Adeza maiMne diyA ho, yAda nahIM hai|" amAtya ne pUrva samaya kI ghaTanA kI yAda dilAte hue batAyA-"mahArAja ! isa sthAna para bahuta samaya taka mUtra ko binA sUkhA dekhakara Apane yahA~ jalAzaya banavAne kA vicAra kiyA thaa| Apake manobhAvoM ko jAnakara maiMne yaha jalAzaya banavA diyA hai|" ___ apane amAtya kI dUsare ke manobhAvoM ko parakhane kI pratibhA dekhakara rAjA bahuta prasanna huA aura usakI prazaMsA karane lgaa| (-maladhArI hemacandra vRtti, pR. 125-126 mu. jaM.) Elaboration--The stories related to the characters referred to in the aphorism as mentioned in commentaries are as follows: (1) DODINI BRAHMANI In a village lived a Brahmani named Dodini. She had three daughters. At the time of their marriage the mother thought that 'she should somehow know about the nature of the three sons-in-law and accordingly educate or advise her daughters to enable them to make their married life happy by making the required adjustments in their behaviour.' With these thoughts she called her three daughters and said--"On the first night when your husband enters the bedroom you should kick him on his head on pretext of some imaginary mistake by him. Next morning come to me and inform about the reaction." The daughters agreed and on the said night they all waited for their husbands in their bed-rooms. __When the eldest daughter's husband entered the bed-room, she made an imaginary accusation and kicked him on the head. upakrama prakaraNa ( 133 ) The Discussion on Upakram

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On getting hit, the husband held her foot and said "Darling! Your soft foot, as delicate as the ketaki (screwpine) flower, has struck my hard head. It must have hurt you." With these words he affectionately massaged her foot. Next morning the elder daughter came and narrated what happened last night. Dodini was very much pleased. She could understand the nature of her son-in-law with this reaction. She said to her daughter-"You will be the master of your household. The behaviour of your husband indicates that he will always be under your command." As advised by her mother the second daughter also kicked her husband. He was stunned but he expressed his anger only in words "Your behaviour is not becoming ladies of cultured families. You should refrain from doing so." And he ended the matter there. Next morning the second daughter also narrated what happened last night. Dodini was very much satisfied. She said to her daughter-"You will also do as you like in your household. Your husband's nature is such that no matter how angry he gets at you, he will soon forgive and forget everything and do as your please." The third daughter also kicked her husband. He got flared up and shouted-"O wicked woman! Why this disgraceful behaviour?" He then beat her up and threw her out of the house. Wailing and weeping she came to her mother and told her everything. Dodini understood the nature of her son-in-law. She at once came to the son-in-law, pacified him with her sweet soothing words and added-"Son! This is a tradition in our family that to remove the ill effect of some past curse the husband is kicked on the head on the first night immediately before consummation. That was the reason for my daughter's behaviour. She did not do it with some ill intent or wickedness. Please calm down and forgive her for what she did." This pacified the son-in-law. anuyogadvAra sUtra ( 134 ) Illustrated Anuyogadvar Sutra

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Later Dodini told her third daughter--"Daughter ! Your husband is hard to please. Therefore you should always do as he says and treat him like a god taking due care. (2) COURTESAN VILASAVATI In a city lived a courtesan named Vilasavati. She was accomplished in sixty four arts. In order to assess the taste and expectations of her visitors she had decorated her entertainment hall with erotic paintings of characters of various races and from various places in different erotic postures. She observed the reaction of her visitor when his full attention was drawn to a painting suited to his individual liking and racial preference. With this she could accurately assess the nature, likings and even the background of the visitor. After that she adjusted her behaviour accordingly and pleased the visitor with her favours. As a result her customers went pleased and satisfied and paying her ample rewards. (3) MINISTER SUSHIL In a city ruled a king named Bhadrabahu. The name of his minister was Sushil. He was expert in reading thoughts of others. One day, accompanied by the minister, the king went out of town for horse riding. After covering some distance the horse urinated at a bare spot on the ground. The pool of urine remained as it was because the hard earth did not absorb it. On his way back when the king looked at the spot he still found the pool of urine. This gave the king an idea--'If a large pond is made here it will always be filled with water. This land is hard and compact.' With these thoughts the king continued to look at that portion of land for quite some time before returning to the palace. All the time the clever minister was aware of what went on in the king's mind. Without seeking permission from the king he got a large pond constructed at that spot and filled the space around with all-season flowering and fruit bearing trees and plants. Much later, once again the king and the minister went for an outing on the same path. Seeing the beautiful pond surrounded upakrama prakaraNa ( 234 ) The Discussion on Upakram 9 *

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by attractive greenery the king asked the minister--"Who got this beautiful pond made ?" The minister replied--"Sire ! You only got it made." The answer surprised the king. He asked--"Indeed, was it me who got this made ? I don't remember giving any such order." The minister made the king recall the past incident and added--"Sire ! Seeing the urine pool not disappear for some time you thought of making a pond here. Reading your thoughts I got this pond constructed." The king was pleased with his minister's ability of reading thoughts of other people. He praised and rewarded him. (Vritti by Maladhari Hemchandra, pp. 125-126) 91. se kiM taM pasatthe bhAvovakkame ? pasatthe bhAvovakkame gurumaaiinnN| se taM pasatthe bhaavovkkme| se taM noAgamato bhaavovkkme| se taM bhaavovkkme| 89. (497) APTEET YTT 3454 FTIG (uttara) guru Adi ke abhiprAya ko samyak prakAra se jAnane kA prayatna prazasta 77-3711467: 419 3456H 91. (Question) What is prashast bhaava upakram (righteous means of knowing thoughts of others)? (Answer) The means employed (effort made) to know the thoughts or intentions of the guru etc. is (falls in the category of) prashast bhaava upakram (righteous means of knowing thoughts of others). This concludes the description of prashast bhaava upakram (righteous means of knowing thoughts of others). This also concludes the description of No-Agamatah bhaava upakram (the means or effort of knowing the thoughts and intentions of others without scriptural knowledge) and bhaava upakram (upakram as essence or perfect upakram). anuyogadvAra sUtra ( 87EUR ) Illustrated Anuyogadvar Sutra

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vivecana-isa sUtra meM bhAvopakrama ke sambandha meM batAyA hai| prasaMgAnusAra bhAva ke aneka ) artha hote haiM, jaise-svabhAva, sattA, abhiprAya, vicAra aadi| yahA~ 'bhAva' upakrama kA artha hai, kisI kA abhiprAya jAnane ke lie kiyA gayA prayatna, upAya yA manogata bhAvoM ko pahacAna kara usake vyavahAra ko samajhane kI caturatA, klaa| yaha eka prakAra kA manovijJAna hai| ___ pichale sUtroM kI taraha yahA~ bhI bhAvopakrama ke AgamataH tathA no AgamataH do bheda batAye haiN| no-AgamataH bhAvopakrama ke bhI do bheda haiM-(1) aprazasta bhAvopakrama, tathA (2) prazasta bhaavopkrm| ___ aprazasta kA artha hai-jisakA uddezya laukika ho, svArthapUrNa ho vaha aprazasta tathA Atma-kalyANa ke prayojana se kiyA gayA prazasta hai| aprazasta bhAvopakrama ko samajhAne ke lie zAstrakAra ne tIna dRSTAnta diye haiN| __ prazasta bhAvopakrama ko samajhAne ke lie sUtrakAra ne gurujanoM ke iMgita-saMketa-ceSTA-mukha mudrA Adi se unakA manobhAva samajhakara vaisA anukUla vyavahAra karane kA udAharaNa diyA hai| ____Elaboration This aphorism discusses bhaava-upakram. With reference to different contexts the word 'bhaava' has many meanings, such as nature, state, existence, intention, thought, etc. Here bhaava-upakram means the attempt or effort made to know the intention of some person or the ability or capacity to understand behaviour by reading a person's thoughts. It is like understanding human psychology. Like the preceding aphorism here also two broad classifications have been made of bhaava-upakram, Agamatah and No-Agamtah. Further, there are two categories of NoAgamatah-bhaava-upakram (the means or effort of knowing the houghts and intentions of others without scriptural knowledge)-Prashast-bhaava-upakram (righteous means of knowing thoughts of others) and Aprashast-bhaava-upakram (unrighteous means of knowing thoughts of others) Aprashast means that which is done with mundane or selfish motives. Prashast means that which is done with the motive of spiritual uplift. As already mentioned, the author has given three examples to explain aprashast-bhaava-upakram (unrighteous means of knowing thoughts of others). upakrama prakaraNa (137 ) The Discussion on Upakram PROYERAYGROYEPOHERONGENGPOWER Samp

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____The example given to explain prashast-bhaava-upakram (righteous means of knowing thoughts of others) is that of moulding one's behaviour according to the desires of the seniors after understanding their intentions by studying their actions, words, gestures, and expressions. upakrama ke chaha prakAra 92. ahavA uvakkame chabihe pnnnntte| taM jahA-(1) ANupubbI, (2) nAma, (3) pamANaM, (4) vattavvayA, (5) atthAhigAre, (6) smoyaare| 92. athavA upakrama ke chaha prakAra haiN| yathA-(1) AnupUrvI, (2) nAma, (3) pramANa, (4) vaktavyatA, (5) arthAdhikAra, aura (6) smvtaar| SIX KINDS OF UPAKRAM 92. Also, upakram (introduction) is (alternatively) of six types-(1) Anupurvi (sequence/sequential configuration), (2) Nama (name), (3) Pramana (validity), (4) Vaktavyata (explication), (5) Arthadhikar (giving synopsis), and (6) Samavatar (assimilation). vivecana-upakrama ke chaha prakAra pahale bhI batAye jA cuke haiM, unameM se chaThe bhAvopakrama ke prasaMga meM prazasta bhAvopakrama meM gurujanoM Adi kA abhiprAya jAnanA eka prakAra batAyA hai| AcArya jinabhadragaNi kSamAzramaNa kA kathana hai-guru bhAvopakrama ke pazcAta aba zAstrIya bhAvopakrama batAte hue yahA~ punaH chaha bhAvopakrama kA varNana kiyA hai| jo Age kramazaH kiyA jA rahA hai| ina chaha kI saMkSipta paribhASAe~ isa prakAra haiM (1) AnupUrvI-eka ke bAda eka kramazaH honaa| paripATI yA anukrama se kisI cIja kI sthApanA karanA AnupUrvI hai| dhyAna dene kI bAta hai ki eka yA do vastu meM AnupUrvI kA krama nahIM ho sktaa| kama se kama tIna vastu yA tIna kA samUha ho tabhI AnupUrvI hotI hai| (2) nAma-jIva yA pudgala ko unakI pahacAna ke lie koI saMjJA denA nAma hai| (3) pramANa-satya taka pahu~cane kA saadhn| (4) vaktavyatA adhyayana meM Aye hue pratyeka avayava kA yathAsaMbhava niyata artha khnaa|| (5) arthAdhikAra-adhyayana meM nirUpita viSaya kA varNana krnaa| (6) samavatAra-eka vastu kA dUsarI vastu meM antarbhAva athavA samAveza krnaa| anuyogadvAra sUtra 138 ) Illustrated Anuyogadvar Sutra * * * :

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Elaboration-Six categories of upakram (introduction) have already been discussed. In the sixth category, bhaava-upakram, one of the sub-category is to understand the intentions of seniors. Acharya Jinabhadragani Kshamashraman states that after discussing 'understanding the thoughts of the teacher' the understanding of the thoughts contained in scriptures has been discussed here and that has six categories. All these will be discussed hereafter. The brief definition of these six categories are (1) Anupurvi-To put in a sequence. To place things in a progression or sequence is called anupurui. The things so placed are also called anupurvi (sequential configuration). It should be noted that a sequence cannot be made of one or two things. Sequence can be made only when there are at least three things or groups. (2) Nama-to assign a noun to a living or material thing for its identity is called nama or name. (3) Pramana--the means of arriving at truth is called pramana or validity. (4) Vaktavyata--to express as far as possible the right meaning of every component of a text is called vaktavyata or explication. (5) Arthadhikar--to describe the theme or the subject of a specific part of the text or a chapter is called arthadhikar or giving synopsis. (6) Samavatar-to include or assimilate one thing within another is called samavatar or assimilation. upakrama prakaraNa ( 238 ) The Discussion on Upakram

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AnupUrvI prakaraNa THE DISCUSSION ON ANUPURVI AnupUrvI ke dasa bheda 93. se kiM taM ANupubbI ? ___ ANupubI dasavihA pnnnnttaa| taM jahA-(1) nAmANupubbI, (2) ThavaNANupubI, (3) davyANupuvI, (4) khettANupubbI, (5) kAlANupubbI, (6) ukkittaNANupucI, (7) gaNaNANupubbI, (8) saMThANANupuyI, (9) sAmAyAriyANupubbI, (10) bhaavaannupubbii| 93. (prazna) AnupUrvI kyA hai? (uttara) AnupUrvI dasa prakAra kI hai| jaise-(1) nAmAnupUrvI, (2) sthApanAnupUrvI, (3) dravyAnupUrvI, (4) kSetrAnupUrvI, (5) kAlAnupUrvI, (6) utkIrtanAnupUrvI, (7) gaNanAnupUrvI, (8) saMsthAnAnupUrvI, (9) samAcAryanupUrvI, aura (10) bhaavaanupuurvii| TEN KINDS OF ANUPURVI 93. (Question) What is this anupurvi (sequence) ? (Answer) Anupurvi (sequence) is of ten types(1) namanupurvi, (2) sthapananupurvi, (3) dravyanupurvi, (4) kshetranupurvi, (5) kaalanupurvi, (6) utkirtananupurvi, (7) ganananupurvi, (8) samsthananupurvi, (9) samacharyanupurvi, and (10) bhaavanupurvi. nAma-sthApanA AnupUrvI 94. se kiM taM nAmANupuvI ? nAma-ThavaNAo thev| 94. (prazna) nAma AnupUrvI kyA hai ? (uttara) nAma aura sthApanA AnupUrvI kA svarUpa nAma aura sthApanA Avazyaka jaisA jAnanA caahie| (sUtra 10 se 12 dekheM) anuyogadvAra sUtra ( 140 ) Illustrated Anuyogadvar Sutra

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NAMA AND STHAPANA-ANUPURVI 94. (Question) What is this nama-anupurvi (sequence as name)? (Answer) Nama-anupurvi (sequence as name) and sthapana-anupurvi (sequence as notional installation) should be read same as nama and sthapana avashyak (replacing avashyak with anupurvi). (aphorisms 10-12) dravyAnupUrvI kA svarUpa __ 95. davvANupubbI jAva se kiM taM jANagasarIra-bhaviyasarIravairittA davANupubbI ? jANagasarIra-bhaviyasarIravairittA davvANupubbI duvihA pnnnnttaa| taM jahA(1) uvaNihiyA ya, (2) aNovaNihiyA ya / ra 95. dravyAnapUrvI kA svarUpa bhI jJAyakazarIra-bhavyazarIravyatirikta dravyAnupUrvI ke pahale taka ke sabhI bheda dravyAvazyaka ke samAna jAnanA caahie| (sUtra 17 se 19 ke anusAra jAne) (prazna) jJAyakazarIra-bhavyazarIravyatirikta dravyAnupUrvI kA kyA svarUpa hai ? a (uttara) jJAyakazarIra-bhavyazarIravyatirikta dravyAnupUrvI do prakAra kI hai| yathA (1) aupanidhikI dravyAnupUrvI, aura (2) anaupanidhikI drvyaanupuurvii| DRVAYANUPURVI 95. Dravya-anupurvi (physical aspect of anupurvi or sequence) should be read same as dravya avashyak up to Jnayak sharir-bhavya sharir vyatirikta dravya-avayshayak (replacing avashyak with anupurvi). (aphorisms 17-19) 8 (Question) What is this Jnayak sharir-bhavya sharir vyatirikta dravya-anupurvi (physical-anupurvi other than the body of the knower and the body of the potential knower) ? (Answer) Jnayak sharir-bhavya sharir vyatirikta dravya-anupurvi (physical-anupurvi other than the body of the knower and the body of the potential knower) is of two types--(1) Aupanidhiki dravya-anupurvi (orderly physical AnupUrvI prakaraNa ( 141 ) The Discussion on Anupurvi

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sequence) and (2) Anaupanidhiki dravya-anupurvi (disorderly physical sequence). 96. tattha NaM jA sA uvaNihiyA sA tthppaa| 96. inameM se aupanidhikI dravyAnupUrvI sthApya hai| 96. Out of these Aupanidhiki dravya-anupurvi (orderly physical sequence) is worth installation only (worth a mention only). vivecana-prastuta sUtra meM dravyAnupUrvI ke do vikalpoM kA nirUpaNa hai-aupanidhika dravyAnupUrvI aura anaupanidhikI dravyAnupurvI / isa sUtra meM aupanidhikI ko vyavahAra yogya nahIM batAkara anaupanidhikI dravyAnupUrvI ke pA~ca bhedoM kA varNana kiyA hai| ___ aupanidhikI kA artha-'upa' kA artha hai 'samIpa' tathA 'nidhi' kA artha hai rakhanA arthAt sambandhita vastu ko paraspara kramapUrvaka samIpa rakhate jaanaa| kisI vivakSita artha kI pUrvAnupUrvI Adi ke krama se sthApanA krnaa| isakA mukhya prayojana dravya kI krama vyavasthA samajhAnA hai| jaise Avazyaka Adi ke chaha adhyayanoM ko pUrvAnupurvI krama se sthApita karanA aupanidhikI AnupUrvI hai| isakA viSaya bahuta sImita hai| isalie ise 'gauNa' yA 'sthApya' mAnakara pahale anaupanidhikI dravyAnupUrvI kA varNana kiyA jA rahA hai| jaba dravyAnupUrvI kA naigama naya ke AdhAra para vistAra karake viSaya ko samajhAnA ho taba anaupanidhi kI dravyAnupUrvI kA upayoga hotA hai| isameM padArtha kI sthApanA kramAnusAra nahIM hotii| Elaboration--This aphorism provides two alternatives of dravyaanupurvi (physical sequence) (1) Aupanidhiki dravya-anupurvi (orderly physical sequence) and (2) Anaupanidhiki dravya-anupurvi (disorderly physical sequence). In the following aphorisms, after stating aupanidhiki dravya-anupurvi (orderly physical sequence) to be of little use, five types of anaupanidhiki dravya-anupurvi (disorderly physical sequence) have been described. Meaning of aupanidhiki--'up' (pronounced as 'oop'in 'oops') means near and 'nidhi' means to place. Thus aupanidhik means arranging related things one after another in proximity in a sequence. To put the desired meaning in an orderly sequence. Its basic purpose is to understand the sequential arrangement of dravya (substances). For anuyogadvAra sUtra ( 142 ) Illustrated Anuyogadvar Sutra ashlessissississiessisakeseksiesesisewiseast.skesis. sicake.ke.ske.ke.sis.saks. siesake. als.sion kese.se.sis

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example to place or establish the six chapters of Avashyak Sutra in their desired or proper sequence is aupanidhiki dravya-anupurvi (orderly physical sequence). As its scope is very limited it is taken to be of little significance and thus worth a mention only. The author proceeds to describe anaupanidhiki dravya-anupurvi (disorderly physical sequence) which is useful when a thing or subject i analyzed by elaborating dravya-anupurvi (physical sequence) on the basis of naigam naya (coordinated viewpoint). Here the things are not arranged in an orderly sequence. 97. tattha NaM jA sA aNovaNihiyA sA duvihA pnnttaa| taM jahA(1) Negama-vavahArANaM, (2) saMgahassa y| - 97. anaupanidhikI dravyAnupUrvI ke do prakAra haiM-(1) naigama-vyavahAranayasaMmata, aura (2) sNgrhnysNmt| 97. And anaupanidhiki dravya-anupurvi (disorderly physical sequence) is of two types--(1) Naigam-vyavahar naya sammat (conforming to coordinated and particularized viewpoints) and (2) Samgrahanaya sammat (conforming to generalized viewpoint). vivecana-anaupanidhikI dravyAnupUrvI do prakAra kI hai-eka naigama aura vyavahAranaya ko lekara calane vAlI, dUsarI saMgrahanaya ko lekara calane vaalii| jaina darzana meM sAta nayoM kA kathana hai| (1) naigama, (2) saMgraha, (3) vyavahAra, (4) RjusUtra, (5) zabda, (6) samabhirUr3ha, tathA (7) evNbhuut| jaba hama dravya ke sAmAnya aMgoM ko grahaNa karake unakA sAmAnya rUpa meM kathana karanA cAhate haiM taba vaha dRSTikoNa 'dravyArthikanaya' sApekSa hotA hai| jaba dravya ke kisI eka aMza vizeSa kA kathana sUkSma rUpa se karanA hotA hai taba vahI dRSTi 'paryAyArthika naya' kahalAtI hai| sAtoM naya mUlataH ina donoM meM samA jAte haiN| naigama, saMgraha aura vyavahAra ye dravyArthika naya haiM, zeSa cAra paryAyArthika naya haiM, jo vastu ke eka aMza-paryAya ko hI grahaNa karate haiN| ___ dravyArthika naya ke bhI do bheda haiM-vizuddha tathA avishuddh| naigama aura vyavahAra naya-ye donoM vastu ke svarUpa kA adhikAdhika vistAra pUrvaka nirUpaNa karate haiM-ataH avizuddha naya haiN| saMgrahanaya-ananta dravyoM meM ekatA svIkAra karake saMkSepa meM vivecana karatA hai ataH yaha zuddha naya hai| yaha dravya meM pUrvApara vibhAga nahIM maantaa| isa prakAra anaupanidhikI AnupUrvI ke do bheda ho jAte haiN| AnupUrvI prakaraNa ( 143 ) The Discussion on Anupurvi

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** Elaboration-Anaupanidhiki dravya-anupurvi (disorderly physical sequence) is of two types. One that proceeds according to the coordinated and particularized viewpoints (Naigam-vyavahar naya sammat) and the other according to the generalized viewpoint (Samgrahanaya sammat). There is a mention of seven nayas (viewpoints) in Jain philosophy--(1) Naigama naya (coordinated viewpoint), (2) Samgraha naya (generalized viewpoint), (3) Vyavahara naya (particularized viewpoint), (4) Rijusutra naya (precisionistic viewpoint or that related to specific point or period of time), (5) Shabda naya (verbal viewpoint or that related to language and grammar), (6) Samabhirudha naya (conventional viewpoint or that related to conventional meaning and ignoring etymological meaning), (7) Evambhuta naya (etymological viewpoint or that related to words used in original derivative sense and significance). When we take up common constituents of a substance and want to give just a generalized description then that statement is in context of dravyarthik naya (existent material aspect). When only a specific part of a substance is to be precisely described the statement is in context of paryayarthik naya (transformational aspects). All the said seven nayas (viewpoints) are included in these two. Naigama naya (coordinated viewpoint), Samgraha naya (generalized viewpoint), and Vyavahara naya (particularized viewpoint) are included in dravyarthik naya (existent material aspect). The remaining four are included in paryayarthik naya (transformational aspects) because they deal only with components. Dravyarthik naya (existent material aspect) is also of two kinds-vishuddha (pure) and avishuddha (impure). Naigam and vyavahar naya (coordinated and particularized viewpoints) both describe things in great details therefore they are called impure or imprecise viewpoints. Samgrahanaya (generalized viewpoint) describes things observing uniformity in infinite things therefore it is called pure or precise viewpoint. It does not consider preceding and following modalities in substances. Thus there are two types of anaupanidhiki dravya-anupurvi (disorderly physical sequence). anuyogadvAra sUtra ( 288 ) Illustrated Anuyogadvar Sutra

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(2) anaupanidhikI dravyAnupUrvI ke bheda 98. se kiM taM Negama-vavahArANaM aNovaNihiyA davANupubbI ? Negama-vavahArANaM aNovaNihiyA davvANupuSvI paMcavihA pnnnnttaa| taM jahA(1) aTThapayaparUvaNayA, (2) bhaMgasamukkittaNayA, (3) bhaMgovadaMsaNayA, (4) samoyAre, (5) annugme| 98. (prazna) naigamanaya aura vyavahAranaya dvArA mAnya anaupanidhikI dravyAnupUrvI kyA hai ? (uttara) naigama aura vyavahAranayasaMmata dravyAnupUrvIka ke pA~ca prakAra haiN| jaise(1) arthapadaprarUpaNA, (2) bhaMgasamutkIrtanatA, 3) bhaMgopadarzanatA, (4) samavatAra, aura (5) anugm| (2) TYPES OF ANAUPANIDHIKI DRAVYA-ANUPURVI ____98. (Question) What is this Naigam-vyavahar naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavahar naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to coordinated and particularized viewpoints) is of five types--(1) Arth-padaprarupana (semantics), (2) Bhang-samutkirtanata (enumeration of divisions or bhangs), (3) Bhangopadarshanata (explication of divisions or bhangs), (4) Samavatara (compatible assimilation), and (5) Anugam (systematic elaboration). vivecana-naigama-vyavahAranayasammata anaupanidhikI dravyAnupUrvI kA jina pA~ca prakAroM dvArA vicAra kiyA jAnA hai, unake lakSaNa isa prakAra haiM (1) arthapadaprarUpaNA-sarvaprathama saMjJA aura saMjJI ke sambandha mAtra kA kathana karanA arthapadaprarUpaNA hai| (2) bhaMgasamutkIrtanatA-AnupUrvI Adi ke padoM se niSpanna hue pRthak-pRthak bhaMgoM-vikalpoM yA bheda prabheda Adi bhaMgoM kA saMkSepa rUpa meM kathana karanA bhaMgasamutkIrtanatA hai| (3) bhaMgopadarzanatA-saMkSepa meM kahe gaye unhIM bhaMgoM meM se pratyeka bhaMga kA apane abhidheya rUpa tryaNukAdi artha ke sAtha upadarzana-kathana krnaa| arthAt bhaMgasamutkIrtana meM to mAtra AnupUrvI prakaraNa ( 145 ) The Discussion on Anupurvi

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bhaMgaviSayaka sUtra kA hI uccAraNa hotA hai aura bhaMgopadarzanameM vahI sUtra apane viSayabhUta artha ke sAtha kahA jAtA hai| pahale meM bhaMgoM kA nirdeza tathA isameM dravya ke sAtha bhaMgoM kI yojanA kI Ficha TH #BATI (4) samavatAra-AnupUrvI Adi dravyoM kA svasthAna (apanI jAti) aura parasthAna (dUsarI jAti) meM antarbhAva-samAveza hone ke vicAroM ke prakAra kA nAma samavatAra hai| (5) anugama-AnupUrvI Adi dravyoM kA satpadaprarUpaNA Adi anuyogadvAroM se, dravya, kSetra Adi koNoM se vyAkhyA karanA anugama hai| Elaboration--The five methods used to propound Naigamvyavahar naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to coordinated and particularized viewpoints) are defined as follows (1) Arth-padaprarupana-To enunciate the relationship between word and meaning is called arth-padaprarupana (semantics). (2) Bhang-samutkirtanata-Enumeration in brief of various divisions or bhangs (alternatives, types, categories, etc.) evolved from steps or components of a sequence (anupurvi) is called bhang-samutkirtanata (enumeration of divisions or bhangs). (3) Bhangopadarshanata-To explicate each of the enumerated divisions or bhangs using the predicable form such as triad or aggregate of three paramanus (ultimate-particles) is called bhangopadarshanata (explication of divisions or bhangs). In Bhang-samutkirtanata (enumeration of divisions or bhangs) only the aphorism containing nomenclature of divisions or bhangs is stated but in bhangopadarshanata the same aphorism is stated with its meaning and definition of the subject. The first has the nomenclature of divisions or bhangs whereas the second has the substance systematically accommodated with the divisions or bhangs. This is the basic difference between the two. (4) Samavatara--The kind of contemplation required for compatible assimilation of substances (sequential or otherwise) with those of the same or different categories is called samavatara (compatible assimilation). anuyogadvAra sUtra ( X ) Illustrated Anuyogadvar Sutra

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(5) Anugam-The systematic elaboration of substances (sequential or otherwise) with the help of anuyogadvars (doors or methods of disquisition) and in context of parameters like matter, area, etc. is called anugam (systematic elaboration). naigama-vyavahAranayasaMmata arthapadaprarUpaNA 99. se kiM taM Negama-vavahArANaM aTThapayaparUvaNayA ? Negama-vavahArANaM aTThapayaparUvaNayA tipaesie ANupuvI, caupaesie ANupucI jAva dasapaesie ANubI, saMkhejjapadesie ANupubI, asaMkhejapadesie ANupubI, aNaMtapaesie aannupubbii| paramANupoggale annaannupubbii| dupaesie avattavbae tipaesiyA ANupubbIo jAva aNaMtapaesiyA aannupubbiio| paramANupoggalA annaannupubbiio| dupaesiyA avttbgaaii| se taM Negama-vavahArANaM atttthpypruuvnnyaa| 99. (prazna) naigama-vyavahAranayasaMmata arthapada kI prarUpaNA kyA hai? (uttara) tIna pradeza vAlA tryaNukaskandha AnupUrvI hai| isI prakAra catuSpradezika AnupUrvI yAvat dasapradezika, saMkhyAtapradezika, asaMkhyAtapradezika aura anantapradezika skandha AnupUrvI hai| kintu paramANu pudgala anAnupUrvI rUpa hai| dvipradezika skandha avaktavya hai| aneka tripradezika skandha yAvat aneka anantapradezika skandha AnupUrviyA~aneka AnupUrvI rUpa haiN| aneka pRthak-pRthak pudgala paramANu aneka anAnupUrvI rUpa haiN| aneka dvipradezika skandha aneka avaktavya haiN| yaha naigama aura vyavahAranayasaMmata arthapadaprarUpaNA kA svarUpa jAnanA cAhie hai| NAIGAM-VYAVAHAR NAYA SAMMAT ARTH-PADPRARUPANA 99. (Question) What is this Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints) ? AnupUrvI prakaraNa ( 147 ) The Discussion on Anupurvi

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Sex (Answer) An aggregate (skandh) of three space-points or ultimate-particles (paramanus) is a sequential configuration (anupurvi). In the same way aggregates (skandhs) of four space-points or ultimate-particles (paramanus), (and so on...), ten space-points or ultimate-particles (paramanus), countable, uncountable, and infinite space-points or ultimate-particles (paramanus), are all sequential configurations (anupurvis). But a single ultimate-particle of matter (paramanu pudgala) is non-sequential (ananupurvi). An aggregate (skandh) of two space-points or ultimateparticles (paramanus) is inexpressible (avaktavya). Numerous aggregates (skandhs) of three space-points or ultimate-particles (paramanus), (and so on up to) infinite space-points or ultimate-particles (paramanus), are numerous sequential configurations (anupurvis). Numerous separate ultimate-particle of matter (paramanu pudgala) are numerous non-sequential configurations (ananupurvis). Numerous aggregates (skandhs) of two space-points or ultimate-particles (paramanus) are numerous inexpressible configurations (avaktavyas). This concludes the description of Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints). vivecana-sUtra meM naigama aura vyavahAranayasaMmata arthapadaprarUpaNA kI vyAkhyA kI hai| tryaNuka skandha Adi jo artha haiM-ve padArtha haiM, unako apanA viSaya banAne vAle AnupUrvI Adi jo pada haiM, ve arthapada kahe jAte haiM, unake viSaya kI prarUpaNA artha pada-prarUpaNA hai| ___ yahA~ yaha samajhanA cAhie ki krama vyavasthA yA paripATI ko AnupUrvI kahate haiM aura paripATI rUpa AnupUrvI vahIM hotI hai jahA~ Adi, madhya aura anta rUpa gaNanA kA vyavasthita krama banatA hai| yaha Adi, madhya aura anta tripradezika skandha se lekara anantapradezika skandha evaM skandhoM meM hote haiN| isalie inameM pratyeka skandha AnupUrvI rUpa hotA hai| paramANu anAnupUrvI rUpa hai-eka paramANu athavA pRthak-pRthak svataMtra sattA vAle aneka paramANuoM meM Adi, madhya aura antarUpa krama racanA nahIM hone se ve anAnupUrvI haiN| isameM * pUrvAnupUrvI aura pazcAnupUrvI donoM hI nahIM hotii| a anuyogadvAra sUtra ( 148 ) Nlustrated Anuyogadvar Sutra X

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dvipradezika skandha kI avaktavyatA-yadyapi dvipradezika skandha meM do paramANu saMzliSTa rahate haiM, isalie yahA~ eka, eka ke bAda dUsarA, isa prakAra kramabaddhatA-AnupUrvI hai| kintu madhya ke abhAva meM Adi aura anta kA koI AdhAra nahIM bntaa| ataH sampUrNa gaNanAnukrama nahIM bana pAne ke kAraNa dvipradezika skandha meM gaNanAnukramAtmaka AnupUrvI rUpa se kathana kiyA jAnA azakya hai aura dvipradezI skandha meM paraspara kI apekSA pUrva-pazcAdbhAva hone se pudgala paramANu kI taraha anAnupUrvI rUpa se bhI use nahIM kaha sakate haiN| isa prakAra AnupUrvI aura anAnupUrvI donoM rUpa se kahA jAnA zakya nahIM hone se yaha dvipradezika skandha avaktavya hai| bahuvacanAnta padoM kA nirdeza kyoM?-tripradezika skandha AnupUrvI hai ityAdi eka vacanAnta se saMjJA-saMjJI sambandha kA kathana siddha ho jAne para bhI AnupUrvI Adi dravyoM kA hara eka bheda ananta vyakti rUpa hai tathA naigama evaM vyavahAranaya kA aisA siddhAnta hai, isa bAta ko pradarzita karane ke lie bahuvacanAnta prayoga kiyA hai| arthAt tripradezika ekadravyarUpa eka hI AnupUrvI nahIM kintu tripradezikadravya ananta haiM, ataH utanI hI ananta AnupUrviyoM kI sattA unameM hai| ___ kramavinyAsa kA kAraNa yahA~ eka prazna uThatA hai-sUtrakAra ne eka paramANu se niSpanna anAnupUrvI dravya, do paramANu ke milana se niSpanna avaktavya dravya aura phira tIna paramANuoM ke saMzleSa se niSpanna AnupUrvI dravya, isa prakAra dravya kI vRddhirUpa pUrvAnupUrvI krama kA tathA isI prakAra tIna paramANu se niSpanna AnupUrvI, do paramANu se niSpanna avaktavya aura eka paramANu se niSpanna anAnupUrvI rUpa pazcAnupUrvI kA ullaMghana karake pahale AnupUrvI dravya kA, usake bAda anAnupUrvI dravya kA aura sabase anta meM avaktavya dravya kA nirdeza kyoM kiyA hai ? vRttikAra ne isakA kAraNa yaha batAyA hai ki AnupUrvI dravyoM kI apekSA anAnupUrvI dravya alpa haiM aura anAnupUrvI dravyoM kI apekSA avaktavya dravya aura bhI alpa haiN| isa prakAra se dravya kI alpatA-nyUnatA kA nirdeza karane ke lie sUtra meM yaha kramavinyAsa kiyA gayA hai| Elaboration--This aphorism defines Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints). The terms like 'anupurvi (sequence) are words and the terms like 'aggregates (skandhs) of three ultimate-particles' are material concepts or meaning. To enunciate the relationship between these two (word and meaning) is called arth-padaprarupana (semantics). Here it should be noted that a sequence or sequential configuration is called anupurvi. A sequence is possible only where there is a scope of a systematic arrangement having a beginning, middle, and an end. Such arrangement is possible only in aggregates (skandhs) having three or more (up to AnupUrvI prakaraNa ( 149 ) The Discussion on Anupurvi

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infinite) ultimate-particles or space-points. Thus each of such aggregates (skandhs) is sequential (anupurvi). Paramanu is non-sequential-One single ultimate-particle or many freely existing ultimate-particles with independent existence do not have an orderly arrangement with a beginning, middle, and end. Thus they are non-sequential (ananupurvi). They also have no scope of ascending or descending sequences. Inexpressibility of an aggregate (skandh) of two-In an aggregate (skandh) of two paramanus (ultimate-particles) there is a semblance of sequence of one after the other. But in absence of a middle there is no basis for the first and the last. In absence of the possibility of making a perfect sequential arrangement it is not possible to enunciate an aggregate (skandh) of two as a countable progressive sequence (anupurvi). Also, as a preceding and following relationship between the two components exists in an aggregate (skandh) of two it can also not be expressed as a non-sequence like a single ultimate-particle (paramanu). Thus an aggregate (skandh) of two can neither be expressed as an anupurvi (sequence) nor as an ananupurvi (non-sequence). Therefore it is said to be inexpressible. Why the plurality ?-An aggregate (skandh) of three or a triad is a sequence (anupurvi). Even this singular statement validates the word and meaning relationship. But the plural expression has been employed in order to convey that every category of sequential configuration of substances has infinite individual forms and they also conform to the conditions of naigamvyavahar naya (coordinated and particularized viewpoints). This means that all triads are not in just one type of sequential configuration. There are infinite different triads and thus there is an existence of infinite sequential configurations in them. The order of arrangement-A question arises here-The author has not arranged the three categories according to the increasing order of paramanus (ultimate-particles), viz. first of all non-sequential substances having a single paramanu (ultimate-particle), then inexpressible substances having two paramanus (ultimate-particles), and lastly sequential substances anuyogadvAra sUtra ( 150 ) Illustrated Anuyogadvar Sutra

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having three or more paramanus (ultimate-particles). Also he has not used the reverse or the decreasing order viz. first of all sequential substances having three or more paramanus (ultimate-particles), then inexpressible substances having two Paramanus (ultimate-particles), and lastly non-sequential substances having a single paramanu (ultimate-particle). Istead, why he has first mentioned sequential substances then non-sequential substances and lastly the inexpressible substances? The commentator (Vritti) explains that as compared to the sequential substances the non sequential substances are less in number and the inexpressible substances are even lesser. Thus the order followed here is based on the existing quantum of substances of each category in the universe. 100. eyAe NaM Negama-vavahArANaM aTThapayaparUvaNayAe kiM paoyaNaM ? eyAe NaM Negama-vavahArANaM aTThapayaparUvaNayAe bhaMgasamukkittaNayA kiiri| 100. (prazna) naigama aura vyavahAranayasaMmata arthapadaprarUpaNA rUpa AnupUrvI se kyA prayojana siddha hotA hai? (uttara) isa naigama aura vyavahAranayasaMmata arthapadaprarUpaNA dvArA bhaMgasumutkIrtanA kI jAtI hai arthAt bhaMgoM kA kathana kiyA jAtA hai| 100. (Question) What is the purpose of this anupurvi (sequence) in the form of naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints)? (Answer) This anupurvi (sequence) in the form of Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints) is used to derive and state bhangsamutkirtanata (enumeration of divisions or bhangs). naigama-vyavahAranayasaMmata bhaMgasamutkIrtanatA 101. se kiM taM gama-vavahArANaM bhaMgasamukkittaNayA ? AnupUrvI prakaraNa ( 151 ) The Discussion on Anupurvi

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1. Negama-vavahArANaM bhaMgasamukkittaNayA, (1) atthi ANupubbI, (2) asthi aNANupubbI, (3) atthi avattavbae, (4) atthi ANupubbIo, (5) asthi aNANupubIo, (6) atthi avttvbyaaii| (1) ahavA atthi ANupubbI ya aNANupubbI ya, (2) ahavA atthi ANupubbI ya, aNANupubbIo ya (3) ahavA atthi ANupubbIo ya aNANupubbI ya, (4) ahavA atthi ANupubbIo ya aNANupubIo ya (10) (1) ahavA atthi ANupubbI ya avattavvae ya, (2) ahavA atthi ANupubbI ya avattavvayAiM ca, (3) ahavA atthi ANupubbIo ya avattavyae ya, (4) ahavA atthi ANupubIo ya avattavvayAiM c| (14) (1) ahavA atthi aNANupubbI ya avattavvae ya, (2) ahavA atthi aNANupucI ya avattavbae ya, (3) ahavA atthi aNANupuvIo ya avattavvae ya, (4) ahavA atthi aNANupubIo ya avattavvayAiM c| (18) (1) ahavA atthi ANupubbI ya aNANupubbI ya avattavvae ya, (2) ahavA atthi ANupubI ya aNANupuSvI ya avattavvayAiM ca, (3) ahavA atthi ANupubI ya ANupubIo ya avattavbae ya, (4) ahavA atthi ANupubbI ya aNANupubbIo ya avattavbayAI ca, (5) ahavA atthi ANupubIo ya aNANupubbI ya avattavbae ya, (6) ahavA atthi ANupubIo ya aNANupubI ya avattavvayAiM ca, (24) (7) ahavA atthi ANupucIoya aNANupubIo ya avattavvae ya, (8) ahavA * atthi ANupubIo ya aNANuputvIo ya avattavvayA, (8) (26) ee eTu bhNgaa| evaM sabe vi chabbIsaM bhaMgA 26 / se taM negama-vavahArANaM bhNgsmukkittnnyaa| 101. (prazna) naigama aura vyavahAranayasaMmata bhaMgasamutkIrtana kyA hai ? (uttara) naigama aura vyavahAranayasammata bhaMgasamutkIrtana kA svarUpa isa prakAra hai (1) AnupUrvI hai, (2) anAnupUrvI hai, (3) avaktavya hai, (4) AnupUrviyA~ haiM, " (5) anAnupUrviyA~ haiM, (6) avaktavyaka haiN| (kula 6 bhaMga) (1) AnupUrvI hai aura anAnupUrvI hai, (2) AnupUrvI hai aura anAnupUrviyA~ haiM, (3) AnupUrviyA~ hai aura anAnupUrvI hai, (4) AnupUrviyA~ aura anAnupUrviyA~ haiN| " (4) (kula dasa bhNg|)| anuyogadvAra sUtra ( 152 ) Illustrated Anuyogadvar Sutra

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__ athavA-(1) AnupUrvI hai aura avaktavyaka hai, (2) AnupUrvI hai aura avaktavyaka haiM, OM (3) AnupUrviyA~ hai aura avaktavya hai, (4) athavA AnupUrviyA~ aura avaktavyaka 9 (aneka) haiN| (4) (kula 14 bhNg|)| 1 athavA-(1) anAnupUrvI hai aura avaktavya haiM, (2) anAnupUrvI hai aura avaktavya haiM, (3) anAnupUrviyA~ avaktavya haiM, (4) anAnupUrviyA~ aura aneka avaktavyaka haiN| (8) (kula 18 bhaMga) ____athavA-(1) AnupUrvI hai anAnupUrvI hai aura avaktavya hai, (2) AnupUrvI hai, anAnupUrvI hai aura avaktavyaka haiM, (3) AnupUrvI hai, anAnupUrviyA~ hai aura avaktavya hai, (4) AnupUrvI hai, anAnupUrviyA~ hai aura avaktavyaka haiM, (5) AnupUrviyA~ hai, anAnupUrvI hai aura avaktavya hai, (6) AnupUrviyAM hai, anAnupUrvI hai aura avaktavyaka haiM, (7) AnupUrviyA~ hai, anAnupUrviyA~ hai aura avaktavya hai, (8) AnupUrviyA~, anAnupUrviyA~ aura aneka avaktavyaka haiN| (8) / isa prakAra yaha ATha bhaMga haiM tathA ye saba milakara chabbIsa bhaMga hote haiN| yaha naigama-vyavahAranayasammatabhaMgasamutkIrtanatA kA svarUpa hai| NAIGAM-VAVAHAR NAYA SAMMAT BHANG-SAMUTKIRTANATA __101. (Question) What is this naigam-vyavahar naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) ? (Answer) Naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is as follows ____a. (1) There is an anupurvi (sequence), (2) There is an ananupurvi (non-sequence), (3) There is an avaktavya (inexpressible), (4) There are many anupurvis (sequences), (5) There are many ananupurvis (non-sequences), (6) There are many avaktavyas (inexpressibles). (6) (a total of 6 divisions or bhangs) b. (1) There is an anupurvi (sequence) and an ananupurvi (non-sequence), (2) There is an anupurvi AnupUrvI prakaraNa ( 153 ) The Discussion or Anupurvi SPONSEYESTEROYEDISTRog

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(sequence) and many ananupurvis (non-sequences), (iii) There are many anupurvis (sequences) and an ananupurvi (non-sequence), (iv) There are many anupurvis (sequences) and many ananupurvis (non-sequences). (4) (a total of 10 divisions or bhangs) c. (1) There is an anupurvi (sequence) and an avaktavya (inexpressible), (2) There is an anupurvi (sequence) and many avaktavyas inexpressibles), (3) There are many anupurvis (sequences) and an avaktavya (inexpressible), (4) There are many anupurvis (sequences) and many avaktavyas (inexpressibles). (4) (a total of 14 divisions or bhangs) (1) There is an ananupurvi (non-sequence) and an avaktavya (inexpressible), (2) There is an ananupurvi (nonsequence) and many avaktavyas (inexpressibles), (3) There are many ananupurvis (non-sequences) and an avaktavya (inexpressible), (4) There are many ananupurvis (nonsequences) and many avaktavyas (inexpressibles). (4) (a total of 18 divisions or bhangs) : (1) There is an anupurvi (sequence), ananupurvi (nonsequence), and an avaktavya (inexpressible), (2) There is an anupurvi (sequence), ananupurvi (non-sequence), and many avaktavyas (inexpressibles), (3) There is an anupurvi (sequence), many ananupurvis (non-sequences) and an avaktavya (inexpressible), (4) There is an anupurvi (sequence), many ananupurvis (non-sequences) and many avaktavyas (inexpressibles), (5) There are many anupurvis (sequences), an ananupurvi (non-sequence) and an avaktavya inexpressible), (6) There are many anupurvis (sequences), an ananupurvi (non-sequence) and many avaktavyas (inexpressibles), (7) There are many anupurvis (sequences), many ananupurvis (non-sequences) and an avaktavya inexpressible), (8) There are many anupurvis (sequences), many ananupurvis (non-sequences) and many * anuyogadvAra sUtra (948) Illustrated Anuyogadvar Sutra * COLLAPAROS CORO * * 9 * GT

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avaktavyas (inexpressibles). (8) (a total of 26 divisions or bhangs). Thus the last group has eight divisions or bhangs and 26 divisions or bhangs in all. This concludes the description of naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) vivecana-sUtra meM naigama-vyavahAranayasammata chabbIsa bhaMgoM kA samutkIrtana (kathana) kiyA hai| jo paraspara saMyoga aura asaMyoga kI apekSA se banate haiN| ina chabbIsa bhaMgoM ke mUla AdhAra AnupUrvI, anAnupUrvI aura avaktavya yaha tIna padArtha haiN| inake asaMyoga pakSa meM ekavacanAnta tIna aura bahuvacanAnta tIna isa prakAra asaMyogI chaha bhaMga hote haiN| ___ saMyogapakSa meM ina tIna padoM ke dvikasaMyogI bhaMga tIna caturbhagI rUpa hone se kula bAraha haiN| ina eka-eka bhaMga meM do-do kA saMyoga hone para ekavacana aura bahuvacana ko lekara cAra-cAra bhaMga hote haiN| isalie tIna caturbhaMgI aura unake kula bAraha bhaMga ho jAte haiN| . trikasaMyoga meM ekavacana aura bahuvacana ko lekara ATha bhaMga banate haiN| isa prakAra chaha, bAraha aura ATha bhaMgoM ko milAne se kula chabbIsa bhaMga ho jAte haiN| sugamatA se bodha ke lie sthApanA yaMtra dekheM Elaboration --The aphorism enumerates 26 divisions or bhangs conforming to naigam-vyavahar naya (coordinated and particularized viewpoints). These are derived with mutual combination and separation. The basis of these twenty six divisions or bhangs are three categories-anupurvi (sequence), ananupurvi (non-sequence), and avaktavya (inexpressible). Separately taken there are six divisions or bhangs, three singular and three plural. Taken in combinations of two, there are three sets of four divisions or bhangs making a total of twelve. In each of these sets combinations of a singular and a plural of each of the three categories make four divisions or bhangs each, making three sets of four divisions or bhangs totaling to twelve divisions or bhangs. Taken in combination of three with singular and plural of each category there are eight divisions or bhangs. Thus adding together six, twelve, and eight divisions or bhangs make a total of twenty six divisions or bhangs. For clarity these have been arranged into a table : AnupUrvI prakaraNa ( 155 ) The Discussion on Anupurvi

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| chabbIsa bhaMgoM kA sthApanA yaMtra | asaMyogI bhaMga 6 1. AnupUrvI (1) 40 4. AnupUrviyA~ 2. anAnupUrvI (1) 0 5. anAnupUrviyA~ (3) 0 0 3. avaktavya (1) 00 6. avaktavyaka (3) 00 00 dvika saMyogI bhaMga 12 1. AnupUrvI ananAnupUrvI (1) 0 2. AnupUrvI anAnupUrviyAM (3) 0 0 3. AnupUrviyAM (3) 808080 anAnupUrvI (1) 0 4. AnupUrviyAM (3) 808080 anAnupUrviyAM (3) 0 5. AnupUrvI avaktavya (3) 00 6. AnupUrvI avaktavyaka (3) 00 7. AnupUrviyAM (3) 808080 avaktavya (1) 00 8. AnupUrviyAM (3) 8000 avaktavyaka (3) 00 9. anAnupUrvI (1) 0 avaktavya (1) 00 10. anAnupUrvI (1) 0 avaktavyaka (3) 00 11. anAnupUrviyAM (3) 0 0 0 avaktavya (1) 00 12. anAnupUrviyAM (3) 0 0 0 avaktavyaka trika saMyogI bhaMga 8 1. Anu. (1) . anA. (1) 0 ava. 2. Anu. (1) 10 anA. (1) 0 ava. 3. Anu. (1) 80 anA. (3) 0 0 0 ava. 4. Anu. (1) anA. (3) 0 0 0 ava. (3) 00 5. Anu. (3) 80 0 0 anA. (1) 0 ava. (1) 00 6. Anu. (3) 80 0 0 anA. (1) 0 ava. (3) 00 00 7. Anu. (3) 808080 anA. (3) 0 0 0 ava. (1) 00 8. Anu. (3) 808080 anA. (3) 0 0 0 ava. (3) 00 00 (noTa-koSTaka meM (1) kA artha hai eka vacanAnta (3) kA artha hai bahuvacanAnta) ina bhaMgoM kA samutkIrtana-varNana isalie kiyA jAtA hai ki asaMyogI chaha aura saMyogaja bIsa bhaMgoM meM se vaktA jisa bhaMga se dravya kI vivakSA karanA cAhatA hai, vaha usa bhaMga se vivakSita dravya ko khe| isI kAraNa yahA~ naigama aura vyavahAranayasaMmata samasta bhaMgoM kA kathana karane ke lie ina bhaMgoM ko yantra meM sthApita kiyA hai| anuyogadvAra sUtra ( 156 ) Illustrated Anuyogadvar Sutra

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TOGO TOGG OG TABLE OF 26 DIVISIONS OR BHANGS 00 AAS 5. AP 8. APs SVAVOVODVOD DVA DVOJVODOVOLVOLVIWNOWANTVimwi. Taken separately-6 divisions or bhangs 1. AP (1) 4. APs (3) % %0 2. AA (1) 5. AAS (3) 0 0 3. AV (1) 6. AVs (3) 00 00 Taken in combinations of two-12 divisions or bhangs 1. AP (1) 20 AA (1) 0 2. AP (1) . AAS (3) 0 3. APs (3) AA (1) 4. APS (3) AV 6. AP AVs 7. APs AV AVS 9. AA (1) 0 AV 10. AA (1) 0 AVs (3) 00 11. AAs (3) 0 0 0 AV (1) 12. AAS (3) 0 0 0 AVs (3) Taken in combination of three-8 divisions or bhangs 1. AP (1) AA (1) AV (1) 2. AP (1) 80 AA (1) 0 AVs (3) 3. AP (1) AAS (3) 0 0 0 AV (1) 4. AP (1) AAS (3) 0 0 0 AVs (3) 5. APs (3) 20 % 0AA (1) 0 AV 6. APs (3) % % %0 AA (1) AVs (3) 7. APs (3) % 80 % AAs (3) 0 o 0 AV (1) 8. APs (3) % % %0 AAS (3) 0 0 0 AVs (3) 00 ORDPYNURUT YAYAYAYYAPPNOYNUYALPAYOYALOPALYAYAYAYOYAPOYAYOYAYOYAYOYAYOYAYOYALOYNOYATOAVALAVATOVALUAVA AA AP - ANUPURVI. AA = ANANUPURVI. AV = AVAKTAVYA These divisions or bhangs have been enumerated to facilitate the speaker to select the specific division (bhang) out of the six taken separately and twenty taken in combination, in context of which he wants to describe a substance. That is why all the divisions conforming to Naigam-vyavahar naya (coordinated and particularized viewpoints) have been tabulated. AnupUrvI prakaraNa ( 346 ) The Discussion on Anupurvi

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102. eyAe NaM Negama-vavahArANaM bhaMgasamukkittaNayAe kiM paoyaNaM ? eyAe NaM Negama-vavahArANaM bhaMgasamukkittaNayAe bhaMgovadaMsaNayA kiiri| 102. (prazna) isa naigama aura vyavahAranayasammata bhaMgasamutkIrtanatA kA kyA prayojana ___ (uttara) naigama vyavahAranayasammata bhaMgasamutkIrtanatA se bhaMgopadarzana-bhaMgoM kA kathana kiyA jAtA hai| ___102. (Question) What is the purpose of this naigamvyavaharnaya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints)? ___ (Answer) This naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is used to derive and state Bhangopadarshanata (explication of divisions or bhangs). vivecana-sUtra meM bhaMga samutkIrtana kA prayojana batAyA hai| yadyapi bhaMgasamutkIrtana aura bhaMgopadarzana kA Azaya sthUla dRSTi se eka jaisA pratIta hotA hai, lekina jahA~ zabda bheda hotA hai vahA~ arthabheda bhI hotA hai| jaise-bhaMgasamutkIrtana meM to bhaMgoM kA nAma aura unake vikalpa kitane bhaMga hote haiM, yaha batalAyA hai aura bhaMgopadarzana meM unakA tryaNuka skandha Adi vAcyArtha kahA jAtA hai| isalie bhaMgasamutkIrtanatA kA phala hai bhNgopdrshntaa| Elaboration--This aphorism states the purpose of bhangsamutkirtanata (enumeration of divisions or bhangs). Broadly looking the purpose of enumeration of divisions or bhangs and explication of divisions or bhangs appears to be same but where there is a variation of words there is also a variation of meaning. In enumeration of divisions or bhangs only the nomenclature and possible combinations are mentioned but in explication of divisions or bhangs their intent of meaning, such as triadaggregate of ultimate-particles, etc., is stated. Thus bhangopadarshanata (explication of divisions or bhangs) is the anuyogadvAra sUtra ( 158 ) Illustrated Anuyogadvar Sutra

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consequence of bhang-samutkirtanata (enumeration of divisions or bhangs). naigama-vyavahAranayasammata bhaMgopadarzanatA 103. se kiM taM Negama-vavahArANaM bhaMgovadaMsaNayA ? Negama-vavahArANaM bhaMgovadaMsaNayA (1) tipadesie ANupubbI, (2) paramANupoggale aNANupubI, (3) dupadesie avattavbae, (4) tipadesiyA ANupuvIo, (5) paramANupoggalA aNANupubbIo, (6) dupadesiyA avttvvyaaii| ___ ahavA (1) tipadesie ya paramANupoggale ya ANupubbI aNANupuvI ya, (2) ahavA tipadesie ya paramANupoggalA ya ANupubbI ya aNANupubIo ya, (3) ahavA tipadesiyA ya paramANupoggale ya ANupubbIo ya aNANupubbI ya, (4) ahavA tipadesiyA ya paramANu poggalA ya ANupubbIo ya aNANupubIo ya (10) ahavA (1) tipadesie dupadesie ya ANupubbI ya avattavyae ya, (2) ahavA tipadesie ya dupadesiyA ya ANupubbI yA avattavyayAiM ca, (3) ahavA tipadesiyA ya dupadesie ya ANupubbIo ya avattavbae ya, (4) ahavA tipadesiyA ya dupadesiyA ya ANupubbIo ya avattavyayAiM ca (14) ahavA (1) paramANupoggale ya dupadesie ya aNANupuSvI ya avattavbae ya, (2) ahavA paramANupoggale ya dupadesiyA ya aNANupubbI ya avattavbayAI ca, (3) ahavA paramANupoggalA yA dupadesie ya aNANupubbIo ya avattavbae ya, (4) ahavA paramANupoggalA ya dupadesiyA ya aNANupuvIo ya avattavvayAI c| (18) ahavA (1) tipadesie ya paramANupoggale ya dupadesie ya ANupuvI ya aNANupubbI ya avattavvae ya, (2) tipadesie ya paramANupoggale ya dupadesiyA ya ANupubbI ya aNANupubbI ya avattavbayAI ca, (3) ahavA tipadesie ya prmaannupogglaa| dupadesie ya ANupubI ya aNANupubbIo ya avattabbae ya, (4) ahavA tipaesie ya paramANupoggalA ya dupadesiyA ya ANupubbI ya aNANupubbIyo ya avattavvayAiM ca (22) AnupUrvI prakaraNa ( 159 ) The Discussion on Anupurvi

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___ ahavA (5) tipadesiyA ya paramANupoggale ya dupadesie ya ANupuvvIo ya aNANupubbI ya avattabbae ya, (6) ahavA tipadesiyA ya paramANupoggale ya dupadesiyA ya ANupubbIo ya aNANupubbI ya avattavyayAI ca, (7) ahavA tipadesiyA ya paramANupoggalA ya dupadesie ya ANubbIo ya aNANupubbIo ya avattabbae ya, (8) ahavA tipadesiyA ya paramANupoggalA ya dupadesiyA yA ANupubbIo ya aNANupubIo ya avattavvayAiM ca 8 / (26) se taM negama-vavahArANaM bhNgodNsnnyaa| 103. (prazna) naigama aura vyavahAranayasaMmata bhaMgopadarzanatA kyA hai? (uttara) naigama-vyavahAranayasaMmata bhaMgopadarzanatA isa prakAra hai (1) tripradezika AnupUrvI, (2) paramANupudgala anAnupUrvI, (3) dvipradezika avaktavya, (4) tripradezika AnupUrviyA~, (5) paramANupudgala anAnupUrviyA~ haiM, (6) dvipradezika avktvyk| (isa prakAra asaMyogI chaha bhaMgoM kA kathana hai) athavA (1) tripradezika hai, paramANupudgala hai AnupUrvI hai aura anAnupUrvI hai, (7) / (2) tripradezika hai, aneka paramANupudgala- hai, AnupUrvI hai aura anAnupUrviyA~ hai, (8), (3) aneka tripradezika hai paramANupudgala hai AnupUrviyA~ aura anAnupUrviyA~ haiM, (9) (4) tripradezika hai, aneka paramANupudgala haiM AnupUrviyAM aura anAnupUrviyA~ haiM (10) / athavA (1) tripradezika dvipradezika hai AnupUrvI aura avaktavya rUpa haiM, (11) (2) tripradezika hai aneka dvipradezika hai AnupUrvI aura avaktavya rUpa haiM (12), (3) tripradezika aura aura dvipradezika AnupUrvI avaktavya rUpa haiM (13), 2 (4) tripradezika aura dvipradezika AnupUrviyoM aura avaktavyakoM rUpa haiN| (14) athavA (1) paramANupudgala aura dvipradezika hai, anAnupUrvI avaktavyaka rUpa haiM (15), (2) paramANupudgala aura dvipradezika anAnupUrvI avaktavyakoM rUpa haiM (16), (3) aneka paramANupudgala aura dvipradezika hai, anAnupUrvI aura avaktavya rUpa (17) (4) paramANupudgala aura dvipradezika anAnupUrviyoM aura avaktavyakoM rUpa haiM (18) / athavA (1) tripradezika hai, paramANupudgala hai aura dvipradezika AnupUrvI-anAnupUrvI avaktavyaka rUpa hai (19), (2) tripradezika paramANupudgala hai dvipradezika hai, AnupUrvI, anuyogadvAra sUtra ( 160 ) Illustrated Anuyogadvar Sutra

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anAnupUrvI aura avaktavyakoM rUpa hai (20) (3) tripradezika aneka paramANupudgala dvipradezika AnupUrvI, anAnupUrviyoM aura avaktavyaka rUpa haiM (21), (4) tripradezika paramANupudgala aura dvipradezika AnupUrvI, anAnupUrviyoM aura avaktavyakoM rUpa haiM (22), (5) aneka tripradezika hai, paramANupudgala hai aura dvipradezika AnupUrviyoM, anAnupUrvI aura avaktavyaka rUpa haiM (23), (6) aneka tripradezika hai, paramANupudgala hai aura aneka dvipradezika AnupUrviyoM, anAnupUrvI aura avaktavyakoM rUpa haiM (24), (7) aneka tripradezika hai, paramANupudgala aura dvipradezika AnupUrviyoM, anAnupUrviyoM aura avaktavyaka rUpa hai, (25). aneka tripradezika hai, aneka paramANupudgala haiM aura aneka dvipradezika anupUrviyoM-anAnupUrviyoM-avaktavyakoM rUpa haiM (26) / yaha naigama-vyavahAranayasaMmata bhaMgopadarzanatA kA svarUpa hai| NAIGAM-VYAVAHAR NAYA SAMMAT BHANGOPADARSHANATA 103. (Question) What is this naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavaharnaya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints) is as follows (1) There is a triad (of three space-points or three ultimate-particles) anupurvi (sequence), (2) There is a single particle (paramanu-pudgala or ultimate-particle of matter) ananupurvi (non-sequence), (3) There is a biunial-aggregate (aggregate of two space-points or ultimate-particles) avaktavya (inexpressible), (4) There are many triad anupurvis (sequences), (5) There are many single particle ananupurvis (non-sequences), (6) There are many biunialaggregate avaktavyas (inexpressibles). (6) (a total of 6 divisions or bhangs) AnupUrvI prakaraNa ( 161 ) The Discussion on Anupurvi

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a. (1) There is a triad anupurvi (sequence) and a single particle ananupurvi (non-sequence), (2) There is a triad anupurvi (sequence) and many single particle ananupurvis (non-sequences), (3) There are many triad anupurvis (sequences) and a single particle ananupurvi (nonsequence), (4) There are many triad anupurvis (sequences) and many single particle ananupurvis (non-sequences). (4) (a total of 10 divisions or bhangs) b. (1) There is a triad anupurvi (sequence) and a biunialaggregate avaktavya (inexpressible), (2) There is a triad anupurvi (sequence) and many biunial-aggregate avaktavyas (inexpressibles), (3) There are many triad anupurvis (sequences) and a biunial-aggregate avaktavya (inexpressible), (4) There are many triad anupurvis (sequences) and many biunial-aggregate avaktavyas inexpressibles). (4) (a total of 14 divisions or bhangs) c. (1) There is a single particle ananupurvi (non-sequence) and a biunial-aggregate avaktavya (inexpressible), (2) There is a single particle ananupurvi (non-sequence) and many biunial-aggregate avaktavyas (inexpressibles), (3) There are many single particle ananupurvis (non-sequences) and a biunial-aggregate avaktavya (inexpressible), (4) There are many single particle ananupurvis (non-sequences) and many biunial-aggregate avaktavyas (inexpressibles). (4) (a total of 18 divisions or bhangs) d. (1) There is a triad anupurvi (sequence), single particle ananupurvi (non-sequence), and a biunial-aggregate avaktavya inexpressible), (2) There is a triad anupurvi (sequence), single particle ananupurvi (non-sequence), and many biunial-aggregate avaktavyas inexpressibles), (3) There is a triad anupurvi (sequence), many single anuyogadvAra sUtra (PER) Illustrated Anuyogadvar Sutra

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particle ananupurvis (non-sequences) and a biunialaggregate avaktavya (inexpressible), (4) There is a triad anupurvi (sequence), many single particle ananupurvis (non-sequences) and many biunial-aggregate avaktavyas (inexpressibles), (5) There are many triad anupurvis (sequences), a single particle ananupurvi (non-sequence) and a biunial-aggregate avaktavya (inexpressible), (6) There are many triad anupurvis (sequences), a single particle ananupurvi (non-sequence) and many biunialaggregate avaktavyas (inexpressibles), (7) There are many triad anupurvis (sequences), many single particle ananupurvis (non-sequences) and a biunial-aggregate avaktavya (inexpressible), (8) There are many triad anupurvis (sequences), many single particle ananupurvis (non-sequences) and many biunial-aggregate avaktavyas (inexpressibles). (8) (a total of 26 divisions or bhangs). This concludes the description of Naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints). vivecana-sUtra 101 meM bhaMgasamutkIrtana ke dvArA 26 bhaMgoM kA jo saMkSepa rUpa meM saMketa kiyA thA, usI kA yahA~ vistAra se spaSTa kiyA hai ki kisa bhaMga ke dvArA kisake lie saMketa kiyA hai| tripradezI (40) AnupUrvI kA, paramANupudgala (0) anAnupUrvI kA aura dvipradezI (00) avaktavya zabda kA sUcaka hai| Elaboration--In aphorism 101 the process of enumeration of division or bhang was used to indicate in brief about the 26 divisions or bhangs. Here the same has been expanded further to include the theme of each division or bhang. Triad of three spacepoints or three ultimate-particles 20 is covered by anupurvi, single particle (o) or paramanu-pudgala (ultimate-particle of matter) is covered by ananupurvi, and biunial-aggregate of two ultimate-particles (oo) or two space-points is covered by avaktavya. AnupUrvI prakaraNa ( 883 ) The Discussion on Anupurvi

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-* -* NirekhexineKhesari -* -*...* * * ANDRODARDARODANDROPROPS * okGOO.R. * *AS *09 * * RoRAROROSRODR.90. samavatAra-prarUpaNA (AnupUrvI dravya) 104. (1) se kiM taM samoyAre ? samoyAre Negama-vavahArANaM ANupubIdavvAiM kahiM samoyaraMti ? kiM ANupubbIdavvehiM samoyaraMti ? aNANupubbIdavvehiM samoyaraMti ? avattavvayadavvehiM samoyaraMti ? negama-vavahArANaM ANupubbIdavvAiM ANupubIdavvehiM samoyaraMti, No aNANupuvvIdavvehi samoyaraMti no avattavvayadavvehiM smoyrNti| 104. (prazna 1) samavatAra kA kyA artha hai ? naigama aura vyavahAranayasammata AnupUrvIdravya kahA~ samavatarita (samAviSTa) hote haiM? kyA AnupUrvIdravyoM meM samavatarita hote haiM, anAnupUrvIdravyoM meM athavA avaktavyakadravyoM meM samavatarita hote haiM ? (uttara) naigama aura vyavahAranayasammata AnupUrvI dravya AnupUrvIdravyoM meM samavatarita hote haiM, kintu anAnupUrvIdravyoM meM yA avaktavyadravyoM meM samavatarita nahIM hote haiN| SAMAVATARA : ANUPURVI DRAVYA 104. (Question 1) What is this samavatara (compatible assimilation)? Where can there be a compatible assimilation (samavatara) of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) ? Can they have compatible assimilation (samavatara) with sequential substances (anupurvi dravya) or non-sequential substances (ananupurvi dravya) or inexpressible substances (avaktavya dravya) ? ___ (Answer) Naigam-vyavahar naya sammat anupurvi. dravya (sequential substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) with sequential substances (anupurvi dravya) only and not with non-sequential anuyogadvAra sUtra ( 164 ) Illustrated Anuyogadvar Sutra 2009.CON * PAROOROPOSAROGARO PARA PROPRIA * * 100.2050 ktisa

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substances (Ananupurvi dravya) or inexpressible substances (Avaktavya Dravya). anAnupUrvI dravya (2) Negama-vavahArANaM aNANupubbIdavbAI kahiM samayoti ? kiM ANupubbIdavvehiM samoyaraMti ? aNANupucIdavvehiM samoyaraMti? avattavvayadavvehiM samoyaraMti ? Negama-vavahArANaM aNANupubbIdavvAiM No ANupubbIdavvehiM samoyaraMti, aNANupubbIdavvehiM samoyaraMti, No avattavbayadavvehi smoyrNti| 104. (prazna 2) naigama aura vyavahAranayasammata anAnupUrvIdravya kahA~ samavatarita hote haiM? kyA AnupUrvI dravyoM meM samavatarita hote haiM ? anAnupUrvIdravyoM meM yA avaktavyakadravyoM meM samavatarita hote haiM ? / (uttara) naigama aura vyavahAranaya sammata anAnupUrvIdravya AnupUrvIdravyoM meM samavatarita nahIM hote, anAnupUrvIdravyoM meM samavatarita hote haiN| avaktavyakadravyoM meM samavatarita nahIM hote haiN| ANANUPURVI DRAVYA (Question 2) Where can there be a compatible assimilation (samavatara) of naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) ? Can they have compatible assimilation (samavatara) with sequential (anupurvi) substances or non-sequential (ananupurvi) substances or inexpressible substances (avaktavya)? (Answer) Naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) not with sequential substances, not with inexpressible substances, but only with non-sequential substances. AnupUrvI prakaraNa ( 165 ) The Discussion on Anupurvi

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avaktavya dravya (3) Negama-vavahArANaM avattavyayadavbAI kahiM samoyaraMti ? kiM ANupucIdavyehiM samoyaraMti ? aNANupubbIdavvehi samoyaraMti ? avattavyayadavvehiM samoyaraMti ? . Negama-vavahArANaM avattavvayadavvAiM No ANupubIdavvehiM samoyaraMti, No aNANupucIdavvehiM samoyaraMti, avattavyayadavvehiM smoyrNti| se taM smoyaare| 104. (prazna 3) naigama aura vyavahAranayasammata avaktavyadravya kahA~ samavatarita hote. haiM? kyA AnupUrvIdravyoM meM athavA anAnupUrvIdravyoM meM yA avaktavyakadravyoM meM samavatarita hote haiM ? (uttara) naigama vyavahAranayasammata avaktavyakadravya AnupUrvIdravyoM meM aura anAnupUrvIdravyoM meM samavatarita nahIM hote haiM kintu avaktavyakadravyoM meM samavatarita hote haiN| yaha samavatAra hai| AVAKTAVYA DRAVYA (Question 3) Where can there be a compatible assimilation (samavatara) of naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) ? Can they have compatible assimilation (samavatara) with sequential substances or non-sequential substances or inexpressible substances ? (Answer) Naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) not with sequential substances, not with non-sequential substances, but only with inexpressible substances. This concludes the description of samavatara (compatible assimilation). vivecana-kauna dravya kisameM samavatarita hotA hai isakA spaSTIkaraNa prastuta sUtra meM hai| anuyogadvAra sUtra ( 166 ) Illustrated Anuyogadvar Sutra SUPRO IDS D * * "* *

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AAKAAKAcharacticosarosadisudixacinutes PRODOODRODOOD Kok.0.9.QOPRAYAS O.ONRACK samavatAra kA tAtparya hai samAveza arthAt AnupUrvI Adi dravyoM kA binA kisI virodha ke kisI jAti meM rhnaa| dravyoM kA samavatAra jAtyantara meM nahIM hotaa| kArya meM kAraNa kA upacAra karake 'AnupUrvI' Adi dravyoM kA antarbhAva svasthAna meM hotA hai| AnupUrvIdravya-tripradezika Adi skandha-AnupUrvI meM, anAnupUrvI dravya-paramANupudgala-anAnupUrvIdravya meM aura avaktavyadravyadvipradezika skandha-avaktavyadravya meM avirodha rUpa se apanI jAti meM binA virodha ke rahate haiN| AnupUrvIdravyoM kA samavatAra para-jAti meM honA dravya svabhAva ke viruddha hai| Elaboration-This aphorism explains which substance can have compatible assimilation with which other substance. Samavatar means compatible assimilation of specific type of substances with other substances. In other words, to stay in a class of substances without any contradictions or differences. This assimilation does not take place in substances of different classes. According to the cause and effect consideration anupurvi and other substances can have assimilation only with substances of their own class. Sequential substances have compatible assimilation (samavatara) without any contradictions or differences only with sequential substances. non-seque substances only with non-sequential substances, and inexpressible substances only with inexpressible substances. Any compatible assimilation of substances of different class is against the intrinsic nature of substances. navavidha-anugama prarUpaNA 105. se kiM taM aNugame ? aNugame Navavihe pnnnntte| taM jahA(1) saMtapayaparUvaNayA (2) davvapamANaM ca, (3) khetta, (4) phusaNA y,| (5) kAlo ya, (6) aMtaraM, (7) bhAga, (8) bhAva, (9) appAbahuM cev||8|| 105. (prazna) anugama kyA hai ? (uttara) anugama nau prakAra kA hai, jaise-(1) satpadaprarUpaNA, (2) dravyapramANa, (3) kSetra, (4) sparzanA, (5) kAla, (6) antara, (7) bhAga, (8) bhAva aura (9) alpbhutv| AnupUrvI prakaraNa ( 167 ) The Discussion on Anupurvi

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ANUGAM : NINE KINDS ____105. (Question) What is this anugam (systematic elaboration)? (Answer) Anugam (systematic elaboration) is of nine kinds--(1) satpad-prarupana, (2) dravya-pramana, (3) kshetra, (4) sparshana, (5) kaal, (6) antar, (7) bhaag, (8) bhaava, and (9) alpa-bahutva. vivecana-vastu ko jAnane ke lie usake jina pakSoM ko jAnanA jarUrI hai usakA nAma hai anugm| anugama dvArA sUtra ke anukUla artha kI vyAkhyA kI jA sakatI hai| anugama ke yahA~ nau bheda yA no dvAra batAye haiM (1) satpada prarUpaNA-dravya ke astitva aura nAstitva kA vicAra krnaa| jaise AnupUrvI Adi dravya sat padArtha ke vAcaka haiM, asat padArtha ke vAcaka nhiiN| isa prakAra kA nirUpaNa karanA satpada prarUpaNA hai| (sUtra 106) (2) dravya pramANa-vivakSita padArtha kI saMkhyA kA nirUpaNa krnaa| (sUtra 107) (3) kSetra-kathita dravyoM ke AdhArabhUta kSetra kA vicAra krnaa| (sUtra 108) (4) sparzanA-kathita dravyoM dvArA sparzita kSetra kI paryAlocanA krnaa| (sUtra 109) kSetra aura sparzanA meM antara-kSetra meM kevala AdhArabhUta kSetra kA vicAra hotA hai, jabaki sparzanA meM AdhArabhUta kSetra ke cAroM tarapha ke tathA Upara-nIce ke avagAhita-sparzita kSetra kA bhI vicAra hotA hai| spaSTatA ke lie sUtra 109 kA vivecana dekheN| (5) kAla-dravyoM kI sthiti kI maryAdA kA nirUpaNa krnaa| (6) antara-viraha kaal| kisI padArtha ke apanI paryAya kA parityAga karane ke bAda punaH usI paryAya kI prApti ke bIca kA samaya, antara yA viraha kAla kahalAtA hai| (7) bhAga-vivakSita dravya dUsare dravyoM ke kitane bhAga meM rahatA hai| isakA vicAra krnaa| (8) bhAva-AnupUrvI Adi dravya kisa bhAva meM hai, athavA unameM audayika, aupazamika Adi kitane bhAva hote haiM, isakA niruupnn| (9) alpa-bahutva-AnupUrvI Adi dravyoM kI nyUnAdhikatA kA vicAra krnaa| dravyArtha, pradezArtha tathA ubhayArtha (donoM) kI apekSA se unakI alpatA-bahulatA kA vicAra vimarza krnaa| anuyogadvAra sUtra ( 168 ) Illustrated Anuyogadvar Sutra

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PODGOGOGOGO TONGGOT V O DTV AV AVOVODVODVODOVODVODOVOVAO VONVONA Elaboration--The process of studying the required parameters in order to understand a thing is called anugam. With the help of this systematic study (anugam) the proper meaning of an aphorism can be explained. Here nine kinds of anugam are listed (1) Satpad-prarupana-to contemplate over the existence and non-existence of the thing represented by the word under consideration. For example substances like anupurvi include only things that exist and not those that do not exist. Such exposition of words is called Satpad-prarupana (exposition of words for existent things). (aphorism 106) (2) Dravya-pramana-to study the numerical measure of things under consideration is called Dravya-pramana (numerical measure). (aphorism 107) (3) Kshetra-to study the base area where the thing under consideration is located is called kshetra (area of location). (aphorism 108) (4) Sparshana-to study area in contact with the thing under consideration is called sparshana (area of contact). (aphorism 109) Difference between kshetra and sparshana-kshetra indicates the base area where a thing stands or is located whereas sparshana indicates the area of tactile contact in all directions in space occupied by a thing. (refer to elaboration of aphorism 109 for more details). (5) Kaal--to determine the period of existence of the thing under consideration is called kaal (duration of existence or lifespan). (6) Antar-to determine the intervening period between termination of the present form and once again regaining the same form (intervening period). (7) Bhaag--to determine the proportion of spatial occupancy is called bhaag (spatial proportion). AnupUrvI prakaraNa ( 869 ) The Discussion on Anupurvi

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* ___(8) Bhaava-to determine the state of the thing under consideration is called bhaava (state). (9) Alpa-bahutva-to determine the comparative quantum in degree (less or more) of the thing under consideration in terms of mass as well as volume is called alpa-bahutva (quantum in degree). (1) satpada prarUpaNA dvAra 106. (1) negama-vavahArANaM ANupubbIdavbAI kiM atthi Natthi ? NiyamA atthi| ___106. (prazna 1) naigama aura vyavahAranaya kI apekSA AnupUrvI dravya haiM athavA nahIM? (uttara) niyama se avazya haiN| (1) SATPAD-PRARUPANA-DVAR 106. (Question 1) Do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist or not? (Answer) -Indeed, as a rule they exist. (2) negama-vavahArANaM aNANupubbIdavvAiM kiM atthi Natthi ? NiyamA atthi| 106. (prazna 2) naigama aura vyavahAranayasammata anAnupUrvI dravya haiM athavA nahIM? (uttara) avazya haiN| 106. (Question 2) Do the naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) exist or not? (Answer) -Indeed, as a rule they exist. anuyogadvAra sUtra ( 170 ) Illustrated Anuyogadvar Sutra

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FFERENGERBERGENCODIGENERNEPXXGDIGDIGENEDGEMEDIEPOMEDXEDEOBORGANGDEVEREIGNEDYETERONEPEXGDIGENGReg (3) negama-vavahArANaM avattavbagadavvAiM kiM atthi Natthi ? niyamA atthi| 106. (prazna 3) naigama aura vyavahAranayasammata avaktavyaka dravya haiM yA nahIM ? (uttara) avazya haiN| 106. (Question 3) Do the naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) exist or not? (Answer) -Indeed, as a rule they exist. (2) dravya pramANa dvAra 107. (1) negama-vavahArANaM ANupucIdavvAiM kiM saMkhejjAiM asaMkhejjAiM aNaMtAI ? no saMkhejjAiM no asaMkhejjAiM; annNtaaii| (2) evaM doNNi vi| (2) isI prakAra zeSa donoM (anAnupUrvI aura avaktavya dravya) bhI ananta haiN| 107. (prazna 1) naigama-vyavahAranaya kI apekSA AnupUrvI dravya kyA saMkhyAta haiM, asaMkhyAta haiM, athavA ananta haiM ? (uttara) ve saMkhyAta nahIM, asaMkhyAta bhI nahIM, kintu ananta haiN| (2) DRAVYA-PRAMANA-DVAR 107. (Question 1) According to the naigam-vyavahar naya (coordinated and particularized viewpoints) are the anupurvi dravya (sequential substances) numerable, innumerable, or infinite (numerically) ? (Answer) They are neither numerable nor innumerable but are infinite (numerically). 107. (2) Same is true for the remaining two, i.e. according to the naigam-vyavahar naya (coordinated and AnupUrvI prakaraNa ( 171 ) The Discussion on Anupurvi

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particularized viewpoints) both ananupurvi dravya (nonsequential substances) and avaktavya dravya (inexpressible substances) are infinite (numerically). vivecana - sUtra meM anugama ke dUsare bheda kA hArda spaSTa kiyA hai ki AnupUrvI, anAnupUrvI aura avaktavya dravya ananta haiM aura inake ananta hone kA kAraNa yaha hai ki ye pratyeka AkAza ke eka-eka pradeza meM ananta - ananta hI pAye jAte haiM / AnupUrvI Adi dravya ananta hote haiM, ye ananta dravya asaMkhya pradezAtmaka lokAkAza meM kaise samA sakate haiM? yaha prazna khar3A hotA hai, jisake samAdhAna meM kahA gayA hai- pudgala kI pariNati atyanta sUkSma hai, tathA AkAza meM avagAhana kI kSamatA asIma hai| jaise eka dIpaka prabhA se vyApta eka ghara ke AkAza pradezoM meM dUsare aneka dIpakoM kI prabhA kA samAveza ho jAtA hai, usI prakAra AnupUrvI Adi ananta dravyoM kA asaMkhyAta pradezI lokAkAza meM samAveza sambhava hai| (mala. hema. vR. pR. 149) Elaboration-This aphorism explains the theme of the second category of anugam by informing that anupurvi (sequential), ananupurvi (non-sequential) and avaktavya (inexpressible) substances are infinite. The reason for their being infinite numerically is that in every space-point they are found in infinite number. A question arises here-Anupurvi, etc. substances are infinite, how then can they exist in the lokakasha (occupied space), which is made up only of innumerable space-points? Answering this it is stated that material particles are infinitely minute and the capacity of space to provide occupancy is unlimited. For example in a house filled with the light from one lamp, every space-point has the capacity to provide occupancy to the light from numerous other lamps. In the same way it is possible for the infinite anupurvi, etc. substances to exist in the lokakasha (occupied space) having innumerable space-points. (Vritti by Maladhari Hemachandra p. 149 ) (3) kSetra dvAra 108. ( 1 ) Negama - vavahArANaM ANupuvvIdavvAiM logassa katibhAge hojjA ? kiM saMkhejjaibhAge hojjA ? asaMkhejjaibhAge hojjA ? saMkhejjesu bhAgesu hojjA ? asaMkhejje bhAge hojjA ? savvaloe hojjA ? anuyogadvAra sUtra ( 172 ) Illustrated Anuyogadvar Sutra

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PATHORVAORTHORNHORVAOPOHORVHORRORVAORYAAVADANAONLAOAMAONLAODMAOLLAODNAOIYAOMIowronTKORAONTAORTAORTIONAOINoormonionline ___egadavvaM puDucca logassa saMkhejjaibhAge vA hojjA, asaMkhejjaibhAge vA hojjA, 1 saMkhejjesu bhAgesu vA hojjA, asaMkhejesu bhAgesu vA hojjA, savvaloe vA hojjaa| nANAdavvAiM paDucca niyamA sabaloe hojjaa| 108. (prazna 1) naigama aura vyavahAranayasammata AnupUrvI dravya (kSetra ke) kitane bhAga meM avagADha (sthita) haiN| (1) kyA loka ke saMkhyAtaveM bhAga meM haiM ? (2) asaMkhyAtaveM [ bhAga meM hai ? (3) kyA saMkhyAta bhAgoM meM haiM ? (4) asaMkhyAta bhAgoM meM haiN| (5) athavA samasta loka meM haiM ? (uttara) kisI eka AnupUrvIdravya kI apekSA koI loka ke saMkhyAtaveM bhAga meM rahatA hai, koI loka ke asaMkhyAtaveM bhAga meM rahatA hai tathA koI loka ke saMkhyAta bhAgoM meM rahatA hai aura koI asaMkhyAta bhAgoM meM rahatA hai aura koI eka dravya samUce loka meM rahatA hai| kintu aneka dravyoM kI apekSA to ve niyamataH samasta loka meM avagADha haiN| (3) KSHETRA-DVAR ____ 108. (Question 1) In what area or section of the universe (occupied space) do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. Are they in its numerable fraction ? Are they in its innumerable (infinitesimal) fraction ? Are they in its numerable sections ? Are they in its innumerable sections ? or Are they in the whole universe ? __ (Answer) With respect to a single anupurvi (sequential) substance, some exist in numerable fractions of the universe, some in its innumerable (infinitesimal) fractions, some in its numerable sections, some in its innumerable sections and some in the whole universe. But with respect to many substances, as a rule, they occupy the whole universe. (2) negama-vavahArANaM aNANupubbIdavvAiM kiM logassa saMkhejjaibhAge hojjA ? asaMkhejjaibhAge hojjA ? saMkhejesu bhAgesu hojjA ? asaMkhejjesu bhAgesu hojjA ? sabbaloe vA hojjA ? AnupUrvI prakaraNa ( 173 ) The Discussion on Anupurvi KEDAVARVAOAVAOAVAOATAORVARIAORAVAOAVAORYAAVARTAORTAORTTARVAOIMAOIMMOTIOnwromrooronwimwimwomamimarwari

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egadavvaM paDucca no saMkhejjaibhAge hojjA, asaMkhejjaibhAge hojjA no saMkhejjesu bhAgesu hojjA, no asaMkhejjesu bhAgesu hojjA, no savvaloe hojjA / NANAdavbAI paDucca niyamA savvaloe hojjA / 108 ( prazna 2) naigama aura vyavahAranayasammata anAnupUrvIdravya kyA loka ke saMkhyAtaveM bhAga meM haiM ? asaMkhyAtaveM bhAga meM haiM ? saMkhyAta bhAgoM meM haiM yA asaMkhyAta bhAgoM meM haiM athavA samUce loka meM haiM ? (uttara) eka anAnupUrvIdravya (paramANu) kI apekSA vaha loka ke saMkhyAtaveM bhAga meM nahIM hai, asaMkhyAtaveM bhAga meM hai| saMkhyAta bhAgoM meM nahIM, asaMkhyAta bhAgoM meM nahIM aura samUce loka meM nahIM hai / aneka anAnupUrvIdravyoM kI apekSA niyamataH sarvaloka meM avagAr3ha hai| 108. (Question 2) Do the naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) exist in numerable fraction of the universe (occupied space), in its innumerable (infinitesimal) fraction, in its numerable sections, in its innumerable sections, or in the whole universe ? (Answer) With respect to a single ananupurvi (nonsequential) substance (a paramanu), it does not exist in a numerable fraction of the universe but exists in its innumerable (infinitesimal) fraction. It also does not exist in its numerable sections, innumerable sections or the whole universe. But with respect to many ananupurvi substances, as a rule, they occupy the whole universe. (3) evaM avattavvagadavvANi vi / 108. (3) isI prakAra avaktavyadravya ke viSaya meM bhI jAnanA caahie| 108. (3) The same is true for avaktavya (inexpressible) substances. anuyogadvAra sUtra ( 174 ) Illustrated Anuyogadvar Sutra

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vivecana-sUtra 108 meM AnupUrvI Adi dravyoM ke kSetra viSayaka pA~ca praznoM ke uttara diye haiN| yaha pUrva meM batAyA jA cukA hai ki kama se kama tripradezI skandha AnupUrvIdravya hai tathA dvipradezI skandha avaktavya aura paramANu anAnupUrvI dravya haiN| tryaNuka Adi kA vyavahAra pudgaladravya meM hI hotA hai| ataeva pudgaladravya kA AdhAra yadyapi sAmAnya rUpa se to lokAkAza kSetra niyata hai| parantu vizeSa rUpa se bhinna-bhinna pudgaladravyoM ke AdhAra kSetra ke parimANa meM antara hotA hai| AdhArabhUta kSetra ke pradezoM kI saMkhyA AdheyabhUta pudgaladravya ke paramANuoM kI saMkhyA se nyUna yA usake barAbara ho sakatI hai, adhika nhiiN| isalie eka paramANu rUpa anAnupUrvIdravya AkAza ke eka hI pradeza meM rahatA hai parantu dvipradezI eka pradeza meM bhI raha sakatA hai aura do pradezoM meM bhii| isI prakAra uttarottara saMkhyA bar3hate-bar3hate tripradezI, catuSpradezI yAvat saMkhyAtapradezI skandha eka pradeza, do pradeza, tIna pradeza yAvat saMkhyAta pradezarUpa kSetra meM Thahara sakate haiN| saMkhyAtapradezI dravya kI sthiti ke lie asaMkhyAta pradeza vAle kSetra kI AvazyakatA nahIM rahatI hai| isI prakAra asaMkhyAtapradezI skandha eka pradeza se lekara adhika se adhika apane barAbara ke asaMkhyAta saMkhyA vAle pradeza kSetra meM Thahara sakatA hai| kintu anantapradezI aura anantAnantapradezI skandha ke viSaya meM yaha jAnanA cAhie ki vaha eka pradeza, do pradeza ityAdi krama se bar3hate-bar3hate saMkhyAta pradeza aura asaMkhyAta pradeza vAle kSetra meM Thahara sakate haiN| unakI avasthiti ke lie ananta pradezAtmaka kSetra kI jarUrata nahIM hai| pudgaladravya kA sabase bar3A skandha, jise acitta mahAskandha kahate haiM aura jo anantAnanta aNuoM kA banA hotA hai, vaha bhI asaMkhyAtapradezI lokAkAza meM hI Thahara jAtA hai| lokAkAza ke pradeza asaMkhyAta hI haiM aura usase bAhara pudgala kI avagAhanA sambhava nahIM hai| uparyukta samagra kathana AnupUrvI Adi eka-eka dravya kI apekSA se samajhanA caahie| kintu aneka kI apekSA ina samasta dravyoM kA avagAhana samasta lokAkAza meM hai| ___ anantAnanta pudgala paramANuoM se niSpanna acitta mahAskandharUpa AnupUrvIdravya ke eka samaya meM samasta loka meM avagAr3ha rahane ko kevalIsamudghAta ke caturtha samayavartI AtmapradezoM ke sarvaloka meM vyApta hone ke udAharaNa se samajhanA caahie| jo isa prakAra hai acitta mahAskandha eka samaya meM sakala lokavyApI kaise hotA hai| isa viSaya meM TIkAkAra maladhArI hemacandra prajJApanA sUtra kA sandarbha dete hue likhate haiM-acitta mahA skandha sampUrNa loka vyApI, svAbhAvika pariNamana vAlA hotA hai| vaha tirache loka ke asaMkhya yojana vistRta aniyata kAla (ATha samaya) kI sthiti vAlA vRtta U~ce nIce loka meM caudaha rajju parimANa (ekarajju, vaha dUrI hai jo koI deva chaha mAha taka 2,057,152 yojana prati sekenDa kI gati se nirantara calakara taya karatA hai) sUkSma pudgaloM ke pariNAma se pariNata hotA hai| prathama samaya meM usakI AkRti daNDAkAra, dvitIya samaya meM kapATAkAra, tRtIya samaya meM maMthanI ke AkAra AnupUrvI prakaraNa ( 175 ) The Discussion on Anupurvi

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bok * . 9X28OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOORG . . . . DADA tathA cauthe samaya meM vaha sampUrNa loka meM vyApta ho jAtA hai| punaH pA~caveM samaya meM pratiloma saMharaNa hone lagatA hai, chaThe meM maMthanI kI, sAtaveM meM kapATa kI AkRti kA tathA AThaveM samaya # Gus Thy Hero Ha a gatel TE PAHE E GIANT $1 ( 67. 4. qfar. y. 949-47 kevali samudghAta kA citra dekheM) Elaboration-In aphorism 108 five questions regarding the area occupied by anupurvi and other substances have been answered. It has already been explained that an aggregate (skandh) of minimum three ultimate-particles forms an anupurvi (sequential) substance, an aggregate (skandh) of two is avaktavya (inexpressible), and a single paramanu (ultimateparticle) is ananupurvi (non-sequential). The concept of triad and other aggregates (skandhs) of ultimate-particles is applicable only to matter. Thus in general terms the whole occupied space (universe) is the area of existence of matter But in specific terms there are variations in the extant of space occupied by different types of matter. The number of sectional units of space occupied by matter can be less than or equal to the number of occupying ultimate-particles but never more. Therefore, one ultimate-particle occupies only one space-point but an aggregate (skandh) of two ultimate-particles can occupy one space-point as well as two space-points. Extending this numerical series, aggregates (skandhs) of three, four, and countable numbers can occupy three, four, and countable numbers of space-points. Innumerable space-points are not required for the existence of numerable ultimate-particles. In the same way an aggregate (skandh) of innumerable paramanus (ultimate-particles) can exist in an area measuring from one space-point to a maximum of innumerable space-points equal to its own size. However, regarding the aggregates (skandhs) of infinite and infinite-times-infinite ultimate-particles it should be understood that they can exist in an area of one space-point to numerable and innumerable space-points. It is not necessary to have an area of infinite space-points for their existence. The largest aggregate (skandh) of matter is called achittanuyogadvAra sUtra ( 910 ) Illustrated Anuyogadvar Sutra 0. 91

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vali samudghAta KEVALI SAMUDGHAT | kevalI kapATAkRti daNDAkRti antara mathAnI AkRti pradeza sAharaNa pUraNa BParsouseply

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citra paricaya 11 / | Illustration No. 11 kevali samudghAta kevalajJAnI ke jaba nAma, gotra aura vedanIya karma adhika va AyuSya karma alpa rahatA hai, taba unako sama karane ke lie Atma-pradezoM ko phailAkara samudghAta karate haiN| pahale samaya meM ve Atma-pradezoM ko zarIra pramANa caur3AI meM sampUrNa loka vyApI daNDAkRti banAte haiN| dUsare samaya meM Atma-pradezoM ko cAroM dizAoM meM phailAkara kapATa kI AkRti banAte haiN| tIsare samaya meM una pradezoM ko mathAnI (dahI mathanI) ke AkAra meM phailAte haiM aura cauthe samaya meM mathAnI ke bIca meM rahe khAlI sthAna ko bharakara sampUrNa loka ko Atma-pradezoM se vyApta kara dete haiN| pA~caveM se AThaveM samaya viparIta krama se una Atma-pradezoM kA saMkocana karate haiN| AThaveM samaya meM sabhI Atma-pradeza zarIra meM samA jAte haiN| -sUtra 108 (vizeSa varNana vRtti patra 151, tathA prajJApanA sUtra pada 36) KEVALI SAMUDGHAT When the Naam, Gotra, and Vedaniya karmas of an omniscient are comparatively more than the remaing Ayushya karma he activates the process of Kevali samudghat in order to equalize them. During the first samaya he expands the space-points of his soul in stick-shape having the width of his body and covering the whole expanse of universe in length. During the second samaya he expands it in all directions in door-shape. During the third samaya he expands it in the shape of a churning-stick. During the fourth samaya he fills up all the empty space and envelopes the whole lokakasha with the space-points of his soul. During the fifth to seventh samayas he starts shrinking in reverse order. During the eighth all the space-points retract into his body. (for more details see Vritti leaf 151 and Prajnapana Sutra, verse 36) -Sutra : 108

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mahaskandh and it is made up of infinite-times-infinite atoms. Even this can exist in the lokakasha that has only innumerable space-points. The lokakasha has only uncountable number of space-points and beyond it matter cannot exist. The aforesaid statement refers to single anupurvi or other type of substance. However, with respect to numerous substances, all these substances are spread over the whole occupied space (lokakasha). The phenomenon of achitt-mahaskandh, the largest anupurvi substance that is an aggregate (skandh) of infinite-times-infinite atoms occupying the whole lokakasha (occupied space) for one samaya (the smallest unit of time) can be understood with the example of the atmapradeshas (soul-space-points) enveloping the whole occupied space (lokakasha) during the fourth stage of Kevalisamudghat (the process through which an omnisc destroys the residual karma particles). It is as follows How the achitt-mahaskandh envelopes the whole occupied space has been explained by Maladhari Hemachandra, the commentator (Tika), giving reference of the Prajnapana SutraThe natural activity of the achitt-mahaskandh is to occupy the whole lokakasha. This is done by transformation for indefinite period (eight samaya) into a huge spheroid with a transverse expanse of innumerable number of yojans (one yojan being approx eight miles) occupying the transverse space and axial expanse of fourteen rajju (a linear unit defined as the distance covered by a god flying non-stop for six months at a speed of 2,057, 152 yojans per second) occupying the vertical space. During the first samaya it is stick shaped (cylindrical), in the second it is door shaped (cubical), in the third it is churning-stick shaped, and in the fourth samaya it envelopes the whole lokakasha. After this it starts shrinking in reverse order, i.e. in the fifth samaya it takes the churning stick shape, in sixth the door shape, in seventh the stick shape and in the eighth the stick shape vanishes and it is destroyed. (Vritti by Maladhari Hemachandra p. 151-52) AnupUrvI prakaraNa ( plug ) The Discussion on Anupurvi

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(4) sparzanA dvAra 109. (1) Negama-vavahArANaM ANupucIdavvAiM logassa kiM saMkhejjaibhAgaM phusaMti ? asaMkhejjaibhAgaM phusaMti ? saMkhejjebhAge phusaMti ? asaMkheje bhAge phusaMti ? sabaloyaM phusaMti ? __egadavvaM puDucca logassa saMkhejaibhAgaM vA phusaMti, asaMkhejjaibhAgaM vA phusaMti, saMkhejje vA bhAge phusaMti, asaMkhejje vA bhAge phusaMti, savvalogaM vA phusNti| NANAdavvAiM paDucca niyamA sabalogaM phusNti|| 109. (prazna 1) naigama aura vyavahAranayasammata AnupUrvIdravya kyA loka ke saMkhyAtaveM bhAga kA sparza karate haiM ? asaMkhyAtaveM bhAga kA sparza karate haiM ? saMkhyAta bhAgoM kA sparza karate haiM ? athavA asaMkhyAta bhAgoM kA sparza karate haiM ? athavA samasta loka kA sparza karate haiM ? (uttara) eka dravya kI apekSA AnupUrvIdravya loka ke saMkhyAtaveM bhAga kA sparza karatA hai, asaMkhyAtaveM bhAga kA sparza karatA hai, saMkhyAta bhAgoM kA sparza karatA hai, asaMkhyAta bhAgoM kA sparza karatA hai athavA sarvaloka kA sparza karatA hai, kintu aneka (AnupUrvI) dravyoM kI apekSA to niyamataH sarvaloka kA sparza karate haiN| (4) SPARSHANA-DVAR ____109. (Question 1) Do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) have spatial contact with numerable fraction of the universe (occupied space), with innumerable (infinitesimal) fraction, with numerable sections, with innumerable sections, or with the whole universe ? (Answer) With respect to a single anupurvi (sequential) substance, some have spatial contact with numerable fractions of the universe, some with innumerable (infinitesimal) fraction, some with numerable sections, some with innumerable sections and some with the whole anuyogadvAra sUtra ( 178 ) mustrated Anuyogadvar Sutra AAVAON 600 POWERED BYEOS *

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.. universe. But with respect to many substances, as a rule, they have spatial contact with the whole universe. (2) gama-vavahArANaM aNANupubbIdavyANaM pucchaa| egaM davvaM puDucca no saMjAibhAge phusaMti; asaMkhejjaibhAgaM phusaMti, no saMkhejje bhAge phusaMti, no asaMkheje bhAge phusaMti, no sabalogaM phusaMti, nANAdavvAiM paDucca niyamA sabalogaM putti| 109. (prazna 2) naigama aura vyavahAranaya kI apekSA anAnupUrvI dravya kyA loka ke saMkhyAtaveM bhAge kA sparza karate haiM ? ityAdi pA~coM prazna hai| (uttara) eka-eka anAnupUrvI dravya kI apekSA loka ke saMkhyAtaveM bhAga kA sparza nahIM karate haiM kintu asaMkhyAtaveM bhAga kA sparza karate haiM, saMkhyAta bhAgoM kA, asaMkhyAta bhAgoM kA yA sarvaloka kA sparza nahIM karate haiM kintu aneka anAnupUrvI dravyoM kI apekSA to niyamataH sarvaloka kA sparza karate haiN| 109. (Question 2) Do the naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) have spatial contact with numerable fraction of the universe (occupied space), with innumerable (infinitesimal) fraction, with numerable sections, with innumerable sections, or with the whole universe ? (Answer) With respect to a single ananupurvi (non sequential) substance (a paramanu), it does not have spatial contact with a numerable fraction of the universe but has contact with its innumerable (infinitesimal) fraction. It also does not have spatial contact with its numerable sections, innumerable sections or the whole universe. But with respect to many ananupurvi substances, as a rule, they have spatial contact with the whole universe. (3) evaM akttavyagadavyANi vi bhaanniybaanni| 109. (3) avaktavya dravyoM kI sparzanA bhI isI prakAra samajhanA caahie| AnupUrvI prakaraNa ( 179 ) The Discussion on Anupurvi

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___109. (3) The same is true for avaktavya (inexpressible) substances. vivecana-sUtra meM AnupUrvI, anAnupUrvI aura avaktavya dravyoM kI ekavacana aura bahuvacana kI apekSA sparzanA kA vicAra kiyA hai| kSetra aura sparzanA meM yaha mukhya antara hai ki jaise paramANudravya kI jo avagAhanA eka AkAza pradeza meM hotI hai, vaha kSetra hai tathA paramANu ke dvArA apane AdhArabhUta eka AkAzapradeza ke atirikta cAroM ora tathA Upara-nIce ke pradezoM ke chUne ko sparzanA kahate haiN| paramANu (eka pradezI) kI rpazanA AkAza ke sAta pradezoM kI isa prakAra hotI hai-cAroM dizAoM ke cAra pradeza, Upara-nIce ke do pradeza evaM eka vaha pradeza jahA~ svayaM vaha sthita haiN| isa prakAra anAnupUrvI dravya kI sAta pradezoM kI sparzanA hotI hai| Elaboration-This aphorism discusses the spatial contact of the said three classes of substances in their singularity and plurality. The basic difference between kshetra and sparsh is that the space occupied by a substance is kshetra and the area in terms of space-points in all directions with which it is in spatial contact during this occupation is called sparsh. A paramanu (ultimate-particle) occupying one space-point is in spatial contact with seven space-points-four in four transverse directions, one above, one below, and the one which it occupies. (5) kAla dvAra 110. (1) Negama-vavahArANaM ANupubbIdavvAiM kAlao kevaciraM hoMti ? egaM dav puDucca jahaNNeNaM egaM samayaM ukkoseNaM asaMkhejjaM kAlaM, nANAdavvAiM paDucca NiyamA svvddhaa| 110. (prazna 1) naigama aura vyavahAranayasammata AnupUrvIdravya kAla kI apekSA kitane kAla taka (AnupUrvIdravya rUpa meM) rahate haiM ? (uttara) eka dravya kI apekSA ve jaghanyataH eka samaya aura utkRSTa asaMkhyAtakAla taka usI svarUpa meM rahatA hai aura aneka AnupUrvIdravyoM kI apekSA niyamataH sArvakAlika hote haiN| (5) KAAL-DVAR ____110. (Question 1) In context of time, for what duration do the naigam-vyavahar naya sammat anupurvi dravya anuyogadvAra sUtra ( 180 ) Illustrated Anuyogadvar Sutra

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(sequential substances conforming to coordinated and particularized viewpoints) exist? (Answer) With respect to a single anupurvi (sequential) substance they exist in the same form for a minimum of one samaya and maximum of immeasurable time. With respect to many anupurvi (sequential) substances as a rule they exist always. (2) evaM donivi | ( 2 ) isI prakAra anAnupUrvI aura avaktavya dravyoM kI jaghanya aura utkRSTa sthiti bhI jAnanA caahie| 110. (2) Same is true for the remaining two (ananupurvi and avaktavya substances). vivecana - sUtra meM AnupUrvI Adi dravyoM kA eka aura aneka kI apekSA se unhIM AnupUrvI Adi dravyoM ke rUpa meM rahane ke kAla - (samaya) kA kathana kiyA hai| AnupUrvIdravya kA AnupUrvIdravya ke rUpa meM rahane kA jaghanya eka samaya aura utkRSTa asaMkhyAta kAla batAyA hai| isakA kAraNa hai- paramANudvaya Adi meM dUsare paramANuoM ke milane para eka nayA AnupUrvIdravya utpanna ho jAtA hai aura eka samaya ke bAda hI usameM se eka Adi paramANu ke viyukta ho jAne para vaha AnupUrvIdravya usa rUpa se vinaSTa ho jAtA hai| isa apekSa AnupUrvIdravya kA AnupUrvI ke rUpa meM rahane kA kAla jaghanya eka samaya hotA hai aura jaba vahI eka AnupUrvIdravya asaMkhyAta kAla taka usI AnupUrvIdravya ke rUpa meM rahakara eka Adi paramANu se viyukta hotA hai taba usakI avasthiti kA utkRSTa asaMkhyAta kAla kahA gayA hai| aneka AnupUrvIdravyoM kI apekSA to ina AnupUrvIdravyoM kI sthiti niyamataH sArvakAlika hai / kyoMki aisA koI kAla nahIM ki jisameM ye AnupUrvIdravya na hoN| kisI bhI eka AnupUrvIdravyakA AnupUrvI rUpa meM rahane kA kAla ananta nahIM hai / kyoMki pudgala saMyoga kI utkRSTa sthiti asaMkhyAta kAla kI hI hotI hai / koI bhI skandha asaMkhya kAla ke pazcAt vartamAna rUpa meM nahIM rahatA vaha yA to viyukta ho jAtA hai yA anyAnya paramANuoM athavA skandhoM se saMyukta ho jAtA hai / ( vistAra ke lie dekheM zrI jJAna muni jI kRta hindI TIkA pR. 514-15) pUrvI prakaraNa ( 181 ) The Discussion on Anupurvi

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anAnupUrvI aura avaktavya dravyoM kA bhI eka aura aneka kI apekSA utkRSTa aura jaghanya sthiti kAla AnupUrvIdravyavat jAnanA caahie| Elaboration--This aphorism states the duration of existence of anupurvi (sequential) and other substances in the same state in their singularity and plurality. For anupurvi (sequential) substances to remain as anupurvi (sequential) substances this period is said to be a minimum of one samaya and maximum of immeasurable time. The reason for this is that when one or more paramanus (ultimate-particles) get fused with an aggregate (skandh) of two paramanus (ultimateparticles) a new anupurvi (sequential) substance is created. When this process is repeated once more just after the lapse of one samaya the newly formed anupurvi (sequential) substance is once again transformed. Thus the duration of its existence in the same form is just one samaya which is minimum. However, when this anupurvi (sequential) substance undergoes such process of fusion only after a lapse of immeasurable time, the * duration of its existence in the same form is immeasurable time which is maximum. With respect to many anupurvi (sequential) substances the duration of existence in the same state is, as a rule, for all times. This is because there is no time when these anupurvi (sequential) substances become extinct. The duration of existence of no anupurvi (sequential) substance in the same form is infinite. This is because the maximum duration of a material bond is immeasurable time and not infinity. An aggregate (skandh) does not remain in the same state after the lapse of immeasurable time, it either disintegrates or gets integrated with other paramanus (ultimateparticles) or aggregates (skandhs). (for more details refer to the Tika of Anuyogadvara Sutra by Shri Jnana Muni, p. 514-515) The same holds true for the remaining two (ananupurvi and avaktavaya substances) in their singularity and plurality. anuyogadvAra sUtra ( 807 ) Illustrated Anuyogadvar Sutra

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(6) antara prarUpaNA dvAra 111. (1) Negama-vavahArANaM ANupubbIdavvANamaMtaraM kAlao kevaciraM hoi ? egaM davvaM puDucca jahaNNeNaM egaM samayaM ukkoseNaM aNaMtaM kAlaM, nANAdavvAiM paDuca Natthi aNtrN| 111. (prazna 1) naigama aura vyavahAranayasammata AnupUrvIdravyoM meM kAlakRta antaravirahakAla kitanA hotA hai ? (uttara) eka dravya kI apekSA jaghanya eka samaya aura utkRSTa ananta kAla kA antara hotA hai, kintu aneka dravyoM kI apekSA unameM antara yA virahakAla nahIM hotaa| (6) ANTAR-DVAR 111. (Question 1) In context of time, what is the antar (intervening period between losing the present form and regaining it) in case of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints)? (Answer) With respect to a single anupurvi (sequential) substance this period is a minimum of one samaya and maximum of infinite time. However with respect to many anupurvi (sequential) substances this antar does not exist. (2) Negama-vavahArANaM aNANupubIdavvANaM aMtaraM kAlao kevaciraM hoi ? egaM davvaM puDucca jahaNNeNaM egaM samayaM ukkoseNaM asaMkhenaM kAlaM, nANAdavbAI puDucca patthi aNtrN| 111. (prazna 2) naigama aura vyavahAranayasammata anAnupUrvIdravyoM meM kAla kI apekSA antara kitanA hotA hai? (uttara) eka dravya kI apekSA jaghanya eka samaya kA antarakAla aura utkRSTa asaMkhyAta kAla kA antara hotA hai tathA aneka anAnupUrvIdravyoM kI apekSA antara nahIM hotA hai| AnupUrvI prakaraNa ( 183 ) The Discussion on Anupurvi

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111. (Question 2) In context of time what is the antar (intervening period between losing the present form and regaining it) in case of naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints)? (Answer) With respect to a single ananupurvi (nonsequential) substance this period is a minimum of one samaya and maximum of immeasurable time. However with respect to many ananupurvi (non-sequential) substances the intervening period does not exist. ( 3 ) Negama - vavahArANaM avattavvagadavvANaM aMtaraM kAlao kevaciraM hoi ? egaM davvaM paDucca jahaNeNaM egaM samayaM ukkoseNaM anaMtaM kAlaM, nANAdavvAI paDucca Natthi aMtaraM / 111. ( prazna 3) naigama aura vyavahAranayasammata avaktavya dravyoM meM kAla kI apekSA antara kitanA hai ? (uttara) eka avaktavyadravya kI apekSA jaghanya eka samaya aura utkRSTa ananta kAla kA antara hotA hai, kintu aneka dravyoM kI apekSA antara nahIM hai| 111. (Question 3) In context of time, what is the antar (intervening period between losing the present form and regaining it) in case of naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints)? (Answer) With respect to a single avaktavya (inexpressible) substance this period is a minimum of one samaya and maximum of infinite time. However with respect to many avaktavya (inexpressible) substances the intervening period does not exist. anuyogadvAra sUtra ( 184 ) Illustrated Anuyogadvar Sutra

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vivecana-antara kAla kA artha hai, eka paramANu ke dUsare paramANu rUpa meM pariNata hone ke bIca kA smy| jaise eka tripradezI skandha tripradezI skandha ke rUpa ko chor3akara dvipradezI skandha tathA eka paramANu ke rUpa meM calA jAtA hai athavA tIna paramANu ke rUpa meM calA jAtA hai| phira ve tInoM paramANu milakara tripradezI skandha ke rUpa meM Ate haiM, unake bIca kA samaya antara kahalAtA hai| jaise AnupUrvI dravyoM-tripradezI skandhoM se eka paramANu bichur3a gayA, eka samaya vaha skandha se alaga rahA, vApasa usI skandha meM A milA-isa apekSA se AnupUrvI dravya kA antara kAla jaghanyataH eka samaya kA hotA hai| AnupUrvI dravya kA utkRSTa antara kAla anantakAla hai| jaise eka tripradezI yAvat ananta pradezI skandha hai, usake paramANu bikhara gye| ve kabhI paramANu bane rahe, kabhI skandha ke sAtha mila gaye isa prakAra aneka rUpoM meM parivartita hote rhe| ananta kAla ke pazcAt kisI prayoga (prayatna) athavA svabhAva (sahaja hI) se punaH apane mUla rUpa meM A gye| isa apekSA se utkRSTa antara kAla anantakAla kahA hai| avaktavya dravya ke lie bhI yahI niyama lAgU hotA hai| anAnupUrvI dravya kA jaghanya antara kAla eka samaya hai| AnupUrvI dravya kA utkRSTa antara kAla asaMkhyAtakAla hai, isakA kAraNa yaha hai, eka paramANu kisI anya paramANu athavA tripradezI Adi skandhoM ke sAtha asaMkhya kAla taka hI raha sakatA hai| usake bAda phira bichur3a jAtA hai| jaisA ki bhagavatI sUtra (5/69) meM kahA hai-'paramANu paramANu rUpa meM utkRSTataH asaMkhyakAlataka hI rahatA hai, usake pazcAt usakA rUpAntara anivArya rUpa meM hotA hai| dvipradezI skandha se ananta pradezI skandha taka bhI yahI niyama lAgU hotA hai| (anu. mahAprajJa. pR. 103) Elaboration-Antar or virah-kaal means the intervening period between termination of the present form and again regaining the same form. For example a triad or an aggregate (skandh) of three paramanus (ultimate-particles) disintegrates into an aggregate (skandh) of two and a free paramanu (ultimate-particle) or three free paramanus (ultimate-particles). These components, after a lapse of time, combine again to form a triad. This intervening period is called antar. A triad loses one paramanu (ultimate-particle). This paramanu (ultimate-particle) remains free for just one samaya AnupUrvI prakaraNa ( 185 ) The Discussion on Anupurvi ,

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and rejoins the remaining two to reform the triad. This is the example of the minimum intervening period. Aggregates (skandhs) of three to infinite paramanus (ultimate-particles) get disintegrated. For a long time they continue to integrate and disintegrate to form a variety of aggregates (skandhs). After the lapse of an infinite period they combine together to regain the original form either through some effort or naturally. This is the example of the maximum intervening period. The same holds true for inexpressible substances. In case of the non-sequential substances although the minimum intervening period is same, the maximum is immeasurable time. The reason for this is that a free paramanu (ultimate-particle) can remain bonded with another paramanu (ultimate-particle) or triad ( and other sequential aggregates ) only for immeasurable period. After that the bond is broken. Bhagavati sutra (5 / 69 ) confirms this - ' A free paramanu (ultimate-particle) can remain free only for a maximum period of immeasurable time after which it necessarily undergoes a transformation.' This rule is applicable to aggregates (skandhs) of two to infinite paramanus (ultimate-particles). (Anuyogadvara by Acharya Mahaprajna p. 103) (7) bhAgaprarUpaNA dvAra 112. (1) Negama - vavahArANaM ANupubbIdavbAI sesadavvANaM kaibhAge hojjA ? kiM saMkhejjaibhAge hojjA ? asaMkhejjaibhAge hojjA ? saMkhejjesu bhAgesu hojjA ? asaMkhejjesu bhAgesu hojjA ? no saMkhejjaibhAge hojjA, no asaMkhejjaibhAge hojjA, no saMkhejjesu bhAgesu hojjA niyamA asaMkhejjesu bhAgesu hojjA / 112. (prazna 1) naigama aura vyavahAranayasammata AnupUrvIdravya zeSa dravyoM ke kitane veM bhAga meM hote haiM ? kyA saMkhyAtaveM bhAga meM haiM ? asaMkhyAtaveM bhAga meM athavA saMkhyeya bhAgoM yA asaMkhyeya bhAgoM meM haiM ? anuyogadvAra sUtra ( 186 ) Illustrated Anuyogadvar Sutra

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(uttara) AnupUrvIdravya zeSa dravyoM ke saMkhyAtaveM bhAga meM, asaMkhyAtaveM bhAga meM athavA saMkhyeya bhAgoM meM nahIM hote, kintu ve niyamataH asaMkhyeya bhAgoM meM hote haiN| (7) BHAAG-DVAR ___ 112. (Question 1) In what spatial proportion of other substances do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. Is it numerable fractions ? Is it innumerable (infinitesimal) fractions ? Is it numerable sections ? Or is it innumerable sections ? __(Answer) The anupurvi (sequential) substance do not exist in numerable fractions or innumerable (infinitesimal) fractions or numerable sections but only in innumerable sections. (2) Negama-vavahArANaM aNANupubbIdavvAiM sesadavvANaM kaibhAge hojjA ? kiM saMkhejjaibhAge hojjA ? asaMkhejjaibhAge hojjA ? saMkhejesu bhAgesu hojjA ? asaMkhejesu bhAgesu hojjA ? no saMkhejjaibhAge hojjA asaMkhejjaibhAge hojjaa| no saMkhejjesu bhAgesu hojjA no asaMkhejesu bhAgesu hojjaa| 112. (prazna 2) naigama aura vyavahAranayasammata anAnupUrvIdravya zeSa dravyoM ke kitaneveM bhAga meM hote haiM ? kyA saMkhyAtaveM bhAga meM hote haiM ? asaMkhyAtaveM bhAga meM hote haiM ? saMkhyeya bhAgoM meM hote haiM ? asaMkhyeya bhAgoM meM hote haiM ? (uttara) anAnupUrvIdravya zeSa dravyoM ke saMkhyAtaveM bhAga meM nahIM hote kintu asaMkhyAtaveM bhAga meM hote haiN| ve saMkhyeya bhAgoM athavA asaMkhyeya bhAgoM rUpa nahIM hote haiN| 112. (Question 2) In what spatial proportion of other substances do the naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) exist. Is it numerable fractions ? Is it innumerable (infinitesimal) fractions ? Is it numerable sections ? Or is it innumerable sections ? AnupUrvI prakaraNa ( 187 ) The Discussion on Anupurvi

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(Answer) The ananupurvi (non-sequential) substance do not exist in numerable fractions but only in innumerable (infinitesimal) fractions and also not in numerable sections or innumerable sections. (3) evaM avattavvagadavyANi vi| (3) avaktavya dravyoM sambandhI kathana bhI uparyukta anusAra asaMkhyAta bhAga samajhanA caahie| ____112. (3) The same holds true for avaktavya (inexpressible) substances, i.e. they exist in innumerable fractions. vivecana-AnupUrvIdravya, anAnupUrvI dravya tathA avaktavya dravya kI apekSA asaMkhyAta bhAgoM meM adhika hai| zeSa dravyoM kI apekSA samasta AnupUrvIdravya adhika hone kA kAraNa yaha hai ki anAnupUrvI dravya paramANu rUpa hai, paramANu eka pradeza kA hI avagAhana karatA hai| aura avaktavyadravya vyaNuka rUpa hai| dvipradezI skandha eka pradeza kA bhI avagAhana kara sakatA hai, isalie ye donoM loka ke asaMkhyAtaveM bhAga meM sthita rahate haiN| AnupUrvIdravya tryaNuka Adi skandha se lekara anantANukaskandha paryanta haiN| isIlie ye zeSa dravyoM kI apekSA asaMkhyAta bhAgoM meM adhika haiN| Elaboration-The anupurvi (sequential) substances occupy more innumerable units of space as compared to the ananupurvi (non-sequential) and avaktavya (inexpressible) substances. The reason for this abundance of anupurvi (sequential) substances as compared to the others is that ananupurvi (nonsequential) substances are in the form of free paramanus (ultimate-particles) and one paramanu (ultimate-particle) occupies just one space-point. The avaktavya (inexpressible) substances are in the form of aggregates (skandhs) of two paramanus (ultimate-particles) and they occupy just one or two space-point. Thus all together they occupy numerable portion of lokakasha. On the other hand the anupurvi (sequential) substances are in the form of triads to aggregates (skandhs) of infinite paramanus. Therefore they occupy more innumerable units of space as compared to other substances. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra ( 188 ) OPPOIGOOGODIEDEOETEOREOVE BHEEMEMEMY PHOTAON CONGREDIEODIGORYHORIKON GORIGORIES *hb pr

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(8) bhAva prarUpaNA dvAra 113. (1) Negama-vavahArANaM ANupubbIdavvAiM kayarammi bhAve hojjA ? kiM udaie bhAve hojjA ? uvasamie bhAve hojjA ? khAie bhAve hojjA ? khAovasamie bhAve hojjA ? pAriNAmie bhAve hojjA ? sanivAie bhAve hojjA ? NiyamA sAipAriNAmie bhAve hojjaa| 113. (prazna 1) naigama aura vyavahAranayasammata AnupUrvIdravya kisa bhAva meM hote haiM ? kyA audayika bhAva meM hote haiM ? athavA aupazamika bhAva meM, kSAyika bhAva meM, kSAyopazamika bhAva meM, pAriNAmika bhAva meM athavA sAnnipAtika bhAva meM hote haiM ? (uttara) ve niyamataH sAdi pAriNAmika bhAva meM hote haiN| (8) BHAAVA-DVAR ___113. (Question 1) In what state do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. Are they in audayik-bhaava (culminated state) ? Are they in aupashamik-bhaava (pacified state) ? Are they in kshayik-bhaava (extinct state) ? Are they in kshayopashamik-bhaava (state of extinction-cumpacification) ? (these four states are in context of karma particles) Are they in parinamik-bhaava (transformed state) ? Or are they in sannipatik-bhaava (mixed state) ? (Answer) As a rule they exist in parinamik-bhaava (transformative state). (2) aNANupubbIdavvANi avattavbayadavyANi ya evaM ceva bhaanniyvaanni| (2) anAnupUrvIdravyoM aura avaktavyadravyoM ke lie bhI isI prakAra kahanA caahie| arthAt ve bhI sAdipAriNAmika bhAva meM haiN| (2) The same holds true for ananupurvi (non-sequential), and avaktavya (inexpressible) substances, i.e., they too exist in parinamik-bhaava (transformed state). AnupUrvI prakaraNa ( 189 ) The Discussion on Anupurvi

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vivecana-vibhinna rUpoM meM hone vAle dravya ke pariNamana-parivartana ko pariNAma kahate haiM aura yaha pariNAma hI pAriNAmika bhAva hai| ___ yaha pAriNAmikabhAva do prakAra kA hai sAdi aura anaadi| dharmAstikAya Adi arUpI dravya anAdi pAriNAmika hai, aura vaha pariNamana unakA svabhAva se hI usa rUpa meM anAdikAla se hotA calA A rahA hai tathA anantakAla taka hotA rhegaa| rUpI pudgaladravyoM meM jo pariNamana hotA hai, vaha sAdi-pAriNAmika hai| jaise parvata, bAdala, indra-dhanuSa aadi| kyoMki pudgaloM kA jo viziSTa rUpa meM pariNamana hotA hai vaha utkRSTa rUpa se bhI asaMkhyAtakAla taka hI sthAyI rahatA hai| isalie samasta AnupUrvIdravya sAdipAriNAmika bhAva vAle haiN| isI prakAra anAnupUrvI aura avaktavya dravyoM meM bhI sAdipAriNAmika bhAva jAnanA caahie| Elaboration--The transformation of a substance in different forms is called parinam, and it is this parinam that is called parinamik-bhaava or state arrived at due to transformation. This transformed (or transformative) state is of two kindssadi (with a beginning) and anadi (without a beginning). Dharmastikaya and other formless entities are anadi parinamik (their process of transformation is without a beginning). They are in a state of continued innate transformation and will remain so always. In the material substances having a form, the process of transformation has a beginning; some examples being mountains, clouds, rainbow, etc. The reason is that any specific form arrived at by transformation can remain stable only for a certain period, the maximum period of stability being uncountable time. Therefore all anupurvi (sequential) substances are sadi-parinamik (transformative with a beginning). The same holds true for ananupurvi (non-sequential) and avaktavya (inexpressible) substances. (9) alpa-bahutva dvAra 114. (1) eesi NaM bhaMte ! Negama-vavahArANaM ANupubbIdavyANaM aNANupubbIdavANaM avattavbayadavvANa ya davaTThayAe paesaTTayAe dabaTu-paesaTTayAe kayare kayarehiMto appA vA bahuyA vA tullA vA visesAhiyA vA ? anuyogadvAra sUtra ( 190 ). Illustrated Anuyogadvar Sutra

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goyamA ! savvatthovAiM Negama - vavahArANaM avattavvayadavvAiM davvaTTayAe, aNANupuvvadavvAiM davvaTTayAe visesAhiyAI, ANupubbIdavvAiM davvaTTayAe asaMkhejjaguNAI / 114. ( prazna 1) bhaMte ! naigama aura vyavahAranayasammata ina AnupUrvIdravyoM, anAnupUrvIdravyoM aura avaktavyadravyoM meM se dravya, pradeza aura dravyapradeza kI apekSA kauna dravya kina dravyoM kI apekSA alpa, adhika, tulya athavA vizeSAdhika haiM ? (uttara) gautama ! naigama aura vyavahAranayasammata avaktavyadravya dravya kI apekSA sabase kama (stoka) haiM, anAnupUrvIdravya, dravya kI apekSA avaktavyadravyoMse vizeSAdhika haiM aura AnupUrvIdravya dravya kI apekSA anAnupUrvI dravyoM se asaMkhyAtaguNe haiN| (9) ALPABAHUTVA-DVAR 114. (Questio 1) Bhante! In terms of substance (mass), space-points (volume), and substance-cum-space-points (mass-cum-volume) which of these naigam-vyavahar naya sammat anupurvi, ananupurvi, and avaktavya dravya (sequential, non-sequential, and inexpressible substances conforming to coordinated and particularized viewpoints) are comparatively less than, more than, equal to, or much more than others (in the universe) ? (Answer ) Gautam! In terms of dravya (substance), naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) are least in the universe; in terms of substance ananupurvi (non-sequential) substances are much more than avaktavya (inexpressible) substances; and in terms of substance anupurvi (sequential) substances are uncountable times more than ananupurvi (non-sequential) substances. (2) pasaTTayAe gama - vavahArANaM savvatthovAiM aNANupuvvIdavvAiM apaesaTTayAe, avattavyayadavvAiM payasaTTayAe visesAhiyAI, ANupuvvIdavvAiM parasaTTayAe anaMtaguNAI / pUrvI prakaraNa ( 191 ) The Discussion on Anupurvi

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(2) pradeza kI apekSA naigama aura vyavahAranayasammata anAnupUrvIdravya apradezI hone se * sabase kama haiM, avaktavyadravya pradezoM kI apekSA anAnupUrvI dravyoM se vizeSAdhika aura AnupUrvIdravya avaktavya dravyoM se anantaguNe haiN| ___ (2) In terms of pradesh (space-points), as they are apradeshi (devoid of space-points), naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) are least in the universe; in terms of space-points avaktavya dravya inexpressible substances) are much more than ananupurvi (non-sequential) substances; and in terms of space-points anupurvi (sequential) substances are infinite times more than avaktavya (inexpressible) substances. ___ (3) dabaTu-paesaTTayAe savvatthovAiM Negama-vavahArANaM avattavvagadavvAiM davaTTayAe, aNANupubbIdavbAI davaTThayAe apaesaTTayAe visesAhiyAI, avattavvagadavvAiM payaesaTTayAe visesAhiyAI, ANupubbIdavvAiM davaTThayAe asaMkhejjaguNAI, tAI ceva paesaTTayAe annNtgunnaaii| se taM annugme| se taM Negama-vavahArANaM aNovaNihiyA dvvaannupuvii| (3) dravya aura pradeza kI apekSA naigama aura vyavahAranayasammata avaktavyadravya-dravya kI apekSA sabase alpa haiN| dravya aura apradezArthatA kI apekSA anAnupUrvIdravya vizeSAdhika haiM, pradeza kI apekSA avaktavyadravya vizeSAdhika hai, AnupUrvIdravya dravya kI 3 apekSA asaMkhyAtaguNa aura vahI pradeza kI apekSA anantaguNa haiN| __isa prakAra se anugama kA varNana pUrNa huaa| naigama aura vyavahAranayasammata anaupanidhikI dravyAnupUrvI kI vaktavyatA pUrNa huii| ___ (3) In terms of dravya and pradesh (substance-cum-spacepoints), naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) are least in the universe in context of substance. Ananupurvi (non-sequential) substances are much more (than avaktavya substances) in anuyogadvAra sUtra ( 192 ) Illustrated Anuyogadvar Sutra

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Jose, so so so see also, so se so lose is context of substance and absence of space-points; avaktavya (inexpressible) substances are much more (than ananupurvi substances) in context of space-points. Anupurvi (sequential) substances are uncountable times more (than avaktavya substances) in context of substance and infinite times more (than avaktavya substances) in context of space-points. This concludes the description of anugam. This also concludes the description of naigam-vyavahar naya sammat dravyanupurvi (sequence of substances conforming to coordinated and particularized viewpoints). vivecana - sUtrakAra ne naigama aura vyavahAranayasammata AnupUrvI Adi dravyoM kA dravya, pradeza aura ubhaya kI apekSA alpabahutva batalAyA hai| spaSTIkaraNa isa prakAra hai dravyArtha kA matalaba hai- eka - eka AnupUrvI Adi dravyoM kI gaNanA karanA / dravyArtha se avaktavyadravya sarvastoka- sabase alpa hai, kyoMki dvipradezI skandhoM ke saMghAta aura bheda ke nimitta kama milate haiN| anAnupUrvIdravya unase vizeSAdhika hai, kyoMki paramANu bahutara dravyoM kI utpatti meM nimitta banate haiM aura unase AnupUrvIdravya asaMkhyAtaguNa hai, kyoMki pradezI Adi dravya pracuratA meM milate haiM, tathA vastu svabhAva bhI vahI hai / dUsarI bAta yaha hai ki anAnupUrvI dravya - paramANu meM eka hI aura avaktavyadravya meM dvipradezIskandha rUpa eka sthAna hI labhya hai, parantu AnupUrvIdravya meM tryaNukaskandha se lagAkara ekottara vRddhi meM eka-eka pradeza kI uttarottaravRddhi hone se anantANuka skandha paryanta ananta sthAna haiN| isIlie AnupUrvIdravya, anAnupUrvI aura avaktavya dravyoM kI apekSA asaMkhyAtaguNe batAye haiM / pradezoM kI apekSA anAnupUrvIdravya ko sabase kama batAne kA kAraNa yaha hai ki yadi paramANu rUpa ina anAnupUrvI dravyoM meM bhI dvitIya Adi pradeza mAna lie jAyeM to pradezArthatA se bhI anAnupUrvIdravyoM kI avaktavyadravyoM se adhikatA mAnI jA sakatI hai, parantu paramANu pudgala kA sUkSmatama avibhAjya aMga hone ke kAraNa apanI svatantra sattA kI sthiti meM apradezI hai aura yahA~ pradezArthatA kI apekSA alpabahutva kA kathana kiyA hai| ataH anAnupUrvIdravya sarvastoka haiN| Elaboration-The author has stated the quantum of naigamvyavahar naya sammat anupurvi (sequential substances conforming to coordinated and particularized viewpoints) and ( 193 ) pUrvI prakaraNa The Discussion on Anupurvi

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other substances in the universe with respect to substance (mass), pradesh (space-points or volume) and both combined. Dravyarth or with respect to substance means by taking into account each anupurvi (sequential) and other substances. With respect to substance the avaktavya inexpressible) substances are minimum. This is because the chances of integration and disintegration of aggregates of two paramanus (ultimate-particles) are minimal. As compared to these ananupurvi (non-sequential) substances are much more because the chances of integration of free paramanus (ultimate-particles) to form substances are much more. As compared to these two, anupurvi (sequential) substances are uncountable times more because aggregates of three paramanus (ultimate-particles) or triads are available in abundance, moreover it is the most stable state of substances in nature. Also, an ananupurvi (nonsequential) substance or a paramanu (ultimate-particle) and avaktavya (inexpressible) substance require just one space-point to exist whereas anupurvi (sequential) substances from an aggregate of three to infinite paramanus (ultimate-particles) require infinite space-points to exist. That is why the anupurvi (sequential) substances are said to be uncountable times more as compared to the ananupurvi (non-sequential) and avaktavya (inexpressible) substances. With respect to pradesh (space-points) the ananupurvi (nonsequential) substances are said to be minimum. If the ananupurvi (non-sequential) substances could be accepted as having two or more space-points it could be believed that they are more as compared to avaktavya (inexpressible) substances. But being the smallest indivisible particle of matter a paramanu (ultimate-particle) in its free existence is devoid of space-points (not counting the space-point it occupies) and therefore with respect to space-points the ananupurvi (non-sequential) substances are minimum. RECORD 2.29.CDBD.D.C.DRDBORDOBA C * ORDAR.O.O. PAARDRORD.O.ORO anuyogadvAra sUtra (888) Illustrated Anuyogadvar Sutra 2018 Ovo * 90 *

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kalpanA kareM cAra dravya haiM ekapradezI (*) * = (a) anAnupUrvI ( eka pradezI paramANu) dravya - uparyukta dravyoM ke bheda se dravyAnupUrvI ke anAnupUrvI dravya dasa baneMge ** * dravyoM kA alpa - bahutva sthApanA yaMtra *** dvipradezI (**) (9)* (9)*(9) * (9) * (9) * (9) * (9)* (9) * (9) * (9) * (10) - adhikatama dasa sambhAvyatAe~ *** (ba) avaktavya (dvipradezI) dravya - inhIM dravyoM ko yadi saMghAta aura bheda se sthApita kiyA jAye to avaktavya dravya pA~ca baneMge ** pUrvI prakaraNa **** (9+9)** (9+9)** (9+9)** (9+9)** (9+9)** = (10) - adhikatama pA~ca sambhAvyatAe~ *** **** (sa) AnupUrvI ( tripradezI skandha Adi) dravya - inhIM dravyoM ke vividha prakAra ke saMghAta aura bhedoM se AnupUrvI dravya caudaha baneMge * *** (i) (9)+(9+9)* ** = (10) - 3 sambhAvyatAe~ (ii) (9+9)+(9+9) ** = (10) - 2 sambhAvyatAe~ (iii) (1+1+1)+(9+9) *** = (10)-2 sambhAvyatAe~ tripradezI (***) **** ** (9+9)+(9) ** ** catuSpradezI (****) * (9+9)+(9+9)+(9+9) ** **** ( 195 ) (9+9+9)+(9) *** (9+9)+(9)+(9+9) ** * ** * The Discussion on Anupurvi

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(iv) (1+1+1)+(1+1+1) *** *** (1)+(1+1+1)* *** = (10)-2 sambhAvyatAe~ (v) (1+1+1+1)+(1+1+1) **** *** (1+1+1) *** = (10)-2 sambhAvyatAe~ (vi) (1+1+1+1)+(1+1)+(1+1+1+1) **** ** . **** = (10)-1 sambhAvyatA (vii) (1+1+1+1+1)+(1)+(1+1+1+1) ***** * **** = (10)-1 sambhAvyatA (viii) (1+1+1+1+1)+(1+1+1+1+1) ***** ***** = (10)-1 sambhAvyatA alpabahutva-avaktavya dravya sabase alpa hai| kyoMki dvipradezI skandhoM ko saMghAta aura bheda ke nimitta kama milate haiN| anAnupUrvI dravya inakI apekSA adhika hai, kyoMki paramANu bahuta se dravyoM kI utpatti meM nimitta banate haiN| AnupUrvI dravya inase asaMkhya guNA adhika hote haiM, kyoMki tIna pradeza se yAvata ananta pradezI taka saba AnupUrvI dravya haiN| inheM saMghAta aura bheda ke nimitta sabase adhika milate haiN| AnupUrvIdravyoM ke viSaya meM dravya aura pradezArthatA kI apekSA jo pRthak-pRthak nirdeza kiyA hai, vahI una donoM ke lie bhI samajha lenA cAhie ki dravyArthatA kI apekSA asaMkhyAta guNe aura pradezArthatA kI apekSA anantaguNa haiN| anuyogadvAra sUtra ( 196 ) Illustrated Anuyogadvar Sutra

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COMPARATIVE CHART OF QUANTUM OF SUBSTANCES TAKE FOUR SUBSTANCES FOR EXAMPLE Aggregates of one (*), two (**), three (***), and four (****) pradesh (space-points) or paramanu (ultimate-particle). (a) Ananupurvi (non-sequential) substances : the aforesaid four substances on disintegration could form a maximum of 10 configurations of ananupurvi (non-sequential) substances or paramanus (ultimate-particles) as follows : * ** *** **** (1)* (1) * (1) * (1) * (1) * (1) * (1) * (1) * (1) * (1) * = (10)-maximum ten probabilities (b) Avaktavya (inexpressible) substances : the same four substances on disintegration and reintegration have possibilities of forming only five avaktavya (inexpressible) substances or aggregates of two paramanus (ultimate-particles): * ** *** (1+1)** (1+1)** (1+1)** (1+1)** (1+1)** = (10)-maximum five probabilities **** (c) Anupurvi (sequential) substances : the same four substances on disintegration and reintegration have possibilities of forming 14 anupurvi (sequential) substances or aggregates of three or more paramanus (ultimate-particles) * ** *** **** (i) (1)+(1+1)* ** (1+1)+(1) ** * (1+1+1)+(1) *** * = (10)--3 probabilities AnupUrvI prakaraNa ( pple ) The Discussion on Anupurui

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NPDV DV DV DODAVAONYOAVAYORVONONONONOVOVONN (ii) (1+1)+(1+1) ** ** (1+1)+(1+1)+(1+1) ** ** ** = (10)--2 probabilities (iii) (1+1+1)+(1+1) *** ** (1+1)+(1)+(1+1) ** * ** = (10--2 probabilities (iv) (1+1+1)+(1+1+1) *** *** (1)+(1+1+1)* *** = (10)-2 probabilities (v) (1+1+1+1)+(1+1+1) **** *** (1+1+1) *** = (10)-2 probabilities (vi) (1+1+1+1)+(1+1)+(1+1+1+1) **** ** **** = (10)-1 probability (vii) (1+1+1+1+1)+(1)+(1+1+1+1) ***** ***** = (10)-1 probability (viii) (1+1+1+1+1)+(1+1+1+1+1) ***** ***** = (10)-1 probability. All these combined make 14 probabilities. upAUNINASIMAMIAMIMPIANIMAAMMIXNAMIXXXXXXXXXXXX A Quantum (less or more)- Avaktavya (inexpressible) substances are minimum because there are lesser probabilities of integration and disintegration. Ananupurvi (non-sequential) substances are more than these because free paramanus (ultimate-particles) are sources of numerous substances. Anupurvi (sequential) substances are uncountable times more than these both because aggregates of three to infinite paramanus (ultimate-particles) all are included in anupurvi (sequential) substances. There are maximum probabilities of their integration and disintegration. The details separately mentioned for anupurvi (sequential) substances in context of substance and space-points should also be taken likewise for joint context (substance-cum-space-points), i. e., with respect to substance they are uncountable times more and with respect to space-points they are infinite times more. NT anuyogadvAra sUtra ( 886 ) Illustrated Anuyogadvar Sutra

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saMgrahanayasammata anaupanidhikI dravyAnupUrvI prarUpaNA 115. se kiM taM saMgahassa aNovaNihiyA davvANupubbI ? saMgahassa aNovaNihiyA davvANupubI paMcavihA paNNattA / taM jahA(1) aTThapayaparUvaNayA, (2) bhaMgasamukkittaNayA, (3) bhaMgovadaMsaNayA, (4) samoyAre, (5) aNugame / 115. (prazna ) saMgrahanayasammata anaupanidhikI dravyAnupUrvI kyA hai ? (uttara) saMgrahanayasammata anaupanidhikI dravyAnupUrvI pA~ca prakAra kI hai| jaise(1) arthapadaprarUpaNatA, (2) bhaMgasamukIrtanatA, (3) bhaMgopadarzanatA, (4) samavatAra, (5) anugama / SAMGRAHA NAYA SAMMAT ANAUPANIDHIKI DRAVYA-ANUPURVI 115. (Question) What is this samgraha naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to generalized viewpoint)? (Answer) Samgraha naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to generalized viewpoint) is of five types -- (1) Arthpadaprarupana (semantics), (2) Bhang-samutkirtanata (enumeration divisions or bhangs), (3) Bhangopadarshanata (explication of divisions bhangs ), ( 4 ) Samavatara ( compatible assimilation), and (5) Anugam (systematic elaboration). of or saMgrahanayasammata arthapadaprarUpaNatA 116. se kiM saMgahassa aTThapayaparUvaNayA ? saMgahassa aTThapayaparUvaNayA tipaesiyA ANupubbI, cauppaesiyA ANupubI jAva dasapaesiyA ANupubbI, saMkhijjapaesiyA ANupubbI asaMkhijjapaesiyA ANupubbI, aNatapadesiyA ANupubbI / paramANupoggalA aNANupubbI, dupadesiyA avattavyae / se taM saMgahassa / se taM saMgahassa aTThapayaparUvaNayA / pUrvI karaNa ( 199 ) The Discussion on Anupurvi

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116. (prazna) saMgrahanayasammata arthapadarUprapaNatA kyA hai ? (uttara) saMgrahanayasammata arthapadaprarUpaNatA kA svarUpa isa prakAra hai-tripradezika skandha AnupUrvI hai, catuSpradezI skandha AnupUrvI hai yAvat dasapradezika skandha AnupUrvI hai, saMkhyAtapradezika skandha AnupUrvI hai, asaMkhyAtapradezika skandha AnupUrvI hai, anantapradezika skandha AnupUrvI hai| paramANupudgala anAnupUrvI haiM aura dvipradezika skandha avaktavyaka hai| ___ saMgrahanayasammata arthapadaprarUpaNatA kA yaha svarUpa hai| SAMGRAHA NAYA SAMMAT ARTH-PADAPRARUPANA __116. (Question) What is this samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint)? __ (Answer) Samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint) is as follows-An aggregate (skandh) of three space-points or ultimate-particles (paramanus) is a sequential configuration (anupurvi). In the same way aggregates (skandhs) of four space-points or ultimate-particles (paramanus), (and so on...), ten space-points or ultimate-particles (paramanus), countable, uncountable, and infinite space-points or ultimate-particles (paramanus), are all sequential configurations (anupurvis). But a single ultimate-particle of matter (paramanu pudgala) is non-sequential (ananupurvi) and an aggregate (shandh) of two space-points or ultimateparticles (paramanus) is inexpressible (avaktavya). This concludes the description of Samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint). vivecana-saMgrahanaya kI dRSTi se isa arthapadaprarUNatA meM aura pUrva kI naigama-vyavahAranayasammata arthapadaprarUpaNA meM yaha antara hai ki naigama-vyavahAranaya kI apekSA anuyogadvAra sUtra ( 200 ) Illustrated Anuyogadvar Sutra

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eka tripradezika skandha eka AnupUrvIdravya hai aura aneka tripradezika skandha aneka AnupUrvIdravya haiN| isa prakAra ekatva aura anekatva donoM kA nirdeza kiyA hai| yaha kathana anantapradezI skandha paryanta jAnanA caahie| naigama aura vyavahAranaya dravya ko aneka bheda yukta mAnatA hai, jabaki saMgrahanaya sAmAnya ko svIkAra karatA hai| isalie naigama aura vyavahAranaya sammata anaupanidhikI dravyAnupurvI ke 26 bhaMga hote haiN| saMgrahanaya kI vyAkhyA meM vyakti kA bahuvacana nahIM hotA isalie usake bhaMgoM meM kevala ekavacanAnta sAta bhaMga hI banate haiN| (dekheM sUtra 118 meM) Elaboration--The difference between this definition of Samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint) and that of the aforesaid Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints) is that according to the Naigam-vyavahar naya (coordinated and particularized viewpoints) one aggregate of three paramanus (ultimate-particles) is one anupurvi (sequential) substance and many such triads are many anupurvi (sequential) substances. Thus singularity and plurality both have been included. This is true for all substances including an aggregate of infinite paramanus (ultimate-particles). Naigam-vyavahar naya deals with substance in its many different types of descriptions whereas Samgraha naya deals with generalized description. Therefore Naigam-vyavahara naya sammat dravyanupurvi (substance-sequence conforming to coordinated and particularized viewpoints) has 26 bhangs (divisions). In elaborations according to Samgraha naya (generalized viewpoint) there is no plural therefore it has only seven divisions consisting of singulars. (see aphorism 118) 117. eyAe NaM saMgahassa aTThapayaparUvaNayAe kiM paoyaNaM ? eyAe NaM saMgahassa aTThapayaparUvaNayAe saMgahassa bhaMgasamukkittaNayA kiiri| 117. (prazna) saMgrahanayasammata isa arthapadaprarUpaNatA kA kyA prayojana hai ? (uttara) saMgrahanayasammata isa arthapadaprarUpaNatA dvArA saMgrahanayasammata bhaMgasamutkIrtanatA (bhaMgoM ke nirdeza) kI jAtI hai| AnupUrvI prakaraNa ( 201 ) The Discussion on Anupurvi

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___ 117. (Question) What is the purpose of this samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint)? ___ (Answer) This samgraha naya sammat arthpadaprarupana (semantics conforming to generalized viewpoint) is used to derive and state Samgraha naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint). saMgrahanayasammata bhaMgasamutkIrtanA 118. se kiM taM saMgahassa bhaMgasamukkittaNayA ? ___ saMgahassa bhaMgasamukkittaNayA-(1) atthi ANupucI, (2) atthi aNANupucI, (3) asthi avattavvae ahavA, (4) asthi ANupubbI ya aNANupubbI ya ahavA, (5) atthi ANupucI ya avattavbae ya ahavA, (6) atthi aNANupubbI ya avattavbae ya ahavA, (7) asthi ANupubI ya aNANupubbI ya avattavbae y| evaM ee satta bhNgaa| se taM saMgahassa bhNgsmukkittnnyaa| 118. (prazna) saMgrahanayasammata bhaMgasamutkIrtanatA kyA hai ? (uttara) saMgrahanayasammata bhaMgasamutkIrtanatA kA svarUpa isa prakAra hai(1) AnupUrvI hai, (2) anAnupUrvI hai, (3) avaktavyaka hai| athavA (4) AnupUrvI aura anAnupUrvI hai, (5) AnupUrvI aura avaktavyaka hai, (6) anAnupUrvI aura avaktavyaka hai| athavA (7) AnupUrvI-anAnupUrvI-avaktavyaka hai| isa prakAra ye sAta bhaMga hote haiN| yaha saMgrahanayasammata bhaMgasamutkIrtanatA kA svarUpa hai| SAMGRAHA NAYA SAMMAT BHANG-SAMUTKIRTANATA ___ 118. (Question) What is this samgraha naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint)? (Answer) Samgraha naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint) is as followsanuyogadvAra sUtra ( 202 ) Illustrated Anuyogadvar Sutra

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TEE N SOREDISPONSISTSODEOXEXEDXSEXSPONSORIGDASPBAGEXPEGORRHORA6088086BRAPRAGPRABORATORRHORTRONICORNAORNANAND (1) There is an anupurvi (sequence), (2) There is an ananupurvi (non-sequence), (3) There is an avaktavya (inexpressible), (4) There is an anupurvi (sequence) and an ananupurvi (non-sequence), (5) There is an anupurvi (sequence) and an avaktavya (inexpressible), (6) There is an ananupurvi (non-sequence) and an avaktavya (inexpressible), and (7) There is an anupurvi (sequence), ananupurvi (non-sequence), and an avaktavya (inexpressible). Thus there are seven divisions or bhangs. This concludes the description of samgraha naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint) 119. eyAe NaM saMgahassa bhaMgasamukkittaNayAe kiM paoyaNaM ? eyAe NaM saMgahassa bhaMgasamukkittaNayAe saMgahassa bhaMgovadaMsaNayA kjjti| 119. (prazna) isa saMgrahanayasammata bhaMgasamutkIrtanatA kA kyA prayojana hai ? (uttara) isa saMgrahanasammata bhaMgasamutkIrtanatA ke dvArA bhaMgopadarzana kiyA jAtA hai| 119. (Question) What is the purpose of this samgraha naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint)? (Answer) This samgraha naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to generalized viewpoint) is used to derive and state Bhangopadarshanata (explication of divisions or bhangs). saMgrahanayasammata bhaMgopadarzanatA 120. se kiM taM saMgahassa bhaMgovadaMsaNayA ? bhaMgovadaMsaNayA, (1) tipaesiyA ANupubI, (2) paramANupoggalA aNANupubbI, (3) dupaesiyA avattavbae; ahavA, (4) tipaesiyA ya paramANupoggalA ya ANupuvI AnupUrvI prakaraNa ( 203 ) The Discussion on Anupurvi

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aoscopic skse, olesale locle, ya aNANupuvIya ahavA, (5) tipaesiyA ya dupaesiyA ya ANupuvvI avattavyae ya ahavA, (6) paramANupoggalA ya dupaesiyA ya aNANupubI ya avattavvae ya ahavA, (7) ahavA tipaesiyA ya paramANupoggalA ya dupaesiyA ya ANupubbI ya aNANupubbI ya avattavyae ya / setaM saMgahassa bhaMgovadaMsaNayA / 120. (prazna) saMgrahanayasammata bhaMgopadarzanatA kyA hai ? (uttara) saMgrahanayasammata bhaMgopadarzanatA isa prakAra hai - ( 9 ) tripradezika skandha AnupUrvI hai, (2) paramANupudgala anAnupUrvI hai, aura (3) dvipradezika skandha avaktavyaka haiM, athavA (4) tripradezika skandha AnupUrvI aura paramANupudgala anAnupUrvI hai, athavA (5) tripradezika AnupUrvI aura dvipradezika skandha avaktavyaka hai, athavA (6) paramANu pudgala AnupUrvI aura dvipradezika skandha, avaktavyaka kahe jAte haiM, athavA (7) tripradezika skandha, paramANupudgala, aura dvipradezika skandha kramazaH AnupUrvI - anAnupUrvI aura avaktavyaka kahe jAte haiM / ( isa prakAra saMgrahanayasammata bhaMgopadarzanatA ke sAta vikalpa hue) yaha saMgrahanaya sammata bhaMgopadarzanatA kA svarUpa hai| SAMGRAHA NAYA SAMMAT BHANGOPADARSHANATA 120. (Question) What is this samgraha naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to generalized viewpoint)? (Answer) Samgraha naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to generalized viewpoint) is as follows-- (1) There is a triad (of three space-points or three ultimate-particles) anupurvi (sequence), (2) There is a single particle (paramanu-pudgala or ultimate-particle of matter) ananupurvi (non-sequence), (3) There is a biunial-aggregate (aggregate of two space-points or ultimate-particles) avaktavya (inexpressible), (4) There is a triad anupurvi anuyogadvAra sUtra ( 204 ) Illustrated Anuyogadvar Sutra

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(sequence) and a single particle ananupurvi (non-sequence), (5) There is a triad anupurvi (sequence) and a biunialaggregate avaktavya (inexpressible), (6) There is a single particle ananupurvi (non-sequence) and a biunial-aggregate avaktavya (inexpressible), and (7) There is a triad anupurvi (sequence), single particle ananupurvi (non-sequence), and a biunial-aggregate avaktavya (inexpressible). Thus there are seven alternatives or divisions of Samgraha naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to generalized viewpoint). This concludes the description of Samgraha naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to generalized viewpoint). samavatAra prarUpaNA 121. se kiM taM samoyAre ? samoyAre saMgahassa ANupucIdavvAiM kahiM samoyaraMti ? kiM ANupubIdavbehiM samoyaraMti ? aNANupubbIdavvehiM samoyaraMti ? avattabagadavvehiM samoyaraMti ? ___ saMgahassa ANupubbIdavvAiM ANupubbIdavvehiM samoyaraMti, no aNANupubbIdavvehiM samoyaraMti, no avattavyagadavvehiM smoyrNti| evaM doNNi vi saTTANe saTTANe smoyrNti| se taM smoyaare| 121. (prazna) samavatAra kyA hai ? kyA saMgrahanayasammata AnupUrvIdravya AnupUrvIdravyoM meM samAviSTa hote haiM ? athavA anAnupUrvIdravyoM meM samAviSTa hote haiM ? yA avaktavyakadravyoM meM samAviSTa hote haiM ? (uttara) saMgrahanayasammata AnupUrvIdravya AnupUrvIdravyoM meM (sva jAti dravyoM meM hI) samavatarita hote haiM, anAnupUrvI aura avaktavyaka dravyoM meM nhiiN| isI prakAra donoM bhIanAnupUrvIdravya aura avaktavyakadravya bhI apane-apane sthAna (-svajAti) meM hI samavatarita hote haiN| yaha samavatAra kA svarUpa hai| AnupUrvI prakaraNa ( 205 ) The Discussion on Anupurvi

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SAMAVATARA: ANUPURVI DRAVYA 121. (Question) What is this samavatara (compatible assimilation ) ? Can there be a compatible assimilation (samavatara) of samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) with sequential substances or non-sequential substances or inexpressible substances? (Answer) Samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) can have compatible assimilation (samavatara) with sequential substances (of the same kind) only and not with non-sequential substances or inexpressible substances. The same is true for ananupurvi (non-sequential) and avaktavya (inexpressible) substances (i.e., each one assimilates only with substances of its own kind). This concludes the description of samavatara (compatible assimilation). saMgrahanayasammata anugama ke ATha prakAra 122. se kiM taM aNugame ? aNu aTThava patte / taM jahA (1) saMtapayaparUvaNayA, (2) davvapamANaM, (3) ca khetta, (4) phusaNA, y| (5) kAlo, (6) ya aMtaraM, (7) bhAva, (8) bhAga, (9) appAbahuM natthi / 122. (prazna) saMgrahanayasammata anugama kyA hai ? (uttara) saMgrahanayasammata anugama ATha prakAra kA hai| jaise - ( 9 ) satpadaprarUpaNA, (2) dravyapramANa, (3) kSetra, (4) sparzanA, (5) kAla, (6) antara, (7) bhAga, aura (8) bhAva (saMgrahanaya sAmAnyagrAhI hai, sAmAnya meM sadA ekarUpatA hotI hai, ataH ) isameM alpa - bahutva nahIM hotA hai / anuyogadvAra sUtra ( 206 ) Illustrated Anuyogadvar Sutra

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SAMGRAHA NAYA SAMMAT ANUGAM : EIGHT KINDS ___122. (Question) What is this anugam (systematic elaboration)? (Answer) Anugam (systematic elaboration) is of eight kinds--(1) satpadprarupana, (2) dravyapramana, (3) kshetra, (4) sparshana, (5) kaal, (6) antar, (7) bhaag, and (8) bhaava. (Samgraha naya deals with general attributes and they are uniform everywhere thus-) they do not have the alpabahutva kind. (1) satpadaprarUpaNA kA artha 123. saMgahassa ANupubbIdavvAiM kiM atthi Natthi ? niyamA atthi| evaM doNNi vi| 123. (prazna) saMgrahanayasammata AnupUrvIdravya haiM athavA nahIM haiM ? (uttara) niyamataH (-nizcita rUpa se vidyamAna hai, astittva meM) haiN| isI prakAra donoM (anAnupUrvI aura avaktavyaka) dravyoM ke lie bhI samajhanA caahie| (1) SATPADPRARUPANA-DVAR 123. (Question) Do the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) exist or not? (Answer) Indeed, as a rule they exist. The same also holds good in case of ananupurvi (non-sequential) and avaktavya (inexpressible) substances. (2) dravyapramANaprarUpaNA 124. saMgahassa ANupubbIdavvAiM kiM saMkhejjAiM asaMkhejjAiM aNaMtAI ? no saMkhejjAI no asaMkhejjAiM no aNaMtAI, niyamA ego raasii| evaM doNNi vi| 124. (prazna) saMgrahanayasammata AnupUrvIdravya saMkhyAta haiM, asaMkhyAta haiM yA ananta haiM ? AnupUrvI prakaraNa ( 207 ) The Discussion on Anupuroi

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SPOTSPOTSPOTSPRGPORGPOTHORHAORAvila (uttara) saMgrahanayasammata AnupUrvIdravya saMkhyAta nahIM haiM, asaMkhyAta nahIM haiM aura ananta bhI nahIM haiM, parantu niyamataH eka rAzi rUpa haiN| isI prakAra donoM-(anAnupUrvI aura avaktavyaka) dravyoM ke lie bhI jAnanA caahie| (2) DRAVYAPRAMANA-DVAR ___124. (Question) According to the samgraha naya (generalized viewpoint) are the anupurvi dravya (sequential substances) countable, uncountable, or infinite (numerically)? (Answer) Samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) are neither countable nor uncountable or infinite, in fact they fall in just one heap or group). The same also holds good in case of ananupurvi (non-sequential) and avaktavya (inexpressible) substances. vivecana-dravya-pramANaprarUpaNA meM AnupUrvI Adi padoM dvArA kahe gaye dravyoM kI saMkhyA kA nirdhAraNa hotA hai| saMgrahanaya sAmAnya ko viSaya karane vAlA hone se usake mata se saMkhyAta Adi bheda sambhava nahIM haiN| kintu eka-eka rAzi hI hai| isI bAta kA saMketa karane ke lie sUtra meM pada diyA hai-niyamA ego rAsI jisakA artha yaha hai ki AnupUrvIdravya aneka hone para bhI unameM AnupUrvI bhAva meM pariNamana hone para eka AnupUrvI bana jAtI hai| Elaboration--In dravyapraman or quantitive analysis the numerical quantity of ananupurvi (non-sequential) and other type of substances is decided. As samgraha naya (generalized viewpoint) deals with generalities it is not possible to have categories like countable, (etc.). The substances just fall in general groups. To indicate this the aphorism uses the phraseniyama ego rasi--which means that although anupurvi (sequential) (etc.) substances are numerous, when they are categorized as anupurvi (sequential) they just form a single anupurvi (sequence). anuyogadvAra sUtra ( 208 ) Illustrated Anuyogadvar Sutra 6.0. .Q.P ROP, *iesh

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(3) kSetraprarUpaNA 125. saMgahassa ANupubbIdavvAiM logassa katibhAge hojjA ? kiM saMkhejjatibhAge hojjA ? asaMkhejjatibhAge hojjA ? saMkhejjesu bhAgesu hojjA ? asaMkhejjesu bhAgesu hojjA ? savvaloe hojjA ? no saMkhejjatibhAge hojjA, no asaMkhejjatibhAge hojjA, no saMkhejjesu bhAgesu hojjA, no asaMkhejjesu bhAgesu hojjA, niyamA savvaloe hojjA ? evaM doNi vi| 125 . ( prazna ) saMgrahanayasammata AnupUrvIdravya loka ke kitane bhAga meM haiM ? kyA saMkhyAta bhAga meM haiM ? asaMkhyAta bhAga meM haiM ? saMkhyAta bhAgoM meM haiM ? asaMkhyAta bhAgoM meM haiM ? athavA sarvaloka meM haiM ? (uttara) samasta AnupUrvIdravya loka ke saMkhyAta bhAga, asaMkhyAta bhAga, saMkhyAta bhAgoM yA asaMkhyAta bhAgoM meM nahIM haiM kintu niyamataH sarvaloka meM haiN| isI prakAra kA kathana donoM (anAnupUrvI aura avaktavyaka) dravyoM ke lie bhI samajhanA caahie| (3) KSHETRA-DVAR 125. (Question ) In what area or section of the universe (occupied space) do the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) exist. Are they in its countable fraction ? Are they in its uncountable (infinitesimal) fraction ? Are they in its countable sections ? Are they in its uncountable sections ? or are they in the whole universe? (Answer) With respect to all anupurvi (sequential) substance, they exist not just in countable fractions, uncountable fractions, countable sections, or uncountable sections of the universe but as a rule, they exist in the whole universe. The same holds good for the other two type of substances (ananupurvi or non-sequential inexpressible). and avaktavya AnupUrvI prakaraNa ( 209 ) or The Discussion on Anupurvi Po

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(4) sparzanA prarUpaNA 126. saMgahassa ANupucIdavvAiM logassa kiM saMkhejatibhAgaM phusaMti ? asaMkhejatibhAgaM phusaMti ? saMkhejje bhAge phusaMti ? asaMkhejje bhAge phusaMti ? savvalogaM phusaMti ? no saMkhejjatibhAgaM phusaMti, no asaMkhejjatibhAgaM phusaMti, no saMkhejje bhAge phusaMti, no asaMkhejje bhAge phusaMti, niyamA sabalogaM phusNti| evaM doni vi| 126. (prazna) saMgrahanayasammata AnupUrvIdravya kyA loka ke saMkhyAta bhAga kA, asaMkhyAta bhAga kA, saMkhyAta bhAgoM yA asaMkhyAta bhAgoM yA sarvaloka kA sparza karate haiM ? (uttara) AnupUrvIdravya loka ke saMkhyAta bhAga kA sparza nahIM karate haiM, asaMkhyAta bhAga kA sparza nahIM karate haiM, saMkhyAta bhAgoM aura asaMkhyAta bhAgoM kA bhI sparza nahIM karate haiM, kintu niyama se sarvaloka kA sparza karate haiN| isI prakAra kA kathana anAnupUrvI aura avaktavyaka rUpa donoM dravyoM ke lie bhI samajhanA caahie| (4) SPARSHANA-DVAR 126. (Question) Do the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) have spatial contact with countable fraction of the universe (occupied space), with uncountable fraction, with countable sections, with uncountable sections, or with the whole universe ? ___ (Answer) With respect to all anupurvi (sequential) substances, they have spatial contact not just with countable fractions, uncountable (infinitesimal) fraction, countable sections, or uncountable sections of the universe but with the whole universe. The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). anuyogadvAra sUtra ( 210 ) Illustrated Anuyogadvar Sutra

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* .*. . * (5-6) kAla aura antara kI prarUpaNA 127. saMgahassa ANupucIdavvAiM kAlao kevaciraM hoMti ? sbddhaa| evaM doNNi vi| 127. (prazna) saMgrahanayasammata AnupUrvIdravya kAla kI apekSA kitane kAla taka (AnupUrvI rUpa meM) rahate haiM? (uttara) AnupUrvIdravya AnupUrvI rUpa meM sarvakAla rahate haiN| isI prakAra kA kathana zeSa donoM dravyoM ke lie bhI samajhanA caahie| (5-6) KAAL-DVAR AND ANTAR-DVAR 127. (Question) In context of time for what duration do the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) exist in their sequential form) ? (Answer) They exist in the same form always. The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). 128. saMgahassa ANupubbIdavvANaM kAlao kevaciraM aMtaraM hoti ? natthi aNtrN| evaM doNNi vi| 128. (prazna) saMgrahanayasammata AnupUrvIdravyoM meM kAla kI apekSA kitanA antara-virahakAla rahatA hai ? (uttara) AnupUrvIdravyoM meM kAla kI apekSA antara nahIM hotA hai| isI prakAra zeSa donoM dravyoM ke lie samajhanA caahie| ____128. (Question) In context of time what is the antar (intervening period between loosing the present form and regaining it) in case of samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint)? AnupUrvI prakaraNa ( 211 ) The Discussion on Anupurvi

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STERPRISEXGORIGIONSOONGRESPONSIBIGOROPEXGDISPONGENGEORGIGDEPEXSEXGINGREDEVBOEMEETEOMMEMESTEREOVER (Answer) In case of anupurvi (sequential) substances this antar (gap) does not exist. The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). (7) bhAgaprarUpaNA 129. saMgahassa ANupubIdavvAI sesadavvANaM kaibhAge hojjA ? kiM saMkhejjaibhAge hojjA ? asaMkhejjaibhAge hojjA ? saMkhejesu bhAgesu hojjA ? asaMkhejesu bhAgesu hojjA ? ___ no saMkhejjaibhAge hojjA no asaMkhejjaibhAge hojjaa| No saMkhejjesu bhAgesu hojjA No asaMkhejjesu bhAgesu hojjaa| niyamA tibhAge hojjaa| evaM doNNi vi| __ 129. (prazna) saMgrahanayasammata AnupUrvIdravya zeSa dravyoM ke kitane bhAga pramANa hote haiM ? kyA saMkhyAta bhAga pramANa hote haiM yA asaMkhyAta bhAga pramANa hote haiM ? saMkhyAta bhAgoM pramANa athavA asaMkhyAta bhAgoM pramANa hote haiM ? (uttara) saMgrahanayasammata AnupUrvIdravya zeSa dravyoM ke saMkhyAta bhAga, asaMkhyAta bhAga, hara saMkhyAta bhAgoM yA asaMkhyAta bhAgoM pramANa nahIM haiM, kintu niyamataH tIsare bhAga pramANa hote haiN| isI prakAra donoM (anAnupUrvI aura avaktavyaka) dravyoM ke viSaya meM bhI samajhanA caahie| (7) BHAAG-DVAR ____129. (Question) In what spatial proportion of other substances are the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint). Is it countable fractions ? Is it uncountable fractions ? Is it countable sections ? Or is it uncountable sections ? ___ (Answer) The anupurvi (sequential) substances exist not in countable fractions or uncountable (infinitesimal) fractions or countable sections or in uncountable sections anuyogadvAra sUtra ( 212 ) Illustrated Anuyogadvar Sutra MUONYA OYAYOYAPOYAYOYALYAYOYAPMAINDRO RODREDI. DOC.DR .MRDROORSRDROORS

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but in one third part as a rule. The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). vivecana-ukta sUtra kA Azaya yaha hai ki saMgrahanayamAnya samasta AnupUrvI Adi dravya zeSa anAnupUrvI aura avaktavyaka dravyoM ke eka tihAI bhAga meM hote haiN| AnupUrvI, anAnupUrvI aura avaktavyaka dravyoM ko milAkara jo rAzi banatI hai, usa rAzi ke tIna bhAga karane para jo tRtIya bhAga Aye utanI rAzi pramANa AnupUrvIdravya haiN| dravyoM kI saMkhyA meM viSamatA hone para bhI tInoM kI rAziyA~ eka samAna hI hotI hai| ise samajhane ke lie cUrNikAra ne eka udAharaNa diyA hai| jaise eka rAjA ke tIna putra the| tInoM ne rAjA se ghor3e kI mA~ga kii| rAjA ne pahale putra ko eka ghor3A diyaa| jisakA mUlya chaha hajAra rupaye the| dUsare ko do ghor3e diye, unakA mUlya tIna-tIna hajAra thA aura tIsare ko bAraha ghor3e diye jinakA mUlya pA~ca-pA~ca sau rupaye the| saMkhyA kI dRSTi se viSama hone para bhI pratyeka rAjakumAra ke ghor3e samagra pU~jI ke eka tihAI bhAga meM Ate haiN| cUrNikAra ne prazna kiyA hai ki pahale avaktavyakase anAnupUrvI vizeSAdhika aura usase AnupUrvI asaMkhya gunA kaise kahA? samAdhAna diyA hai ki vaha naigama-vyavahAranaya kI dRSTi se kahA hai, yahA~ saMgrahanaya kI dRSTi se kathana hai| (anu. cU. hAri. vR. pR. 170) isI prakAra anAnupUrvI aura avaktavyaka dravyoM ke lie jAnanA ki ve bhI tIsare-tIsare bhAga pramANa haiN| Elaboration--This aphorism implies that all the anupurvi (sequential) substances occupy one third of the total space occupied by all substances including ananupurvi (non-sequential) and avaktavya (inexpressible) substances. In other words if a heap is made of all existing anupurvi (sequential), ananupurvi (non-sequential), and avaktavya (inexpressible) substances and then it is divided into three equal parts the total anupurvi (sequential) substances would be equal to one of the three heaps. Even if there is a variation in the number of substances in a heap the size of the heaps remains same. The commentator (Churni) has given an example to this phenomenon. A king had three sons. All the sons demanded horses from the king. To the first son the king gave just one horse costing 6000 rupees. To the second son he gave two horses costing 3000 rupees each. To the third he gave AnupUrvI prakaraNa ( 213 ) The Discussion on Anupurvi

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LIFERENCBXE SXE SXCXBXEBIEBEDEBXEDXSEXGADGETSPONGENGENGDIGESENSEXGROGRESPONSENEWSVEENSIONEEYEATENERA twelve horses costing 500 rupees each. Thus although there was a variation in the number of horses, cost vise each son got one third of the total value of all horses. The commentator (Churni) has raised a question that if this was so why earlier it was stated that the quantity of ananupurvi (non-sequential) substances is much more than avaktavya (inexpressible) substances and that of anupurvi (sequential) substances is uncountable times more than ananupurvi (nonsequential) substances ? The answer provided is that the earlier statement was in context of the naigam-vyavahar naya (coordinated and particularized viewpoints) and the present statement is in context of the samgraha naya (generalized viewpoint). (Anuyogadvara Churni by Haribhadra Suri p. 170) The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). (8) bhAvaprarUpaNA 130. saMgahassa ANupubbIdavbAI kayarammi bhAve hojjA ? niyamA sAdipAriNAmie bhAve hojjaa| evaM doNNi vi| appAbahuM ntthi| se taM annugme| se taM saMgahassa aNovaNihiyA dvvaannupuvii| se taM aNovaNihiyA dvvaannupuvii| 130. (prazna) saMgrahanayasaMmata AnupUrvIdravya kisa bhAva meM hote haiM ? (uttara) AnupUrvIdravya niyama se sAdipAriNAmika bhAva meM hote haiN| yahI kathana zeSa donoM (anAnupUrvI aura avaktavyaka) dravyoM ke lie bhI samajhanA caahie| rAzigata dravyoM meM alpabahutva nahIM hotA hai| yaha anugama kA varNana hai| yaha saMgrahanaya sammata anaupanidhika dravyAnupUrvI kA varNana hai| __(8) BHAAVA-DVAR ____130. (Question) In what state do the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) exist ? anuyogadvAra sUtra ( 214 ) Illustrated Anuyogadvar Sutra HelthyroPAROPAROPARODMR094800-400028024900RODARDRODR098080900900500RODARODAR0948094800-4000RROROSARONE

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(Answer) As a rule the samgraha naya sammat anupurvi dravya (sequential substances conforming to generalized viewpoint) exist in sadi parinamik (transformative with a beginning) state. The same holds good for the other two type of substances (ananupurvi or non-sequential and avaktavya or inexpressible). In the cumulative evaluation of substances there is an absence of comparative difference (less or more or alpabahutva). This concludes the description of anugam (systematic elaboration). This also concludes the description of Samgraha naya sammat anaupanidhiki dravya-anupurvi (disorderly physical sequence conforming to generalized viewpoint) and anaupanidhiki dravya-anupurvi (disorderly physical sequence). aupanidhikI dravyAnupUrvInirUpaNa 131. se kiM taM ovaNihiyA davyANupubbI ? ovaNihiyA davvANupubI tivihA pnnnnttaa| taM jahA-(1) puvANupubI, (2) ternyait, (3) 3724 antal 939. (697) este foarferont sallayat ? (3FF) Bity Aferant saugyat as a yobra , 1987-(9) garaget, (?) 497154a, Bite (3) Flyai AUPANIDHIKI DRAVYA-ANUPURVI 131. (Question) What is this Aupanidhiki dravyaanupurvi (orderly physical sequence) ? (Answer) This Aupanidhiki dravya-anupurvi (orderly physical sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. AnupUrvI prakaraNa ( 784) The Discussion on Anupurvi

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vivecana-sUtra meM aupanidhikI dravyAnupUrvI ke tIna bheda batAye haiN| upanidhi kA artha kisI eka vastu ko sthApita karake usake samIpa pUrvAnupUrvI Adi ke krama se anya vastuoM ko sthApita karanA hai| upanidhi kA bhAva aupanidhikI hai| yaha aupanidhikI dravyAnupUrvI tIna prakAra kI hai| Elaboration--The aphorism states three categories of Aupanidhiki dravya-anupurvi (orderly physical sequence). Upanidhi means to place a thing at a point and then proceed to place other things adjacent to it in an orderly arrangement like purvanupurvi, (etc.). The adjective form of upanidhi is aupanidhiki. The Aupanidhiki dravya-anupurvi (orderly physical sequence) discussed here is of three types. pUrvAnupUrvI kA svarUpa 132. se kiM taM puvANupubbI ? puvvANupubbI-(1) dhammatthikAe, (2) adhammatthikAe, (3) AgAsasthikAe, (4) jIvatthikAe, (5) poggalatthikAe, (6) addhaasme| se taM puvaannupuvii| 132. (prazna) pUrvAnupUrvI kyA hai ? (uttara) pUrvAnupUrvI kA svarUpa isa prakAra hai-(1) dharmAstikAya, (2) adharmAstikAya, (3) AkAzAstikAya, (4) jIvAstikAya, (5) pudgalAstikAya, (6) addhaakaal| isa prakAra anukrama se nikSepa karanA pUrvAnupUrvI haiN| PURVANUPURVI 132. (Question) What is this Purvanupurvi ? (Answer) Purvanupurvi is like this--(1) Dharmastikaya (motion entity), 2) Adharmastikaya (rest entity), (3) Akashastikaya (space entity), (4) Jivastikaya (life entity), (5) Pudgalastikaya (matter entity), (6) Addhakala (time). Things arranged in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). anuyogadvAra sUtra ( 216 ) DRREPREPARENEPARASPASSAGAPAGAPRISPRASPASPREPREPARPRASPARDPRASPARDA6%A4degCdeg36deg26deg/6deg6KHPRKlaya Illustrated Anuyogadvar Sutra

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pazcAnupUrvI kA svarUpa 133. se kiM taM pacchANupubbI ? pacchANupubbI-(6) addhAsamae, (5) poggalatthikAe, (4) jIvatthikAe, (3) AgAsatthikAe, (2) adhammatthikAe, (1) dhmmtthikaae| se taM pcchaannupubbii| 133. (prazna) pazcAnupUrvI kyA hai ? (uttara) pazcAnupUrvI kA svarUpa isa prakAra hai ki (6) addhAsamaya, (5) pudgalAstikAya, (4) jIvAstikAya, (3) AkAzAstikAya, (2) adharmAstikAya, aura (1) dhrmaastikaay| isa prakAra viloma-viparIta krama se sthApanA karanA pazcAnupUrvI hai| PASHCHANUPURVI 133. (Question) What is this Pashchanupurvi ? (Answer) Pashchanupurvi is like this--(6) Addhakala (time), (5) Pudgalastikaya (matter entity), (4) Jivastikaya (life entity), (3) Akashastikaya (space entity), (2) Adharmastikaya (rest entity), (1) Dharmastikaya (motion entity). Things arranged in such descending sequential order is called pashchanupurvi (descending sequence). This concludes the description of pashchanupurvi (descending sequence). anAnupUrvI 134. se kiM aNANupuvI ? aNANupubbI eyAe ceva egAdiyAe eguttariyAe chagacchagayAe seDhIe aNNamaNNabhAso duruuvuunno| se taM annaannupuvii| 134. (prazna) anAnupUrvI kyA hai ? (uttara) eka se prArambha kara eka-eka kI vRddhi karane para chaha paryanta sthApita zreNI ke aMkoM meM paraspara guNAkAra karane se jo rAzi Aye, usameM se Adi (pUrvAnupUrvI) aura aMta (pazcAnupUrvI) ke do rUpoM (bhaMgoM) ko kama karane para anAnupUrvI banatI hai| AnupUrvI prakaraNa ( 217 ) The Discussion on Anupurvi

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alsastessanslasslesslessiolet DA809002069ARODAROPARODARODAROPARODAROPARODARODARODARASEAN 280 (yaha saMkhyA yaha batAtI hai ki una 6 saMkhyAoM ko vibhinna svatantra krama meM sajAne para kitanI anAnupUrviyA~ banane kI saMbhAvanA hai) ANANUPURVI 134. (Question) What is this Ananupurvi ? (Answer) Place six numbers starting from one and progressively adding one. Multiply all the six numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequences) from the result. This final result is called ananupurvi (random sequence). (This number is the total number of sequences that can be made in random order. In other words this is the sum total of all permutations and combinations of the random sequences that can be made with the given set of numbers). This concludes the description of ananupurvi (random sequence). vivecana-anAnupUrvI kA artha hai, jisameM na to anuloma krama-pUrvAnupUrvI ho, aura na hI viloma krama-pazcAnupUrvI ho| ina donoM se bhinna krama-sthApanA anAnupUrvI hai| anAnupUrvI ko samajhane ke lie udAharaNa diyA hai-sabase pahale eka kA aMka rakhakara kramazaH eka-eka kI vRddhi karate hue chaha saMkhyA taka likheN| jaise-1-2-3-4-5-6| phira inameM paraspara guNA kareM, 1 x 2 - 3 4 4 4 5 x 6 = 720 / guNAkAra kI rAzi se eka Adi bhaMga pUrvAnupUrvI kA tathA eka antima bhaMga pazcAnupUrvI kA ghaTA deveM, arthAt ukta 720 kI rAzi meM se 1 + 1 = 2 ghaTA dene para 718 jo saMkhyA banI hai, ise anAnupUrvI kA udAharaNa smjheN| AcArya mahAprajJa jI ne isake lie 30 koSTaka banAkara vistAra pUrvaka samajhAyA hai| (dekheM, anu.mahAprajJa pR. 107 se 113) ___Elaboration-Ananupurvi (random sequence) is that in which the numbers are neither in ascending order nor in descending order. Arranging numbers in an order other than these two sequences is Ananupurvi (random sequence). In order to explain ananupurvi (random sequence) the example of six numbers is given. First of all place six numbers starting from one and progressively adding one. You will get a sequence--1-2-3-4-5-6. anuyogadvAra sUtra ( 218 ) Illustrated Anuyogadvar Sutra VOORVOv PAKIN ROBARODARo2

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Now multiply all the six numbers of this arithmetic progression 1x2x3x4x5x6 and you will get 720 as the result. The next step is to subtract 2 (depicting one ascending and one descending sequence) from the result-720 - 2 = 718. This final result is called ananupurvi or the random sequence. This number is the total number of sequences that can be made out of these six numbers placed in random order. In the Anuyogadvara commentary by Acharya Mahaprajna 30 tables have been given presenting all these 718 random sequences (page 107 to 113). aupanidhikI dravyAnupUrvI kA dUsarA prakAra 135. ahavA ovaNihiyA davvANupubbI tivihA pnnttaa| taM jahA(1) puvANupubI, (2) pacchANupubbI, (3) annaannupuvii| 135. athavA aupanidhikI dravyAnupUrvI tIna prakAra kI hai| yathA-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, aura (3) anaanupuurvii| ANOTHER AUPANIDHIKI DRAVYA-ANUPURVI _135. Also, this Aupanidhiki dravya-anupurvi (orderly physical sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. vivecana-pichale sUtra meM dharmAstikAya Adi SaDdravyoM kI pUrvAnupUrvI Adi kA kathana kiyA hai| aba usI ko pudgalAstikAya para ghaTita karane ke lie punaH aupanidhikI dravyAnupUrvI ke tIna bhedoM kA yahA~ ullekha hai| Elaboration--In the preceding aphorism three categories of aupanidhiki dravya-anupurvi (orderly physical sequence) have been discussed with reference to the six fundamental entities including Dharmastikaya (motion entity). Now all the three classifications of the same are discussed in context of Pudgalastikaya (matter entity). pUrvAnupUrvI kA svarUpa 136. se kiM taM puvANupubbI ? AnupUrvI prakaraNa ( 219 ) The Discussion on Anupurvi

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puvANupubbI paramANupoggale dupaesie tipaesie jAva dasapaesie jAva saMkhijjapaesie asaMkhijjapaesie annNtpesie| se taM puvaannupuvii| 136. (prazna) pUrvAnupUrvI kyA hai ? (uttara) pUrvAnupurvI isa prakAra hai-paramANu pudgala, dvipradezika skandha, tripradezika skandha, yAvat dazapradezika skandha, saMkhyAtapradezika skandha, asaMkhyAtapradezika skandha, anantapradezika skandha rUpa kramAtmaka AnupUrvI ko pUrvAnupUrvI kahate haiN| PURVANUPURVI 136. (Question) What is this Purvanupurvi ? (Answer) Purvanupurvi is like this--(1) Paramanu Pudgal (ultimate-particle of matter), (2) An aggregate of two ultimate-particles (paramanus), (3) An aggregate (skandh) of three ultimate-particles (paramanus), (and so on...), (10) An aggregate (skandh) of ten ultimate-particles (paramanus), (x) An aggregate (skandh) of countable __ultimate-particles (paramanus), (y) An aggregate (skandh) of uncountable ultimate-particles (paramanus), and (z) An aggregate (skandh) of infinite ultimate-particles (paramanus). The arrangement of aggregates of matter particles placed in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). pazcAnupUrvI kA svarUpa 137. se kiM taM pacchANupubbI ? pacchANupubbI aNaMtapaesie asaMkhijjapaesie saMkhijjapaesie jAva dasapaesie jAva tipaesie dupaesie prmaannupoggle| se taM pcchaannupubbii| __137. (prazna) pazcAnupUrvI kyA hai ? anuyogadvAra sUtra (PPO) Illustrated Anuyogadvar Sutra

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SPRISESEGPOISODISPEASORIGIGABPMASPOTSPOMEPRASRAMPRISPENSPIGGdeg06deg06deg066608600X6PRAGARMAORMAPVHPBMARW6 (uttara) pazcAnupUrvI isa prakAra hai-anantapradezika, asaMkhyAtapradezika, saMkhyAtapradezika yAvat dazapradezika yAvat tripradezika dvipradezika skandha, prmaannupudgl| viparIta krama se kiyA jAne vAla nyAsa pazcAnupUrvI hai| PASHCHANUPURVI 137. (Question) What is this Pashchanupurvi ? (Answer) Pashchanupurvi is like this--(z) An aggregate 4 (skandh) of infinite ultimate-particles (paramanus), (y) An aggregate (skandh) of uncountable ultimate-particles (paramanus), (x) An aggregate (skandh) of countable 9 ultimate-particles (paramanus), (10) An aggregate (skandh) of ten ultimate-particles (paramanus), (and so on...), (3) An a aggregate (skandh) of three ultimate-particles (paramanus), te (2) An aggregate of two ultimate-particles (paramanus), (1) Paramanu Pudgal (ultimate particle of matter). The arrangement of aggregates of matter particles placed in such descending sequential order is called pashchanupurvi (descending sequence). This concludes the description of pashchanupurvi (descending sequence). anAnupUrvI kA svarUpa 138. se kiM taM aNANupubI ? __ aNANupubbI eyAe ceva egAiyAe eguttariyAe aNaMtagacchagayAe seDhIe anamanabhAso duruuvuunno| se taM annaannupubbii| se taM ovaNihiyA dvvaannupuvii| se taM jANagavairittA dvvaannupucii| se taM noAgamao dvaannupuvii| se taM dvvaannupubii| 138. (prazna) anAnupUrvI kyA hai ? (uttara) eka se prArambha karake eka-eka kI vRddhi karane ke dvArA nirmita anantapradezika skandha paryanta kI zreNI kI saMkhyA ko paraspara guNita karane se niSpanna rAzi meM se Adi aura anta rUpa do bhaMgoM ko kama karane para anAnupUrvI banatI hai| AnupUrvI prakaraNa The Discussion on Anupurvi FiPAHARMAPORTEXGI6%86%D1GRABPOIGADGETBPOSEXERENERDEREMEDYEPOMEDYERITERRORRHEROVERMEPREPAIRAGHPANGREDGPasta ( 221 )

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yaha aupanidhikI dravyAnupUrvI kA varNana jAnanA caahie| (vizeSa sUtra 134 ke anusAra) isa prakAra jJAyakazarIra bhavyazarIravyatirikta dravyAnupUrvI kA aura sAtha hI no-AgamataH dravyAnupUrvI tathA dravyAnupUrvI kA bhI varNana pUrNa huA / ANANUPURVI 138. (Question) What is this Ananupurvi? (Answer) Place numbers starting from one and progressively adding one up to infinity (aggregate of infinite particles). Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). (This number is the total number of sequences that can be made in random order. In other words this is the sum total of all permutations and combinations of the random sequences that can be made with the given set of numbers). This concludes the description of ananupurvi (random sequence). This concludes the description of Aupanidhiki dravya-anupurvi (orderly physical sequence). This also concludes the description of Jnayak sharir-bhavya sharir vyatirikta dravya-anupurvi (physical sequence other than the body of the knower and the body of the potential knower) as well as No-Agamatah-dravya-anupurvi (physical sequence without scriptural knowledge) and dravyaanupurvi (physical sequence). kSetrAnupUrvI ke prakAra 139. se kiM taM khettANupuvI ? khettANupuvI duvihA paNNattA / taM jahA - ovaNihiyA ya aNovaNihiyA ya / 139. ( prazna) kSetrAnupUrvI kyA hai ? anuyogadvAra sUtra ( 222 Illustrated Anuyogadvar Sutra

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. .. . .* * *.. Popk.pk.pkoskoskoskoskioskakak. 5568666666 ___ (uttara) kSetrAnupUrvI do prakAra kI hai| yathA-(1) aupanidhikI kSetrAnupUrvI, aura 2 (2) anaupanidhikI kssetraanupuurvii| KSHETRANUPURVI ____139. (Question) What is this kshetra-anupurvi (area sequence)? ___(Answer) Kshetra-anupurvi (area-sequence) is of two types--(1) Aupanidhiki kshetra-anupurvi (orderly areasequence) and (2) Anaupanidhiki kshetra-anupurvi (disorderly area-sequence). 140. tattha NaM jA sA ovaNihiyA sA tthppaa| 140. ina do bhedoM meM se aupanidhikI kSetrAnupUrvI (alpa viSaya vAlI hone ke kAraNa) sthApya hai| 140. Out of these Aupanidhiki kshetra-anupurvi (orderly area-sequence) is worth installation only (worth a mention only because of its limited scope). 141. tattha NaM jA sA aNovaNihiyA sA duvihA pnnttaa| taM jahA* (1) Negama-vavahArANaM, (2) saMgahassa y| 141. anaupanidhikI kSetrAnupUrvI do prakAra kI hai| yathA-(1) naigama aura vyavahAranayasammata, tathA (2) sNgrhnysmmt| ____141. And anaupanidhiki kshetra-anupurvi (disorderly area-sequence) is of two types--(1) Naigam-vyavahar naya sammat (conforming to coordinated and particularized viewpoints) and (2) Samgrahanaya sammat (conforming to generalized viewpoint). naigama-vyavahAranayasammata anaupanidhikI kSetrAnupUrvI 142. se kiM taM Negama-vavahArANaM aNovaNihiyA khettANupubbI ? * AnupUrvI prakaraNa ( 223 ) The Discussion on Anupurvi

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Negama-vavahArANaM aNovaNihiyA khettANupucI paMcavihA pnnnnttaa| taM jahA(1) aTThapayaparUvaNayA, (2) bhaMgasamukkittaNayA, (3) bhaMgovadaMsaNayA, (4) samoyAre, (5) annugme| 142. (prazna) naigama aura vyavahAranayasammata anaupanidhikI kSetrAnupUrvI kyA hai? (uttara) naigama aura vyavahAranaya sammata anaupanidhikI kSetrAnupUrvI ke pA~ca prakAra haiN| yathA-(1) arthapadaprarUpaNatA, (2) bhaMgasamutkIrtanatA, (3) bhaMgopadarzanatA, (4) samavatAra, (5) anugm| (arthapadaprarUpaNatA Adi ke lakSaNa-vyAkhyA dravyAnupUrvI ke prasaMga meM kiye gaye varNana ke samAna sUtra 98-99 ke anusAra samajhanA cAhie) NAIGAM-VYAVAHAR NAYA SAMMAT ANAUPANIDHIKI KSHETR-ANUPURVI ___142. (Question) What is this Naigam-vyavahar naya sammat anaupanidhiki kshetra-anupurvi (disorderly areasequence conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavaharnaya sammat anaupanidhiki kshetra-anupurvi (disorderly area-sequence conforming to coordinated and particularized viewpoints) is of five types--(1) Arth-padaprarupana (semantics), (2) Bhang-samutkirtanata (enumeration of divisions or bhangs), (3) Bhangopadarshanata (explication of divisions or bhangs), (4) Samavatara (compatible assimilation), and (5) Anugam (systematic elaboration). (The definition and elaboration of Arth-padaprarupana or semantics and other terms should be taken as mentioned ___ in aphorisms 98 and 99 in connection with Dravyanupurvi.) naigama-vyavahAranayasammata arthapadaprarUpaNA aura prayojana 143. se kiM taM Negama-vavahArANaM aTThapayaparUvaNayA ? anuyogadvAra sUtra Illustrated Anuyogadvar Sutra (224 )

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Negama-vavahArANaM aTThapayaparUvaNayA tipaesogADhe ANupuvvI jAva dasapaesogADhe ANupubbI jAva saMkhijjapaesogADhe ANupubbI, asaMkhijjapa sogADhe ANupubbI / egapaesogADhe aNANupubbI / dupasagADhe avattavyae / tipaesogADhA ANupuvIo jAva dasapaesogADhA ANupubbIo jAva saMkhejjapa sogADhA ANupubbIo, asaMkhejjapaesogADhA ANupuvIo / egapaesogADhA aNANupubbIo, dupaesogADhA avttvygaaii| se taM Negama - vavahArANaM aTThapayaparUvaNayA / 143. (prazna) naigama-vyavahAranayasammata arthapadaprarUpaNatA kyA hai ? (uttara) naigama vyavahAranaya - sammata arthapadaprarUpaNA isa prakAra kahI hai - tIna AkAzapradezoM meM avagADha dravyaskandha AnupUrvI hai yAvat dasa pradezAvagADha dravyaskandha AnupUrvI hai yAvat saMkhyAta AkAzapradezoM meM avagADha AnupUrvI hai, asaMkhyAta pradezoM meM avagADha AnupUrvI hai| AkAza ke eka pradeza meM avagADha dravya (pudgalaparamANu) se lekara yAvat asaMkhyAtapradezI skandha taka anAnupUrvI hai| do AkAzapradezoM meM avagADha (do, tIna yA asaMkhyAtapradezI skandha bhI) avaktavya hai / tIna AkAzapradezAvagAhI aneka - bahuta dravyaskandha AnupUrviyA~ haiM yAvat dasapradezAvagAhI AnupUrviyA~ haiM yAvat saMkhyAtapradezAvagADha dravyaskandha AnupUrviyA~ haiM, asaMkhyAta pradezAvagADha dravyaskandha AnupUrviyA~ haiM / eka pradezAvagAhI pudgalaparamANu Adi (aneka) dravya anAnupUrviyA~ haiN| do AkAzapradezAvagAhI dvyaNukAdi dravyaskandha avaktavyaka haiN| yaha naigama-vyavahAranayasammata arthapada prarUpaNatA kA svarUpa hai| NAIGAM-VYAVAHAR NAYA SAMMAT ARTH-PADAPRARUPANA 143. (Question) What is this Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints)? ( 225 ) AnupUrvI prakaraNa zamana The Discussion on Anupurvi

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POGODBONGO BONGO SGO DOO DOGODIO SNOODGOOSEOVOSSOS DOGSXGNSKO 2deg 30deg6deg BXGSVOOR (Answer) Naigam-vyavahar naya sammat arth9 padaprarupana (semantics conforming to coordinated and particularized viewpoints) is described as follows An aggregate (skandh) of three ultimate-particles (paramanus) occupying three space-points is a sequential configuration (anupurvi). In the same way aggregates (skandhs) of four ultimate-particles (paramanus), (and so on...), ten ultimate-particles (paramanus), countable, uncountable, and infinite ultimate-particles (paramanus), are all sequential configurations (anupurvis). A single ultimate-particle of matter (paramanu pudgala) or an aggregate of even uncountable paramanus (ultimateparticles) occupying just one space-point is non-sequential (ananupurvi). An aggregate (skandh) of two or even uncountable ultimate-particles (paramanus) occupying just two spacepoints is inexpressible (avaktavya). There also are numerous sequential configurations (anupurvis) of such aggregates (skandhs) of three ultimateparticles (paramanus), (and so on up to) infinite ultimateparticles (paramanus) occupying three to uncountable space-points. There also are numerous non-sequential configurations (ananupurvis) of such separate ultimate-particles of matter (paramanu pudgala) occupying one space-point. There also are numerous inexpressible configurations (avaktavyas) of such aggregates (skandhs) of two ultimateparticles (paramanus) occupying two space-points. This concludes the description of Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints). 2 anuyogadvAra sUtra ( PRE ) Illustrated Anuyogadvar Sutra IKIPNVAONO YAONIONONTONIONONONOVO VON DENONONOVAONAONO YAONONNON

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144. eyAe NaM Negama-vavahArANaM aTThapayaparUvaNayAe kiM paoyaNaM ? eyAe NaM Negama-vavahArANaM aTThapayaparUvaNayAe Negama-vavahArANaM bhaMgasamukkittaNayA kiirti| 144. (prazna) isa naigama-vyavahAranayasammata arthapadaprarUpaNatA kA kyA prayojana hai ? (uttara) isa naigama-vyavahAranayasammata arthapadaprarUpaNatA dvArA naigama-vyavahAranayasammata bhaMgasamutkIrtanatA kI jAtI hai| 144. (Question) What is the purpose of this anupurvi (sequence) in the form of naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints) ? (Answer) This anupurvi (sequence) in the form of Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints) is used to derive and state bhangsamutkirtanata (enumeration of divisions or bhangs). kSetrAnupUrvI-bhaMgasamutkIrtanatA evaM prayojana 145. se kiM taM Negama-vavahArANaM bhaMgasamukkittaNayA ? Negama-vavahArANaM bhaMgasamukkittaNayA (1) atthi ANupubbI, (2) atthi aNANupubbI, (3) atthi avttvbe| evaM davvANupubbIgameNaM khettANupubIe vi te ceva chabbIsa bhaMgA bhANiyavyA, jAva se taM Negama-vavahArANaM bhNgsmukkittnnyaa| 145. (prazna) naigama-vyavahAranayasammata bhaMgasamutkIrtanatA kyA hai ? (uttara) naigama-vyavahAranayasammata bhaMgasamutkIrtanatA isa prakAra hai-(1) AnupUrvI hai, (2) anAnupUrvI hai, (3) avaktavyaka hai ityAdi dravyAnupUrvI ke pATha kI taraha kSetrAnupUrvI ke bhI vahI chabbIsa bhaMga hote haiN| isa prakAra naigamavyavahAranayasammata bhaMgasamutkIrtanatA kA kathana karanA caahie| (sUtra 101 se 103 ke anusAra samajheM) AnupUrvI prakaraNa The Discussion on Anupurvi ,

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KSHETRANUPURVI : BHANG-SAMUTKIRTANATA 145. (Question) What is this naigam-vyavahar naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is as follows (1) There is an anupurvi (sequence), (2) There is an ananupurvi (non-sequence), (3) There is an avaktavya (inexpressible), and so on including the twenty six divisions as mentioned in context of Dravyanupurvi (see aphorisms 101-103). 146. eyAe NaM Negama-vavahArANaM bhaMgasamukkittaNayAe kiM paoyaNaM ? eyAe NaM Negama-vavahArANaM bhaMgasamukkittaNayAe Negama-vavahArANaM bhaMgovadaMsaNayA kjjti| 146. (prazna) isa naigama-vyavahAranayasammata bhaMgasamutkIrtanatA kA kyA prayojana hai ? (uttara) isa naigama-vyavahAranayasammata bhaMgasamutkIrtanatA dvArA naigama-vyavahAranayasammata bhaMgopadarzanatA kI jAtI hai| 146. (Question) What is the purpose of this naigamvyavaharnaya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints)? (Answer) This naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is used to derive and state Bhangopadarshanata (explication of divisions or bhangs). anuyogadvAra sUtra ( PRC) Illustrated Anuyogadvar Sutra

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naigama-vyavahAranayasammata bhaMgopadarzanatA 147. se kiM taM Negama-vavahArANaM bhaMgovadaMsaNayA ? | Negama-vavahArANaM bhaMgovadaMsaNayA (1) tipaesogADhe ANupubbI, (2) egapaesogADhe aNANupubbI, (3) dupaesogADhe avattavbae, (4) tipaesogADhAo ANupubbIo, (5) egapaesogADhAo aNANupubbIo, (6) dupaesogADhAI avttvvyaaii| ___ ahavA tipaesogADhe ya egapaesogADhe ya ANupubbI ya aNANupubI ya, evaM tahA ceva davANupubbIgameNaM chabbIsaM bhaMgA bhANiyavvA jAva se taM Negama-vavahArANaM bhNgovdNsnnNyaa| 147. (prazna) naigama-vyavahAranayasammata bhaMgopadarzanatA kyA hai ? (uttara) tIna AkAzapradezAvagADha tryaNukAdi skandha AnupUrvI haiN| eka AkAzapradezAvagAhI paramANusaMghAta anAnupUrvI tathA do AkAzapradezAvagAhI vyaNukAdi skandha kSetra kI apekSA avaktavyaka kahalAtA hai| tIna AkAzapradezAvagAhI aneka skandha 'AnupUrviyA~' evaM eka-eka AkAzapradezAvagAhI aneka paramANusaMghAta 'anAnupUrviyA~' tathA dvi AkAzapradezAvagAhI TyaNuka Adi aneka dravyaskandha 'avaktavyaka' haiN| athavA tripradezAvagADhaskandha aura eka pradezAvagADhaskandha eka AnupUrvI aura eka anAnupUrvI hai| isa prakAra dravyAnupUrvI ke pATha kI taraha chabbIsa bhaMga yahA~ bhI jAnane caahie| yaha naigama-vyavahAranayasammata bhaMgopadarzanatA hai| NAIGAM-VYAVAHAR NAYA SAMMAT BHANGOPADARSHANATA ___ 147. (Question) What is this naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints) ? ___ (Answer) Naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints) is as followsAnupUrvI prakaraNa ( 229 ) The Discussion on Anupurvi

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Nish Anomics 9x. . chaKekha ke.sx Khesha ROORGRONDE UREYALILOPAVONDORDRDRERIROSTROROORDO With respect to kshetra (area) there is a triad (of three ultimate-particles) anupurvi (sequence) occupying three space-points; there is a single particle (paramanu-pudgala or ultimate-particle of matter) ananupurvi (non-sequence) occupying one space-point; and there is a biunial-aggregate (aggregate of ultimate-particles) avaktavya (inexpressible) occupying two space-points. There are many triad anupurvis (sequences) occupying three space-points; there are many single particle ananupurvis (non-sequences) occupying one space-point; there are many biunial-aggregate avaktavyas (inexpressibles) occupying two space-points. Also there is a triad anupurvi (sequence) occupying three space-points and a single particle ananupurvi (nonsequence) occupying one space-point; and so on including the twenty six divisions as mentioned in context of Dravyanupurvi. (see aphorism 103) This concludes the description of Naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints). kSetrAnupUrvI kI samavatAra prarUpaNA 148. (1) se kiM taM samoyAre ? samoyAre Negama-vavahArANaM ANupubbIdavvAiM kahiM samoyaraMti ? kiM ANupubIdavvehiM samoyaraMti ? aNANupubIdavvehiM samoyaraMti ? avattavvayadavvehiM samoyaraMti ? __ ANupubbIdavvAiM ANupubIdavvehiM samoyaraMti, no aNANupucIdavvehiM samoyaraMti no avattavyayadavvehiM smoyrNti| 148. (prazna 1) samavatAra kyA hai ? naigama-vyavahAranayasammata AnupUrvIdravyoM kA samAveza kahA~ hotA hai ? kyA AnupUrvI dravyoM meM, anAnupUrvI dravyoM meM athavA avaktavyaka dravyoM meM samAveza hotA hai ? anuyogadvAra sUtra ( 230 ) Aaloto.kola 9.86999.869.869.99, Illustrated Anuyogadvar Sutra

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(uttara) AnupUrvI dravya AnupUrvI dravyoM meM samAviSTa hote haiM, kintu anAnupUrvI dravyoM aura avaktavyaka dravyoM meM samAviSTa nahIM hote haiN| KSHETRANUPURVI : SAMAVATARA 148. (Question 1) What is this samavatara (compatible assimilation)? Where can there be a compatible assimilation (samavatara) of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) ? Can they have compatible assimilation (samavatara) with sequential substances or non-sequential substances or inexpressible substances ? (Answer) Naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) with sequential substances only and not with non-sequential substances or inexpressible substances. (2) evaM tiNNi vi saTThANe samoyaraMti tti bhaanniyvvN| se taM smoyaare| (2) isa prakAra tInoM sva-sva sthAna meM hI samAviSTa hote haiN| yaha samavatAra kA svarUpa haiN| (2) In the same way all the three can have compatible assimilation (samavatara) with substances of their own class and not with those of other classes. This concludes the description of samavatara (compatible assimilation). kSetrAnupUrvI kI anugamaprarUpaNA 149. se kiM taM aNugame ? aNugame Navaviha pnnnntte| taM jahA AnupUrvI prakaraNa ( 231 ) The Discussion on Anupurvi

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(1) saMtapayaparUvaNayA, (2) davvapamANaM, ca (3) khetta, (4) phusaNA y| (5) kAlo, (6) aMtaraM, (7) bhAga, (8) bhAva, (9) appAbaDaM, cev||10|| 149. (prazna) anugama kA kyA svarUpa hai ? (uttara) anugama nau prakAra kA hai| yathA-(1) satpadaprarUpaNatA, (2) dravya pramANa, (3) kSetra, (4) sparzanA, (5) kAla, (6) antara, (7) bhAga, (8) bhAva, aura 6 (9) alpbhutv| (vizeSArtha sUtra 105 ke anusAra samajhanA caahie|) KSHETRANUPURVI : ANUGAM 149. (Question) What is this anugam (systematic elaboration) ? (Answer) Anugam (systematic elaboration) is of nine kinds-(1) satpadprarupana, (2) dravyapramana, (3) kshetra, (4) sparshana, (5) kaal, (6) antar, (7) bhaag, (8) bhaava, and (9) alpabahutva. (further details should be taken as mentioned in context of Dravyanupurvi in aphorism 105) (1) kSetrAnupUrvI : satpadaprarUpaNatA 150. se kiM taM saMtapayaparUvaNayA ? Negama vavahArANaM khettANupubbIdavvAIM kiM asthi Natthi ? NiyamA atthi| evaM doNNi vi| 150. (prazna) satpadaprarUpaNatA kyA hai? naigama-vyavahAranayasammata kSetrAnupUrvIdravya (sat-astitvarUpa) haiM yA nahIM? (uttara) niyamataH (sata) haiN| isI prakAra donoM-anAnupUrvI aura avaktavyaka dravyoM ke lie bhI samajhanA cAhie ki ve bhI niyamataH-nizcita rUpa se sat haiN| (1) KSHETRANUPURVI : SATPADPRARUPANA-DVAR 150. (Question) What is this Satpadprarupana (exposition of words for existent things) ? Do the naigamvyavahar naya sammat kshetra-anupurvi dravya (areasequential substances conforming to coordinated and particularized viewpoints) exist or not ? anuyogadvAra sUtra ( 232 ) Illustrated Anuyogadvar Sutra

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AMAOIMAOIMAOINOWomromrotrowonomwome __ (Answer) Indeed, as a rule they exist. Same is true also for ananupurvi (non-sequential) and avaktavya (inexpressible) substances. (2) kSetrAnupUrvI : dravyapramANa 151. Negama-vavahArANaM ANupubbIdavvAiM kiM saMkhejjAiM asaMkhejjAiM aNaMtAI ? no saMkhejjAiM no aNaMtAI, niyamA asNkhejjaaii| evaM doNNi vi| 151. (prazna) naigama-vyavahAranayasammata AnupUrvI dravya kyA saMkhyAta haiM, asaMkhyAta haiM, athavA ananta haiM? (uttara) naigama-vyavahAranayasammata AnupUrvI dravya na to saMkhyAta haiM aura na ananta haiM kintu niyamataH asaMkhyAta haiN| isI prakAra donoM anAnupUrvI aura avaktavyaka dravyoM ke lie bhI samajhanA caahie| (2) KSHETRANUPURVI : DRAVYAPRAMANA-DVAR ___ 151. (Question) According to the naigam-vyavahar naya (coordinated and particularized viewpoints) are the anupurvi dravya (sequential substances) countable, uncountable, or infinite (numerically) ? (Answer) They are neither countable nor infinite but are uncountable (numerically). Same is true for the remaining two, i.e., according to the naigam-vyavahar naya (coordinated and particularized viewpoints) both ananupurvi dravya. (non-sequential substances) and avaktavya dravya (inexpressible substances) are uncountable (numerically). vivecana-sUtra meM kSetra kI apekSA AnupUrvI Adi dravyoM kA pramANa asaMkhyAta batalAyA hai| isakA nimna kAraNa hai| AkAza ke tIna pradezoM meM sthita dravya kSetra kI apekSA AnupUrvI rUpa haiM aura tIna Adi pradeza vAle skandhoM ke AdhArabhUta kSetra vibhAga asaMkhyAtapradezI loka meM / asaMkhyAta haiN| isalie dravya kI apekSA bahuta AnupUrvI dravya bhI AkAza rUpa kSetra ke tIna pradezoM meM tIna, cAra, pA~ca chaha Adi se lekara anantapradeza (paramANu) vAle aneka AnupUrvIdravya avagADha hokara rahate haiN| ataH ye saba dravya tulya pradezAvagAhI hone ke kAraNa AnupUrvI prakaraNa ( 233 ) The Discussion on Anupurvi SAYKORVAORVAORVAORVAORTAOAVAOAVAOAVAORTAORTAORYAORTAORTAORMAONTARVAORYAORTOIMGORTIONORMOMEONIONronwrommmmmmmmmmnirma

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eka haiN| kSetrAnupUrvI meM loka ke aise tripradezAtmaka vibhAga asaMkhyAta haiN| isalie AnupUrvI dravya bhI unake samAna saMkhyA vAle hone ke kAraNa asaMkhyAta hote haiN| Elaboration--This aphorism gives the quantum with respect to kshetra (area) of anupurvi (sequential) and other substances as uncountable numerically or inexpressible. This is because anupurvi (sequential) substances occupying three space-points are anupurvi (sequential) also with respect to area (kshetra). Also the divisions of space providing occupancy to aggregates of three or more ultimate-particles (paramanus) are uncountable in the loka (universe) that is constituted of uncountable number of space-points. Therefore, a large quantum of physical anupurvi (sequential) substances, i.e., aggregates of three, four, five, six, and so on up to infinite paramanus (ultimate-particles) can occupy just three space-points of area. As all these substances occupy the same area they are considered one with respect to kshetra (area). Kshetranupurvi (area-sequence) includes uncountable number of such divisions of three space-point area. Thus the anupurvi (sequential) substances having the same number in terms of kshetra (area) are also uncountable. (3) kSetrAnupUrvI kI anugamAntarvartI kSetraprarUpaNA 152. (1) Negama-vavahArANaM khettANupubbIdavvAiM logassa katibhAge hojjA ? kiM saMkhijjaibhAge vA hojjA ? asaMkhejjaibhAge vA hojjA ? jAva sabbaloe vA hojA? _egadavvaM paDucca logassa saMkhejjaibhAge vA hojjA, asaMkhejjaibhAge vA hojjA, saMkhejesu vA bhAgesu hojA, asaMkhejesu vA bhAgesu hojjA; desUNe vA loe hojjaa| NANAdavvAiM paDucca NiyamA savvaloe hojjaa| ___ 152. (prazna 1) naigama-vyavahAranayasammata kSetrAnupUrvI dravya loka ke kitaneveM bhAga __ meM rahate haiM ? kyA saMkhyAtaveM bhAga meM, asaMkhyAtaveM bhAga meM yAvat sarvaloka meM rahate haiM ? __(uttara) (1) eka dravya kI apekSA loka ke saMkhyAtaveM bhAga meM, (2) asaMkhyAtaveM bhAga meM, (3) saMkhyAtabhAgoM meM, (4) asaMkhyAta bhAgoM meM athavA, (5) dezona (kucha nyUna) loka meM rahate haiM, kintu vividha dravyoM kI apekSA niyamataH sarvalokavyApI haiN| anuyogadvAra sUtra ( 234 ) Illustrated Anuyogadvar Sutra

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(3) KSHETRANUPURVI : KSHETRA-DVAR 152. (Question 1) In what area or section of the universe (occupied space) do the naigam-vyavahar naya sammat kshetranupurvidravya (area-sequential substances conforming to coordinated and particularized viewpoints) exist. Are they in its countable fraction ? Are they in its uncountable (infinitesimal) fraction ? Are they in its countable sections ? Are they in its uncountable sections ? or Are they in the whole universe ? (Answer) With respect to a single substance they exist _in (1) countable fractions of the universe, (2) in its uncountable (infinitesimal) fractions, (3) in its countable sections, (4) in its uncountable sections, (5) and in slightly less than the whole universe. But with respect to many substances, as a rule, they occupy the whole universe. (2) aNANupubbIdavvANaM pucchA, egaM dabaM puDucca no saMkhijjaibhAge hojjA, asaMkhijjaibhAge hojjA, no saMkhejesu. no asaMkhejesu. no sabaloe hojjA, nANAdavvAiM puDucca niyamA savvaloe hojjaa| 152. (prazna 2) naigama-vyavahAranayasammata anAnupUrvI dravya ke viSaya meM bhI yahI prazna hai| (uttara) eka dravya kI apekSA saMkhyAtaveM bhAga meM, saMkhyAta bhAgoM meM, asaMkhyAta bhAgoM meM athavA sarvaloka meM avagADha nahIM haiM kintu asaMkhyAtaveM bhAga meM haiM tathA aneka dravyoM kI apekSA sarvaloka meM vyApta haiN| 152. (Question 2) The same question is repeated for ananupurvi dravya (non-sequential substances). (Answer) With respect to a single substance (a paramanu), they do not exist in a countable fraction, countable sections, uncountable sections of the universe or the whole universe but exist only in its uncountable (infinitesimal) fraction. But with respect to many substances, as a rule, they occupy the whole universe. AnupUrvI prakaraNa ( 235 ) The Discussion on Anupurvi

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PAKOD.90 (0 GlosRINKhada PRODRODARDROPARDA. (3) evaM avattavbagadavvANi vi bhaanniybaanni| (3) avaktavyaka dravyoM ke lie bhI isI prakAra jAnanA caahie| (3) The same is true for avaktavya (inexpressible) substances. vivecana-sUtra meM eka aura aneka dravyoM kI apekSA kSetrAnupUrvI ke dravyoM kI kSetraprarUpaNA kI gayI hai| usakA Azaya yaha hai-eka AnupUrvI dravya, dravya kI apekSA to loka ke saMkhyAtaveM yA asaMkhyAtaveM bhAga meM, saMkhyAta bhAgoM yA asaMkhyAta bhAgoM meM rahatA hai aura dezona loka meM bhI rahatA hai| isakA kAraNa yaha hai ki skandha dravyoM kI pariNamanazakti vicitra prakAra kI hotI hai| koI skandha choTA hotA hai aura koI bdd'aa| ataH vicitra prakAra kI pariNamanazakti vAle hone ke kAraNa skandha dravyoM kA avagAha loka ke saMkhyAta Adi bhAgoM meM hotA hai| prazna-naigama aura vyavahAranayasammata kSetrAnupUrvI ke prasaMga meM eka dravya kI apekSA AnupUrvI dravya ko dezona loka meM avagADha honA batAyA hai kintu dravyAnupUrvI meM anantAnta paramANuoM se niSpanna evaM pudgaladravya ke sabase bar3e skandha rUpa acitta mahAskandha ko sarvalokavyApI kahA hai| isa prakAra acitta mahAskandha kI apekSA eka AnupUrvI dravya samasta loka meM vyApta hotA hai| ataH yahA~ (kSetrAnupUrvI meM) jo eka AnupUrvI dravya kI apekSA dezona loka meM avagAhanA kahI hai, kyA vaha yuktiyukta hai? uttara-isa jijJAsA ke samAdhAna ke lie yaha samajhanA cAhie ki yaha loka AnupUrvI, anAnupUrvI aura avaktavyaka dravyoM se vyApta hai, yadi AnupUrvI dravya ko sarvalokavyApI mAnA jAye to phira anAnupUrvI aura avaktavyaka dravyoM ke Thaharane ke lie sthAna na hone ke kAraNa unakA abhAva mAnanA pdd'egaa| kintu jaba dezona loka meM eka AnupUrvI dravya vyApta hokara rahatA hai, aisA mAnate haiM taba acitta mahAskandha se pUrita hue loka meM kama se kama eka pradeza aura dvipradeza aise bhI raha jAte haiM jo kramazaH anAnupUrvI dravya ke viSayarUpa se tathA avaktavyaka dravya ke viSayarUpa se hetu surakSita ho jAte haiN| yadi yaha mAne ki AnupUrvI dravya haiM tathA dravyAnupUrvI kI apekSA sarvaloka vyApta haiM taba bhI ina eka aura do pradezoM meM AnupUrvI dravya kA sadbhAva rahatA hai to bhI apradhAna hone se vahA~ usakI nahIM kintu anAnupUrvI aura avaktavyaka dravyoM kI astittvavAcI pradhAnatA hone se vivakSA kI jAtI hai| isIlie eka AnupUrvI dravya kI apekSA se dezona loka meM avagAhita kahA gayA hai| sArAMza yaha hai ki kSetrAnupUrvI meM yadi loka ke samasta pradeza AnupUrvI rUpa mAna liye jAyeM to usa sthiti meM anAnupUrvI aura avaktavyaka pradeza kauna se hoMge jinameM anAnupUrvI aura anuyogadvAra sUtra ( 236 ) Illustrated Anuyogadvar Sutra KARO oke HQOD.Com *

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YARAOLYAON GONIO avaktavyaka dravya Thahara sakeM ? ataH yaha mAnanA cAhie ki kSetrAnupUrvI meM eka pradeza anAnupUrvI kA viSaya hai aura do pradeza avaktavyaka ke viSaya haiN| ataH anAnupUrvI aura avaktavyaka dravyoM ke viSayabhUta pradeza ko chor3akara zeSa samasta pradeza AnupUrvI rUpa haiN| isa prakAra kSetrAnupUrvI meM eka AnupUrvI dravya kI apekSA dezona samasta loka meM AnupUrvI dravya avagADha haiM, yaha jAnanA cAhie / eka anAnupUrvI dravya loka ke asaMkhyAtaveM bhAga meM avagAhI isalie mAnA hai ki anAnupUrvI rUpa se vahI dravya vivakSita huA hai jo loka ke eka pradeza meM avagADha ho aura loka kA eka pradeza loka kA asaMkhyAtavA~ bhAga hai| nAnA anAnupUrvI dravya sarvalokavyApI isalie mAne haiM ki eka-eka pradeza meM avaga anAnupUrvI dravyoM ke bheda samasta loka ko vyApta kiye hue haiN| avaktavyaka dravyoM kI vaktavyatA bhI anAnupUrvI dravyoM ke samAna kathana karane kA Azaya yaha hai ki eka avaktavyaka dravya loka ke asaMkhyAtaveM bhAga meM avagAhita rahatA hai| kyoMki loka ke pradezadvaya meM avagADha hue dravya ko avaktavyaka dravya rUpa se kahA gayA hai| aura ye do pradeza loka ke asaMkhyAta pradezoM kI apekSA asaMkhyAtaveM bhAga rUpa haiM tathA jitane bhI avaktavyaka dravya haiM ve sabhI loka ke do-do pradezoM meM rahane ke kAraNa sarvalokavyApI mAne gaye haiN| Elaboration-This aphorism refers to the area occupied by kshetranupurvi dravyas (area-sequential substances) with respect to one and many substances. It conveys that a single anupurvi (sequential) substance exists in countable and uncountable fractions, countable and uncountable sections of the universe, and also in slightly less than the whole universe. The reason for this is that the skandh-dravyas (aggregate substances) possess a strange intrinsic power of transformation. Some aggregates are tiny and others are huge. Thus due to this strange capacity of transformation the aggregate substances occupy the aforesaid varying portions of the universe. (Question) In context of naigam-vyavahar naya sammat kshetranupurvi dravya (area-sequential substances conforming to coordinated and particularized viewpoints) with respect to one substance, anupurvi (sequential) substance is said to occupy slightly less than the whole universe but in context of dravyanupurvi (physical sequence) it is mentioned that an achitt AnupUrvI prakaraNa ( 237 ) The Discussion on Anupurvi

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skulle mahaskandh (the superlative aggregate of matter), the largest aggregate . of matter made up of infinite times infinite paramanus (ultimate-particles), occupies the whole universe. Thus with respect to achitt mahaskandh a single anupurvi (sequential) substance occupies the whole universe. If that is so, what is the logic for mentioning here in context of areasequence) that a single anupurvi (sequential) substance occupies slightly less than the whole universe ? (Answer) To understand this, one has to realize that this universe abounds in anupurvi (sequential), ananupurvi (nonsequential), and avaktavya (inexpressible) substances. If a single anupurvi (sequential) substance is accepted as occupying the whole universe there would be no space left for the ananupurvi (non-sequential) and avaktavya (inexpressible) substances. This would imply the denial of their existence. However, when we consider that a single anupurvi (sequential) substance occupies slightly less than the whole universe then even in the universe occupied by an achitt mahaskandh there is at least one space-point available for occupancy by ananupurvi (nonsequential) substance and two space-points available for occupancy by avaktavya (inexpressible) substance. If there is a general abundance of anupurvi (sequential) substances and with respect to physical sequence it is accepted that the anupurvi (sequential) substance occupies whole universe, even than, although occupancy of anupurvi (sequential) may be believed to be extending to these one and two space-points, ananupurvi (non-sequential) and avaktavya inexpressible) substances get precedence there due to their relative existential importance. That is why it is said that a single anupurvi (sequential) substance occupies slightly less than the whole universe. This means that in kshetranupurvi (area-sequence) if all space-points are accepted as anupurvi (sequential) then at which space-points the ananupurvi (non-sequential) and avaktavya (inexpressible) will exist? Therefore it should be accepted that in the kshetranupurvi (area-sequence) there is at least one spaceanuyogadvAra sUtra ( 236 ) Illustrated Anuyogadvar Sutra kutekekeskukkakkkkkkkkkkkkk

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point meant for ananupurvi (non-sequential) and two for avaktavya (inexpressible). In other words, setting aside one and two space-points meant for ananupurvi (non-sequential) and avaktavya (inexpressible) respectively, all the remaining spacepoints in the universe are anupurvi (sequential). Thus it should be accepted that in context of kshetranupurvi (area-sequence) when we consider a single anupurvi (sequential substance, it occupies slightly less than the whole universe. A single ananupurvi (non-sequential) substance is said to occupy an inexpressible fraction of universe because ananupurvi non-sequential) substance has been defined only as a particle occupying a single space-point which in turn is only an inexpressible fraction of the universe. Multiple ananupurvi (non-sequential) substances are said to be occupying the whole universe because a variety of ananupurvi (non-sequential) substances occupying unit space-points are spread all over the universe. The purpose of stating that 'the same is true for avaktavya (inexpressible) substances' is that a single avaktavya (inexpressible) substance occupies only an inexpressible fraction of the universe. This is because a substance occupying two spacepoints is defined as avaktavya (inexpressible). Two space-points are just an inexpressible fraction of uncountable space-points constituting the universe. Also a variety of avaktavya (inexpressible) substances occupying two space-points are spread all over the universe. (4) anugama ke anusAra sparzanA prarUpaNA 153. (1) Negama-vavahArANaM ANupubbIdavvAiM logassa kiM saMkhejjaibhAgaM phusaMti? asaMkhejati bhAgaM 2 jAva sabbalogaM phusaMti? __eMgaM dav paDucca saMkhejjatibhAgaM vA phusaMti, asaMkhejatibhAgaM vA, saMkhejje vA * bhAge, asaMkhejje vA bhAge, desUNaM vA logaM phusaMti, NANAdabbAiM puDucca NiyamA | sabalogaM phusNti| / AnupUrvI prakaraNa ( 238 ) The Discussion on Anupurvi

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Yar *AY PRO9AQOPAqo * * SAR.2498989009086DAROGRAPDROPAROPRODRODRODR.DR 153. (prazna 1) naigama-vyavahAranayasammata AnupUrvI dravya kyA (loka ke) saMkhyAtaveM bhAga kA sparza karate haiM ? yA asaMkhyAtaveM bhAga kA, saMkhyAtaveM bhAgoM kA athavA asaMkhyAtaveM bhAgoM kA athavA sarvaloka kA sparza karate haiM ? (uttara) eka dravya kI apekSA ve saMkhyAtaveM bhAga kA sparza karate haiM, asaMkhyAtaveM bhAga kA, saMkhyAtaveM bhAgoM kA, asaMkhyAtaveM bhAgoM kA athavA dezona sarva loka kA sparza karate haiM aneka dravyoM kI apekSA to niyamataH sarvaloka kA sparza karate haiN| (4) KSHETRANUPURVI : SPARSHANA-DVAR ____153. (Question 1) Do the naigam-vyavahar naya sammat kshetranupurvi dravya (area-sequential substances conforming to coordinated and particularized viewpoints) have spatial contact with countable fraction of the universe (occupied space), with uncountable (infinitesimal) fraction, with countable sections, with uncountable sections, or with the whole universe ? __ (Answer) With respect to a single anupurvi (sequential) substance, they have spatial contact with countable fractions, with uncountable fraction, with countable sections, with uncountable sections of the universe and with slightly less than the whole universe. But with respect to many substances, as a rule, they have spatial contact with the whole universe. (2) aNANupubbIdavvAiM avattavyayadavyANi ya jahA khettaM, navaraM phusaNA bhaanniyvyaa| (2) anAnupUrvI aura avaktavyaka kI sparzanA kA kathana pUrvokta kSetra dvAra ke anurUpa samajhanA cAhie, kSetra ke badale yahA~ sparzanA (sparza karatA hai) kahanA caahie| (2) As regards ananupurvi (non-sequential) and avaktavya (inexpressible) the aforesaid statement with regard to kshetra-duar should be repeated here changing kshetra (area) to sparsh (contact). anuyogadvAra sUtra ( 240 ) Illustrated Anuyogadvar Sutra " *69

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(5) anugama se kAlaprarUpaNA 154. Negama-vavahArANaM ANupubbIdavvAiM kAlato kevaciraM hoi ? egadavvaM paDucca jahanneNaM egaM samayaM ukkoseNaM asaMkhejjaM kAlaM, NANAdavvAiM paDucca sbbddhaa| evaM doNNi vi| 154. (prazna) naigama aura vyavahAranayasammata AnupUrvI dravya kAla kI apekSA kitane samaya taka (AnupUrvI dravya ke rUpa meM) rahate haiN| (uttara) eka dravya kI apekSA jaghanyataH eka samaya aura utkRSTataH asaMkhyAta kAla taka rahate haiN| vividha dravyoM kI apekSA niyamataH (AnupUrvI dravyoM kI sthiti) sArvakAlika hai| isI prakAra donoM-anAnupUrvI aura avaktavyaka dravyoM kI bhI sthiti jAnanA caahie| (5) KSHETRANUPURVI : KAAL-DVAR ___154. (Question) In context of time for what duration do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist (in the same configuration)? (Answer) With respect to a single anupurvi (sequential) substance they exist in the same form for a minimum of one samaya and maximum of immeasurable time. With respect to many anupurvi (sequential) substances as a rule they exist always. Same is true for the remaining two (ananupurvi and avaktavya substances). (6) anugama se antaraprarUpaNA 155. Negama-vavahArANaM ANupubbIdavANamaMtaraM kAlato kevaciraM hoti ? tiNNi vi egaM davvaM puDucca jahaNNeNaM egaM samayaM ukkoseNaM asaMkhejjaM kAlaM, NANAdavvAiM paDacca Natthi aNtrN| 155. (prazna) naigama-vyavahAranayasammata AnupUrvI dravyoM kA kAla kI apekSA antara kitane samaya kA hai ? AnupUrvI prakaraNa ( 241 ) The Discussion on Anupurvi

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DRODRODRODCO2009009005.10 (uttara) tInoM (AnupUrvI, anAnupUrvI aura avaktavyaka dravyoM) kA antara eka dravya kI apekSA jaghanya eka samaya aura utkRSTa asaMkhyAta kAla kA hai kintu aneka dravyoM kI apekSA antara nahIM hai| (6) KSHETRANUPURVI : ANTAR-DVAR 155. (Question) In context of time what is the antar (intervening period between loosing the present form and regaining it) in case of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints)? (Answer) In case of all the three classes of substances (anupurvi, ananupurvi and avaktavya) with respect to a single anupurvi (sequential) substance this period is a minimum of one samaya and maximum of immeasurable time. However with respect to many substances this antar does not exist. (7) anugama se bhAgaprarUpaNA 156. Negama-vavahArANaM ANupucIdavvAiM sesadavvANaM katibhAge hojjA ? tiNNi vi jahA dvvaannupubiie| 156. (prazna) naigama aura vyavahAranayasammata AnupUrvI dravya zeSa dravyoM ke kitaneveM bhAga pramANa hote haiM ? (uttara) dravyAnupUrvI jaisA hI kathana tInoM dravyoM ke lie yahA~ bhI samajhanA caahie| (sUtra 112 ke anusAra samajheM) (7) KSHETRANUPURVI : BHAAG-DVAR _____156. (Question) In what spatial proportion of other substances do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. anuyogadvAra sUtra / 242 ) Illustrated Anuyogadvar Sutra 9

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(Answer) The answer is same as that with regard to dravyanupurvi for all the three classes of substances. (aphorism 112) vivecana-sUtra meM dravyAnupUrvI ke samAna kSetrAnupUrvI ke dravyoM kI bhAga prarUpaNA kA kathana kiyA hai| isakA bhAva yaha hai ki anAnupUrvI aura avaktavyaka dravyoM kI apekSA AnupUrvI dravya asaMkhyAta bhAgoM se adhika haiM tathA zeSa dravya AnupUrvI dravyoM ke asaMkhyAtaveM bhAga pramANa haiN| __ isa viSaya ko adhika spaSTa karane ke lie vRtti meM sthApanA kA prayoga kiyA hai| AkAza ke pA~ca pradezoM kI kalpanA karake anAnupUrvI, avaktavyaka aura AnupUrvI dravyoM kI sthApanA karake samajhAyA gayA hai| vistAra ke lie dekheM (anu. mahAprajJa. pR. 130-131) tathA (jJAnamuni kRta TIkA pR. 672-78 taka) Elaboration--The aphorism states that the details regarding bhaag (spatial proportion) dvar (door of disquisition) of kshetranupurvi are same as those of dravyanupurvi. This indicates that anupurvi (sequential) substances are uncountable times more than the ananupurvi (non-sequential) and avaktavya (inexpressible) substances. In other words ananupurvi (non-sequential) and avaktavya (inexpressible) substances are equivalent to infinitesimal fraction of anupurvi (sequential) substances. To clarify this, method of placement has been used in the Vritti. Anupurvi (sequential), ananupurvi (non-sequential), and avaktavya (inexpressible) substances have been placed in five imaginary space-points to explain the concept. (refer to Anuyogadvara by Acharya Mahaprajna p. 130-131; also that by Jnana Muni p. 672-78) (8) anugama se bhAvaprarUpaNA 157. Negama-vavahArANaM ANupubbIdavvAiM kayarammi bhAve hojjA ? tinni vi, NiyamA sAdipAriNAmie bhAve hojjaa| 157. (prazna) naigama-vyavahAranayasammata AnupUrvIdravya kisa bhAva meM vartate haiM ? AnupUrvI prakaraNa ( 243 ) The Discussion on Anupurvi

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BODoDAABARODAROROSARODAMODARA5094040 (uttara) tInoM hI-(AnupUrvI, anAnupUrvI, avaktavyaka) dravya niyamataH sAdi pAriNAmika bhAva meM hote haiN| (dekheM sUtra 113) (8) KSHETRANUPURVI : BHAAVA-DVAR 157. (Question) In what state do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. (Answer) As a rule all the three class of substances (anupurvi or sequential, ananupurvi or non-sequential, and avaktavya or inexpressible) exist in sadi-parinamik-bhaava (transformative state with a beginning). (see aphorism 113). (9) anugama se alpabahutva prarUpaNA 158. (1) eesi NaM bhaMte ! Negama-vavahArANaM ANupubbIdavyANaM aNANupubbIdavvANaM avattabbayadavANa ya dabaTTayAe paesaTTayAe dabaTu-paesaTTayAe ya kayare kayarehito appA vA bahuyA vA tullA vA visesAhiyA vA ? goyamA ! savvatthovAiM Negama-vavahArANaM avattavyayagadavvAI davvaTThayAe, aNANupubbIdavvAiM davaTThayAe visesAhiyAI, ANupubbIdavvAI dabaTTyAe asNkhejjaagunnaaii| 158. (prazna 1) bhaMte ! ina naigama aura vyavahAranayasammata AnupUrvI dravyoM, anAnupUrvI dravyoM aura avaktavyaka dravyoM meM kauna dravya kina dravyoM se dravyArthatA, pradezArthatA aura dravyArtha-pradezArthatA kI apekSA alpa, bahutva, tulya yA vizeSAdhika haiM ? (uttara) gautama ! naigama aura vyavahAranayasammata avaktavyaka dravya dravyArthatA kI apekSA sabase alpa hai| anAnupUrvI dravya dravyArthatA kI apekSA avaktavyaka dravyoM se vizeSAdhika haiM aura AnupUrvI dravya dravyArthatA kI apekSA anAnupUrvI dravyoM se asaMkhyAtaguNa haiN| (9) ALPABAHUTVA-DVAR 158. (Question 1) Bhante! In terms of substance (mass), space-points (volume), and substance-cum-space-points anuyogadvAra sUtra Illustrated Anuyogadvar Sutra 1092094800180900900500000000000000000000000000000ROD (244 ) NOVEODGOG MORNO HEORGdeg0600

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(mass-cum-volume) which of these naigam-vyavahar naya sammat anupurvi, ananupurvi, and avaktavya dravya (sequential, non-sequential, and inexpressible substances conforming to coordinated and particularized viewpoints) are comparatively less than, more than, equal to, are much more than others. (in the universe) ? : (Answer 1) Gautam ! In terms of dravya (substance), naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) are least in the universe; in terms of substance, ananupurvi (non-sequential) substances are much more than avaktavya (inexpressible) substances; and in terms of substance, anupurvi (sequential) substances are uncountable times more than ananupurvi (nonsequential) substances. (2) paesaTTayAe savatthovAiM gama-vavahArANaM aNANupubbIdavvAI apaesaTTayAe, avattavbayadavvAiM paesaTTayAe visesAhiyAI, ANupubbIdavvAI paesaTThayAe asNkhejjgunnaaii| (2) pradezArthatA kI apekSA naigama aura vyavahAranayasammata anAnupUrvIdravya apradezI hone ke kAraNa sarvastoka-alpa hai| pradezArthatA kI apekSA avaktavyaka dravya anAnupUrvI dravyoM se vizeSAdhika haiM aura AnupUrvI dravya pradezArthatA kI apekSA avaktavyaka dravyoM se asaMkhyAtaguNa haiN| (2) In terms of pradesh (space-points), as they are apradeshi (devoid of space-points), naigam-vyavahar naya sammat ananupurvi (non-sequential substances conforming to coordinated and particularized viewpoints) are least in the universe; in terms of space-points, avaktavya dravya (inexpressible substances) are much more than ananupurvi (non-sequential) substances; and in terms of space-points anupurvi (sequential) substances are infinite times more than avaktavya (inexpressible) substances. ganupUrvI prakaraNa The Discussion on Anupurvi

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(3) davaTTha-paesaTTayAe savvatthovAI Negama-vavahArANaM avattavyayadavbAI davaTThayAe, aNANupubbIdavvAI dabaTTyAe apaesaTThayAe visesAhiyAI, avattavvayadavvAiM paesaTThayAe visesAhiyAI, ANupubbIdavvAiM dabaTTyAe asaMkhejjaguNAI, tAI ceva paesaTTayAe asNkhejgunnaaii| se taM annugme| se taM Negama-vavahArANaM aNovaNihiyA khettaannupubii| ___ (3) dravyArtha-pradezArthatA kI apekSA se naigama-vyavahAranayasammata avaktavyaka dravya dravyArtha se sabase alpa hai, (kyoMki pUrva meM dravyArthatA se avaktavyaka dravyoM meM sarvastokatA batAI hai|) dravyArthatA aura apradezArthatA kI apekSA anAnupUrvI dravya avaktavyaka dravyoM se OM vizeSAdhika haiN| avaktavyaka dravya pradezArthatA kI apekSA vizeSAdhika haiN| AnupUrvI dravya OM dravyArthatA kI apekSA asaMkhyAtaguNa hai aura pradezArthatA kI apekSA bhI asaMkhyAtaguNa haiN| isa prakAra se anugama kI vaktavyatA jAnanA cAhie tathA isake sAtha hI ra naigama-vyavahAranayasammata anaupanidhikI kSetrAnupUrvI kA varNana pUrNa huaa| ___(3) In terms of dravya and pradesh (substance-cumspace-points), naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) are least in the universe in context of substance (as stated earlier). Ananupurvi (nonsequential) substances are much more (than avaktavya substances) in context of substance and absence of spacepoints; avaktavya (inexpressible) substances are much more (than ananupurvi substances) in context of space-points. Anupurvi (sequential) substances are uncountable times more (than avaktavya substances) in context of substance and uncountable times more (than avaktavya substances) in context of space-points as well. This concludes the description of anugam. This also concludes the description of naigam-vyavahar naya sammat dravyanupurvi (sequence of substances conforming to coordinated and particularized viewpoints). anuyogadvAra sUtra ( 246 ) Illustrated Anuyogadvar Sutra *

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vivecana-dravyoM kI gaNanA ko.dravyArthatA tathA pradezoM kI gaNanA ko pradezArthatA evaM dravyoM tathA pradezoM kI saMyukta gaNanA ko dravyArtha-pradezArthatA yA ubhayArthatA kahate haiN| AnupUrvI dravyoM meM tIna pradezoM kA eka samudAya, cAra AkAza pradezoM kA eka samudAya, ityAdi viziSTa pudgala skandhoM se jitane samudAya banate haiM, ve dravya kahalAte haiM aura ina samudAyoM ke jo Arambhaka (ikAI) hai, vaha pradeza hai| ___ anAnupUrvI dravya meM eka pradezAvagAhI dravya se sUcita AkAza kA pratyeka pradeza dravya hai| isa eka-eka pradezAtmaka dravya meM anya pradeza kI kalpanA sambhava nahIM hai| avaktavya-dravya meM loka meM dvipradezAvagADha dravya se sUcita AkAza pradeza avaktavya dravya hai| alpa-bahutva-avaktavya dravya-dvipradezI skandha sabase alpa hai| anAnupUrvIdravya eka paramANu rUpa hai| isalie vaha avaktavya dravya se dugunA honA cAhie, phira yahA~ vizeSAdhika kyoM kahA? isa zaMkA kA samAdhAna yaha hai ki bhinna-bhinna paramANuoM ke saMyoga se dvipradezI skandhoM kA nirmANa hotA rahatA hai| dvipradezI skandha adhika saMkhyA meM ho jAte haiM, to anAnupUrvI dravya (eka pradezI) usase dugune nahIM ho paate| dravyAnupUrvI meM pradezArtha kI apekSA AnupUrvIdravya avaktavya dravya se ananta gunA batalAye gaye haiN| kSetrAnupUrvI ke prakaraNa meM ye asaMkhyeya guNA batalAye haiN| kAraNa AkAza-kSetra ke pradeza asaMkhyeya hI hote haiN| Elaboration-Dravyarthata, pradesharthata, and dravyarthpradesharthata mean assessment or measurement with respect to dravya or substance (mass), pradesh or space-points (volume), and both combined respectively. In anupurvi (sequential) substances are included all specific skandhas (aggregates) of three or more space-points or ultimateparticles. The unit of these is that space-point. In ananupurvi (non-sequential) substances are included every ultimate particle occupying single space-point. Which means every space-point in space is included in this class. In such substance there is no scope for another space-point. In avaktavya inexpressible) substances are included all space-points occupied by aggregates of two paramanus (ultimate-particles) AnupUrvI prakaraNa ( 247 ) The Discussion on Anupurvi

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dat Pras yioyioyioyi . ki Alpa-bahutva (comparison of degree)-With respect to substance the avaktavya (inexpressible) substances are minimum. Anupurvi (sequential) substances are in the form of single paramanu (ultimate-particle), therefore these should be double the number of avaktavya inexpressible) substances. Then why they are said to be much more here? This is because the chances of integration and disintegration of aggregates of two paramanus (ultimate-particles) are minimal as compared to ananupurvi (non-sequential) substances as they are free paramanus (ultimate-particles) having a tendency to form aggregates of two or more. In context of dravyanupurvi, anupurvi (sequential) substances are said to be infinite times more than avaktavya (inexpressible) substances whereas here, in context of kshetranupurvi, they are said to be uncountable times more. The reason for this is that the total number of space-points in the universe are only uncountable and not infinite. saMgrahanayasammata anaupanidhikI kSetrAnupUrvI 159. se kiM taM saMgahassa aNovaNihiyA khettANupucI ? jaheva davANupubI taheva khettANupubI nneyvyaa| se taM saMgahassa aNovaNihiyA khettaannupubii| se taM aNovaNihiyA khettaannupubbii| 159. (prazna) saMgrahanayasammata anaupanidhikI kSetrAnupUrvI kyA hai ? (uttara) pUrvokta saMgrahanayasammata anaupanidhikI dravyAnupUrvI kI taraha isa kSetrAnupUrvI kA bhI svarUpa samajhanA caahie| isa prakAra se saMgrahanayasammata anaupanidhikI kSetrAnupUrvI kA aura sAtha hI anaupanidhikI kSetrAnupUrvI kA varNana samApta huA __(aba kSetrAnupUrvI ke dUsare bheda aupanidhikI kSetrAnupUrvI kI prarUpaNA karate haiN| isake do prakAra haiM-vizeSa aura saamaany| pahale vizeSApekSayA kA varNana kiyA jAtA hai) anuyogadvAra sUtra ( 248 ) Illustrated Anuyogadvar Sutra we S YSTEMBERRIEDYSPRISONG

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TATAVAVI OVOG VODY VO V AV VMVTV7 VTV AVOVODVOD SAMGRAHA NAYA SAMMAT ANAUPANIDHIKI KSHETRA-ANUPURVI 159. (Question) What is this Samgraha naya sammat anaupanidhiki kshetra-anupurvi (disorderly area-sequence conforming to generalized viewpoint) ? (Answer) Samgraha naya sammat anaupanidhiki kshetra-anupurvi (disorderly area-sequence conforming to generalized viewpoint) should be read to be same as the aforesaid dravyanupurvi in this context. (aphorism 115) This concludes the description of Samgraha naya sammat anaupanidhiki kshetra-anupurvi (disorderly areasequence conforming to generalized viewpoint) and anaupanidhiki kshetra-anupurvi (disorderly area-sequence). (Now aupanidhiki kshetranupurvi or orderly areasequence, the second category of kshetranupurvi, is being described. This is of two types-special and ordinary. First the special one is described) aupanidhikI kSetrAnupUrvI kI vizeSa prarUpaNA 160. se kiM taM ovaNihiyA khettANupucI ? Bitaforen O nyai fafaret YOUTFITT A FET-(9) gangan, (z) qoyugait, (z) uyati 9&0. (91271) 38tafferant tality RT? (EFTE) estafferat tanggal # # *#67-(9) gargyat, (2) usaryd, BTT (3) Figyati AUPANIDHIKI KSHETRA-ANUPURVI 160. (Question) What is this Aupanidhiki kshetraanupurvi (orderly area-sequence)? 2) AnupUrvI prakaraNa ( 288 ) The Discussion on Anupurvi MORAIRAAIBARRICADORIDROCORRERIRODEORROR V AV AVTODVODVODVEDVAVAVAVAA 8. . . . . . . . . . . . . . . . . . . . . . kichi

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(Answer) This Aupanidhiki kshetra-anupurvi (orderly area-sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. pUrvAnupUrvI 161. se kiM taM puvANupuvI ? puvANupubbI-(1) aholoe, (2) tiriyaloe, (3) uddloe| se taM puvaannupubbii| 161. (prazna) pUrvAnupUrvI kA kyA svarUpa hai ? (uttara) (1) adholoka, (2) tiryakloka, aura (3) Urdhvaloka, isa krama se (kSetra-loka kA) nirdeza karanA pUrvAnupUrvI haiN| isa prakAra pUrvAnupUrvI kA varNana samApta huaa| PURVANUPURVI 161. (Question) What is this Purvanupurvi ? (Answer) Purvanupurvi is like this--(1) Adholoka (lower world), (2) Tiryak-loka (middle world), and (3) Urdhvaloka (upper world). Areas (worlds) arranged in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). pazcAnupUrvI 162. se kiM taM pacchANupuvI? pacchANupuvI-(3) uDDaloe, (2) tiriyaloe, (1) aholoe| se taM pcchaannupucii| 162. (prazna) pazcAnupUrvI kyA hai ? (uttara) pUrvAnupUrvI ke krama ke viparIta (1) Urdhvaloka, (2) tiryakaloka, (3) adholoka, isa prakAra kA krama kathana karanA pazcAnupUrvI hai| isa prakAra pazcAnupUrvI varNana samApta huaa| anuyogadvAra sUtra ( 250 ) Illustrated Anuyogadvar Sutra

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PASHCHANUPURVI 162. (Question) What is this Pashchanupurvi ? (Answer) Pashchanupurvi is like this-(3) Urdhvaloka (upper world), (2) Tiryak-loka (middle world), and (1) Adholoka ( lower world ). Areas arranged in such descending sequential order is called pashchanupurvi (descending sequence). This concludes the description of pashchanupurvi (descending sequence). anAnupUrvI 163. se kiM taM aNANupuvI ? aNANupubbI eyAe ceva egAdiyAe eguttariyAe tigacchagayAe seDhIe annamannabbhAso durUvaNo / se taM aNANupubbI / 163. (prazna ) anAnupUrvI kise kahate haiM ? (uttara) eka se prArambha kara eka-eka kI vRddhi karate jAye / tIna kI saMkhyA ko zreNI meM paraspara guNA kareM usase jo bhaMga saMkhyA prApta ho usameM se Adya aura antima do bhaMgoM ko chor3a dene se jo rAzi prApta ho vaha anAnupUrvI hai| isa prakAra anAnupUrvI kA varNana samApta huaa| ANANUPURVI 163. (Question ) What is this Ananupurvi ? (Answer) Place three numbers starting from one and progressively adding one. Multiply all the six numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). (This number is the total number of sequences that can be made in random order. In other words this is the sum total of all permutations and combinations of the random sequences that can be made with the given set of numbers). AnupUrvI prakaraNa ( 251 ) The Discussion on Anupurvi

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This concludes the description of ananupurvi (random sequence). vivecana-ina tIna sUtroM meM aupanidhikI kSetrAnupUrvI kA svarUpa batalAyA hai| aupanidhikI dravyAnupUrvI ke prakaraNa meM jaise dravyAnupUrvI kA adhikAra hone se dharmAstikAya Adi dravyoM ko pUrvAnupUrvI Adi rUpa meM batAyA haiM, vaise hI yahA~ kSetrAnupUrvI kA prakaraNa hone se __ adholoka Adi kSetra pUrvAnupUrvI Adi ke rUpa meM samajhanA caahie| ___ saMkhyA kI sthApanA se anAnupUrvI kA rUpa isa prakAra banatA hai, 1-2-3 (yaha pUrvAnupUrvI hai) 3-2-1 (yaha pazcAnupUrvI hai| __ aba ina sabhI saMkhyAoM ko paraspara guNA karane se hameM prApta hotA hai-1 x 2 x 3 = 6 / yaha ina saMkhyAoM se banane vAlI samasta zrRMkhalAe~ haiM-1, 2, 3, 1, 3, 2, 2, 1, 3, 2, 3, 1, 3, 1, 2; tathA 3, 2, 1 / aba isameM se 2 ghaTA deM (kyoMki 1, 2, 3 pUrvAnupUrvI ke rUpa meM tathA 3, 2, 1 pazcAnupUrvI ke rUpa meM pahale dI jA cukI haiM) to hameM prApta hotA hai / / ataH ina saMkhyAoM meM cAra anAnupUrviyA~ haiM-1, 3, 2, 2, 1, 3, 2, 3, 1; 3, 1,2 / / Elaboration--These three aphorisms describe Aupanidhiki kshetra-anupurvi (orderly area-sequence). Just as entities like Dharmastikaya have been presented in ascending and other type of sequences to describe physical sequence, here areas like upper world have been presented in the same way to describe area-sequence. When represented by numbers ananupurvi (random sequence) is like this : {1, 2, 3} is purvanupurvi or ascending sequence and {3, 2, 1} is pashchanupurvi or descending sequence. Now by multiplying these numbers together we get 1 x 2 x 3 = 6. This is the total number of possible sequences-{1, 2, 3} {1, 3, 2} {2, 1, 3} {2, 3, 1} {3, 1, 2} and {3, 2, 1}. Now subtract 2 (because {1, 2, 3} is purvanupurvi and {3, 2, 1} is pashchanupurvi and both are already accounted for) from this and the result is 4. Thus there are four random sequences--{1, 3, 2} {2, 1, 3} {2, 3, 1} {3, 1, 2}. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra 52

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adholoka kSetrAnupUrvI __164. aholoyakhettANupubbI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubI, (3) annaannupubii| __ 164. adholoka kSetrAnupUrvI tIna prakAra kI hai| jaise-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| ADHOLOKA KSHETRA-ANUPURVI 164. Adholoka kshetra-anupurvi is of three types-- (1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. 165. se kiM taM puvANupubbI ? puvANupubI-(1) rayaNappabhA, (2) sakkarappabhA, (3) vAluyappabhA, (4) paMkappabhA, (5) dhUmappabhA, (6) tamappabhA, (7) tamatamappabhA, se taM puvaannupubbii| 165. (prazna) adholokakSetrapUrvAnupUrvI kA kyA svarUpa hai ? (uttara) (1) ratnaprabhA, (2) zarkarAprabhA, (3) bAlukAprabhA, (4) paMkaprabhA, (5) dhUmaprabhA, (6) tamaHprabhA, (7) tamastamaHprabhA, isa krama se (sAta narakabhUmiyoM kA) gaNanA karanA adholokakSetra pUrvAnupUrvI haiN| yaha adholoka pUrvAnupUrvI kA varNana huaa| ____165. (Question) What is this Adholoka kshetrapurvanupurvi ? ___(Answer) Adholoka kshetra-purvanupurvi is like this8 (1) Ratnaprabha, (2) Sharkaraprabha, (3) Balukaprabha, (4) Pankaprabha, (5) Dhoom-prabha, (6) Tamah-prabha, (7) Tamastamah-prabha. Areas (lower worlds or infernal worlds) arranged in such ascending sequential order is called Adholoka kshetra-purvanupurvi (ascending areasequence of lower worlds). This concludes the description of Adholoka kshetraThe purvanupurvi (ascending area-sequence of lower worlds). AnupUrvI prakaraNa ( 253 ) The Discussion on Anupurvi

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166. se kiM taM pacchANupubbI ? pacchANupubbI (7) tamatamA jAva (1) rynnppbhaa| se taM pcchaannupubbii| 166. (prazna) adholokakSetra pazcAnupUrvI kyA hai ? (uttara) (7) tamastamaHprabhA se lekara yAvat (1) ratnaprabhA paryanta vyutkrama se (narakabhUmiyoM kA) gaNanA karanA adholokapazcAnupUrvI hai| yaha adholokapazcAnupUrvI kA varNana huaa| 166. (Question) What is this Adholoka kshetrapashchanupurvi ? (Answer) Adholoka kshetra-pashchanupurvi is like this-Arranging areas from (7) Tamastamah-prabha to (1) Ratnaprabha in reverse order. Areas arranged in such descending sequential order is called Adholoka kshetrapashchanupurvi (descending area-sequence of lower worlds). This concludes the description of Adholoka kshetrapashchanupurvi (descending sequence). 167. se kiM taM aNANupubbI ? aNANupuvI eyAe ceva egAdiyAe eguttariyAe sattagacchagayAe seTIe aNNamaNNbhAso duruuvuunno| se taM annaannupuvii| 167. (prazna) adholokakSetra anAnupUrvI kyA hai? (uttara) adholokakSetra anAnupUrvI isa prakAra hai-Adi meM eka sthApita kara sAta paryanta eka-eka vRddhi dvArA nirmita zreNI meM paraspara guNA karane se jo rAzi prApta hotI hai| usameM se prathama aura antima do bhaMgoM ko kama karane para yaha anAnupUrvI banatI hai| yaha adholoka anAnupUrvI kA varNana huaa| ___167. (Question) What is this Adholoka kshetraananupurvi ? (Answer) Place seven numbers starting from one and progressively adding one. Multiply all the seven numbers of this arithmetic progression and subtract 2 (depicting the anuyogadvAra sUtra ( 254 ) Illustrated Anuyogadvar Sutra

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adholoka kSetrAnapUrvI IN LOWER WORLD, THERE ARE SEVEN HELLISH EARTHS Ratnaprabha 180000 (Thickness in Yojanas) ratnaprabhA 180000 moTAI (yojana meM) Sharkaraprabha 132000 (Thickness in Yojanas) zarkarAprabhA 1,32000 moTAI (yojana meM) Balukaprabha 128000 (Thickness in Yojanas) bAlukAprabhA 1,28000 moTAI (yojana meM) Pank Prabha 120000 (Thickness in Yojanas) paMkaprabhA 1,2000 moTAI (yojana meM) Dhoom Prabha 118000 (Thickness in Yojanas) dhUmaprabhA 18000 moTAI (yojana meM) tamA Tama Prabha 116000 (Thickness in Yojanas) 1,16000 moTAI (yojana meM) O nas Tamastma Prabha 105000 (Thickness (in Yojanas) tamastamAprabhA 1,08000 moTAI (yojana meM) 200000 ghanodadhi ghanavAta TRILOK SHARE tanuvAta 12

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[ citra paricaya 12 / Illustration No. 12 adholoka meM sAta naraka bhUmiyA~ isa caudaha rAjU loka meM nIce kA sAta rAjU loka adholoka kahA jAtA hai| usameM ratnaprabhA pRthvI ke Upara-nIce ke eka-eka hajAra yojana chor3akara bIca meM bhavanavAsI devoM ke karor3oM bhavana haiN| vividha prakAra ke ratnoM kI prabhA ke kAraNa isakA nAma ratnaprabhA hai| isake nIce ghanodadhi-jamI huI pAnI kI parata, usake nIce ghanavAta-Thosa vAyu aura usake nIce tanuvAta-patalI vAyu hai| phira bIca kA bhAga AkAza se vyApta polA hai| usake nIce phira zarkarAprabhA Adi naraka bhUmiyA~ hai| ratnaprabhA se kramazaH zarkarAprabhA, bAlukAprabhA, paMkaprabhA, dhUmaprabhA, tamaHprabhA, tamastamAprabhA, kramazaH gaNanA karanA, adholoka kSetrapUrvAnupUrvI hai| inakI tamaHstama prabhA, tamaH prabhA isa viparIta krama se gaNanA karanA adholoka kSetra pazcAnupUrvI hai| -sUtra 164 vistRta varNana : gaNitAnuyoga adholoka varNana THE SEVEN HELLS IN THE LOWER WORLD In this fourteen Rajju high Loka the lower seven Rajju area is called lower world. Here, above and below the Ratnaprabha hell, leaving a gap of one thousand yojans there are millions of abodes of Bhavan-vasi gods. It is called Ratnaprabha because it is radiant with the glow of a variety of gems (ratna). Below this is a layer of frozen water (ghanodadhi) below which there is a layer of dense air (ghanovat) followed by that of thin air (tanuvat). After this there is hollow space. Under this are Sharkaraprabha and other hells. Starting from Ratnaprabha, arranging hells named Sharkaraprabha, Balukaprabha, Pankaprabha, Dhoom-prabha, Tamah-prabha, and Tamastamah-prabha in ascending sequential order is called Adholoka kshetra-purvanupurvi. Arranging hells from Tamastamah-prabha to Ratnaprabha in reverse order is called Adholoka kshetra-pashchanupurvi. -Sutra : 164

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ascending and descending sequence) from the result. This final result is called Adholoka kshetra-ananupurvi (random area-sequence of lower worlds). This concludes the description of Adholoka kshetraananupurvi (random area-sequence of lower worlds). vivecana-anAnupUrvI meM eka Adi sAta paryanta sAta aMkoM kA paraspara guNA karane para 5040 bhaMga hote haiN| inameM se Adi kA bhaMga pUrvAnupUrvI aura antima bhaMga pazcAnupUrvI rUpa se ina do ko chor3akara zeSa 5038 bhaMga anAnupUrvI ke haiN| Elaboration--Represented by numbers this ananupurvi (random sequence) is like this : by multiplying numbers from 1 to 7 together we get 5040. Subtracting 2 (for purvanupurvi and pashchanupurvi from this gives us 5038. Thus there are 5038 random sequences. tiryag (madhya) loka kSetrAnupUrvI 168. tiriyaloyakhettANupucI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubbI, (3) annaannupuvii| 168. tiryag (madhya) loka kSetrAnupUrvI ke tIna bheda haiN| jaise-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| TIRYAK-LOKA KSHETRA-ANUPURVI _168. Tiryak-loka kshetra-anupurvi is of three types(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. 169. se kiM taM puvANupubbI ? puvvANupubbI-jaMbuddIve lavaNe dhAyai-kAloya-pukkhare vrunne| khIra-ghaya-khoya-naMdI-aruNavare kuMDale ruyge||11|| jambuddIvAo khalu niraMtarA, sesayA asNkhimaa| bhuyagavara-kusavarA vi ya koNcvraa''bhrnnmaaiiyaa||12|| AnupUrvI prakaraNa The Discussion on Anupurvi 255 )

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dsface AbharaNa - vattha- gaMdhe uppala-tilaye ya pauma - nihi - rayaNe / vAsahara - daha - NadIo vijayA vakkhAra- kappiMdA // 13 // kuru - maMdara - AvAsA kUDA nakkhatta - caMda sUrA / deve nAge jakkhe bhUye ya sayaMbhuramaNe y||14|| setaM puvvANupubbI / 169. (prazna) tiryak loka kSetrapUrvAnupUrvI kyA hai ? (uttara) tiryak loka kSetrapUrvAnupUrvI isa prakAra hai jambUdvIpa, lavaNasamudra, dhAtakIkhaNDadvIpa, kAlodadhisamudra, puSkaradvIpa, (puSkaroda) samudra, varuNadvIpa, varuNodasamudra, kSIradvIpa, kSIrodasamudra, ghRtadvIpa, ghRtodasamudra, ikSuvaradvIpa, ikSuvarasamudra, nandIdvIpa, nandIsamudra, aruNavaradvIpa, aruNavarasamudra, kuNDaladvIpa, kuNDalasamudra, rucakadvIpa, rucakasamudra / 11 / tathA jambUdvIpa se lekara ye sabhI dvIpa - samudra binA kisI antara ke eka dUsare ko ghere hue haiN| rucaka se Age asaMkhyAta - asaMkhyAta dvIpa - samudroM ke bAda bhujagavara dvIpa hai, isake bAda asaMkhyAta dvIpa - samudroM ke pazcAt kuzavaradvIpa samudra hai aura isake bAda bhI asaMkhyAta dvIpa - samudroM ke pazcAt krauMcavara dvIpa hai / punaH asaMkhyAta dvIpa - samudroM ke pazcAt AbharaNoM Adi ke sadRza zubha nAma vAle dvIpa samudra haiM / 12 / yathA AbharaNa, vastra, gaMdha, utpala, tilaka, padma, nidhi, ratna, varSadhara, hRda, nadI, vijaya, vakSaskAra, kalpendra / 13 / kuru, maMdara, AvAsa, kUTa, nakSatra, candra, sUryadeva, nAga, yakSa Adi ke paryAyavAcaka nAmoM vAle dvIpa - samudra asaMkhyAta haiM aura anta meM svayaMbhUramaNadvIpa evaM svayaMbhUramaNasamudra hai ! yaha madhyalokakSetra pUrvAnupUrvI kA kathana hai| 169. (Question ) What is this Tiryak-loka kshetrapurvanupurvi? (Answer) Tiryak-loka kshetra-purvanupurvi is like this-- anuyogadvAra sUtra ( 256 ) Illustrated Anuyogadvar Sutra

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tiryak loka kSetrAnupUrvI nandIzvara samudra dugdha samudra ghRta samudra kSIra samudra vAruNa samudra. samudra kAlodadhi samudra lavaNa samudra jambU dvIpa TIRYAKLOK KSHETRA-ANUPURVI nandIzvara samudra jambU dvIpa peru parvata nandIzvara dvIpa chata dvIpa 13

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| citra paricaya 13 / Illustration No. 13 tiryak loka kSetrAnupUrvI tiryak loka meM manuSyoM kI pradhAnatA hone se ise manuSya loka bhI kahA jAtA hai| isakA AkAra thAlI jaisA gola hai tathA asaMkhya yojana vistRta hai| isameM eka ke pIche eka dvIpa aura samudra valayAkAra (cUr3I ke AkAra) meM eka dUsare se ghire hue haiN| jaise (1) sabase madhya meM merUpavartata ke cAroM tarapha jambUdvIpa, (2) lavaNasamudra, (3) dhAtakIkhaNDa, (4) kAlodadhi samudra, (5) puSkaravara dviip| (madhya meM mAnuSottara parvata hai) ___ isa prakAra eka dvIpa, eka samudra eka dUsare ko ghere hue asaMkhya dvIpa samudroM ke anta meM sabase anta meM svayaMbhUramaNa dvIpa tathA svayaMbhUramaNa samudra hai| yaha eka rAja pramANa vistRta tiryak loka kA antima kinArA hai| jambUdvIpa se kramazaH ginatI karanA, tiryak loka kSetrAnupUrvI hai| svayaMbhUramaNa samudra se ulTI ginatI karanA-tiryak loka kSetra pazcAnupUrvI hai| -sUtra 169 TIRYAK LOKA KSHETRA-ANUPURVI As it is predominantly inhabited by human beings (manushya), Tiryak Loka is also called Manushya Loka. It is round shaped like a plate and innumerable yojans in area. Here dveeps (mass of land) and samudra (mass of water) alternatively surround each other in ring formation. (1) Meru mountain at the center surrounded by Jambudveep, (2) Lavan Samudra, (3) Dhatki Khand, (4) Kalodadhi Samudra, (5) Pushkarvar Dveep. (Manushottar mountain at the center) At the end of innumerable masses of land and water thus surrounding each other alternatively, there is the last pair of Svayambhuraman Dveep and sea of the same name. This is the edge of the one Rajju spread of Tiryak Loka. To count starting from Jambu Dveep in ascending order is Tiryak Loka kshetra-purvanupurvi and to count starting from Svayambhuraman samudra in reverse order is called Tiryak Loka kshetra-paschanupurvi. -Sutra : 169 ceeypraTOTATOVATOYAYOYAornoYAYOJANOJANOAROUNDALORRoptosatoYALOYALOPAROVALontoYAROYAYVAornoyAYOVIYouTOPIKOYAYORATOPATOPATI

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Jambudveep, Lavanasamudra, Dhatakikhandadveep, Kalodadhisamudra, Pushkaradveep, Pushkarodasamudra, Varunadveep, Kshirodasamudra, Varunodasamudra, Ikshuvaradveep, Ikshuvarasamudra, Nandisamudra, Kundaladveep, Ruchakasamudra. (11) Kshiradveep, Ghritadveep, Ghritodasamudra, Nandidveep, Arunavaradveep, Arunavarasamudra, Kundalasamudra, and Ruchakadveep, Starting from Jambudveep (dveep means mass of land surrounded by water; continent; island) all these dueepsamudra (samudra means sea) surround each other without a gap. Beyond Ruchakasamudra after uncountable continents and seas lies Bhujagavaradveep. Further ahead after uncountable continents and seas lies Kushavaradveep followed by Kraunchavaradveep again after a gap of uncountable continents and seas. Beyond all these, after gaps of uncountable continents and seas, are continents and seas bearing beautiful names like Abharana. (12) Such as Abharana, Vastra, Gandh, Utpala, Tilak, Padma, Nidhi, Ratna, Varshadhar, Hrad, Nadi, Vijaya, Vakshaskar, Kalpendra. (13) There are uncountable continents and seas having names like Kuru, Mandar, Avaas, Koot, Nakshatra, Chandra, Suryadeva, Naag, Yaksha, etc. and their synonyms, last one being Svayambhuramanadveep and Svayambhuramanasamudra. This concludes the description of Tiryak-loka kshetrapurvanupurvi (ascending area-sequence of middle worlds). 170. se kiM taM pacchANupuvI ? pacchANupubbI sayaMbhuramaNe ya bhUe ya jAva jaMbuddIve se taM pacchANupubbI / AnupUrvI prakaraNa ( 257 ) The Discussion on Anupurvi

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170. (prazna) pazcAnupUrvI kyA hai ? (uttara) svayaMbhUramaNasamudra,bhUtadvIpa Adi se lekara jambUdvIpa paryanta vyutkrama se dvIpa-samudroM kI gaNanA karane ko madhyalokakSetrapazcAnupUrvI kahate haiN| (sUtra 169 kA viparIta krama hai yh|) ___ 170. (Question) What is this Tiryak-loka kshetrapashchanupurvi ? | ___ (Answer) Tiryak-loka kshetra-pashchanupurvi is like this--Arranging areas (as mentioned in aphorism 169) from the last, Svayambhuramanasamudra, to the first, Jambudveep, in reverse order. Areas arranged in such descending sequential order is called Tiryak-loka kshetrapashchanupurvi (descending area-sequence of middle worlds). This concludes the description of Tiryak-loka kshetrapashchanupurvi (descending sequence of middle worlds). 171. se kiM taM aNANupubbI ? aNANupubI eyAe ceva egAdiyAe eguttariyAe asaMkhejjagacchagayAe seDhIe aNNamaNNabhAso duruuvuunno| se taM annaannupuvii| 171. (prazna) (madhyalokakSetra) anAnupUrvI kyA hai ? (uttara) anAnupUrvI isa prakAra hai-eka se prArambha kara asaMkhyAta paryanta kI zreNI sthApita kara unakA paraspara guNAkAra karane para niSpanna rAzi meM se Adya aura antima ina do bhaMgoM ko chor3akara madhya ke samasta bhaMga madhyalokakSetra anAnupUrvI hai| ____171. (Question) What is this Tiryak-loka kshetraananupurvi ? (Answer) Place uncountable numbers starting from one and progressively adding one. Multiply all these numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This OM anuyogadvAra sUtra ( 258 ) lustrated Anuyogadvar Sutra

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final result is called Tiryak-loka kshetra-ananupurvi (random area-sequence of middle worlds). This concludes the description of Tiryak-loka kshetraananupurvi (random area-sequence of middle worlds). vivecana-madhyalokavartI asaMkhyAta dvIpa-samudroM ke madhya meM pahalA dvIpa jambUdvIpa hai aura usake bAda yathAkrama se Age-Age samudra aura dvIpa haiN| asaMkhyAta dvIpa-samudroM ke anta meM svayaMbhUramaNa nAmaka samudra hai| ye sabhI dvIpa-samudra dUne-dUne vistAra vAle, pUrva-pUrva samudra ko veSTita kiye hue aura cUr3I ke AkAra vAle haiN| lekina jambUdvIpa lavaNasamudra se ghirA huA thAlI ke AkAra kA hai| isake dvArA anya koI samudra veSTita nahIM hai| ina asaMkhyAta dvIpoM kI koI gaNanA nahIM hai| madhyaloka ke madhya meM sthita yaha jambUdvIpa eka lAkha yojana lambA-caur3A hai aura isake bhI madhya meM eka lAkha yojana U~cA sumeruparvata hai| samudrIya jaloM kA svAda-lavaNa samudra lavaNa ke samAna rasa vAle jala se pUrita hai| kAloda evaM puSkaroda kA jala zuddhodaka ke rasa-samAna rasa vAlA hai| vAruNoda vAruNIrasavat, kSIroda kSIrarasa jaise, ghRtoda ghRta jaise tathA ikSurasa samudra ikSurasa jaise svAda vAlA hai| isake bAda ke antima svayaMbhUramaNasamudra ko chor3akara zeSa sabhI samudra ikSurasa jaise svAda vAle jala se yukta haiN| svayaMbhUramaNasamudra ke jala kA svAda zuddha jala jaisA hai| (anuyogadvAra maladhArI hemacandra vRtti 221) Elaboration-Among the uncountable sets of continents surrounded by seas the first continent is Jambudveep. This is followed by others in aforesaid order. At the end of this uncountable series of continents surrounded by seas is the Svayambhuramanasamudra. These continents and seas get progressively double in area and surround the preceding one like concentric rings. Only Jambudveep, surrounded by Lavanasamudra, does not surround any sea and is like a circular dish. These numerous masses of land are uncountable. This Jambudweep, located at the center of the middle world is one hundred thousand square yojans in area (one yojan is approximately eight miles). At the center of this Jambudveep is Meru mountain that is one hundred thousand yojans high. Taste of sea water : The Lavanasamudra is filled with water that tastes like salt (lavana). The water in Kaloda and AnupUrvI prakaraNa ( 259 ) The Discussion on Anupurvi

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Pushkaroda seas tastes like pure water. The water in Varunoda, Kshiroda, Ghritoda, and Ikshuvara seas tastes like wine (varuni), milk (kshira), butter (ghrit), and sugar-cane juice (ikshurasa) respectively. Water of all seas after this tastes like sugar-cane juice, only that of the last one, Svayambhuramanasamudra, tastes like pure water. (Vritti by Hemachandra p. 221) UrdhvalokakSetrAnupUrvI 172. uDDhalogakhettANupubbI tivihA pnnnnttaa| taM jahA-(1) puvvANupucI, (2) pacchANupubI, (3) annaannupuvii| 172. UrdhvalokakSetrAnupUrvI tIna prakAra kI hai| jaise-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| URDHVALOKA KSHETRA-ANUPURVI 172. Urdhvaloka kshetra-anupurvi is of three types-- (1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. 173. se kiM taM puvANupubbI ? __ puvANupubI (1) sohamme, (2) IsANe, (3) saNaMkumAre, (4) mAhiMde, (5) baMbhaloe, (6) laMtae, (7) mahAsukke, (8) sahassAre, (9) ANate, (10) pANate, (11) AraNe, (12) accute (13) gevejjavimANA, (14) aNuttaravimANA, (15) iisipnbhaaraa| se taM puvaannupubbii| 173. (prazna) UrdhvalokakSetraviSayaka pUrvAnupUrvI kyA hai ? (uttara) (1) saudharma, (2) IzAna, (3) sanatkumAra, (4) mAhendra, (5) brahmaloka, (6) lAntaka, (7) mahAzukra, (8) sahasrAra, (9) Anata, (10) prANata, (11) AraNa, (12) acyuta, (13) graiveyakavimAna, (14) anuttaravimAna, (15) ISatprAgbhArApRthvI, isa krama se Urdhvaloka ke kSetroM kI gaNanA karanA Urdhvaloka kSetrapUrvAnupUrvI haiN| ___173. (Question) What is this Urdhvaloka kshetrapurvanupurvi ? (Answer) Urdhvaloka kshetra-purvanupurvi is like this--(1) Saudharma, (2) Ishan, (3) Sanatkumar, anuyogadvAra sUtra ( 260 ) Illustrated Anuyogadvar Sutra

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Roopleclockcol (4) Mahendra, (5) Brahmaloka, (6) Lantak, (7) Mahashukra, (8) Sahasrara, (9) Anat, (10) Pranat, ( 11 ) Arana, (12) Achyut, (13) Graveyak, (14) Anuttaraviman, (15) Ishatpragbharaprithvi. Areas (upper worlds or abodes of gods) arranged in such ascending sequential order is called Urdhvaloka kshetra-purvanupurvi (ascending areasequence of upper worlds). This concludes the description of Urdhvaloka kshetrapurvanupurvi (ascending area-sequence of upper worlds). 174. se kiM taM pacchANupubbI ? pacchANupubbI Isipa bhArA 15 jAva sohamme 1 se taM pacchANupubbI / 174. (prazna) UrdhvalokakSetrapazcAnupUrvI kyA hai ? (uttara) ISatprAgbhArAbhUmi se saudharmakalpa taka ke kSetroM kI vyutkrama se gaNanA karanA Urdhvaloka kSetrapazcAnupUrvI haiN| 174. (Question) What is this Urdhvaloka kshetrapashchanupurvi? (Answer) Urdhvaloka kshetra-pashchanupurvi is like this -- Arranging areas (as mentioned in aphorism 173) from the last, Ishatpragbharaprithvi, to the first, Saudharma, in reverse order. Areas arranged in such descending sequential order is called Urdhvaloka kshetra-pashchanupurvi (descending area-sequence of upper worlds). This concludes the description of Urdhvaloka kshetrapashchanupurvi (descending sequence). 175. se kiM taM aNANupubI ? aNANupubbI eyAe ceva egAdigAe eguttariyAe paNNarasagacchagayAe seDhIe aNNamaNNabhAso durUvUNo se taM aNANupubbI / 175. ( prazna ) UrdhvalokakSetra anAnupUrvI kyA hai ? AnupUrvI prakaraNa ( 261 ) The Discussion on Anupurvi

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(uttara) Adi meM eka rakhakara ekottaravRddhi dvArA nirmita pandraha paryanta kI zreNI meM paraspara guNA karane para prApta rAzi meM se Adi aura anta ke do bhaMgoM ko kama karane para zeSa bhaMgoM ko UrdhvalokakSetra anAnupUrvI kahate haiN| 175. (Question) What is this Urdhvaloka kshetraananupurvi ? (Answer) Place fifteen numbers starting from one and progressively adding one. Multiply all these numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called Urdhvaloka kshetra-ananupurvi (random area-sequence of upper worlds). This concludes the description of Urdhvaloka kshetraananupurvi (random area-sequence of upper worlds). vivecana - prastuta kSetrAnupUrvI Adi meM adholoka, madhyaloka tathA Urdhvaloka sambandhI vistRta varNana jAnane ke icchuka maladhArI hemacandra kRta TIkA tathA zrI jJAnamuni kRta hindI TIkA bhAga 1 pR. 700 se 750 taka dekheN| Elaboration-Those who desire to study more details about these lower, middle, and higher worlds may study Tika by Maldhari Hemachandra and Hindi Tika by Jnana Muni Part I, p. 700-750. kSetrAnupUrvI ke varNana kA dvitIya prakAra 176. ahavA ovaNihiyA khettANupuvvI tivihA paNNattA / taM jahA(1) puvvANupuvvI, (2) pacchANupuvI, (3) aNANupubI / 176. athavA aupanidhikI kSetrAnupUrvI tIna prakAra kI hai / yathA - ( 1 ) pUrvAnupUrvI, (2) pazcAnupUrvI, aura (3) anAnupUrvI / ANOTHER AUPANIDHIKI KSHETRA-ANUPURVI 176. Also, this Aupanidhiki kshetra-anupurvi (orderly area-sequence ) is of three types - ( 1 ) Purvanupurvi, (2) Pashchanupurvi, and ( 3 ) Ananupurvi. yogadvAra ( 262 ) Illustrated Anuyogadvar Sutra

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S POTHORTHORTHORTHORTHORTHORTHORTHORTHORTHORVAORTHORTHORNHORVAORVAORVAONTARVAORTAORYAORTAORMAORVAORTAORTAORYAORYKOMOMOMortal 177. se kiM taM pucANupubbI ? puvANupubbI egapaesogADhe dupaesogADhe jAva dasapaesogADhe jAva asNkhejjpesogaaddhe| se taM puvaannupuvii| 177. (prazna) (aupanidhikI kSetrAnupUrvI sambandhI) pUrvAnupUrvI kyA hai ? __ (uttara) ekapradezAvagADha, dvipradezAvagADha yAvat dasapradezAvAgAr3ha yAvat asaMkhyAtapradezAvagAr3ha krama se kSetra kA kathana karanA pUrvAnupUrvI haiN| ____177. (Question) What is this Purvanupurvi (in context of Aupanidhiki kshetra-anupurvi or orderly area-sequence) ? (Answer) Purvanupurvi is like this--(1) One pradesh (space-point), (2) An area of two space-points (pradeshas), (and so on...), (10) An area of ten space-points (pradeshas), (and so on...) (y) An area of uncountable space-points (pradeshas). The arrangement of aggregates of space points placed in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). 178. se kiM pacchANupuvI ? ___ pacchANupubbI asaMkhejjapaesogADhe jAva egpesogaaddhe| se taM pcchaannupubii| 178. (prazna) pazcAnupUrvI kyA hai ? (uttara) asaMkhyAtapradezAvagAr3ha yAvat eka pradezAvagADha rUpa meM vyutkrama se kSetra kA kathana karanA pazcAnupUrvI haiN| 178. (Question) What is this Pashchanupurvi ? (Answer) Pashchanupurvi is like this(z) An aggregate (skandh) of uncountable space points (pradesh), (and so on...) (1) One space point (pradesh). The arrangement of aggregates of space points placed in such descending / AnupUrvI prakaraNa ( 263 ) AMARVADYAORTAORVAORTAORVARTARVARIAOAVAODIHOAVAORTHOAVAORTHORVAAVAORTAOAVAOAVAAVAAVAOAVAORTAOAVAOAVAORVAAVAOAVADAIANT The Discussion on Anupurvi

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sequential order is called pashchanupurvi (descending sequence). This concludes the description of pashchanupurvi (descending sequence). 179. se kiM taM aNANupubbI ? aNANupubI eyAe ceva egAdiyAe eguttariyAe asaMkhejjagacchagayAe seTIe annamanabhAso duruuvuunno| se taM annaannupubbii| se taM ovaNihiyA khettaannupuvii| se taM khettaannupuvii| 179. (prazna) anAnupUrvI kyA hai ? (uttara) eka se prArambha kara ekottaraM vRddhi dvArA asaMkhyAta pradeza paryanta kI sthApita zreNI kA paraspara guNA karane se niSpanna rAzi meM se Adi aura antima ina do rUpoM ko kama karane para kSetraviSayaka anAnupUrvI banatI hai| isa prakAra se aupanidhikI kSetrAnupUrvI kI evaM sAtha hI kSetrAnupUrvI kI vaktavyatA * samApta huii| 179. (Question) What is this Ananupurvi ? (Answer) Place numbers starting from one and progressively adding one up to infinity (aggregate of infinite particles). Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Aupanidhiki kshetra-anupurvi (orderly area-sequence). This also concludes the description of kshetra-anupurvi (areasequence). kAlAnupUrvIprarUpaNA 180. se kiM taM kAlANupubbI ? 0 anuyogadvAra sUtra ( 264 ) Ilustrated Anuyogadvar Sutra

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SEEROYESTEDMEDIEDIEDEOSEXSIGNSPONGERGOOMGORAGEXGORIGONORMHORNHOBHORVAORNHOBMHORNHORVAORNAORNAORTAORYAOIMAawaomadim ___ kAlANupubbI duvihA pnnnnttaa| taM jahA-(1) ovaNihiyA ya, (2) aNovaNihiyA y| 180. (prazna) kAlAnupUrvI kyA hai ? (uttara) kAlAnupUrvI ke do prakAra haiM, yathA-(1) aupanidhikI, aura (2) anaupnidhikii| KAAL-ANUPURVI ____ 180. (Question) What is this kaal-anupurvi (timesequence)? (Answer) Kaal-anupurvi (time-sequence) is of two types--(1) Aupanidhiki kaal-anupurvi (orderly timesequence) and (2) Anaupanidhiki kaal-anupurvi (disorderly time-sequence). 181. tattha NaM jA sA ovaNihiyA sA tthppaa| 181. inameM se aupanidhikI kAlAnupUrvI sthApya hai| tathA 181. Out of these, Aupanidhiki kaal-anupurvi (orderly time-sequence) is worth installation only (worth a mention only because of its limited scope). 182. tattha NaM jA sA aNovaNihiyA sA duvihA pnnnnttaa| taM jahA(1) Negama-vavahArANaM, (2) saMgahassa y| 182. . anaupanidhikI kAlAnupUrvI do prakAra kI hai-(1) naigama aura vyavahAranayasammata, tathA (2) sNgrhnysmmt| 182. And anaupanidhiki kaal-anupurvi (disorderly timesequence) is of two types--(1) Naigam-vyavahar naya sammat (conforming to coordinated and particularized viewpoints) and (2) Samgrahanaya sammat (conforming to generalized viewpoint). naigama-vyavahAranayasammata anaupanidhikI kAlAnupUrvI 183. se kiM taM Negama-vavahArANaM aNovaNihiyA kAlANupubI ? / AnupUrvI prakaraNa ( 265 ) The Discussion on Anupurvi O MALUMYYMYYMPULMOMMYMPYA UMUMMMMMMMMMMMMMMMMMMMMLMLPACAULA

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.. KINKianartha RUATOTOYAYOYAYOYAYOPAYPALOPADARO PAROEROPARARAOSA Negama-vavahArANaM aNovaNihiyA kAlANupuvI paMcavihA pnnnnttaa| taM jahA(1) aTThapayaparUvaNayA, (2) bhaMgasamukkittaNayA, (3) bhaMgovadaMsaNayA, (4) samotAre, (5) annugme| 183. (prazna) naigama aura vyavahAranayasammata anaupanidhikI kAlAnupUrvI kyA hai? (uttara) (naigama aura vyavahAranayasammata) anaupanidhikI kAlAnupUrvI ke pA~ca prakAra haiM-(1) arthapadaprarUpaNatA, (2) bhaMgasamutkIrtanatA, (3) bhaMgopadarzanatA, (4) samavatAra, (5) anugm| NAIGAM-VYAVAHAR NAYA SAMMAT ANAUPANIDHIKI KAAL-ANUPURVI 183. (Question) What is this Naigam-vyavahar naya sammat anaupanidhiki kaal-anupurvi (disorderly timesequence conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavahar naya sammat anaupanidhiki kaal-anupurvi (disorderly time-sequence conforming to coordinated and particularized viewpoints) is of five types--(1) Arth-padaprarupana (semantics), (2) Bhang-samutkirtanata (enumeration of divisions or bhangs), (3) Bhangopadarshanata (explication of divisions or bhangs), (4) Samavatara (compatible assimilation), and (5) Anugam (systematic elaboration). vivecana-jisa prakAra dravyAnupUrvI kA AdhAra hai pudgala dravya, tathA kSetrAnupUrvI kA AdhAra hai AkAza prdesh| usI prakAra kAlAnupUrvI kA AdhAra hai-kAla, pryaay| tIna samaya, cAra samaya yAvat asaMkhyAta samaya se upalakSita, dravya kAlAnupUrvI kahalAte haiN| asaMkhyAta samaya kI sthiti vAle dravya ko kAlAnupUrvI meM grahaNa kiyA hai, kintu kisI bhI dravya kI ananta samaya kI sthiti nahIM hotI isalie yahA~ ananta samaya kI sthiti vAlI kAlAnupUrvI kA ullekha nahIM hai| Elaboration-As the basis of dravya-anupurvi is matter and that of kshetra anupurvi is space-point, in the same way the anuyogadvAra sUtra ( 266 ) Illustrated Anuyogadvar Sutra RDARODROD YALOVACOPALOVAOLA AMR.R

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basis of kaal-anupurvi is time. Things arranged in context of units of time, such as three samayas (indivisible or ultimate De fraction of time taken as unit), four samayas and so on up to uncountable samayas, are called kaal-anupurvi (time-sequence). Things with existence measured in uncountable samayas have been included in kaal-anupurvi but as nothing has an existence measured in infinite samayas there is no mention of kaal-anupurvi of infinite samayas. (The definition and elaboration of Arth-padaprarupana or semantics and other terms should be taken as mentioned in aphorisms 98 and 99 in connection with Dravyanupurvi.) (ka) arthapadaprarUpaNatA 184. se kiM taM Negama-vavahArANaM aTThapadaparUvaNayA ? __Negama-vavahArANaM aTThapadaparUvaNayA tisamayaTThiIe ANupubbI jAva dasasamayaTThiIe ANupubbI saMkhejjasamayaTTiIe ANupubbI asaMkhejjasamayaTTiIe aannupuvii| egasamayaTTiIe annaannupubbii| dusamayaTTiIe avttvye| tisamayaTTiIyAo ANupubbIo jAva saMkhejjasamayaTTiIyAo ANupubIo; Hot asaMkhejjasamayaTTiIyAo aannupubbiio| ___egasamayaTTiIyAo annaannupussviio| dusamayaTTiIyAiM avttvvyaaii| se taM * Negama-vavahArANaM atttthpypruuvnnyaa| 184. (prazna) naigama-vyavahAranayasammata arthapadaprarUpaNatA kyA hai ? (uttara) (naigama aura vyavahAranayasammata) arthapadaprarUpaNatA isa prakAra hai-tIna samaya kI sthiti vAlA dravya, AnupUrvI hai yAvat dasa samaya, saMkhyAta samaya, asaMkhyAta samaya kI sthiti vAlA dravya, AnupUrvI hai| eka samaya kI sthiti vAlA dravya, anAnupUrvI hai| AnupUrvI prakaraNa ( 267 ) The Discussion on Anupurvi

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do samaya kI sthiti vAlA dravya, avaktavyaka hai| tIna samaya kI sthiti vAle aneka dravya AnupUrviyA~ haiM yAvat saMkhyAtasamayasthitika, asaMkhyAtamasamayasthitika dravya AnupUrviyA~ haiN| eka samaya kI sthiti vAle aneka dravya aneka anAnupUrviyA~ haiM / do samaya kI sthiti vAle aneka dravya aneka avaktavyaka rUpa haiM / yaha naigama-vyavahAranayasammata arthapadaprarUpaNatA kA svarUpa hai| (A) NAIGAM-VYAVAHAR NAYA SAMMAT ARTH-PADAPRARUPANA 184. (Question) What is this Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints)? (Answer) Naigam-vyavahar naya sammat arthpadaprarupana (semantics conforming to coordinated and particularized viewpoints) is described as follows : Substance with an existence of three samaya (ultimatetime-fraction) is a sequential configuration (anupurvi). In the same way substances with an existence of four samayas (ultimate-time-fraction), (and SO on...), ten samayas (ultimate-time-fraction), countable, and uncountable samayas (ultimate-time-fraction) are all sequential configurations (anupurvis). Substance with an existence of one samaya (ultimatetime-fraction) is non-sequential (ananupurvi). Substance with an existence of two samayas (ultimatetime-fraction) is inexpressible (avaktavya). There also are numerous sequential configurations (anupurvis) of such substances of three samayas (ultimatetime-fraction) existence, (and so on up to) uncountable samayas (ultimate-time-fraction) existence. anuyogadvAra sUtra ( 268 ) Illustrated Anuyogadvar Sutra

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There also are numerous ananupurvi (non-sequential) substances and configurations with one samayas existence. There also are numerous inexpressible (avaktavya) substances and configurations with two samaya existence. This concludes the description of Naigam-vyavahar naya sammat arth-padaprarupana (semantics conforming to coordinated and particularized viewpoints). 185. eyAe NaM Negama - vavahArANaM aTThapayaparUvaNayAe jAva bhaMgasamukkittaNayA kajjati / 185. isa naigama - vyavahAranayasammata arthapadaprarUpaNatA ke dvArA yAvat bhaMgasamutkIrtanatA kI jAtI hai| 185. This Naigam-vyavahar naya sammat arthpadaprarupana (semantics conforming to coordinated and particularized viewpoints) is used to derive and state bhangsamutkirtanata (enumeration of divisions or bhangs). (kha) bhaMgasamutkIrtanatA 186. se kiM taM Negama-vavahArANaM bhaMgasamukkittaNayA ? Negama - vavahArANaM bhaMgasamukkittaNayA atthi ANupubbI, atthi aNANupubbI, atthi avattavyae, evaM davvANupubvIgameNaM kAlANupuvvIe vi te ceva chavIsaM bhaMgA bhANiyavvA jAva se taM Negama - vavahArANa bhaMgasamukkittaNayA / 186. (prazna) naigama-vyavahAranayasammata bhaMgasamutkIrtanatA kyA hai ? (uttara) AnupUrvI hai, anAnupUrvI hai, avaktavyaka hai, isa prakAra dravyAnupUrvIvat kAlAnupUrvI ke bhI 26 bhaMga jAnanA cAhie yAvat yaha naigama - vyavahAranayasammata bhaMgasamutkIrtanatA kA svarUpa hai| (B) KAAL-ANUPURVI BHANG-SAMUTKIRTANATA 186. (Question ) What is this naigam-vyavahar naya sammat bhang-samutkirtanata (enumeration of divisions or pUrvI prakaraNa The Discussion on Anupurvi ( 269 )

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bhangs conforming to coordinated and particularized viewpoints)? Naigam-vyavahar naya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is as follows, (1) There is an anupurvi (sequence), (2) There is an ananupurvi (non-sequence), (3) There is an avaktavya (inexpressible), and so on..., including the twenty six divisions as mentioned in context of Dravyanupurvi (see aphorisms 101 - 103). 187. eyAe NaM Negama-vavahArANaM jAva kiM paoyaNaM ? eyAe NaM Negama-vavahArANaM jAva bhaMgovadaMsaNayA kjjti| 187. (prazna) isa naigama-vyavahAranayasammata yAvat (bhaMgasamutkIrtanatA kA) kyA prayojana hai ? ___ (uttara) isa naigama-vyavahAranayasammata yAvat (bhaMgasamutkIrtanatA) se bhaMgopadarzanatA kI jAtI hai| 187. (Question) What is the purpose of this naigamvyavaharnaya sammat bhang-samutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints)? (Answer) This naigam-vyavahar naya sammat bhangsamutkirtanata (enumeration of divisions or bhangs conforming to coordinated and particularized viewpoints) is used to derive and state Bhangopadarshanata (explication of divisions or bhangs). vivecana-dravyAnupUrvI kI taraha kAlAnupUrvI ke prasaMga meM bhI chabbIsa bhaMga jAnanA caahie| ve chabbIsa bhaMga isa prakAra haiManuyogadvAra sUtra ( 270 ) Illustrated Anuyogadvar Sutra *

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8000 hota hota LYAORYAOLYA AnupUrvI Adi ekavacanAnta tIna pada ke asaMyogI tIna bhaMga haiM aura isI prakAra bahuvacanAnta pada ke tIna bhaMga banate haiN| isa prakAra pRthak-pRthak chaha bhaMga ho jAte haiM aura saMyogapakSa meM ina tInoM padoM ke dvisaMyogI bhaMga tIna hote haiN| inameM eka-eka bhaMga meM do-do kA saMyoga hone para ekavacana aura bahuvacana ko lekara cAra-cAra bhaMga ho jAte haiM / isa prakAra tInoM bhaMgoM ke dvikasaMyogI kula bhaMga bAraha banate haiM tathA trikasaMyoga meM ekavacana aura bahuvacana ko lekara ATha bhaMga banate haiM / isa prakAra saba bhaMga milAkara (6+12+8 = 26) chabbIsa hote haiN| dravyAnupUrvI ke prasaMga meM sUtra 101 meM inake nAma batAye jA cuke haiN| tadanusAra yahA~ bhI vahI nAma samajha lenA caahie| Elaboration-Like dravya-anupurvi (physical sequence) there are 26 divisions or bhangs conforming to naigam-vyavahar naya (coordinated and particularized viewpoints) in case of kaalanupurvi. These are derived with mutual combination and separation. Separately taken there are six divisions or bhangs, three singular and three plural. Taken in combinations of two, there are three sets of four divisions or bhangs. In each of these sets combinations of a singular and a plural of each of the three categories make four divisions or bhangs each making three sets of four divisions or bhangs totaling to twelve divisions or bhangs. Taken in combination of three with singular and plural of each category there are eight divisions or bhangs. Thus adding together six, twelve, and eight divisions or bhangs make a total of twenty six divisions or bhangs. (refer to aphorism 101 for more details) (ga) bhaMgopadarzanatA 188. se kiM taM gama-vavahArANaM bhaMgovadaMsaNayA ? bhaMgovadaMsaNayA - ( 1 ) gama-vavahArANaM tisamayatIe ANupubbI, (2) egasamayaTThitIe aNANupubbI, (3) dusamayaTThitIe avattabbae, (4) tisamayaTThitIyAo ANupubbIo, (5) egasamayaTThitIyAo aNANupubbIo, (6) dusamayaTThitIyAI avattabbayAI / evaM davyANugameNaM te caiva chavvIsaM bhaMgA bhANiyavvA, jAva se taM Negama - vavahArANaM bhaMgovadaMsaNayA / pUrvI prakaraNa ( 271 ) The Discussion on Anupurvi

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HScesscookROS40558585805858508400RORDARDARODARPANDROPRODARPROPRODARDROPRODRAPAROPARDAR 188. (prazna) naigama aura vyavahAranayasammata bhaMgopadarzanatA kyA hai ? (uttara) naigama aura vyavahAranayasammata bhaMgopadarzanatA isa prakAra hai-(1) tIna samaya kI sthiti vAlA eka-eka paramANu se anantANu paryanta dravya AnupUrvI hai, (2) eka samaya kI sthiti vAlA (eka-eka paramANu Adi) dravya anAnupUrvI hai aura (3) do samaya kI sthiti vAlA (paramANu Adi dravya) avaktavyaka hai| (4) tIna samaya kI sthiti vAle aneka dravya 'AnupUrviyA~ haiN| (5) eka samaya kI sthiti vAle aneka dravya 'anAnupUrviyA~' tathA (6) do samaya kI sthiti vAle dravya 'avaktavyaka' haiN| isa prakAra yahA~ bhI dravyAnupUrvI ke pAThAnurUpa chabbIsa bhaMgoM ke nAma jAnane cAhie, yAvat yaha bhaMgopadarzanatA kA Azaya haiN| (sUtra 101 ke anusAra bhaMga samajheM) (C) NAIGAM-VYAVAHAR NAYA SAMMAT BHANGOPADARSHANATA ____188. (Question) What is this naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints) ? ___(Answer) Naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints) is as follows: With respect to kaal (time) there is an anupurvi (sequential) substance of one to infinite paramanu with existence of three samayas. There is an ananupurvi (nonsequential) substance of one to infinite paramanu with existence of one samaya. There is an avaktavya (inexpressible) substance of one to infinite paramanu with existence of two samayas. There are many such triad anupurvis (sequential) substances with existence of three samayas. There are many such ananupurvis (nonsequential) substances with existence of one samaya. There are many such biunial-aggregate avaktavyas inexpressibles) substances with existence of two samayas. anuyogadvAra sUtra ( 272 ) Mustrated Anuyogadvar Sutra MANORAYOGAYORNOMYODMRODARODR0000000000000000000DRODDRDR98090090050090099ODROSKRODRAPAR

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And so on including the twenty six divisions as mentioned in context of Dravyanupurvi. (see aphorism 101-103) This concludes the description of Naigam-vyavahar naya sammat bhangopadarshanata (explication of divisions or bhangs conforming to coordinated and particularized viewpoints). (gha) samavatAra 189. se kiM taM samoyAre ? samoyAre Negama - vavahArANaM ANupuvvidavvAI kahiM samoyaraMti ? jAva tiNi vi saTTANae samoyaraMti tti bhANiyavvaM / se taM samoyAre / 189. (prazna) samavatAra kyA hai ? naigama-vyavahAranayasammata aneka AnupUrvI dravyoM kA kahA~ samavatAra (antarbhAva) hotA hai ? (uttara) tInoM hI sva-sva sthAna meM samavatarita hote haiM / isa prakAra samavatAra kA svarUpa jAnanA caahie| (D) KAALNUPURVI: SAMAVATARA 189. (Question) What is this samavatara (compatible assimilation ) ? Where can there be a compatible assimilation (samavatara) of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints)? (Answer) All the three can have compatible assimilation (samavatara) with substances of their own class and not with those of other classes. This concludes the description of samavatara (compatible assimilation). vivecana - sUtra meM samavatAra sambandhI Azaya kA saMketa mAtra kiyA hai| spaSTIkaraNa isa prakAra hai samavatAra arthAt una-una dravyoM kA anya dravyoM meM antarbhUta honA / isa apekSA pUrvapakSa ke rUpa meM nimnalikhita prazna upasthita kiye haiN| AnupUrvIkaraNa ( 273 ) The Discussion on Anupurvi

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kyA naigama aura vyavahAranayasammata samasta AnupUrvIdravya, AnupUrvIdravyoM meM, anAnupUrvIdravyoM meM tathA avaktavyakadravyoM meM samavatarita hote haiM ? ___ isI prakAra ke tIna-tIna prazna anAnupUrvI aura avaktavyaka dravya-viSayaka bhI jAnanA caahie| isa taraha kula nau prazna haiN| jinakA uttara isa prakAra hai (1) naigama aura vyavahAranayasammata sabhI AnupUrvIdravya AnupUrvIdravyoM meM hI samAviSTa hote haiN| kintu anAnupUrvI aura avaktavyaka dravyoM meM samAviSTa nahIM hote haiN| (2) naigama aura vyavahAranayasammata samasta anAnupUrvI apanI jAti (anAnupUrvIdravya) meM samAviSTa hote haiN| unakA vijAtIya AnupUrvI yA avaktavya dravyoM meM samavatAra nahIM hotA hai| (3) naigama aura vyavahAranayasammata avaktavyakadravya avaktavyakadravyoM meM hI antarbhUta hote haiM, anya AnupUrvI Adi dravyoM meM nhiiN| Elaboration--The aphorism gives only brief indication regarding samavatara (compatible assimilation). The details are as follows, Samavatara means compatible assimilation of various substances with other substances. In this regard the inquiry is in the form of three questions. Can all Naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) have compatible assimilation (samavatara) with anupurvi (sequential) substances ? or with ananupurvi (non-sequential) substances ? or with inexpressible (avaktavya) substances ? Similarly three questions each regarding ananupurvi (nonsequential) substances and inexpressible (avaktavya) substances have been put forth. Thus there are nine questions in all, The answers are as follows (1) All Naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) with anupurvi (sequential) substances only and not with ananupurvi (non-sequential) substances or inexpressible (avaktavya) substances. anuyogadvAra sUtra (274 ) Illustrated Anuyogadvar Sutra

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(2) All Naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) only with substances of their own class (nonsequential) and not with anupurvi (sequential) substances, or inexpressible (avaktavya) substances. ___ (3) All Naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) can have compatible assimilation (samavatara) only with inexpressible (avaktavya) substances and not with anupurvi (sequential) substances or ananupurvi (non-sequential) substances. (Ga) anugama 190. se kiM taM aNugame ? aNugame Navavihe pnnnntte| taM jahA saMtapayaparUvaNayA 1 jAva appAbahuM ceva 9 // 15 // 190. (prazna) anugama kyA hai? (uttara) anugama nau prakAra kA kahA hai| jaise-(1) satpadaprarUpaNA yAvat (9) alpbhutv| (sUtra 105 ke anusAra nau prakAra haiM) (E) KAALNUPURVI : ANUGAM 190. (Question) What is this anugam (systematic elaboration) ? ___ (Answer) Anugam (systematic elaboration) is of nine kinds--(1) satpadprarupana, and so on up to (9) alpabahutva. (further details should be taken as mentioned in context of Dravyanupurvi in aphorism 105) (Ga-1) satpadaprarUpaNatA 191. Negama-vavahArANaM ANupubbidavvAiM kiM atthi Natthi ? niyamA tiNi vi atthi| AnupUrvI prakaraNa ( 275 ) The Discussion on Anupurvi

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191. (prazna) naigama aura vyavahAranayasammata AnupUrvI dravya haiM yA nahIM haiM ? (uttara) niyamataH ye tInoM dravya haiN| (E-1) KAALNUPURVI : SATPADPRARUPANA-DVAR 191. (Question) Do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist or not ? (Answer) Indeed, as a rule all the three (anupurvi, ananupurvi, and avaktavya) exist. (Ga-2) dravyapramANa 192. Negama-vavahArANaM ANupubbidavvAiM kiM saMkhejjAiM asaMkhejjAiM aNaMtAI ? tiNi vi no saMkhejjAiM, asaMkhejjAiM, no annNtaaii| 192. (prazna) naigama-vyavahAranayasammata AnupUrvI Adi dravya saMkhyAta haiM, asaMkhyAta hai yA ananta haiM ? (uttara) tInoM dravya saMkhyAta nahIM hai, ananta nahIM haiM, parantu asaMkhyAta haiN| (E-2) KAALNUPURVI : DRAVYAPRAMANA-DVAR 192. (Question) According to the naigam-vyavahar naya (coordinated and particularized viewpoints) are the anupurvi dravya (sequential substances) countable, uncountable, or infinite (numerically)? (Answer) All the three are neither countable nor infinite but are uncountable (numerically). vivecana-AnupUrvI Adi dravyoM ko asaMkhyAta batAne kA kAraNa yaha hai ki loka meM tIna samaya kI sthiti vAle dravya to ananta haiM, kintu tIna samaya Adi kI sthiti vAle pratyeka paramANu Adi kI kAlAvadhi kI apekSA unameM ekatva hai| kyoMki kAlAnupUrvI meM kAla kI pradhAnatA hai aura dravyabahutva kI gaunntaa| isaliye tIna samaya, cAra samaya Adi kI, eka samaya kI aura do samaya kI sthiti vAle jitane bhI paramANu Adi ananta dravya haiM ve saba apanI-apanI sthiti kI apekSA se eka eka AnupUrvI Adi dravya rUpa haiM arthAt tIna samaya anuyogadvAra sUtra ( 276 ) Illustrated Anuyogadvar Sutra *

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kI sthiti vAle ananta dravya eka hI AnupUrvI haiN| isI prakAra cAra samaya kI sthiti vAle ananta dravya eka AnupUrvI haiM yAvat dasa samaya kI sthiti vAle yAvat asaMkhya samaya kI sthiti vAle dravyoM kI eka-eka AnupUrvI hai| anAnupUrvI aura avaktavya dravya asaMkhyAta kaise-yadyapi eka samaya kI sthiti vAle aura do samaya kI sthiti vAle dravyoM meM pratyake dravya ananta hai| lekina loka ke kevala asaMkhyAta pradeza haiM, ataH unake avagAha bheda asaMkhyAta haiN| eka samaya kI sthiti vAle aura do samaya kI sthiti vAle jitane bhI dravya haiM, unameM avagAhanA ke saMdarbha meM yaha bhinnatA hai| ataeva isa bhinnatA ke kAraNa pratyeka dravya asaMkhyAta haiN| tAtparya yaha hai ki loka asaMkhyAtapradezI haiM, unakI vartanA hetu kAla ke samaya bhI asaMkhya hai, ataH loka meM eka samaya kI sthiti vAle aura do samaya kI sthiti vAle dravyoM ke rahane ke sthAna asaMkhyAta haiN| isalie eka samaya kI aura do samaya kI sthiti vAle pratyeka dravya meM asaMkhyAtatA siddha hai| Elaboration--The reason for stating anupurvi and other substances as uncountable is that although there are infinite substances in the universe with three samaya existence, there is a uniformity in all substances with one or more paramanus in context of time of existence. Because in context of kaal-anupurvi (time sequence) more emphasis is on time (kaal) and less on substantiality (dravyatva), all the infinite substances including paramanus of a specific period of existence (one, two, three, four samaya and so on) are counted as just one (sequential, etc.) substance. In other words all the infinite substances with three samaya existence form just one anupurvi (sequence). In the same way all the infinite substances with four samaya existence form just one anupurvi (sequence). And so on up to uncountable samaya existence. Why ananupurvi and avaktavya inexpressible) substances are uncountable ?-Each type of substances having one and two samay existence is infinite in number. But there are only uncountable space points in the universe. Thus the variations in terms of occupancy can only be uncountable. This numerical variation in all substances having one or two samaya existence is in context of occupancy. It is due to this variation that substances of each said type are uncountable in number and not AnupUrvI prakaraNa ( 277 ) The Discussion on Anupurvi

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infinite. In other words, the universe is constituted of uncountable space-points and related to that the fractional units of time (samaya) are also uncountable. This indicates that the number of spacepoints available to substances having one and two samaya existence for occupancy is uncountable. This proves that the total number of substances having one and two samaya existence is only uncountable not infinite. (Ga-3, 4) kSetra aura sparzanA prarUpaNA 193. Negama-vavahArANaM ANupubbidavvAiM logassa kiM saMkhejjaibhAge hojjA ? pucchaa| __egadavvaM puDucca logassa saMkhejjatibhAge vA hojjA jAva asaMkhejesu vA bhAgesu hojjA, desUNe vA loe hojjA, nANAdavvAiM paDucca niyamA-savvaloe hojjaa| evaM aNANupubbi-avattabbayadavvANi bhaanniyvaanni| jahA Negama-vavahArANaM khettaannupubbiie| 193. (prazna) naigama-vyavahAranayasammata aneka AnupUrvI dravya kyA loka ke saMkhyAta bhAga meM rahate haiM ? ityAdi prazna hai| (uttara) eka dravya kI apekSA (samasta AnupUrvIdravya) loka ke saMkhyAta bhAga meM rahate haiM yAvat asaMkhyAta bhAgoM meM rahate haiM athavA dezona loka meM rahate haiN| kintu aneka dravyoM kI apekSA niyamataH sarvaloka meM rahate haiN| ___ samasta anAnupUrvI dravyoM aura avaktavya dravyoM kI vaktavyatA bhI naigama-vyavahAranayasammata kSetrAnupUrvI ke samAna hai| (E-3, 4) KAALNUPURVI : KSHETRA-DVAR AND SPARSHANA-DVAR 193. (Question) In what area or section of the universe (occupied space) do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. Are they in its countable fraction ? (and so on as in aphorism 152) (Answer) With respect to a single substance they exist in (1) countable fractions of the universe, and so on up to anuyogadvAra sUtra (278 ) lustrated Anuyogadvar Sutra SamPROMPTO HEPROPRIETION NOTATOPATOPAYOrpoPAROOPARDANDRO90000000000000000004690090090020690020694 2.PROD.CODARo GODIGORKOT CONNAONAONVAON X * *

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(5) in slightly less than the whole universe. But with respect to many substances, as a rule, they occupy the whole universe. ___The details regarding ananupurvi (non-sequential) and avaktavya (inexpressible) substances are also same as mentioned in context of naigam-vyavahar naya sammat kshetra-anupurvi (area-sequence conforming to coordinated and particularized viewpoints) 194. evaM phusaNA kAlANupubIe vi tahA ceva bhaanniyvaa| 194. isa kAlAnupUrvI meM sparzanAdvAra kA kathana kSetrAnupUrvI jaisA hI samajhanA caahie| 194. The details regarding sparshana-dvar of this kaalanupurvi (time sequence) are also same as mentioned in context of kshetra-anupurvi (area-sequence). (aphorism 153) (Da-5) kAlaprarUpaNA 195. Negama-vavahArANaM ANupubbidabvAiM kAlato kevaciraM hoti ? egaM davvaM puDucca jahaNNeNaM tiNNi samayA ukkoseNaM asaMkhejjaM kAlaM, nANAdavvAI paDucca svvddhaa| 195. (prazna 1) naigama-vyavahAranayasammata AnupUrvIdravya kAla kI apekSA (AnupUrvI rUpa meM) kitane kAla taka rahate haiM ? (uttara) eka AnupUrvIdravya kI apekSA jaghanya sthiti tIna samaya kI ora utkRSTa sthiti asaMkhyAta kAla kI hai| aneka AnupUrvIdravyoM kI apekSA sthiti sarvakAlika hai| (E-5) KAALNUPURVI : KAAL-DVAR ____195. (Question 1) In context of time, for what duration do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist (in the same configuration) ? AnupUrvI prakaraNa (279 ) The Discussion on Anupurvi

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___(Answer) With respect to a single anupurvi (sequential) substance they exist in the same form for a minimum of three samayas and maximum of uncountable time. With respect to many anupurvi (sequential) substances as a rule they exist always. (2) Negama-vavahArANaM aNANupuvidavvAiM kAlao kevaciraM hoMti ? egadavvaM puDucca ajahaNNamaNukkoseNaM ekkaM samayaM, nANAdavvAiM paDucca smbddhaa| 195. (prazna 2) naigama-vyavahAranayasammata anAnupUrvIdravya kAla kI apekSA (anAnupUrvI rUpa meM) kitane kAla taka rahate haiM ? (uttara) eka dravya kI apekSA AnupUrvI dravya jaghanya aura utkRSTa kA bheda kiye binA eka dravya kI apekSA eka samaya taka tathA aneka dravyoM kI apekSA sarvakAla meM hote haiN| ___195. (Question 2) In context of time, for what duration do the naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints) exist (in the same configuration)? __(Answer) With respect to a single ananupurvi (nonsequential) substance they exist in the same form for one samaya without any variation of minimum and maximum. With respect to many ananupurvi (non-sequential) substances as a rule they exist always. (3) Negama-vavahArANaM avattavvayadavvAiM kAlato kevaciraM hoMti ? ___egaM davvaM puDucca ajahaNNamaNukkoseNaM do samayA, nANAdavvAiM paDucca smbddhaa| 195. (prazna 3) naigama-vyavahAranayasammata avaktavyakadravya kAla kI apekSA (avaktavyaka rUpa meM) kitane kAla rahate haiM ? (uttara) eka dravya kI apekSA jaghanya aura utkRSTa kA bheda kiye binA do samaya taka aura aneka dravyoM kI apekSA sarvakAla meM hote haiN| 195. (Question 3) In context of time, for what duration do the naigam-vyavahar naya sammat avaktavya dravya anuyogadvAra sUtra ( 280 ) Illustrated Anuyogadvar Sutra

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(inexpressible substances conforming to coordinated and particularized viewpoints) exist (in the same configuration)? (Answer) With respect to a single avaktavya (inexpressible) substance they exist in the same form for two samaya without any variation of minimum and maximum. With respect to many avaktavya (inexpressible) substances as a rule they exist always. vivecana-eka AnupUrvIdravya kI jaghanya sthiti tIna samaya aura utkRSTa sthiti asaMkhyAta samaya kI batAne kA kAraNa yaha hai ki AnupUrvIdravyoM meM tIna samaya kI sthiti vAle dravya sabase kama haiM aura ve tIna samaya taka hI AnupUrvI ke rUpa meM rahate haiN| isalie ekavacanAnta AnupUrvI dravyoM kI jaghanya sthiti tIna samaya pramANa kahI hai aura asaMkhyAta samaya kI sthiti kahane kA kAraNa yaha hai ki vaha dravya asaMkhyAta kAla ke bAda AnupUrvI rUpa meM rahatA hI nahIM hai| ___ nAnA AnupUrvIdravyoM kI apekSA sthiti sarvakAlika isalie hai ki nAnA AnupUrvI dravyoM kA sadaiva sadbhAva rahatA hai| __ eka-eka anAnupUrvI aura avaktavyaka dravya kI sthiti mAtra kramazaH eka samaya aura do samaya pramANa hone se ina donoM ke viSaya meM jaghanya aura utkRSTa kI apekSA vicAra kiyA jAnA sambhava nahIM hone se ajaghanya aura anutkRSTa kAla sthiti eka aura do samaya kI batalAI hai| nAnA anAnupUrvI aura avaktavyaka dravya sarvakAla meM sambhava hone se unakI sthiti sarvakAla pramANa hai| Elaboration--The reason for stating that the existence of single anupurvi (sequential) substance is minimum three samayas and maximum of uncountable time is that among anupurvi (sequential) substances the number of those having three samaya existence is minimum and they exist in the anupurvi (sequential) form just for three samayas. Therefore the minimum period of existence has been stated as three samaya. The anupurvi substances have greater period of existence as well, but in no case they can exist as anupurvi (sequential) substance beyond uncountable samayas. Therefore the maximum period has been stated as uncountable samayas. meM AnupUrvI prakaraNa ( 281 ) The Discussion on Anupurvi 201991901201 YOOK

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In case of many anupurvi (sequential) substances the existence period is stated as always because some or the other anupurvi (sequential) substance exists always. Single ananupurvi (non-sequential) and avaktavya (inexpressible) substance exist only for one and two samay respectively therefore there is no scope for minimum and maximum. Thus it is stated as one and two samaya without any minimum or maximum. In case of many ananupurvi (nonsequential) and avaktavya (inexpressible) substances the existence period is stated as always because some or the other ananupurvi (non-sequential) and anupurvi (sequential) substance exists always. (Da-6) antaraprarUpaNA 196. (1) Negama-vavahArANaM ANupuvidavyANamaMtaraM kAlato kevaciraM hoti ? / __ egadavvaM puDucca jahaNNeNaM egaM samayaM ukkoseNaM do samayA, nANAdavvAiM paDucca natthi aNtrN| 196. (prazna 1) naigama aura vyavahAranayasammata AnupUrvI dravyoM kA kAla kI apekSA antara kitane samaya kA hotA hai ? (uttara) eka dravya kI apekSA jaghanya antara eka samaya aura utkRSTa antara do samaya hai| kintu aneka dravyoM kI apekSA antara nahIM hai(E-6) KAALNUPURVI : ANTAR-DVAR ____196. (Question 1) In context of time, what is the antar (intervening period between loosing the present form and regaining it) in case of naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints)? __ (Answer) With respect to a single anupurvi (sequential) substance this period is a minimum of one samaya and maximum of two samayas. However with respect to many anupurvi (sequential) substances this antar does not exist. anuyogadvAra sUtra ( 282 ) Illustrated Anuyogadvar Sutra

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(2) Negama-vavahArANaM aNANupuvidavvANaM aMtaraM kAlato kevaciraM hoti ? egadavyaM paDucca jahaNNeNaM do samayA ukkoseNaM asaMkhejjaM kAla, NANAdavvAI puDucca Natthi aNtrN| 196. (prazna 2) kAla kI apekSA naigama aura vyavahAranayasammata anAnupUrvI dravyoM kA antara kitane samaya kA hotA hai ? (uttara) eka dravya kI apekSA jaghanya antara do samaya kA aura utkRSTa asaMkhyAta kAla kA hai| aneka dravyoM kI apekSA antara nahIM hai| ___196. (Question 2) In context of time, what is the antar (intervening period between loosing the present form and regaining it) in case of naigam-vyavahar naya sammat ananupurvi dravya (non-sequential substances conforming to coordinated and particularized viewpoints)? (Answer) With respect to a single ananupurvi (nonsequential) substance this period is a minimum of two samaya and maximum of immeasurable time. However with respect to many ananupurvi (non-sequential) substances this antar does not exist. (3) Negama-vavahArANaM avattavvagadavvANaM pucchaa| egadavvaM puDucca jahaNNeNaM egaM samayaM ukkoseNaM asaMkhenaM kAlaM, NANAdavvAiM paDucca patthi aNtrN| 196. (prazna 3) anAnupUrvIdravyoM kI taraha naigama-vyavahAranayasammata avaktavyakadravyoM ke viSaya meM bhI prazna hai| (uttara) eka dravya kI apekSA avaktavyakadravyoM kA antara eka samaya kA aura utkRSTa asaMkhyAta kAla pramANa hai| aneka dravyoM kI apekSA antara nahIM hai| 196. (Question 3) Same question for naigam-vyavahar naya sammat avaktavya dravya (inexpressible substances conforming to coordinated and particularized viewpoints) ? AnupUrvI prakaraNa ( 283 ) The Discussion on Anupurvi YEPOEMEDEPEOPOROTEEEEEEEEEEEEEEEEPREPOSEXBODISPONGESPEA5PMGDISPBIGADGPISODIGADGPIGORIGPRG

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(Answer) With respect to a single avaktavya (inexpressible) substance this period is a minimum of one samaya and maximum of infinite time. However with respect to many avaktavya (inexpressible) substances antar does not exist. (Ga-7) bhAgadvAra 197. Negama-vavahArANaM ANupuvvidavvAI sesadabvANaM kaibhAge hojjA ? pucchaa| jaheva khettaannupubiie| 197. (prazna) naigama aura vyavahAranayasammata AnupUrvI dravya zeSa dravyoM ke kitaneveM bhAga pramANa haiM? (uttara) yahA~ kAlAnupUrvI ke prasaMga meM tInoM dravyoM ke lie kSetrAnupUrvI jaisA hI kathana samajhanA caahie| (dravyAnupUrvI sUtra 112 ke anusAra samajheM) (E-7) KAALNUPURVI : BHAAG-DVAR ___197. (Question) In what spatial proportion of other substances do the naigam-vyavahar naya sammat anupurvi dravya (sequential substances conforming to coordinated and particularized viewpoints) exist. (Answer) The answer is same as that with regard to kshetra-anupurvi for all the three classes of substances. (aphorism 112) . (Da-8, 9) bhAva aura alpabahutva dvAra 198. bhAvo vi thev| appAbahuM pi taheva neyavvaM jAva se taM annugme| se taM Negama-vavahArANaM aNovaNihiyA kaalaannupubbii| 198. bhAvadvAra aura alpabahutva kA bhI kathana kSetrAnupUrvI jaisA hI samajhanA cAhie yAvat anugama kA yaha svarUpa hai| (dravyAnupUrvI prakaraNa ke sUtra 114 ke anusAra samajheM) isa prakAra naigama-vyavahAranayasammata anaupanidhikI kAlAnupUrvI kA varNana pUrNa huaa| anuyogadvAra sUtra ( 284 ) Illustrated Anuyogadvar Sutra

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* 1 1 1 . TEKNIKKKKKKKKIAIAIAN (E-89) KAALNUPURVI : BHAAVA-DVAR AND ALPABAHUTVA-DVAR 198. The details about Bhaava- dvar and Alpabahutvadvar are same as those with regard to kshetra-anupurvi. (aphorism 114) This concludes the description of anugam. This also concludes the description of naigam-vyavahar naya sammat anaupanidhiki kaal-anupurvi (disorderly sequence of substances conforming to coordinated and particularized viewpoints). saMgrahanayasammata anaupanidhikI kAlAnupUrvI 199. se kiM taM saMgahassa aNovaNihiyA kAlANupuvI ? saMgahassa aNovaNihiyA kAlANupuvI paMcavihA paNNattA / taM jahAaTThapayaparUvaNayA, (2) bhaMgasamukkittaNayA, (3) bhaMgovadaMsaNayA, (4) samoyAre, (5) aNugame / (1) 199: (prazna) saMgrahanayasammata anaupanidhikI kAlAnupUrvI kyA hai ? (uttara) saMgrahanayasammata anaupanidhikI kAlAnupUrvI pA~ca prakAra kI hai(1) arthapadaprarUpaNatA, (2) bhaMgasamutkIrtanatA, (3) bhaMgopadarzanatA, (4) samavatAra aura (5) anugama / SAMGRAHA NAYA SAMMAT ANAUPANIDHIKI KAAL-ANUPURVI 199. (Question) What is this Samgraha naya sammat anaupanidhiki kaal-anupurvi (disorderly time-sequence conforming to generalized viewpoint)? to (Answer) Samgraha naya sammat anaupanidhiki kaalanupurvi (disorderly time-sequence conforming generalized viewpoint) is of five types-(1) Arthpadaprarupana (semantics), (2) Bhang-samutkirtanata (enumeration or bhangs), of divisions or (3) Bhangopadarshanata (explication of divisions bhangs), (4) Samavatara (compatible assimilation), and (5) Anugam (systematic elaboration). AnupUrvI prakaraNa ( 285 ) The Discussion on Anupurvi

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* * saMgrahanayasammata arthapadaprarUpaNatA 200. se kiM taM saMgahassa aTThapayaparUvaNayA ? saMgahassa aTThapayaparUvaNayA eyAiM paMca vi dArAiM jahA khettANupubIe saMgahassa tahA kAlANupubIe vi bhANiyavANi, NavaraM ThitI abhilAvo jAva se taM saMgahassa aNovaNihiyA kaalaannupubbii| se taM aNovaNihiyA kaalaannupubbii| 200. (prazna) saMgrahanayasammata arthapadaprarUpaNatA kyA hai ? (uttara) ina pA~coM dvAroM kA kathana saMgrahanayasammata kSetrAnupUrvI kI taraha samajha lenA caahie| vizeSa yaha ki kSetrAnupUrvI meM jaise ki pradezAvagADha Adi hai, vaise yahA~ para tIna samaya kI sthiti vAlA pudgala AnupUrvI, eka samaya kI sthiti vAlA anAnupUrvI, do samaya kI sthiti vAlA avaktavya aisA prayoga karanA caahie| yaha saMgrahanayasammata anaupanidhikI kAlAnupUrvI aura anaupanidhikI kAlAnupUrvI kA varNana huaa| (sUtra 116 dekheM) SAMGRAHA NAYA SAMMAT ARTH-PADAPRARUPANA 200. (Question) What is this Samgraha naya sammat arth-padaprarupana (semantics conforming to generalized viewpoint)? ___ (Answer) The description of all these five dvars (doors of disqisition) should be read to be same as the aforesaid kshetra-anupurvi in this context. The only difference being that the substance having three samaya existence is anupurvi (sequential), that having one samaya existence is ananupurvi (non-sequential), and that having two samaya existence is avaktavya inexpressible) should be read instead of similar statements with respect to area of occupation, etc. (aphorism 116) This concludes the description of Samgraha naya sammat anaupanidhiki kaal-anupurvi (disorderly timesequence conforming to generalized viewpoint) and anaupanidhiki kaal-anupurvi (disorderly time-sequence). anuyogadvAra sUtra ( 286 ) Illustrated Anuyogadvar Sutra AV za

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STATESPONGENGDOMEPRABORIGIOGRABPOORXGORIGOOGLISPONGENGREIGOOGORIGORIGORTHORXGORIGORXGORAGARMERMGORIEORIGO9160916ORNAR (Now aupanidhiki kaalnupurvi or orderly time-sequence, the second category of kaalnupurvi, is being described. This is of two types-special and ordinary. First the special one is described) aupanidhikI kAlAnupUrvI 201. (1) se kiM taM ovaNihiyA kAlANupubbI ? ovaNihiyA kAlANupubbI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubbI, (3) annaannupuvii| 201. (prazna 1) aupanidhikI kAlAnupUrvI kyA hai ? (uttara) aupanidhikI kAlAnupUrvI ke tIna prakAra haiM-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, aura (3) anaanupuurvii| AUPANIDHIKI KAAL-ANUPURVI 201. (Question 1) What is this Aupanidhiki kaalanupurvi (orderly time-sequence)? (Answer) This Aupanidhiki kaal-anupurvi (orderly time-sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. (2) se kiM taM puvANupubbI ? puvvANupucI egasamayaThitIe dusamayaThitIe tisamayaThitIe jAva dasasamayaThitIe jAva saMkhejjasamayaThitIe asNkhejsmytthitiie| se taM puvvaannupuvii| 201. (prazna 2) pUrvAnupUrvI kyA hai ? (uttara) pUrvAnupUrvI kA svarUpa isa prakAra hai-eka samaya kI sthiti vAle, do samaya kI sthiti vAle, tIna samaya kI sthiti vAle yAvat dasa samaya kI sthiti vAle yAvat saMkhyAta samaya kI sthiti vAle, asaMkhyAta samaya kI sthiti vAle dravyoM kI anukrama se gaNanA karane ko aupanidhikI pUrvAnupUrvI kahate haiN| 201. (Question 2) What is this Purvanupurvi ? za AnupUrvI prakaraNa ( 287 ) The Discussion on Anupurvi ASPBAGPAASPASPASPASPASPASPDF6degASPASPASPKSHPASPASPASSEDASSAGACASSACASPALPALPALPALBRSPASPBEBAST

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(Answer) Purvanupurvi is like this--To arrange substances in ascending sequential order with respect to the period of existence is called purvanupurvi (ascending sequence). The arrangement being-substance having existence of one samaya, two samayas, three samayas, and so on... , ten samayas, and so on... , countable samayas, and uncountable samayas. This concludes the description of aupanidhiki purvanupurvi (orderly ascending sequence). (3) se kiM taM pacchANupubbI ? pacchANupucI asaMkhejjasamayaThitIe jAva e ekksmytthitiie| se taM pcchaannupuvii| 201. (prazna 3) pazcAnupUrvI kyA hai ? (uttara) asaMkhyAta samaya kI sthiti vAle se lekara eka samaya paryanta kI sthiti vAle dravyoM kI-vyutkrama se gaNanA karanA pazcAnupUrvI hai| 201. (Question 3) What is this Pashchanupurvi ? ___ (Answer) Pashchanupurvi is like this-To arrange the aforesaid substances in descending sequential order with respect to the period of existence is called pashchanupurvi (descending sequence). The arrangement beinguncountable samayas existence, and so on up to one samaya existence. This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupubbI ? aNANupubI eyAe ceva egAdiyA eguttariyAe asaMkhejjagacchagayAe seDhIe aNNamaNNabbhAso duruuvuunno| se taM annaannupuvii| 201. (prazna 4) anAnupUrvI kyA hai ? anuyogadvAra sUtra ( 288 ) Illustrated Anuyogadvar Sutra C

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(uttara) anAnupUrvI kA svarUpa isa prakAra hai-eka se lekara asaMkhyAta paryanta eka-eka kI vRddhi dvArA niSpanna zreNI meM paraspara guNAkAra karane se prApta rAzi meM se Adi aura anta ke do bhaMgoM se nyUna bhaMga anAnupUrvI haiN| 201. (Question 4) What is this Ananupurvi ? (Answer) Place uncountable numbers starting from one and progressively adding one. Multiply all these numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). aupanidhikI kAlAnupUrvI : dvitIya prakAra 202. (1) ahavA ovaNihiyA kAlANupucI tivihA paNNattA / taM jahA(1) puvANupavvI, (2) pacchANupubI, (3) annaannupubbii| 202. (1) athavA aupanidhikI kAlAnupUrvI tIna prakAra kI hai| jaise(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| ANOTHER AUPANIDHIKI KAAL-ANUPURVI 202. (1) Also, this Aupanidhiki kaal-anupurvi (orderly time-sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. (2) se kiM taM puvANupucI ? puvANupucI samae AvaliyA ANApANU thove lave muhutte divase ahoratte pakkhe mAse udU ayaNe saMvacchare juge vAsasae vAsasahasse vAsasatasahasse pubaMge puve tuDiyaMge tuDie aDaDaMge aDaDe avavaMge avave hUhuyaMge hUhue uppalaMge uppale paumaMge paume NaliNaMge NaliNe atthaniuraMge atthaniure auyaMge aue nauyaMge naue pauyaMge paue cUliyaMge cUlie sIsapaheliyaMge sIsapaheliyA paliovame sAgarovame osappiNI ussappiNI poggalapariyaTTe tItaddhA aNAgataddhA smbddhaa| se taM puvaannupubbii| AnupUrvI prakaraNa ( 289 ) The Discussion on Anupurvi

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202. (prazna 2) pUrvAnupUrvI kyA hai ? (uttara) pUrvAnupUrvI kA svarUpa isa prakAra hai-samaya, AvalikA, Ana (ucchvAsa), apAna (niHzvAsa) prANa, stoka, lava, muhUrta, divasa, ahorAtra, pakSa, mAsa, Rtu, ayana, saMvatsara, yuga, varSazata, varSasahasra, varSazatasahasra, pUrvAMga, pUrva, truTitAMga, truTita, aDaDAMga, aDaDa, avavAMga, avava, huhukAMga, huhuka, utpalAMga, utpala, padmAMga, padma, nalinAMga, nalina, arthanipurAMga, arthanipura, ayutAMga, ayuta, nayutAMga, nayuta, prayutAMga, prayuta, cUlikAMga, cUlikA, zIrSaprahelikAMga, zIrSaprahelikA, palyopama, sAgaropama, avasarpiNI, utsarpiNI, pudgalaparAvarta, atItakAla, anAgatakAla aura sarvakAla rUpa krama se padoM kA upanyAsa karanA kAla pUrvAnupUrvI hai| 202. (Question 2) What is this Purvanupurvi (in context of Aupanidhiki kaal-anupurvi or orderly time-sequence) ? (Answer) Purvanupurvi is like this-samaya, avalika, aan, apaan, pran, stoka, lava, muhurt, divas, ahoratra, paksha, maas, ritu, ayan, samvatsar, yug, varshashat, varshasahasra, varshashatsahasra, purvanga, purva, trutitanga, trutit, adadanga, adada, avavanga, avava, huhukanga, huhuka, utpalanga, utpala, padmanga, padma, nalinanga, nalina, arthanipuranga, arthanipura, ayutanga, ayut, nayutanga, nayuta, prayutanga, prayuta, chulikanga, chulika, sheershaprahelikanga, sheershaprahelika, palyopam, sagaropam, avasarpini, utsarpini, pudgalaparavart, atitakaal, anagatakaal, and sarvakaal. The arrangement of these units of time placed in such ascending sequential order (samaya being the smallest unit and sarvakaal or all-time being the largest unit) is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). anuyogadvAra sUtra ( 290 ) Illustrated Anuyogadvar Sutra

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vivecana - jaina granthoM meM kAla varNana kAphI vistAra pUrvaka milatA hai| vahA~ kAla ke do vibhAga haiM- prathama saMkhyAta kAla tathA dUsarA aupamika kAla / Elaboration-Jains have also worked out the minute, detailed and scientific division of time. This has two sections-one is the countable time and the other is the metaphoric time. (1) saMkhyAta kAla (1) NUMERICAL TIME sUkSmatama nirvibhAjya kAla (Indivisible unit of time) asaMkhyAta samaya ( Innumerable Samaya) saMkhyAta AvalikA (Numerical Avalika) 1 ucchvAsa + nizvAsa (1 Inhalation + 1 Exhalation) 7 prANa (Pran) 7 stoka (Stok) 77 lava (Lav) 30 mUhUrtta (Muhurt) 15 ahorAtra (Day and Night ) 2 pakSa (Fortnight) 2 mAsa (Month) 3 Rtu (Season) 2 ayana (Ayan) 5 saMvatsara (Year) 20 yuga (Yug) 10 zatAbdI (Century) 100 sahasrAbdI (Millennium) 84 lakSAbdI (Lakshabdi) 84 lakSa pUrvAMga (Lac Purvang) pUrvI prakaraNa ( 291 ) = 1 samaya (1 Samaya) = 1 AvalikA (1 Avalika) = 1 ucchvAsa athavA 1 nizvAsa (1 Exhalation or 1 Inhalation ) = 1 prANa (1 Pran) = 1 stoka (Stok) = 1 lava (Lav) = 1 mUhUrtta (Muhurt) (48 minaTa 48 minutes ) = 1 ahorAtra (Day and Night) (24 hrs) = 1 pakSa (Fortnight) = 1 mAsa (Month) = 1 Rtu (Season) = 1 ayana (Ayan) (1/2 year) = 1 saMvatsara (Year) = 1 yuga (Yug) (half a decade ) = 1 zatAbdI (Century) 102 years = 1 sahasrAbdI (Millennium) 103 years = 1 lakSAbdI (Lakshabdi) 105 years = 1 pUrvAMga (Purvang) 84 x 105 years = 1 pUrva (Purva) 7056 x 1010 years The Discussion on Anupurvi bha

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____ 'pUrva' ke bAda paccIsa ikAiyA~ aura haiM jo pratyeka pUrvavartI ikAI se 84 lAkha guNA adhika hai| ina ikAiyoM ke nAma sUtra 202 (2) meM sUcibaddha haiN| antima ikAI kA nAma 'zIrSa prahelikA' hai jisameM 54 aMkoM ke bAda 140 zUnya hote haiN| yaha lagabhaga 7.582 x 10193 ke barAbara hotI hai| ___After the 'Purva' there are twenty five units more. The names of these units are listed in aphorism 202 (2). Each unit is a multiple of 84,00,000 and the previous unit. The last such unit of the finite numbers in this series is known as Sheersh Prahelika. It contains 54 numbers and 140 zeros. In mathematical terms it is approximately 7.582x10193. (Exact figure being 75, 82, 63, 25, 30, 73, 01, 02, 41, 15, 79, 73, 56, 99, 75, 69, 64, 06, 21, 89, 66, 84, 80, 80, 18, 32, 96 x 10140) (2) aupamika kAla yaha vaha kAla hai jise saMkhyAoM yA gaNita se nahIM mApA jA sktaa| ataH ise samajhane ke lie upamA kI AvazyakatA hotI hai| isakI sabase choTI ikAI kA nAma hai plyopm| palyopama kA parimANa samajhane ke lie zAstrokta paribhASA isa prakAra hai-"eka yojana lambA-caur3A-gaharA pyAle ke AkAra kA gaDDhA khodA jAye jisakI paridhi tIna yojana ho| use uttara kuru ke turanta janme manuSya ke eka dina se sAta dinoM taka ke bAlAgra (atyanta sUkSma bAla kA agrabhAga) se aise ThasAThasa bhara diyA jAye ki jala aura vAyu bhI praveza na pA ske| se usameM se eka-eka bAlAgra pratyeka 100 varSa ke bAda nikAlA jaaye| isa prakAra jitane samaya meM vaha palya (gaDDhA) khAlI ho jAye usa kAla ko palyopama kahate haiN| ___ 10 koTA-koTi palyopama = 1 sAgaropama 10 koTA-koTi sAgaropama = 1 utsarpiNI athavA 1 avasarpiNI 20 koTA-koTi sAgaropama = 1 kAla-cakra (2) METAPHORIC TIME SCALE This is the period of time beyond the scope of numbers or mathematics. As such, it is measured inetaphorically, Its smallest unit is Palyopam. The definition of Palyopam available in Jain scriptures is as follows : Dig a cup shape ditch measuring 1 yojan (approx. 8 miles) on all sides. Fill it with miniscule hair of man from Uttar Kuru. It should be so tightly packed that air 19 or water may not find a passage within. Now start taking out one hair every hundred years. The time taken in emptying this ditch is termed as Palyopam. anuyogadvAra sUtra ( 292 ) Illustrated Anuyogadvar Sutra UYURULAR PROSTRO MONOPROXPOSUIXOPROPAPPROPNUAYYAPPALOPMOYNUYAUPALOYNOYATOVALOPALYNYDDOG

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1 thousand trillion Palyopam = 1 Sagaropam 1 thousand trillion Sagaropam = 1 Utsarpini or 1 Avasarpini 2 thousand trillion Sagaropam = 1 time cycle 20 koTA-koTi sAgaropama arthAt eka utsarpiNI-avasarpiNI ko milAkara eka kAlacakra hotA hai| ananta utsarpiNiyA~-avasarpiNiyA~ kA eka pudgala parAvarta hotA hai| jitane kAla meM eka jIva (AtmA) samasta lokAdAza ke pratyeka pudgala kA sparza karatA hai use pudgala parAvarta kahA hai| ananta pudgala parAvartoM kA samudAya eka atItAddhA (atIta kAla) kahalAtA hai| isI prakAra ananta anAgata kAla ke pudgala parAvartoM kA samudAya anAgatAddhA kahA jAtA hai| atIta-anAgata-vartamAna tInoM kAloM kA sammilita rUpa sarvAddhA-sarvakAla kahA jAtA hai| Two thousand trillion Sagaropam or one Utsarpini and one Avasarpini make one time cycle. Infinite time cycles make one pudgal-paravart. The time taken by a soul to touch each and every matter particle in the whole universe is said to be pudgalparavart. Infinite pudgal-paravart is one atitaddha (past-eons). Similarly infinite pudgal-paravart of future time is one anagataddha (future eons). Past-present-future time is called sarvaddha or all-time. (3) se kiM taM pacchANupubbI ? pacchANupubbI sambaddhA aNAgataddhA jAva sme| se taM pcchaannupubii| 202. (prazna 3) pazcAnupUrvI kyA hai? (uttara) sarvakAla, anAgatakAla yAvat samaya paryanta vyutkrama se padoM kI sthApanA karanA pazcAnupUrvI hai| 202. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangement of the aforesaid units of time placed in descending sequential order is called pashchanupurvi (descending sequence). The arrangement being--sarvakaal, anagatakaal, and so on up to samaya. This concludes the description of pashchanupurvi (descending sequence). AnupUrvI prakaraNa ( 293 ) The Discussion on Anupurdi

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(4) se kiM taM aNANupubI ? aNANupubI eyAe ceva egAdiyAe eguttariyAe aNaMtagacchagayAe seDhIe aNNamaNNabbhAso duruuvuunne| se taM annaannupubbii| se taM ovaNihiyA kaalaannupubii| se taM kaalaannupuvii| 202. (prazna 4) anAnupUrvI kyA hai ? (uttara) inhIM samayAdi kI eka se prArambha kara ekottara vRddhi dvArA sarvakAla paryanta kI zreNI sthApita kara paraspara guNAkAra se niSpanna rAzi meM se Adi aura antima do bhaMgoM ko kama karane ke bAda bace zeSa bhaMga anAnupUrvI haiN| ___ aupanidhikI kAlAnupUrvI kA varNana pUrNa huaa| kAlAnupUrvI kA varNana pUrNa huaa| 202. (Question 4) What is this Ananupurvi ? (Answer) Place numbers starting from one and progressively adding one up to sarvakaal. Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Aupanidhiki kaal-anupurvi (orderly time-sequence). This also concludes the description of kaal-anupurvi (time-sequence). utkIrtanAnupUrvI nirUpaNa 203. (1) se kiM taM ukkittaNANupubbI ? ukkittaNANupubI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubbI, (3) annaannupubbii| __203. (prazna 1) utkIrtanAnupUrvI kyA hai ? (uttara) utkIrtanAnupUrvI ke tIna prakAra haiN| yathA-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| anuyogadvAra sUtra ( 294 ) Illustrated Anuyogadvar Sutra

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UTKIRTANA-ANUPURVI 203. (Question 1) What is this Utkirtana-anupurvi (name-chanting sequence) ? ___(Answer) This Utkirtana-anupurvi (name-chanting sequence) is of three types (1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. (2) se kiM taM puvANupuvI ? puvANupucI-(1) usabhe, (2) ajie, (3) saMbhave, (4) abhiNaMdaNe, (5) sumatI, (6) paumappabhe, (7) supAse, (8) caMdappahe, (9) suvihI, (10) sItale, (11) sejase, (12) vAsupujje, (13) vimale, (14) aNaMte, (15) dhamme, (16) saMtI, (17) kuMthU, (18) are, (19) mallI, (20) muNisubbae, (21) NamI, (22) ariTThaNemI, (23) pAse, (24) vddhmaanne| se taM puvaannupubbii| 203. (prazna 2) (utkIrtana) pUrvAnupUrvI kyA hai? (uttara) utkIrtana pUrvAnupUrvI isa prakAra hai-(1) RSabha, (2) ajita, (3) sambhava, (4) abhinandana, (5) sumati, (6) padmaprabha, (7) supArzva, (8) candraprabha, (9) suvidhi, (10) zItala, (11) zreyAMsa, (12) vAsupUjya, (13) vimala, (14) ananta, (15) dharma, (16) zAnti, (17) kunthU, (18) ara, (19) malli, (20) munisuvrata, (21) nami, (22) ariSTanemi, (23) pArzva, (24) vardhamAna, isa krama se nAmoccAraNa karane ko utkIrtana pUrvAnupUrvI kahate haiN| (24 tIrthaMkaroM ke vistRta jIvana caritra ke lie dekheM sacitra kalpasUtra tathA sacitra tIrthakara critr|) 203. (Question 2) What is this Purvanupurvi (in context of Utkirtana-anupurvi (name-chanting sequence) ? ___ (Answer) Purvanupurvi is like this--(1) Rishabh, (2) Ajit, (3) Sambhav, (4) Abhinandan, (5) Sumati, (6) Padmaprabh, (7) Suparshva, (8) Candraprabh, (9) Suvidhi, (10) Sheetal, (11) Shreyans, (12) Vasupujya, (13) Vimal, (14) Anant, (15). Dharma, (16) Shanti, (17) Kunthu, (18) Ar, (19) Malli, (20) Munisuvrat, (21) Nami, (22) Nemi (Arishtanemi), (23) Parshva, and AnupUrvI prakaraNa The Discussion on Anupurvi

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(24) Vardhaman. The arrangement of these names chanted in such ascending sequential order (these are the names of Tirthankars of this descending cycle of time) is called purvanupurvi (ascending sequence). (For detailed lifesketches of 24 Tirthankars refer to Illustrated Kalpa Sutra and Illustrated Tirthankar charitra.) This concludes the description of purvanupurvi (ascending sequence). (3) se kiM taM pacchANupubbI ? __ pacchANupucI vaddhamANe 24 pAse 23 jAva usabhe 1 / se taM pcchaannupubbii| 203. (prazna 3) (utkIrtana) pazcAnupUrvI kyA hai ? (uttara) vyutkrama se arthAt vardhamAna, pArzva se prArambha karake prathama RSabha paryanta nAmoccAraNa karanA pazcAnupUrvI hai| 203. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangeinent of the aforesaid names chanted in descending sequential order is called pashchanupurvi (descending sequence). The arrangement being--Vardhaman, Parshva, and so on up to Rishabh. This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupuvI ? aNANupubI eyAe ceva egAdiyAe eguttariyAe cauvIsagacchagayAe seTIe aNNamaNNabhAso duruupuunne| se taM annaannupubbii| se taM ukkittnnaannupubbii| 203. (prazna 4) (utkIrtana) anAnupUrvI kyA hai ? (uttara) inhIM kI (RSabha se vardhamAna paryanta kI) eka se lekara eka-eka kI vRddhi karake caubIsa saMkhyA kI zreNI sthApita kara paraspara guNAkAra karane se jo rAzi banatI hai usameM se prathama aura antima bhaMga ko kama karane para zeSa bhaMga anAnupUrvI haiN| 203. (Question 4) What is this Ananupurvi ? (Answer) Place the aforesaid numbers (of names) starting from first and progressively adding one up to anuyogadvAra sUtra ( 296 ) lustrated Anuyogadvar Sutra * * * * * *

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FFERESIDEBISONS.ORGENSIBABPBHCOMEDGEXGXGOOGORIGODIGENGAGROORMERXHORTHORIHORIGORIGORIEODAHORTHORAGARHHORNHOBIAORAR twenty fourth. Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Utkirtanaanupurvi (name-chanting sequence). vivecana-cUrNikAra ne utkIrtana kA artha kiyA hai, ukkittaNa-guNavato thutI-guNavAna puruSoM kA nAma uccAraNa, unakI stuti karanA utkIrtana hai| isameM udAharaNa svarUpa RSabha Adi 24 tIrthaMkaroM kA nAmollekha kiyA hai| isI taraha bAraha cakravartI, kulakara, gaNadhara Adi kisI guNavAna puruSa kA nAmotkIrtana kiyA jA sakatA hai| ___Elaboration The commentator (Churni) has interpreted Ukkittana as gunavato thuti, which means chanting names of virtuous individuals or to recite panegyrics for them. Here names of twenty four Tirthankars have been given as an example. In the same way names of Chakravartis, Kulakars, Ganadhars, and other sets of virtuous individuals can be chanted. gaNanAnupUrvI prarUpaNA 204. (1) se kiM taM gaNaNANupubI ? gaNaNANupubbI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubbI, (3) annaannupubii| 204. (prazna 1) gaNanAnupUrvI kyA hai ? (uttara) gaNanAnupUrvI ke tIna prakAra haiM-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| GANANA-ANUPURVI ___204. (Question 1) What is this Ganana-anupurvi (counting sequence) ? ___ (Answer) This Ganana-anupurvi (counting sequence) is of three types--(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. AnupUrvI prakaraNa ( 297 ) The Discussion on Anupurvi Magar

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(2) se kiM taM puvvANupubbI ? puvANupubbI ekko dasa sayaM sahassaM dasasahassAI sayasahassaM dasasayasahassAI koDI, dasa koDIo, koDIsayaM, dskoddiisyaaii| se taM pubbaannupubii| 204. (prazna 2) pUrvAnupUrvI kyA hai ? (uttara) eka, dasa, sau, sahasra, dasa sahasra, zatasahasra (lAkha), dasazatasahasra (dasa lAkha) koTi (karor3a), dasa koTi, koTizata (araba), dasa koTizata (dasa araba), isa prakAra se ginatI karanA gaNanA-pUrvAnupUrvI hai|| 204. (Question 2) What is this Purvanupurvi (in context of Ganana-anupurvi (counting sequence) ? (Answer) Purvanupurvi is like this one, ten, hundred, thousand, ten thousand, hundred thousand (a lac), ten hundred thousand (a million), koti (crore or ten million), ten koti (hundred million), kotishat (hundred koti or one arab or billion), ten kotishat (ten arab). The arrangement of these numbers counted in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). (3) se kiM taM pacchANupubbI ? pacchANupubbI dasakoDisayAiM jAva ekko| se taM pcchaannupucii| 204. (prazna 3) pazcAnupUrvI kyA hai ? (uttara) dasa araba se lekara vyutkrama se eka paryanta kI ginatI karanA pazcAnupUrvI hai| 204. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangement of the aforesaid numbers counted in descending sequential order is called pashchanupurvi (descending sequence). The arrangement being--ten kotishat (ten arab), kotishat (hundred koti or one arab or billion), and so on up to one. anuyogadvAra sUtra ( 298 ) Illustrated Anuyogadvar Sutra

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This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupubbI ? aNANupubbI eyAe ceva egAdiyAe eguttariyAe dasakoDisayagacchagayAe seDhIe annamananbhAso duruuvuunno| se taM annaannupuvii| se taM gnnnnaannupubii| 204. (prazna 4) anAnupUrvI kyA hai ? (uttara) inhIM ko eka se lekara dasa araba paryanta kI eka-eka vRddhi vAlI zreNI meM sthApita saMkhyA kA paraspara guNA karane para jo bhaMga ho, unameM se Adi aura anta ke do bhaMgoM ko kama karane para zeSa rahe bhaMga anAnupUrvI haiN| 204. (Question 4) What is this Ananupurvi ? (Answer) Place the aforesaid numbers (of numerical units) starting from first and progressively adding one up to ten kotishat (ten arab). Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Gananaanupurvi (counting sequence). saMsthAnAnupUrvI prarUpaNA 205. (1) se kiM taM saMThANANupubbI ? saMThANANupubI tivihA pnnnnttaa| taM jahA-(1) puvANupubbI, (2) pacchANupubbI, (3) annaannupucii| 205. (prazna 1) saMsthAnAnupUrvI kyA hai ? (uttara) saMsthAnAnupUrvI ke tIna prakAra haiM-(1) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anaanupuurvii| AnupUrvI prakaraNa ( 299 ) The Discussion on Anupurvi

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SAMSTHANA-ANUPURVI 205. (1 Question) What is this Samsthana-anupurvi (structural sequence) ? (Answer) This Samsthana-anupurvi (structural sequence) is of three types-(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. (2) se kiM taM puvANupubbI ? puvANupubbI-(1) samacauraMse, (2) NaggohamaMDale, (3) sAdI, (4) khujje, (5) vAmaNe, (6) huNdde| se taM puvaannupuvii| 205. (prazna 2) (saMsthAna) pUrvAnupUrvI kise kahate haiM ? (uttara) (1) samacaturasrasaMsthAna, (2) nyagrodhaparimaMDalasaMsthAna, (3) sAdisaMsthAna, (4) kubjasaMsthAna, (5) vAmanasaMsthAna, (6) huMDasaMsthAna ke krama se saMsthAnoM ke vinyAsasthApanA karane ko pUrvAnupUrvI kahate haiN| 205. (Question 2) What is this Purvanupurvi (in context of Samsthana-anupurvi (structural sequence) ? ___ (Answer) Purvanupurvi is like this(1) Samachaturasra Samsthan, (2) Nyagrodhaparimandal Samsthan, (3) Sadi Samsthan, (4) Kubja Samsthan, (5) Vaman Samsthan, and (6) Hunda Samsthan. The arrangement of these types of structures in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). (3) se kiM taM pacchANupubbI ? pacchANupubbI-huMDe 6 jAva samacauraMse 1 / se taM pcchaannupuvii| 205. (prazna 3) pazcAnupUrvI kyA hai ? anuyogadvAra sUtra Illustrated Anuyogadvar Sutra OM ( 300 )

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chaha saMsthAnoM kI racanA SIX SHAPES OF HUMAN BODY | samacaturasra saMsthAna nyagrodha parimaNDala saMsthAna sAdika saMsthAna kubja saMsthAna vAmana saMsthAna huMDaka saMsthAna TRILOK SHARMA

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| citra paricaya 14 / Illustration No. 14 chaha saMsthAnoM kI AkRti zarIra ke AkAra ko saMsthAna kahA jAtA hai| vaha chaha prakAra kA hai, jaise(1) sama caturasra saMsthAna-pAlathI mArakara baiThane para jisa zarIra ke cAroM koNa samAna hoN| (2) nyagrodha parimaMDala saMsthAna-vaTa vRkSa ke samAna jisakA nAbhi se Upara kA bhAga vistRta phailA huA tathA nIce kA bhAga saMkucita ho| (3) sAdika saMsthAna-nAbhi se nIce kA bhAga pramANa yukta va sundara ho aura Upara kA bhAga saMkucita va durbala ho| jaise semala kA vRkSa nIce se puSTa hotA hai, Upara se kmjor| (4) kubja saMsthAna-jisa zarIra meM hAtha, paira, sira, gardana Adi avayava ThIka hoM, kintu chAtI, peTa, pITha Adi Ter3he hoN| (5) vAmana saMsthAna-jisa zarIra meM chAtI, peTa, pITha Adi avayava paripUrNa hoM, kintu hAtha, paira, sira, gardana choTe hoN| (6) huMDaka saMsthAna-jisa zarIra ke sabhI avayava Ter3he-mer3he beDola hoN| -sUtra 205 Hasiriesses ketaketcsiesskelesses ke lessionakesekskskskske.sakse.seks.skcesaks.skoselissaksesske.ske. SIX SAMSTHANAS The structure of the human body is called Samsthana. It is of six kinds (1) Samachaturasra Samsthana-When parallel lines drawn from the extremities of a body sitting cross-legged form a square, the anatomical structure is called Samachaturasra Samsthana. For example the distance between two knees is equal to that between two shoulders. In other words all parts of the body are beautiful and ideally formed. (2) Nyagrodhaparimandal Samsthana-Like a banyan tree it is much broader and developed above the navel and comparatively lean and underdeveloped below. (3) Sadi Samsthana-It is fully developed below the navel and underdeveloped above the navel. Like a Saimal tree, which is thick below and thin above. (4) Kubja Samsthana-Here torso is weak and deformed and limbs, head and neck are normal. Such as a hunchback. (5) Vaman Samsthana-It has a proportionate torso but smaller limbs. Such as a dwarf. (6) Hunda Samsthana-It has deformities in every part of the body. -Sutra : 205

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FFERREDEEME DESTROYEDNESTEDGPONSEXGDIGENEPBEBEEMEGGIGADGADGEMEDIEDMEDYESTEENETBPOISODGREVGAROO (uttara) huMDasaMsthAna se lekara samacaturasrasaMsthAna taka vyutkrama se saMsthAnoM kI sthApanA karanA pazcAnupUrvI hai| 205. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangement of the aforesaid types of structures in descending sequential order is called pashchanupurvi (descending sequence). The arrangement beingHunda Samsthan, and so on up to Samchaturasra Samsthan. This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupubbI ? aNANupubbI eyAe ceva egAdiyAe eguttiriyAe chagacchagayAe seTIe annamanabhA duruuvuunne| se taM annaannupubbii| se taM sNtthaannaannupubbii| 205. (4 prazna) (saMsthAna) anAnupUrvI kyA hai ? (uttara) eka se lekara chaha taka kI ekottara vRddhi vAlI zreNI meM sthApita saMkhyA kA paraspara guNAkAra karane para niSpanna rAzi meM se Adi aura anta rUpa do bhaMgoM ko kama karane para zeSa bhaMga anAnupUrvI haiN| yaha saMsthAnAnupUrvI kA svarUpa hai| 205. (Question 4) What is this Ananupurvi ? (Answer) Place the aforesaid numbers (of types of si structures) starting from one and progressively adding one up to six. Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Samsthanaanupurvi (structural sequence). vivecana-saMsthAna, AkAra athavA AkRti, ye paryAyavAcI zabda haiN| ina saMsthAnoM kI kramika paripATI kramazaH gaNanA karanA saMsthAnAnupUrvI kahalAtI hai| yadyapi saMsthAna jIva aura a AnupUrvI prakaraNa ( 301 ) The Discussion on Anupurvi

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ajIva sambandhI hone se aneka bhinna prakAra ke haiM, tathApi yahA~ paMcendriya jIva sambandhI saMsthAna kA ullekha hai| (1) samacaturastrasaMsthAna - zarIra ke nAbhi se Upara aura nIce ke sabhI aMga-pratyaMga pramANopeta hote haiN| Aroha- pariNAha ( utAra-car3hAva ) anurUpa hotA hai| zarIra apane aMgula se eka sau ATha aMgula U~cAI vAlA hotA hai, yaha samacaturasrasaMsthAna hotA hai / palahatthI mAra kara baiThane para jisa zarIra ke cAroM koNa (kone) samAna hoM, use samacaturasra saMsthAna kahate haiM / (2) nyagrodhaparimaMDalasaMsthAna - nyagrodha- vaTavRkSa kA nAma hai| isake samAna jisakA maNDala (AkAra) ho arthAt jaise nyagrodha - vRkSa Upara meM sampUrNa avayavoM vAlA hotA hai aura nIce vaisA nahIM hotaa| isI prakAra yaha saMsthAna bhI nAbhi se Upara vistAra vAlA aura nAbhi se nIce na pramANa vAlA hotA hai| (3) sAdisaMsthAna - nAbhi se nIce kA bhAga paripUrNa ho aura nAbhi se Upara kA bhAga hIna hotA hai, vaha sAdi saMsthAna hai| (4) kubjasaMsthAna - jisa saMsthAna meM sira, grIvA, hAtha, paira to ucita pramANa vAle hoM, kintu hRdaya, pITha aura udara pramANa-vihIna hoM, kUbaDa nikalI huI ho vaha kubjasaMsthAna hai| ( 5 ) vAmanasaMsthAna - jisa saMsthAna meM vakSasthala, udara aura pITha lakSaNayukta pramANopeta hoM aura hAtha-paira Adi choTe hoM, vaha vAmanasaMsthAna hai| sAmAnya vyavahAra meM aise saMsthAna vAle ko baunA kahA jAtA hai| (6) huMDasaMsthAna - jisa zarIra meM sabhI avayava Ter3he-mer3he beDola va beDhaba hoM / Elaboration-Samsthan (structure), akar ( shape), and akriti (shape) have similar meanings. A sequence of these structures or shapes is called Samsthana-anupurvi (structural sequence). As structures cover beings and non-beings both, they are of numerous different types. However, here only those related to five sensed beings, specifically human beings, are mentioned. Thus these are anatomical structures or constitution of body. (1) Samachaturasra Samsthan-An anatomical structure of a human being where all the parts of body above and below the navel are of standard dimensions. The dimensions increase and decrease proportionately. The height of the body is 108 times the width of a finger (angul). When parallel lines drawn from the extremities of a body sitting cross-legged form a square, the anatomical structure is called Samachaturasra Samsthan. anuyogadvAra sUtra ( 302 ) Illustrated Anuyogadvar Sutra

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(2) Nyagrodhaparimandal Samsthan-Nyagrodh means a banyan tree. An anatomical structure similar to the shape of a banyan tree is called Nyagrodhaparimandal Samsthan. Like a banyan tree, it is much broader and developed above the navel and comparatively lean and underdeveloped below. (3) Sadi Samsthan-An anatomical structure fully developed below the navel and under-developed above the navel is called Sadi Samsthan. (4) Kubja Samsthan-An anatomical structure where torso is weak and deformed and remaining parts including limbs and head are normal is called Kubja Samsthan. Such as a hunchback. (5) Vaman Samsthan-An anatomical structure with a proportionate torso but smaller limbs is called Vaman Samsthan. Such as a dwarf. (6) Hunda Samsthan-An anatomical structure having deformities in every part of the body is called Hunda Samsthan. samAcArI - AnupUrvIprarUpaNA 206. (1) se kiM taM sAmAyArI ANupubbI ? sAmAyArI ANupubbI tivihA paNNattA / taM jahA - (1) pubbANupubbI, (2) pacchANupuvvI, (3) aNANupuvI / 206. ( prazna 1) samAcArI- AnupUrvI kyA hai ? (uttara) samAcArI - AnupUrvI tIna prakAra kI hai- (9) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anAnupUrvI / SAMACHARI-ANUPURVI 206. (Question 1) What is this Samachari-anupurvi (behavioural sequence)? (Answer) This Samachari-anupurvi sequence) is of three types-(1) (2) Pashchanupurvi, and (3) Ananupurvi. AnupUrvI prakaraNa ( 303 ) (behavioural Purvanupurvi, The Discussion on Anupurvi

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(2) se kiM taM puvANupubbI ? puvANupubbI-(1) icchA, (2) micchA, (3) tahakkAro, (4) AvasiyA, (5) ya nisiihiyaa| (6) ApucchaNA, (7) ya paDipucchA, (8) chaMdaNA, (9) ya nimNtnnaa| (10) uvasaMpayA ya kAle, sAmAyArI bhave dsvihaa||16|| se taM puvaannupucii| 206. (prazna 2) (samAcArI) pUrvAnupUrvI kyA hai ? (uttara) pUrvAnupUrvI kA svarUpa isa prakAra hai (1) icchAkAra, (2) mithyAkAra, (3) tathAkAra, (4) AvazyakI, (5) naiSedhikI, (6) ApRcchanA, (7) pratipRcchanA, (8) chaMdanA, (9) nimaMtraNA, (10) upsNpd| yaha dasa prakAra kI samAcArI hai| 206. (Question 2) What is this Purvanupurvi (in context of Samachari-anupurvi (behavioural sequence) ? (Answer) Purvanupurvi is like this-(1) Icchakar, (2) Mithyakar, (3) Tathakar, (4) Avashyaki, (5) Naishedhiki. (6) Apricchana, (7) Pratiprichhana, (8) Chhandana, (9) Nimantrana, and (10) Upasampad. The arrangement of these types of behaviour (of ascetics) in such ascending sequential order is called purvanupurvi (ascending sequence). This concludes the description of purvanupurvi (ascending sequence). (3) se kiM taM pacchANupubbI ? pacchANupubbI uvasaMpayA 10 jAva icchA 1 / se taM pcchaannupubbii| 206. (prazna 3) pazcAnupUrvI kyA hai ? (uttara) upasaMpad se lekara icchAkAra paryanta vyutkama se sthApanA karanA samAcArI sambandhI pazcAnupUrvI hai| anuyogadvAra sUtra ( 304 ) Illustrated Anuyogadvar Sutra

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206. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangement of the aforesaid types of behaviour in descending sequential order is called pashchanupurvi (descending sequence). The arrangement being-Upasampad, and so on up to Icchakar. This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupubbI ? aNANupubbI eyAe ceva egAdiyAe eguttariyAe dasagacchagayAe seDhIe anamanabhAso duruuvuunno| se taM annaannupubbii| se taM sAmAyArI aannupubbii| 206. (prazna 4) anAnupUrvI kyA hai ? (uttara) eka se lekara dasa paryanta eka-eka kI vRddhi dvArA zreNI rUpa meM sthApita saMkhyA kA paraspara guNAkAra karane se prApta rAzi meM se prathama aura antima bhaMga ko kama karane para zeSa rahe bhaMga anAnupUrvI haiN| yaha samAcArI-AnupUrvI kA svarUpa / 206. (Question 4) What is this Ananupurvi ? __ (Answer) Place the aforesaid numbers (of types of behaviour) starting from one and progressively adding one up to ten. Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Samacharianupurvi (behavioural sequence). vivecana-ziSTajanoM (zreSTha zramaNoM) dvArA Acarita samyak AcAra va kriyAkalApa ko samAcArI kahate haiN| usa samAcArI kA icchAkAra Adi ke krama se upanyAsa karanA pUrvAnupUrvI samAcArI Adi hai| AnupUrvI prakaraNa (305 ) The Discussion on Anupurvi

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( 1 ) icchAkAra - binA kisI dabAva ke Antarika preraNA se vratAdi kA AcaraNa karane kI icchA / (2) mithyAkAra - akRtya kA sevana ho jAne para pazcAttApa dvArA maiMne yaha mithyA asat AcaraNa kiyA, aisA vicAra karanA / (3) tathAkAra - guru ke vacanoM ko 'tahata' kahakara svIkAra karanA / (4) AvazyakI - Avazyaka kArya ke lie bAhara jAne para guru se nivedana karanA / (5) naiSedhikI - kArya karake vApasa Ane para apane praveza kI sUcanA denA / (6) ApRcchanA - kisI bhI kArya ko karane ke lie gurudeva se AjJA lenA / (7) pratipRcchanA - kArya ko prArambha karate samaya punaH gurudeva se pUchanA athavA kisI kArya ke lie gurudeva ne manA kara diyA ho taba thor3I dera bAda kArya kI anivAryatA batAkara punaH pUchanA | (8) chaMdanA - anya sAMbhogika sAdhuoM se apanA lAyA AhAra Adi grahaNa karane ke lie nivedana krnaa| ( 9 ) nimantraNA - AhArAdi lAkara (kintu abhI taka lAyA nahIM hai ) Apako dU~gA, aisA kahakara anya sAdhuoM ko nimaMtrita karanA / (10) upasaMpat - zrutAdi kI prApti ke lie anya sAdhu kI adhInatA svIkAra karanA / (inakA vistRta varNana sacitra uttarAdhyayana ke samAcArI adhyayana pRSTha 322 para dekheM) Elaboration-The right behaviour or conduct as followed by civilized and virtuous people (here it means accomplished ascetics) is called samachari (behaviour). To arrange the parts of that samachari in a specific order is purvanupurvi (ascending sequence), and others. (1) Icchakar-to have the desire to indulge in observing religious duties, like vows, of one's own volition without any compulsion. (2) Mithyakar-to accept with a feeling of repentance any misdeed committed. (3) Tathakar-to assent to the order or word of the preceptor by uttering 'tahat'. (4) Avashyaki-to inform the guru when going out for any necessary work. anuyogadvAra sUtra ( 306 ) Illustrated Anuyogadvar Sutra

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(5) Naishedhiki-to inform or announce on return after doing some work. (6) Apricchana-to seek permission of the guru before doing any work. (7) Pratiprichhana-to seek permission again just before commencing the work; also to re-seek permission by explaining the compulsion, if permission is denied at the first instance. (8) Chhandana-to offer acquired things including food to other ascetics of the group. (9) Nimantrana-to invite other ascetics of the group to partake things to be acquired in future. (10) Upasampad-to submit to other senior ascetic or guru in order to acquire knowledge including that of scriptures. (for details refer to the chapter on Samachari in Uttardhyayan Sutra). bhAvAnupUrvI prarUpaNA 207. ( 1 ) se kiM taM bhAvANupuvI ? bhAvANupubbI tivihA paNNattA / taM jahA - ( 1 ) pubbANupubbI, (2) pacchANupubbI, (3) aNANupubbI / 207. (prazna 1) bhAvAnupUrvI kyA hai ? (uttara) bhAvAnupUrvI tIna prakAra kI hai / yathA - ( 1 ) pUrvAnupUrvI, (2) pazcAnupUrvI, (3) anAnupUrvI / BHAAVA-ANUPURVI 207. (Question 1) What is this Bhaava-anupurvi (statesequence)? (Answer) This Bhaava-anupurvi (state-sequence; here state refers to the state of a being) is of three types(1) Purvanupurvi, (2) Pashchanupurvi, and (3) Ananupurvi. AnupUrvI prakaraNa ( 307 ) The Discussion on Anupurvi

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I NA NA NA NAKE (2) se kiM taM puvvANupubbI ? puvvANupuvI udaie (1) uvasamie, (2) khatie, (3) khaovasamie, (4) pAriNAmie, ( 5 ) sannivAtie, ( 6 ) se taM puvvANupubbI / 207. (prazna 2) (bhAva) pUrvAnupUrvI kyA hai ? (uttara) (1) audayikabhAva, (2) aupazamikabhAva, (3) kSAyikabhAva, (4) kSAyopazamikabhAva, (5) pAriNAmikabhAva, (6) sAnnipAtikabhAva, isa krama se bhAvoM kA upanyAsa karanA bhAva- - pUrvAnupUrvI hai| 207. (Question 2) What is this Purvanupurvi (in context of Bhaava-anupurvi (state-sequence) ? (Answer) Purvanupurvi is like this -- (1) audayik-bhaava (culminated state), (2) aupashamik-bhaava (pacified_state), (3) kshayik-bhaava ( extinct state), (4) kshayopashamikbhaava (state of extinction-cum-pacification ), ( these four states are in context of karma particles ), (5) parinamikbhaava (transformed state), and (6) sannipatik-bhaava (mixed state). The arrangement of these states (of beings) in such ascending sequential order is called purvanupurvi (ascending sequence). of purvanupurvi This concludes the description (ascending sequence). (3) se kiM taM pacchANupubbI ? pacchANupuvI sannivAtie 6 jAva udaie 1 / se taM pacchANupucI / 207 . ( prazna 3) pazcAnupUrvI kyA hai ? (uttara) sAnnipAtikabhAva se lekara audayikabhAva paryanta bhAvoM kI vyutkrama se sthApanA karanA pazcAnupUrvI hai| 207. (Question 3) What is this Pashchanupurvi ? (Answer) The arrangement of the aforesaid states in descending sequential order is called pashchanupurvi anuyogadvAra ( 308 ) Illustrated Anuyogadvar Sutra DADA DIDDATIVIDADE DE DADDIDITATIVIDADE

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(descending sequence). The arrangement being-sannipatikbhaava, and so on up to audayik-bhaava. This concludes the description of pashchanupurvi (descending sequence). (4) se kiM taM aNANupubbI ? _ aNANupubI eyAe ceva egAdiyAe eguttariyAe chagacchagayAe seDhIe anamanabhAso durUvUNo se taM annaannupuvii| se taM bhaavaannupubbii| se taM ANupubI tti padaM samattaM / 207. (prazna 4) anAnupUrvI kyA hai? (uttara) eka se lekara ekottara vRddhi dvArA chaha paryanta kI zreNI meM sthApita saMkhyA kA paraspara guNAkAra karane para prApta rAzi meM se prathama aura antima bhaMga ko kama karane para zeSa rahe bhaMga anAnupUrvI haiN| ___ yaha bhAva-anAnupUrvI kA varNana pUrNa huaa| (vizeSa-chaha bhAvoM kA varNana Age sUtra 233 se 259 taka kiyA gayA hai|) ||aanupuurvii prakaraNa samApta // 207. (Question 4) What is this Ananupurvi ? (Answer) Place the aforesaid numbers (of states) starting from one and progressively adding one up to six. Multiply all the numbers of this arithmetic progression and subtract 2 (depicting the ascending and descending sequence) from the result. This final result is called ananupurvi (random sequence). This concludes the description of ananupurvi (random sequence). This concludes the description of Bhaavaanupurvi (state-sequence). This also concludes the description of Anupurvi (sequence). (The detailed description of the said six states is available in aphorisms 233-259) * END OF THE DISCUSSION ON ANUPURVI * 9 AnupUrvI prakaraNa ( 309 ) The Discussion on Anupurvi

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nAmAdhikAra prakaraNa THE DISCUSSION ON NAMA sUtra-12 meM upakrama ke AnupUrvI, nAma, pramANa, vaktavyatA, arthAdhikAra tathA samavatAraina chaha bhedoM kA varNana karane kA kathana kiyA gayA hai| AnupUrvI ke sabhI bhedoM kA varNana kiyA jA cukA hai| aba nAma Adi kA varNana prArambha kara rahe haiN| It has been stated in aphorism 92 that six categories of Upakram, namely Anupurvi, Nama, Pramana, Vaktavyata, Arthandhikara, and Samavatar, will be discussed. Discussion on all the kinds of Anupurvis has been concluded. Now the discussion on Nama is being taken up. nAma 208. se kiM taM NAme ? NAme dasavihe pnnnntte| taM jahA-(1) egaNAme, (2) duNAme, (3) tiNAme, (4) cauNAme, (5) paMcaNAme, (6) chaNAme, (7) sattaNAme, (8) aTThaNAme, (9) navaNAme, (10) dsnnaame| 208. (prazna) vaha nAma kyA hai? (uttara) nAma ke dasa prakAra haiM-(1) eka nAma, (2) do nAma, (3) tIna nAma, (4) cAra nAma, (5) pA~ca nAma, (6) chaha nAma, (7) sAta nAma, (8) ATha nAma, (9) nau nAma, (10) dasa naam| NAMA 208. (Question) What is this nama ? (Answer) Nama (name) is of ten types--(1) Eka nama (one-named), (2) Do nama or Dvinama (Two-named or binamed), (3) Teen nama or Trinama (Three-named or trinamed), (4) Char nama or Chaturnama (Four-named), (5) Panch. nama (Five-named), (6) Chhaha nama (SixanuyogadvAra sUtra ( 310 ) Illustrated Anuyogadvar Sutra

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D umarixxxx RODROP CODACOLLOY LOYAL COPA STATODAYODACODARA FEEPAVAORYHORMOORVHORVGORVAORYHOOTORYHORIGORYHORVAORMHORHINOORYHOROHOROVIDAVAORYKOPtHORVAORNHORVAORVAORMAORVAORYAORYMonwrowimarterin named), (7) Saat nama (Seven-named), (8) Aath nama (Eight-named), (9) No nama (Nine-named), (10) Dus nama (Ten-named). vivecana-jIva, ajIva Adi pratyeka padArtha kI pahacAna nAma se hotI hai| vastu kA vAcaka zabda 'nAma' kahalAtA hai| isa nAma ke eka, do, tIna Adi dasa bheda haiN| kisI vivakSita padArtha ke samasta rUpoM ke kathana ke lie jitane nAmoM kI AvazyakatA par3atI hai usa para nAma ke ye prakAra AdhArita haiN| jisa eka nAma se samasta padArthoM kA kathana ho jAya, vaha eka nAma hai| jaise 'sat' / aisA koI bhI padArtha nahIM jo sattA se vihIna ho ataH isa 'sat' nAma se lokavartI samasta padArthoM kA eka sAtha kathana ho jAne se 'sat' eka nAma kA udAharaNa hai| ___ isI prakAra jina do, tIna, cAra, yAvat dasa nAmoM se samasta vivakSita padArtha kahane yogya banate haiM ve kramazaH do se lekara dasa nAma taka batAye gaye haiN| Elaboration Every substance including being and non-being is recognized by a name. A word attributed to a thing is called nama or name. Ten classes of names have been mentioned here with numerical values of one to ten. These classes are based on the number of names required to express all possible forms or categories of a thing. Eka nama (One name) is that name by which all things can be expressed. For example sat (existent). There is no substance or thing that is without existence. As the word existent is one single word (noun) that covers all things in this universe, it is an example of the class Eka nama (One-named). In the same way the number of nouns required to express the desired thing indicates its place among the said list of ten classes of names. (1) eka nAma 209. se kiM taM egaNAme ? NAmANi jANi kANi vi davyANa guNANa pajjavANaM c| tesiM Agamanihase nAmaM ti parUviyA snnnnaa||17|| se taM egnnaam| DRODARODRO9009009999ARDAROSARO900DRODARDAROORDARO900900DROPRODR69-809009000000000DROPAROBAROPAROSARODAY nAmAdhikAra prakaraNa (311 ) The Discussion on Nama

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209. (prazna) eka nAma kyA hai ? (uttara) dravyoM, guNoM evaM paryAyoM ke jitane nAma loka meM pracalita haiM, una sabakA 'nAma' aisI eka saMjJA Agama meM kahI gaI hai||17|| yaha eka nAma hai| (1) EKA NAMA (ONE-NAMED) 209. (Question) What is this Eka nama (one-named) ? (Answer) Whatever names there are of substances, attributes, and modes (alternatives or transformations) have all been assigned to the term 'nama' (name) in Agam. (17) This concludes the description of Eka nama (one-named). vivecana-dravyoM-arthAt jIva, ajIva Adi, guNoM-dravya ke guNa jaise jJAna, buddhi, gaMdha, rUpa, sparza Adi aura paryAyoM-dravya ke vividha paryAya avasthA Adi-jaise nAraka, deva, mnussy| ye sabhI loka meM pracalita jitane bhI zabda haiM, ve bhinna-bhinna hone para bhI 'nAma' zabda meM A jAte haiN| ataH 'nAma'-vaha eka nAma hai jo kisI bhI padArtha ke samasta rUpa ko sampAdita kara letA hai| ___Elaboration-Substances include being, non-being, etc.; their attributes include knowledge, wisdom, smell, form, taste, touch, etc; their modes include infernal beings, human beings, divine, beings, etc.; all these words in use in this world fall under the single category name. Thus name is a word that covers all possible forms or attributes of any given thing. (2) dvinAma 210. se kiM taM duNAme ? duNAme duvihe pnnnntte| taM jahA-(1) egakkharie ya, (2) aNegakkharie y| 210. (prazna) dvinAma kyA hai ? (uttara) dvinAma ke do prakAra haiM-(1) ekAkSarika aura, (2) anekaakssrik| (2) DO NAMA (TWO-NAMED) 210. (Question) What is this Do nama (Two-named) ? anuyogadvAra sUtra ( 312 ) Illustrated Anuyogadvar Sutra

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___ (Answer) Do nama (Two-named) is of two kinds(1) Ekasharika (monosyllable) and (2) Anekaksharik (multisyllable). 211. se kiM taM egakkharie ? egakkharie aNegavihe pnnnntte| taM jahA-hIH zrIH dhIH strii| se taM egkkhrie| 211. (prazna) ekAkSarika dvinAma kyA hai ? (uttara) ekAkSarika dvinAma ke aneka prakAra haiM, jaise-hI (lajjA athavA devatA vizeSa), zrI (lakSmI athavA devatA vizeSa), dhI (buddhi), strI Adi ekAkSarika nAma haiN| 211. (Question) What is this Ekasharika (monosyllable) ? (Answer) There are many kinds of Ekasharika Do nama (monosyllable Two-named)-Hri, Shri, Dhi, Stree, etc. (Sanskrit monosyllable names meaning shyness or a specific deity, wealth or specific deity, wisdom, and woman respectively.) 212. se kiM taM aNegakkharie ? aNegakharie aNegavihe pnnnntte| taM jahA-kaNNA vINA latA maalaa| se taM annegkkhrie| 212. (prazna) anekAkSarika dvinAma kyA hai ? (uttara) anekAkSarika nAma ke bhI aneka prakAra haiN| yathA-kanyA, vINA, latA, mAlA Adi anekAkSarika dvinAma haiN| ___212. (Question) What is this Anekasharika (multisyllable)? (Answer) There are many kinds of Anekasharika Do nama (multi-syllable Two-named)--Kanya, Vina, Lata, Mala, etc. (Hindi nouns meaning daughter, a stringed musical instrument, creeper, and garland respectively.) nAmAdhikAra prakaraNa ( 313 ) The Discussion on Nama

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vivecana-kisI bhI vastu kA uccAraNa akSaroM ke mAdhyama se hotA haiN| ataH eka akSara se niSpanna nAma ko ekAkSarika aura eka se adhika-aneka akSaroM se niSpanna bane nAma ko anekAkSarika kahate haiN| zrI, hI Adi nAmoM ke atirikta anya nAmoM ko bhI ekAkSarika nAma samajhanA cAhie tathA vINA, mAlA Adi do akSaroM ke yoga se bane nAmoM kI taraha, balAkA, patAkA Adi tIna akSaroM yA inase adhika akSaroM se bane nAmoM ko anekAkSarika nAma jAnanA caahie| ___Elaboration-Each word or name is made up of syllables. As such a word or name having just one syllable is called monosyllable name. A name having more than one syllable is called multi- syllable. Names with one syllable, other than those mentioned here, are also monosyllable names. Names with two or more syllables, such as balaka, pataka, etc. are also multi-syllable names like vina, mala, etc. mentioned here. 213. ahavA dunAme duvihe pnnnntte| taM jahA-(1) jIvanAme ya, (2) ajIvanAme y| 213. athavA dvinAma ke do prakAra haiN| yathA-(1) jIvanAma aura (2) ajiivnaam| 213. Also there are another two kinds of Dvinama (bi-named)-(1) Jiva-nama (name of a being) and (2) Ajivanama (name of a non-being). 214. se kiM taM jIvaNAme ? jIvaNAme aNegavihe pnnnntte| taM jahA-devadatto jaNNadatto viNhudatto somdtto| se taM jiivnaame| 214. (prazna) jIvanAma kyA hai ? (uttara) jIvanAma ke aneka prakAra haiN| jaise-devadatta, yajJadatta, viSNudatta, somadatta ityaadi| yaha jIvanAma kA svarUpa hai| ___214. (Question) What is this Jiva-nama (name of a being)? (Answer) There are many kinds of Jiva-nama (name of a being)-Devadatt, Yajnadatta, Vishnudatta, Somadatta, etc. anuyogadvAra sUtra ( 314 ) Illustrated Anuyogadvar Sutra

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This concludes the description of Jiva-nama (name of a being). 215. se kiM taM ajIvanAme ? ajIvanAme aNegavihe pnnnntte| taM jahA-ghaDo paDo kaDo rh| se taM ajiivnaame| 215. (prazna) ajIvanAma kyA hai ? (uttara) ajIvanAma bhI aneka prakAra ke haiN| yathA-ghaTa, paTa, kaTa, ratha ityaadi| yaha ajIvanAma haiN| 215. (Question) What is this Ajiva-nama (name of a non-being)? (Answer) There are many kinds of Ajiva-nama (name of a non-being)--Ghat, Pat, Kat, Rath, etc. This concludes the description of Ajiva-nama (name of a non-being). do nAma ke sAmAnya -vizeSa bheda 216. (1) ahavA dunAme duvihe pnnnntte| taM jahA-(1) visesie ya, (2) avisesie y| 216. (1) athavA apekSAdRSTi se dvinAma ke aura bhI do prakAra haiN| yathA(1) vizeSita (bheda vAlA) aura (2) avizeSita (saamaany)| SPECIFIC AND GENERAL 216. (1) Also, comparatively speaking there are two more kinds of Dvinama (bi-named)--(1) Specific and (2) general.. (2) avisesie dave, visesie jIvadavve ya ajIvadave y| (2) dravya yaha avizeSita (sAmAnya) nAma hai aura jIvadravya evaM ajIva dravya ye vizeSita (vizeSa) nAma haiN| __(2) Dravya (substance) is a general name whereas Jiva dravya (living substance) and Ajiva dravya (non-living substance) are specific names. nAmAdhikAra prakaraNa ( 315 ) The Discussion on Nama

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(3) avisesie jIvadavve, visesie Neraie tirikkhajogie maNusse deve| (3) jIvadravya ko avizeSita (sAmAnya) nAma mAnane para nAraka, tiryaMcayonika, manuSya aura deva ye vizeSita nAma haiN| (3) When jiva dravya is taken to be a general name, the specific names are--Naarak (infernal being), Tiryanch-yonik (animals), Manushya (human beings), and Deva (gods or divine beings). (4) avisesie Neraie, visesie rayaNappabhAe sakkarappabhAe vAluppabhAe paMkappabhAe dhUmappabhAe tamAe tmtmaae| avisesie rayaNappabhApuDhaviNeraie, visesie pajjattae ya apajjattae y| evaM jAva avisesie tamatamApuDhaviNeraie, visesie pajjattae ya apajjattae y| (4) nairayika avizeSita (sAmAnya) nAma hai aura ratnaprabhA kA nairayika, zarkarAprabhA kA nairayika, bAlukAprabhA kA nairayika paMkaprabhA kA nairayika, dhUma prabhA kA nairayika, tamaH prabhA kA nairayika, tamastamaHprabhA kA nairayika yaha vizeSita dvinAma haiN| ratnaprabhA kA nairayika, isa nAma ko avizeSita mAnane para ratnaprabhA kA paryApta nairayika aura ratnaprabhA kA aparyApta nairayika vizeSita nAma hoMge yAvat tamastamaHprabhA pRthvI ke nairayika ko avizeSita mAnane para usake paryApta aura aparyApta ye vizeSita nAma khlaayeNge| (4) When naarak (infernal being) is taken to be a general name, the specific names are-Ratnaprabha Naarak (infernal being of the hell named Ratnaprabha), Sharkaraprabha Naarak (infernal being of the hell named Sharkaraprabha). Balukaprabha Naarak (infernal being of the hell named Balukaprabha), Pankaprabha Naarak (infernal being of the hell named Pankaprabha), Dhoomprabha Naarak (infernal being of the hell named Dhoomprabha), Tamah-prabha Naarak (infernal being of the hell named Tamah-prabha), Tamastamah-prabha Naarak (infernal being of the hell named Tamastamah-prabha.). anuyogadvAra sUtra ( 316 ) Mlustrated Anuyogadvar Sutra

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When Ratnaprabha Naarak (infernal being of the hell named Ratnaprabha) is taken to be a general name, the specific names are-Ratnaprabha Paryapt-Naarak (fully developed infernal being of Ratnaprabha-hell) and Ratnaprabha Aparyapt-Naarak (under-developed infernal being of Ratnaprabha-hell). The same rule applies to the remaining hells up to Tamastamah-prabha-hell. (5) avisesie tirikkhajoNie, visesie egiMdie beiMdie teiMdie cauridie paMciMdie / (5) tiryaMcayonika isa nAma ko avizeSita mAnane para ekendriya, dvIndriya, trIndriya, caturindriya, paMcendriya ye pA~ca vizeSita nAma hoNge| (5) When Tiryanch-yonik (animals) is taken to be a general name, the specific names are-Ekendriya (onesensed being), Dvindriya (Two-sensed being), Trindriya (three-sensed being), Chaturindriya (four-sensed being ), and Panchendriya (five-sensed being). (6) avisesie egiMdie, visesie puDhavikAie AukAie teukAie vAukAie vnnssikaaie| avisesie puDhavikAie-visesie suhumapuDhavikAie ya bAdarapuDhavikAe / avisesie suhumapuDhavikAie, visesie pajjattayasuhumapuDhavikAie ya apajjattayasuhumapuDhavikAie ya / avisesie bAdarapuDhavikAie, visesie pajjattayabAdarapuDhavikAie ya apajjattayabAdarapuDhavikAie ya / evaM Au teu vAu vaNassatI. ya avisesie ya pajjattaya - - apajjattayabhedehiM bhANiyavvA / (6) ekendriya ko avizeSita nAma mAnane para pRthvIkAya, apkAya, tejaskAya, vAyukAya, vanaspatikAya ye vizeSita nAma hote haiN| nAmAdhikAra prakaraNa ( 317 ) The Discussion on Nama

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___ yadi pRthvIkAya nAma ko avizeSita mAnA jAye to sUkSmapRthvIkAya aura bAdarapRthvIkAya yaha vizeSita nAma hotA hai| sUkSmapRthvIkAya nAma ko avizeSita mAnA jAye to paryApta sUkSmapRthvIkAya aura aparyApta sUkSmapRthvIkAya yaha vizeSita nAma hotA hai| ___ bAdarapRthvIkAya nAma avizeSita mAneM to paryApta bAdarapRthvIkAya aura aparyApta bAdarapRthvIkAya yaha vizeSita nAma haiN| - isI prakAra apkAya, tejaskAya, vAyukAya, vanaspatikAya ina nAmoM ko avizeSita nAma mAne jAne para anukrama se unake paryApta aura aparyApta ye vizeSita nAma hote haiN| ___(6) When ekendriya (one-sensed being) is taken to be a general name, the specific names are-Prithvikaya (earthbodied), Apkaya (water-bodied), Tejas-kaya (fire-bodied), Vayukaya (air-bodied), Vanaspatikaya (plant-bodied) (being). ___ When prithvikaya (earth-bodied) is taken to be a general name, the specific names are-Sukshma Prithvikaya (minute earth-bodied) and Badar Prithvikaya (gross earthbodied) (being). When sukshma Prithvikaya (minute earth-bodied) is taken to be a general name, the specific names are Paryapt Sukshma Prithvikaya (fully developed minute earth-bodied) and Aparyapt Sukshma Prithvikaya (underdeveloped minute earth-bodied) (being). ___When badar Prithvikaya (gross earth-bodied) is taken to be a general name, the specific names are-Paryapt Badar Prithvikaya (fully developed gross earth-bodied) and Aparyapt Badar Prithvikaya (under-developed gross earthbodied) (being). ____ The same rule also applies to apkaya (water-bodied), __tejas-kaya (fire-bodied), vayukaya (air-bodied), and vanaspatikaya (plant-bodied) (being). anuyogadvAra sUtra ( 318 ) Illustrated Anuyogadvar Sutra

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DGEGORGE SPAVHORTHORVAONTROAVAORYHORVAORYHORTHORVARTAORTHORTHORTHORTHORVHORVARIHOPYAAVARTHORIHORVHORVHORVAORVAORVAOAVAORVAOAVAOTAORMATIO (7) avisesie beiMdie, visesie pajjattayabeiMdie ya apajjattayabeiMdie y| evaM teiMdiyacauridiyA vi bhaanniyvvaa| (7) yadi dvIndriya ko avizeSita nAma mAnA jAye to paryApta dvIndriya aura aparyApta dvIndriya vizeSita nAma haiN| isI prakAra trIndriya aura caturindriya ke lie bhI jAnanA caahie| __(7) When dvindriya (two-sensed being) is taken to be a general name, the specific names are-Paryapt Dvindriya (fully developed two-sensed being) and Aparyapt Dvindriya (under-developed two sensed-being). The same rule also applies to trindriya (three-sensed being) and chaturindriya (four-sensed being). (8) avisesie paMceMdiyatirikkhajoNie, visesie jalayarapaMceMdiyatirikkhajoNie thalayara-paMceMdiyatirikkhajoNie khahayarapaMceMdiyatirikkhajoNie y| (8) yadi paMcendriya tiryaMcayonika ko avizeSita nAma mAneM to jalacara paMcendriyatiryaMcayonika, sthalacara paMcendriyatiryaMcayonika, khecara paMcendriyatiryaMcayonika vizeSita nAma hoNge| ___(8) When Panchendriya Tiryanch-yonik (five-sensed animal) is taken to be a general name, the specific names are-Jalachar-Panchendriya Tiryanch-yonik (aquatic fivesensed animal), Sthalachar-Panchendriya Tiryanch-yonik (terrestrial five-sensed animal), and Khechar-Panchendriya Tiryanch-yonik (aerial five-sensed animal). (9) avisesie jalayarapaMceMdiyatirikkhajoNie, visesie sammucchimajalayarapaMceMdiyatirikkhajoNie ya gabbhavakkaMtiyajalayarapaMceMdiyatirikkhajoNie y| ___ avisesie sammucchimajalayara-paMceMdiyatirikkhajoNie, visesie pajjattayasammucchimajalayara-paMceMdiyatirikkhajoNie ya apajjattayasamucchimajalayarapaMceMdiyatirikkhajoNie y| E000000GMTEGORGEORGEORGODGORGODGE BIGGRIGORGEOGG nAmAdhikAra prakaraNa ( 319 ) The Discussion on Nama A FOAYAAVADAVAYA DAVOYOYOYOYOYOYOYOYOYODronaYAAR

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PREPREPORSPOTSAMBREPOREDIESXEPOX5deg/5degDIEBISODX5degDX5deg/5degNEPAEDISPDAEPSXSBALPOXEXEDX5degDX5degDXSDAGPRSPRSPONSIDAST ____ avisesie gabhavakkaMtiyajalayara-paMceMdiyatirikkhajoNie, visesie pajjattayaganbhavakkaMtiya-jalayarapaMcendriyatirikkhajoNie ya apajjattayagabbhavakkaMtiyajalayara-paMceMdiyatirikkhajoNie y| (9) jalacara paMcendriyatiryaMcayonika avizeSita nAma hai to sammUrchima jalacara paMcendriyatiryaMcayonika aura garbhavyutkrAntika jalacara paMcendriyatiryaMcayonika yaha vizeSita nAma hai| ___ sammUrchima jalacara paMcendriyatiryaMcayonika avizeSita nAma hai to usake paryApta sammUrchima jalacara paMcendriyatiryaMcayonika, aparyApta sammurchima jalacara paMcendriyatiryaMcayonika ye do bheda vizeSita nAma hai| ___ garbhavyutkrAntika jalacara paMcendriyatiryaMcayonika yaha nAma avizeSita hai aura paryApta garbhavyutkrAntika jalacara paMcendriyatiryaMcayonika tathA aparyApta garbhavyutkrAntika jalacara paMcendriyatiryaMcayonika nAma vizeSita haiN| (9) When Jalachar-Panchendriya Tiryanch-yonik (aquatic five-sensed animal) is taken to be a general name, the specific names are-Sammurchhim JalacharPanchendriya Tiryanch-yonik (aquatic five-sensed animal of asexual origin) and Garbhavyutkrantik JalacharPanchendriya Tiryanch-yonik (aquatic five-sensed animal born out of womb). When Sammurchhim Jalachar-Panchendriya Tiryanchyonik (aquatic five-sensed animal of asexual origin) is taken to be a general name, the specific names are-Paryapt Sammurchhim Jalachar-Panchendriya Tiryanch-yonik (fully developed aquatic five-sensed animal of asexual origin) and Aparyapt Sammurchhim JalacharPanchendriya Tiryanch-yonik (under-developed aquatic fivesensed animal of asexual origin). When Garbhavyutkrantik Jalachar-Panchendriya ___Tiryanch-yonik (aquatic five-sensed animal born out of womb) is taken to be a general name, the specific names anuyogadvAra sUtra ( 320 ) Illustrated Anuyogadvar Sutra EMPSPEPASPASPREPREPAGPASPASPASPREPEPSISPOSPOTSPASPACPDAEPASPASSPORGARHPRAMPRATPAYKONKORAON

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are-Paryapt Garbhavyutkrantik Jalachar-Panchendriya Tiryanch-yonik (fully developed aquatic five-sensed animal born out of womb) and Aparyapt Garbhavyutkrantik Jalachar-Panchendriya Tiryanch-yonik (under-developed aquatic five-sensed animal born out of womb). (10) avisesie thalayarapaMceMdiyatirikkhajoNie, visesie cauppayathalayarapaMceMdiyatirikkhajoNie ya parisappa-thalayara-paMceMdiyatirikkhajoNie y|| ___ avisesie cauppaya-thalayara-paMceMdiyatirikkhajoNie visesie sammucchimacauppayathalayara-paMceMdiyatirikkhajoNie ya gabbhavakkaMtiyacauppayathalayarapaMceMdiyatirikkhajoNie y| ____ avisesie sammucchimacauppayathalayara-paMceMdiyatirikkhajoNie, visesie pajjattayasammucchimacauppayathalayara-paMceMdiyatirikkhajoNiya apajjattayasammucchimacauppaya thalayarapaMceMdiyatirikkhajoNie y| ____ avisesie gabbhavakkaMtiyacauppayathalayara-paMceMdiyatirikkhajoNie, visesie pajjattayagabbhavakkaMtiyacauppaya thalayara paMceMdiyatirikkhajoNie ya apajjattayagabbhavakkaMtiyacauppaya thalayara-paMceMdiyatirikkhajoNie y| ___ avisesie parisappathalayara-paMceMdiyatirikkhajoNie, visesie uraparisappathalayara-paMceMdiyatirikkhajoNie ya bhuyaparisappathalayarapaMceMdiya tirikkhjonniey| evaM sammucchimA pajjattA apajjattA ya, gambhavakkaMtiyA vi pajjattA apajjattA ya bhaanniyvvaa| (10) thalacara paMcendriyatiryaMcayonika ko avizeSita nAma mAnane para catuSpada thalacara paMcendriyatiryaMcayonika, parisarpa thalacara paMcendriyatiryaMcayonika vizeSita nAma haiN| ___ yadi catuSpada thalacara paMcendriyatiryaMcayonika ko avizeSita mAneM to sammUrchima catuSpada thalacara paMcendriyatiryaMcayonika aura garbhavyutkrAntika catuSpada thalacara paMcendriyatiryaMcayonika ye bheda vizeSita nAma hote haiN| nAmAdhikAra prakaraNa ( 321 ) The Discussion on Nama

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* ___ sammUrchima catuSpada thalacara paMcendriyatiyaMcayonika yaha avizeSita nAma mAnane para paryApta sammUrchima catuSpada thalacara paMcendriyatiryaMcayonika aura aparyApta-sAmUhika vizeSita nAma haiN| ___ yadi garbhavyutkrAntika catuSpada thalacara paMcendriyatiryaMcayonika nAma ko avizeSita mAneM to paryApta garbhavyutkrAntika catuSpada thalacara paMcendriyatiryaMcayonika aura aparyApta garbhavyuttkrAntika catuSpada thalacara paMcendriya tiryaMcayonika ye vizeSita nAma haiN| ___ yadi parisarpa sthalacara paMcendriya tiryaMcayonika yaha avizeSita nAma mAneM to usake bheda uraparisarpa thalacara paMcendriyatiryaMcayonika aura bhujaparisarpa thalacara paMcendriyatiryaMcayonika nAma vizeSita nAma hai| isI prakAra sammUrchima paryApta aura aparyApta tathA garbhavyutkrAntika paryApta, aparyApta kA kathana karanA caahie| (10) When Sthalachar-Panchendriya Tiryanch-yonik (terrestrial five-sensed animal) is taken to be a general name, the specific names are-Chatushpad SthalacharPanchendriya Tiryanch-yonik (quadruped terrestrial fivesensed animal) and Parisarp Sthalachar-Panchendriya Tiryanch-yonik (reptilian five-sensed animal). When Chatushpad Sthalachar-Panchendriya Tiryanchyonik (quadruped terrestrial five-sensed animal) is taken to be a general name, the specific names are-Sammurchhim Chatushpad Sthalachar-Panchendriya Tiryanch-yonik (quadruped terrestrial five-sensed animal of asexual origin) and Garbhavyutkrantik Chatushpad SthalacharPanchendriya Tiryanch-yonik (quadruped terrestrial fivesensed animal born out of womb). When Sammurchhim Chatushpad SthalacharPanchendriya Tiryanch-yonik (quadruped terrestrial fivesensed animal of asexual origin) is taken to be a general name, the specific names are-Paryapt Sammurchhim Chatushpad Sthalachar-Panchendriya Tiryanch-yonik (fully OM anuyogadvAra sUtra ( 322 ) Illustrated Anuyogadvar Sutra

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Core developed quadruped terrestrial five-sensed animal of asexual origin) and Aparyapt Sammurchhim Chatushpad Sthalachar-Panchendriya Tiryanch-yonik (under-developed quadruped terrestrial five-sensed animal of asexual origin). When Garbhavyutkrantik Chatushpad SthalacharPanchendriya Tiryanch-yonik (quadruped terrestrial fivesensed animal born out of womb) is taken to be a general name, the specific names are--Paryapt Garbhavyutkrantik Chatushpad Sthalachar-Panchendriya Tiryanch-yonik (fully developed quadruped terrestrial five-sensed animal born out of womb) and Aparyapt Garbhavyutkrantik Chatushpad Sthalachar-Panchendriya Tiryanch-yonik (under-developed quadruped terrestrial five-sensed animal born out of womb). When Parisarp Sthalachar-Panchendriya Tiryanch-yonik (reptilian terrestrial five-sensed animal) is taken to be a general name, the specific names are-Ur-Parisarp Sthalachar-Panchendriya Tiryanch-yonik (non-limbed reptilian terrestrial five-sensed animal) and Bhuj-Parisarp Sthalachar-Panchendriya Tiryanch-yonik (limbed reptilian terrestrial five-sensed animal). Here Sammurchhim, Paryapt, Aparyapt and Garbhavyutkrantik, Paryapt, Aparyapt should also be stated as before. (11) avisesie khahayarapaMceMdiyatirikkhajoNie, visesie sammucchimakhahayarapaMceMdiyatirikkhajoNie ya gabbhavakkaMtiyakhahayarapaMceMdiyatirikkhajoNie y| ____ avisesie sammucchimakhahayarapaMceMdiyatirikkhajoNie, visesie pajjattaya sammucchimakhahayarapaMceMdiyatirikkhajoNie ya apjjttysmucchimkhhyrpNceNdiytirikkhjonnie| nAmAdhikAra prakaraNa (373) The Discussion on Nama

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avisesie gabbhavakkaMtiyakhahayarapaMceMdiyatirikkhajoNie, visesie pajjattayaganbha apajjattayagabbhavakkaMtiyakhahayara vakkaMtiyakhahayarapaMceMdiyatirikkhajoNie paMceMdiyatirikkhajoNie ya / (11) khecara paMcendriya tiryaMcayonika avizeSita nAma mAnane para sammUrcchima khecara paMcendriya tiryaMcayonika aura garbhavyutkrAntika khecara paMcendriyatiryaMcayonika vizeSita nAma hotA hai| ya yadi sammUrcchima khecara paMcendriya tiryaMcayonika nAma ko avizeSita nAma mAnA jAye to paryApta sammUrcchima khecara paMcendriya tiryaMcayonika aura aparyApta sammUrcchima khecara paMcendriya tiryaMcayonika vizeSita nAma hai / isI prakAra garbhavyutkrAntika khecara paMcendriya tiryaMcayonika nAma ko avizeSita mAnA jAye to paryApta garbhavyuttkrAntika khecara paMcendriya tiryaMcayonika aura aparyApta garbhavyutkrAntika khecara paMcendriya tiryaMcayonika ye vizeSita nAma kahe jAyeMge / (11) When Khechar-Panchendriya Tiryanch-yonik (aerial five-sensed animal) is taken to be a general name, the specific names are Sammurchhim Khechar-Panchendriya Tiryanch-yonik (aerial five-sensed animal of asexual origin) and Garbhavyutkrantik Khechar-Panchendriya Tiryanchyonik (aerial five-sensed animal born out of womb ). When Sammurchhim Khechar-Panchendriya Tiryanchyonik (aerial five-sensed animal of asexual origin) is taken to be a general name, the specific names are-Paryapt Sammurchhim Khechar-Panchendriya Tiryanch-yonik (fully developed aerial five-sensed animal of asexual origin) and Aparyapt Sammurchhim Khechar-Panchendriya Tiryanchyonik (under-developed aerial five-sensed animal of asexual origin). Khechar-Panchendriya When Garbhavyutkrantik Tiryanch-yonik (aerial five-sensed animal born out of womb) is taken to be a general name, the specific names areParyapt Garbhavyutkrantik Khechar-Panchendriya anuyogadvAra sUtra ( 324 ) Illustrated Anuyogadvar Sutra

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S E N TENCEPSYCPNE BHEETECTEMEMEENEMEDIEDEBEEXSRIGANGPONSORRHORICORNHORVAOAVAORNAORTIONaomkarin Tiryanch-yonik (fully developed aerial five-sensed animal born out of womb) and Aparyapt Garbhavyutkrantik Khechar-Panchendriya Tiryanch-yonik (under-developed aerial five-sensed animal born out of womb). (12) avisesie maNusse, visesie sammucchimamaNUse ya gabbhavakkaMtiyamaNusse y| __ avisesie sammucchimamaNuse, visesie pajjattayasammucchimamaNUse ya apjjttgsmmucchimnnuuse| (12) manuSya nAma ko avizeSita (sAmAnya) nAma mAnA jAye to sammUrchima manuSya aura garbhavyutkrAntika manuSya yaha nAma vizeSita khlaayeNge| ___ sammurchima manuSya ko avizeSita nAma mAnane para paryApta sammUrchima manuSya aura aparyApta sammUrchima manuSya yaha do nAma vizeSita nAma haiN| ___ yadi garbhavyutkrAntika manuSya ko avizeSita mAneM to paryApta garbhavyutkrAntika manuSya aura aparyApta garbhavyutkrAntika manuSya nAma vizeSita ho jaayeNge| (12) When Manushya ( human being) is taken to be a general name, the specific names are--Sammurchhim Manushya (human being of asexual origin) and Garbhavyutkrantik Manushya (human being born out of womb). When Sammurchhim Manushya (human being of asexual origin) is taken to be a general name, the specific names are - Paryapt Sammurchhim Manushya (fully developed human being of asexual origin) and Aparyapt Sammurchhim Manushya (under-developed human being of asexual origin). When Garbhavyutkrantik Manushya (human being born out of womb) is taken to be a general name, the specific names are--Paryapt Garbhavyutkrantik Manushya (fully developed human being born out of womb) and Aparyapt Garbhavyutkrantik Manushya (under-developed human being born out of womb). nAmAdhikAra prakaraNa ( 325 ) The Discussion on Nama FORYGORIEODISOD KONNOn 69

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marta OM... (13) avisesie deve, visesie bhavaNavAsI vANamaMtare joisie vemANie y| avisesie bhavaNavAsI, visesie asurakumAre evaM nAga. suvaNNa. viju. aggi. dIva. udadhi. disA. vAta. thnniykumaare| ___ sabesi pi avisesiya-visesiya-pajjattaya-apajjattayabheyA bhaanniyvvaa| (13) deva nAma ko avizeSita mAnane para usake avAntara bheda bhavanavAsI, vANavyaMtara, jyotiSka aura vaimAnika yaha devanAma khlaayeNge| yadi ukta devabhedoM meM se bhavanavAsI nAma ko avizeSita mAnA jAye to asurakumAra, nAgakumAra, suparNakumAra, vidyutkumAra, agnikumAra, dvIpakumAra, udadhikumAra, dikkumAra, vAyukumAra aura stanitakumAra ye nAma vizeSita haiN| ina saba nAmoM meM se bhI pratyeka ko yadi avizeSita mAnA jAye to una sabake paryApta aura aparyApta bheda vizeSita nAma khlaayeNge| ___ (13) When Deva (god or divine being) is taken to be a general name, the specific names are-Bhavan-vasi (mansion residing god), Vanavyantar (interstitial god), Jyotishk (stellar god), and Vaimanik (god endowed with celestial vehicles) ___When Bhavan-vasi (mansion residing god) is taken to be a general name, the specific names are--Asur-kumar, Naagkumar, Suparn-kumar, Vudyut-kumar, Agni-kumar, Dveepkumar, Udadhi-kumar, Dik-kumar, Vayu-kumar, and Stanit-kumar. When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. (14) avisesie vANamaMtare, visesie pisAe bhUte jakkhe rakkhase kiNNare kiMpurise mahorage gNdhvye| ____etesiM pi avisesiy-visesiy-pjjtty-apjjttybheyaa-bhaanniyvvaa| anuyogadvAra sUtra ( 326 ) Illustrated Anuyogadvar Sutra

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(14) vANavyaMtara nAma ko avizeSita mAnane para pizAca, bhUta, yakSa, rAkSasa, kinnara, kiMpuruSa, mahoraga, gaMdharva, ye nAma vizeSita nAma haiN| ina sabameM se bhI pratyeka ko avizeSita nAma mAnA jAye to unake paryApta aparyApta bheda vizeSita nAma khlaayeNge| (14) When Vanavyantar (interstitial god) is taken to be a general name, the specific names are-Pishach, Bhoot, Yaksh, Rakshas, Kinnar, Kimpurush, Mahorag, and Gandharma. When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. (15) avisesie joisie, visesie caMde sUre gahe nakkhatte tArArUve etesiM pi avisesiya-visesiya-pajjattaya-apajjattayabheyA bhaanniyvaa| (15) jyotiSka nAma vizeSita mAnA jAye to candra, sUrya, graha, nakSatra aura tArArUpa nAma vizeSita haiN| inameM se bhI pratyeka ko avizeSita nAma mAnane para unake paryApta, aparyApta bheda vizeSita nAma kahe jaayeNge| __ (15) When Jyotishk (stellar god) is taken to be a general name, the specific names are-Chandra (moon), Surya (sun), Graha (planet), Nakshatra (heavenly body), and Tara (star). When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. (16) avisesie vemANie, visesie kappovage ya kappAtItae y| avisesie kappovae, visesae sohammae IsANae saNaMkumArae mAhiMdae baMbhalogae laMtayae mahAsukkae sahassArae ANayae pANayae AraNae accute| etesi pi avisesiya-visesiya-pajjattaya-apajjattayabhedA bhaanniyvvaa| nAmAdhikAra prakaraNa ( 327 ) The Discussion on Nama

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YATO *40 KO .SAST . . a iamarthacha 6.868. Characterindiadimuchnah (16) vaimAnika avizeSita nAma mAnA jAye to usake kalpopapanna aura kalpAtIta __ yaha do prakAra vizeSita nAma hai| * kalpopapanna ko avizeSita nAma mAnane para saudharma, IzAna, sanatkumAra, mAhendra, brahmaloka, lAMtaka mahAzukra, sahasrAra, Anata, prANata, AraNa, acyuta vimAnavAsI deva vizeSita nAma haiN| yadi inameM se pratyeka ko avizeSita nAma mAnA jAye to unake paryApta, aparyApta bheda vizeSita nAma haiN| (16) When Vaimanik (god endowed with celestial vehicles) is taken to be a general name, the specific names are--Kalpopapanna (born in Kalp-heaven or a specific celestial area) and Kalpateet (born outside the Kalpheaven). ___ When Kalpopapanna (born in Kalp-heaven or a specific celestial area) is taken to be a general name, the specific names are--(Gods residing in celestial vehicles named) Saudharma, Ishan, Sanatkumar, Mahendra, Brahmalok, Lantak, Mahashukra, Sahasrar, Anat, Pranat, Aran, and Achuyt. When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. (17) avisesie kappAtItae, visesie gevejjae ya aNuttarovavAie y| avisesie gevejjae, visesie heTThimagevejjae majjhimagevejjae uvrimgevejje| avisesie heTThimagevejjae, visesie heTTimaheTThimagevejjae heTThima-majjhimagevejjae hetttthim-uvrimgevejje| avisesie majjhimagevejjae, visesie majjhimaheTThimagejjae majjhimamajjhimagevejjae mjjhimuvrimgevejje| anuyogadvAra sUtra ( 328 ) Illustrated Anuyogadvar Sutra GOVCONVAORY GroMARA Nao *h "SA

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avisesie uvarimagevejjae, uvarimamajjhimagevajjae uvarimauvarimagevejjae / visesie etesiM pi savvesiM avisesiya-visesiya- pajjattaya - apajjattayabhedA bhANiyavvA / (17) kalpAtIta kA avizeSita nAma mAneM to graiveyakavAsI aura anuttaraupapatAki deva vizeSita nAma hoNge| varamamivejjae graiveyakavAsI avizeSita nAma mAnane para adhastanagraiveyaka, madhyamagraiveyaka, uparitanagreveyaka ye vizeSita nAma hoNge| jaba adhastanagraiveyaka ko avizeSita nAma mAnA jAyegA taba adhastana - adhastana graiveyaka, adhastana - madhyama graiveyaka, adhastana - uparitana graiveyaka vizeSita nAma kahalAyeMge / madhyamagraiveyaka ko avizeSita mAnane para madhyama - adhastana graiveyaka, madhyama- madhyama graiveyaka, madhyama-uparima graiveyaka vizeSita nAma hoNge| yadi uparima graiveyaka ko avizeSita nAma mAnA jAye to uparima- adhastana graiveyaka, uparima madhyama graiveyaka, uparima- uparima graiveyaka ye vizeSita nAma kahalAyeMge / ina sabako bhI avizeSita nAma mAnA jAye to unake paryApta aura aparyApta ye vizeSita nAma kahalAyeMge / (17) When Kalpateet (born outside the Kalp - heaven ) is taken to be a general name, the specific names are Graiveyak-vasi (dwelling in a celestial area named Graiveyak) and Anuttaropapatik (gods residing in highest heaven called anuttar or unique). When Graiveyak-vasi (dwelling in a celestial area named Graiveyak) is taken to be a general name, the specific names are--Adhastan (lower ) Graiveyak, Madhyam (middle) Graiveyak, and Uparitan (upper) Graiveyak. When Adhastan (lower) Graiveyak is taken to be a general name, the specific names are-Adhastan-Adhastan nAmAdhikAra prakaraNa ( 329 ) The Discussion on Nama

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Graiveyak, Adhastan-Madhyam Graiveyak, and AdhastanUparitan Graiveyak When Madhyam (middle) Graiveyak is taken to be a general name, the specific names are-Madhyam-Adhastane Graiveyak, Madhyam-Madhyam. Graiveyak, and MadhyamUparitan Graiveyak When Uparitan (upper) Graiveyak is taken to be a general name, the specific names are-Uparitan-Adhastan Graiveyak, Uparitan-Madhyam Graiveyak, and UparitanUparitan Graiveyak When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. (18) avisesie aNuttarovavAie, visesie vijayae vejayaMtae jayaMtae aparAjiyae savvaTThasiddhae y| etesiM pi sambesiM avisesiya-visesiya-pajjattaya-apajjattayabhedA bhANiyavvA / (18) anuttaropapAtika deva nAma ko avizeSita kahA jAye to vijaya, vaijayanta, jayanta, aparAjita, sarvArthasiddhavimAnadeva vizeSita nAma khlaayeNge| __ina sabako bhI avizeSita nAma kI koTi meM grahaNa kiyA jAye to pratyeka ke paryApta aura aparyApta bheda vizeSita nAma haiN| (18) When Anuttaropapatik (gods residing in highest heaven called Anuttar or unique) is taken to be a general name, the specific names are-(Gods residing in celestial vehicles named) Vijaya, Vaijayant, Jayant, Aparajit, and Sarvarthsiddha. When each one of these is taken to be a general name, the specific names would be their fully developed and underdeveloped forms. anuyogadvAra sUtra ( 330 ) Illustrated Anuyogadvar Sutra

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ajIva dravya ke sAmAnya vizeSa nAma ( 19 ) avisesie ajIvadavve, visesie dhammatthikAe adhammatthikAe AgAsatthikAe poggalatthikAe addhAsamae ya / avisesie poggalatthikAe visesie paramANupoggale dupaesie jAva aNatapaesie / se taM dunAme / (19) ajIvadravya ko avizeSita nAma mAnane para dharmAstikAya, adharmAstikAya, AkAzAstikAya, pudgalAstikAya aura addhAsamaya ye vizeSita nAma hoNge| pudgalAstikAya ko bhI avizeSita nAma mAnane para paramANupudgala, dvipradezika yAvat anantapradezika skandha, vizeSita nAma khlaayeNge| yaha dvinAma kA svarUpa hai| GENERAL AND SPECIFIC NAMES OF NON-LIVING SUBSTANCE (19) When Ajiva dravya (non-living substance) is taken to be a general name, the specific names are Dharmastikaya (motion entity), Adharmastikaya (rest entity), Akashastikaya (space entity), Pudgalastikaya (matter entity), and Addhakala (time). When Pudgalastikaya (matter entity) is taken to be a general name, the specific names are-Paramanu-pudgala (ultimate-particle of matter), and aggregates of two to infinite space-points (or paramanus). This concludes the description of Dvinama (bi-named). vivecana - ina sUtroM meM avizeSita aura vizeSita ina do apekSAoM se dvinAma kA varNana kiyA hai| tAtparya yaha hai ki pratyeka vastu sAmAnya - vizeSAtmaka hai / saMgrahanaya sAmAnya aMza ko aura vyavahAranaya vizeSa ko pradhAnatA dekara svIkAra karatA hai / saMgrahanaya dvArA gRhIta avizeSita - sAmAnya - ekatva meM vyavahAranaya vidhipUrvaka bheda karatA hai / ina donoM nayoM kI dRSTi se ye nAma avizeSita aura vizeSita bana jAte haiN| sammUrcchima jIva ve haiM jo garbha ke binA hI utpanna ho jAte haiN| inakA janma na to deva - nArakoM kI taraha niyata sthAna se hI hotA hai aura na hI garbha se / vyutkrAntika kA tAtparya nAmAdhikAra prakaraNa ( 331 ) The Discussion on Nama

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utpatti hai| jina jIvoM kI utpatti garbha se hotI hai ve garbhavyutkrAntika jIva haiN| jo sarakate, reMgate haiM, ve parisarpa kahalAte haiN| sarpAdika jIva chAtI se sarakane vAle hone se uraparisarpa haiM aura jo jIva bhujAoM se sarakate haiM, ve bhujaparisarpa haiN| jaise godhA, nakula aadi| Elaboration--The aforesaid aphorisms have described bi-named in two contexts-general and specific. This conveys that every thing has two facets-general and specific. Samgraha naya (generalized viewpoint) accepts with emphasis on general facet and Vyavahar naya on specific facet. Vyavahar naya methodically classifies the unitary or specific view of Samgraha naya. From the viewpoint of these two nayas these names become general and specific. Technical Terms--Sammurchhim beings are those that do not require a womb to be born. In other words they are of asexual origin. They are neither born out of a womb nor at a specific spot like divine and infernal beings. Vyutkranti means origin or birth. The beings that are born out of a womb are called garbh-vyutkrantit (garbh means womb). Parisarp are beings that crawl; reptiles are in this class. Those that crawl with the help of their breasts are called ur-parisarp (ur means breast); reptiles without limbs, like snakes, are in this class. Those that crawl with the help of arms are called bhuj-parisarp (bhuja means arms); reptiles with limbs, like lizards, are in this class. (3) trinAma 217. se kiM taM tinAme ? tinAme tivihe pnnnntte|tN jahA-(1) davvaNAme, (2) guNaNAme, (3) pajjavaNAme y| 217. (prazna) trinAma kyA hai? (uttara) trinAma ke tIna bheda haiM-(1) dravyanAma, (2) guNanAma aura (3) pryaaynaam| (3) TRINAMA 217. (Question) What is this Trinama (Tri-named) ? anuyogadvAra sUtra ( 332 ) mustrated Anuyogadvar Sutra PaParaTOOTHEORYGOOHOOT * Nex Wagon VOOAVAONrona POGGER US

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PATHORTHORTHORVAOAVAORVAORVHORVAORVAOAVAORYAAVAORNADAYANVAORYAORYAONamomorronomiamonwrowimamta (Answer) Trinama (Tri-named) is of three kinds(1) Dravya-nama, (2) Guna-nama, (3) Paryaya-nama. vivecana-tIna vikalpa vAlA nAma trinAma hai| sUtra meM dravya, guNa aura paryAya ko trinAma kA udAharaNa batAyA hai| ___ dravya, guNa, paryAya kA lakSaNa-jo paryAyoM (avasthAoM) ko prApta karatA hai usakA nAma dravya hai| isa artha ke anusAra dravya kI vyAkhyA do prakAra se kI jAtI hai jo guNa aura paryAya kA AdhAra ho tathA utpAda, vyaya aura dhrauvya svabhAva vAlA ho, use dravya kahate haiN| trikAla sthAyI svabhAva vAle guNa aura prati samaya palaTane vAlI avasthA ko athavA guNoM ke vikAra ko paryAya kahate haiN| guNa-dravya kA svabhAva abhinna aMga hone se dhruva hai, tathA paryAya nirantara utpAda-vyaya-rUpa hone se asthAyI-parivartanazIla hai| ina dravya, guNa aura paryAya ke nAma ko kramazaH dravyanAma, guNanAma aura paryAyanAma kahate haiN| Elaboration-A name having three categories is called Trinama (Tri-named). In this aphorism the example given is of dravya (substance), guna (attributes), and paryaya (modes). Characteristics of dravya, guna and paryaya--That which undergoes transformations is called dravya (substance). In this context dravya (substance) is defined two ways--That which is the basis of guna (attributes) and paryaya (modes) is called dravya. And that which has the properties of creation, destruction, and permanence is called dravya. The intrinsic nature that persists in threefold time (past, present, and future) is called guna (attributes). The ever transforming state or the distortion of attributes is called paryaya ( modes). (ka) dravyanAma 218. se kiM taM davaNAme ? davaNAme chabihe pnnnntte| taM jahA-(1) dhammatthikAe, (2) adhammatthikAe, (3) AgAsatthikAe, (4) jIvatthikAe, (5) poggalatthikAe. (6) addhAsamae / se taM dvnnaame| 218. (prazna) dravya nAma kyA hai ? (uttara) dravya nAma chaha prakAra kA hai| yathA-(1) dharmAstikAya, (2) adharmAstikAya, (3) AkAzAstikAya, (4) jIvAstikAya, (5) pudgalAstikAya, (6) addhaasmy| YOYONONONOODVAONYAONADAVAO VAO VAO VAO VAO VAONOVO VOLVOVAONYANYANVONVOAVAONONVONVONVONVONOVACA nAmAdhikAra prakaraNa The Discussion on Nama

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(A) DRAVYA-NAMA 218. (Question) What is this Dravya-nama (substance name)? (Answer) Dravya-nama (substance-name) is of six types--(1) Dharmastikaya (motion entity), (2) Adharmastikaya (rest entity), (3) Akashastikaya (space entity), (4) Jivastikaya (life entity), (5) Pudgalastikaya (matter entity), (6) Addhakala (time). (kha) guNanAma 219. se kiM taM guNanAme ? guNanAme paMcavihe pnnnntte| taM jahA-(1) vaNNanAme, (2) gaMdhanAme, (3) rasaNAme, (4) phAsanAme, (5) sNtthaannnaame| 219. (prazna) guNa nAma kyA hai ? (uttara) guNa nAma ke pA~ca prakAra ke haiM-(1) varNanAma, (2) gaMdhanAma, (3) rasanAma, (4) sparzanAma, (5) sNsthaannaam| (B) GUNA-NAMA 219. (Question) What is this Guna-nama (attributename)? _ (Answer) Guna-nama (attribute-name) is of five types(1) Varna-nama (appearance-name), (2) Gandh-nama (smell-name), (3) Rasa-nama (taste-name), (4) Sparsh-nama (touch-name), (5) Samsthan-nama (structure-name). vivecana-sUtra meM batAe gaye guNanAma ke pA~coM bheda pudgaladravya meM pAye jAte haiN| yadyapi dharmAstikAya Adi dravyoM ke apane-apane guNa haiM, parantu pudgaladravya ke sivAya zeSa dravya amUrta hone se unake guNa bhI amUrta haiN| ina varNanAma Adi ke lakSaNa isa prakAra haiM varNanAma-sAmAnyatayA varNa kA artha raMga hotA hai kintu yahA~ dRSTa rUpa ke artha meM prayukta huA hai| varNa cakSurindriya kA viSaya hai| anuyogadvAra sUtra ( 334 ) Illustrated Anuyogadvar Sutra

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gaMdhanAma-jo sUMghA jAye vaha gaMdha hai| yaha ghrANendriya kA viSaya hai| rasanAma-jo cakhA jAtA hai vaha rasa hai| yaha rasanendriya kA viSaya hai| sparzanAma-jo sparzanendriya dvArA chUne para jAnA jAye vaha sparza hai| saMsthAnanAma-AkAra, AkRti ko saMsthAna kahate haiN| Elaboration-The five types of Guna-nama (attribute-name) are evident in matter (pudgala dravya). Although substances like Dharmastikaya (motion entity) also have their own attributes, but as besides matter all other substances are formless their attributes are also intangible. ___The definitions of these Guna-namas (attribute-names) including Varna-nama (appearance-name) are as follows____Varna-nama (appearance-name)-The common meaning of varna is colour but here it means appearance. It is the subject of eyes or the sense of seeing. Gandh-nama (smell-name)-Gandh means smell. It is the subject of nose or the sense of smell. ____Rasa-nama (taste-name)-Rasa here means taste. It is the subject of taste buds or the sense of taste. Sparsh-nama (touch-name)-Sparsh means touch. It is the subject of skin or the sense of touch. Samsthan-nama (structure-name)-Samsthan means shape or form. It defines the structure or constitution of things. varNanAma ke bheda 220. se kiM taM vaNNanAme ? - __vaNanAme paMcavihe pnnnntte| taM jahA-(1) kAlavaNNanAme, (2) nIlavaNNanAme, (3) lohiyavaNNanAme, (4) hAliddavaNNanAme, (5)sukkilvnnnnnaame| se taM vnnnnnaame| 220. (prazna) varNa nAma kyA hai ? nAmAdhikAra prakaraNa ( 335 ) The Discussion on Nama

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(uttara) varNa nAma ke pA~ca bheda haiM-(1) kRSNavarNanAma, (2) nIlavarNanAma, (3) lohita (rakta) varNanAma, (4) hAridra (pIta) varNanAma, (5) shuklvrnnnaam| yaha varNanAma kA svarUpa hai| VARNA-NAMA 220. (Question) What is this Varna-nama (appearancename)? (Answer) Varna-nama (appearance-name) is of five types--(1) Krishna Varna-nama (black appearance), (2) Neel Varna-nama (blue appearance), (3) Lohit Varna-nama (red appearance), (4) Haridra Varna-nama (yellow appearance), (5) Shukla Varna-nama (white appearance). This concludes the description of Varna-nama (appearance-name). gaMdhanAma 221. se kiM taM gaMdhanAme ? gaMdhanAme duvihe pnnnntte| taM jahA-(1) surabhigaMdhanAme ya, (2) durabhigaMdhanAme y| se taM gNdhnaame| 221. (prazna) gaMdha nAma kyA hai ? (uttara) gaMdha nAma ke do prakAra haiN| yathA-(1) surabhigaMdhanAma, (2) durbhigNdhnaam| yaha gaMdhanAma kA svarUpa hai| GANDH-NAMA 221. (Question) What is this Gandh-nama (smell-name) ? (Answer) Gandh-nama (smell-name) is of two types-- (1) Surabhi Gandh-nama (good smell-name) and (2) Durabhi Gandh-nama (bad smell-name). This concludes the description of Gandh-nama (smellname). anuyogadvAra sUtra ( 336 ) Illustrated Anuyogadvar Sutra

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rasanAma 222. se kiM taM rasanAme ? rasanAme paMcavihe pnnnntte| taM jahA-(1) tittarasaNAme, (2) kaDuyarasaNAme, (3) kasAyarasaNAme, (4) aMbilarasaNAme, (5) mahurarasaNAme y| se taM rsnaame| 222. (prazna) rasa nAma kyA hai ? (uttara) rasa nAma ke pA~ca bheda haiN| jaise-(1) tiktarasanAma, (2) kaTukarasanAma, (3) kaSAyarasanAma, (4) AmlarasanAma, (5) mdhurrsnaam| yaha rasanAma kA svarUpa hai| RASA-NAMA 222. (Question) What is this Rasa-nama (taste-name) ? (Answer) Rasa-nama (taste-name) is of five types(1) Tikta Rasa-nama (bitter taste-name), (2) Katuk Rasanama (pungent taste-name), (3) Kashaya Rasa-nama (astringent taste-name), (4) Amla Rasa-nama (sour taste), and (5) Madhura Rasa-nama (sweet taste-name). This concludes the description of Rasa-nama (tastename). sparzanAma 223. se kiM taM phAsaNAme ? phAsaNAme aTThavihe pnnnntte| taM jahA-(1) kakkhaDaphAsaNAme, (2) mauyaphAsaNAme, (3) garuyaphAsaNAme, (4) lahuyaphAsaNAme, (5) sItaphAsaNAme, (6) usiNaphAsaNAme, (7) NiddhaphAsaNAme, (8) lukkhphaasnnaame| se taM phaasnnaame| 223. (prazna) sparza nAma kyA hai? (uttara) sparza nAma ke ATha prakAra haiM-(1) karkazasparzanAma, (2) mRdusparzanAma, (3) gurusparzanAma, (4) laghusparzanAma, (5) zItasparzanAma, (6) uSNasparzanAma, (7) snigdhasparzanAma, (8) ruuksssprshnaam| yaha sparzanAma kA svarUpa hai| nAmAdhikAra prakaraNa ( 337 ) The Discussion on Nama *

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SPARSH-NAMA 223. (Question) What is this Sparsh-nama (touch-name) ? (Answer) Sparsh-nama (touch-name) is of eight types-- (1) Karkash Sparsh-nama (hard touch-name), (2) Mridu Sparsh-nama ( soft touch-name), (3) Guru Sparsh-nama (heavy touch-name), (4) Laghu Sparsh-nama (light touchname), (5) Sheet Sparsh-nama (cold touch-name), 6) Ushna Sparsh-nama (hot touch-name), (7) Snigdha Sparsh-nama (smooth touch-name), and (8) Ruksh Sparsh-nama (coarse or dry touch-name). _____ This concludes the description of Sparsh-nama (touchname). saMsthAnanAma 224. se kiM taM saMThANaNAme ? ___ saMThANaNAme paMcavihe pnnnntte| taM jahA-(1) parimaMDalasaMThANaNAme, (2) vaTTasaMThANaNAme, (3) taMsasaMThANaNAme, (4) cauraMsasaMThANaNAme, (5) aaytsNttaannnnaame| se taM sNtthaannnnaame| se taM gunnnnaame| 224. (prazna) saMsthAnanAma kyA hai ? (uttara) saMsthAnanAma ke pA~ca prakAra kahe haiN| yathA-(1) parimaNDala-saMsthAnanAma, + (2) vRttasaMsthAnanAma, (3) tryasrasaMsthAnanAma, (4) caturasrasaMsthAnanAma, (5) aaytsNsthaannaam| yaha saMsthAnanAma kA svarUpa hai| yaha guNanAma kI vyAkhyA samApta huii| SAMSTHANA-NAME (STRUCTURE-NAME) 224. (Question) What is this Samsthana-nama (structure-name) ? (Answer) Samsthana-nama (structure-name) is of five types--(1) Parimandal Samsthana-nama (circular-plate structure-name), (2) Vritta Samsthana-nama (circular-ring anuyogadvAra sUtra Illustrated Anuyogadvar Sutra ( 338 )

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ajIva saMsthAna ke pA~ca prakAra FIVE SHAPES OF AJEEV (MATERIAL BODIES) saMsthAna 00 100 parimaMDala saMsthAna tryana saMsthAna caturastra saMsthAna Ayata saMsthAna TRADY SNAINEN 15

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citra paricaya 15 Illustration No. 15 ajIva ke pA~ca saMsthAna vastu kI AkRti ko bhI saMsthAna kahA gayA hai| ajIva saMsthAna chaha prakAra kA hotA hai(1) vRtta saMsthAna-cUr3I ke AkAra kI golAI jaisA, parantu bIca meM sthAna khAlI (pola) ho| (2) parimaMDala saMsthAna-thAlI, sUrya maMDala, kumhAra kA cAka yA candra maMDala ke samAna gola aakaar| inake bIca meM sthAna khAlI nahIM rhtaa| (3) vyasra saMsthAna (trikoNa)-siMghAr3A yA tribhuja kI AkRti ke tIna konoM kI lambAI, caur3AI kI bhinnatA ke kAraNa yaha aneka prakAra kA ho sakatA hai| (4) caturasra saMsthAna-jisake cAroM kone samAna hoN| yaha bhI kaI caukI Adi AkRtiyoM meM banatA hai| (5) Ayata saMsthAna-cAroM koNa samAna hone para bhI jisakI lambAI adhika ho aura caur3AI kama ho jaise dNddaakRti| (6) anitya saMsthAna-ukta pA~coM se bhinna kisI bhI prakAra kA sNsthaan| -sUtra 224 (prajJApanA pada 1, bhagavatI zataka 25 u. 3 meM bhI isakA varNana hai) FIVE SAMSTHANA OF AJIVA Shape of a thing is also called samsthana. Shapes of non-living things are also of six kinds (1) Vritta Samsthana-circular structure with a gap in the middle such as a ring. (2) Parimandal Samsthana-circular-plate like structure that is round like a dish without any gap in the middle. (3) Tryasra Samsthana-a three cornered structure like a triangle or Singhada (water-chestnut). With variations in the length of three sides such structure can be of many different types. (4) Chaturasra Samsthana-a four sided structure with all the angles and sides of same proportion like a square. (5) Ayat Samsthana--a four sided structure with all angles equal but two sides longer then the other two like a rectangle. (6) Anitya-any irregular structure other than the aforesaid five. --Sutra : 224 (Prajnapana, verse-1; Bhagavati Shatak 25/3)

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phakata kota hota hota hota hota hota hota big bodeg to o o o o o o x structure-name), (3) Tryasra Samsthana-nama (triangular structure-name), (4) Chaturasra Samsthana-nama (square structure-name), and (5) Ayat Samsthana-nama (rectangular structure-name). This concludes the description of Samsthana-nama (structure-name). This also concludes the description of Guna-nama (attribute-name). vivecana-saMsthAna ke pA~ca bhedoM kA svarUpa prasiddha hai / jo thAlI ke samAna gola ho, bIca meM kiMcinmAtra bhI khAlI sthAna na ho, aisA saMsthAna parimaNDalasaMsthAna hai| jabaki vRttasaMsthAna cUr3I ke samAna (bIca meM khAlI) gola hotA hai| tIna koNa (koNe) vAle saMsthAna ko yatra - tribhuja yA tikonA saMsthAna kahate haiN| tInoM bhujAoM kI lambAI caur3AI kI bhinnatA se yaha saMsthAna aneka prakAra kA ho sakatA hai| caturasrasaMsthAna meM cAroM koNa evaM lambAI-caur3AI samAna hotI hai, jabaki AyatasaMsthAna meM cAroM koNa samAna hone para bhI lambAI adhika aura caur3AI kama hotI hai| Elaboration-These are five popular kinds of structural shapes. Parimandal Samsthana is circular plate-like structure that is round like a dish without any gap in the middle. Vritta Samsthana is circular structure with a gap in the middle such as a ring. Tryasra Samsthana is a three cornered structure like a triangle. With variations in the length of three sides such structure can be of many different types. Chaturasra Samsthana is a four sided structure with all the angles and sides of same proportion like a square. Ayat Samsthana is also a four sided structure with all angles equal but two sides longer then the other two like a rectangle. (ga) paryAyanAma 225. se kiM taM pajjavanAme ? pajjavanAme aNegavihe paNNatte / taM jahA - egaguNakAlae duguNakAlae jAva anNtgunnkaale| egaguNanIlae duguNanIlae jAva anNtgunnniile| evaM lohiya- hAlidda - sukkilA vi bhANiyavyA / nAmAdhikAra prakaraNa ( 339 ) The Discussion on Nama 8005404501504, 504, 504, 504, 504, 504, 504, 504, 504, 504, 50650000

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egaguNasurabhigaMdhe duguNasurabhigaMdhe jAva aNaMtaguNasurabhigaMdhe evaM durabhigaMdho vi bhaanniyvyo| __ egaguNatitte duguNatitte jAva aNaMtaguNatitte, evaM kaDaya-kasAya-aMbila-mahurA vi bhANiyavvA __egaguNakakkhaDe duguNakakkhaDe jAva aNaMta guNakakkhaDe, evaM mauya-garu-lahuya-sIta-usiNa-NiddhalukkhA vi bhaanniyvvaa| se taM pjjvnnaame| 225. (prazna) paryAyanAma kyA hai? __ (uttara) paryAyanAma ke aneka prakAra haiN| yathA-ekaguNa (aMza) kAlA, dviguNakAlA yAvat anantaguNakAlA, ekaguNanIlA, dviguNanIlA yAvat anantaguNanIlA tathA isI prakAra lohita (rakta), hAridra (pIta) aura zuklavarNa kI paryAyoM ke nAma bhI kahanA caahie| ekaguNasurabhigaMdha, dviguNasurabhigaMdha yAvat anantaguNasurabhigaMdha, isI prakAra durabhigaMdha ke viSaya meM bhI kahanA caahie| ekaguNatikta, dviguNatikta yAvat anantaguNatikta, isI prakAra kaTuka, kaSAya, amla evaM madhura rasa kI paryAyoM ke viSaya meM bhI kahanA caahie| ___ ekaguNakarkaza, dviguNakarkaza yAvat anantaguNakarkaza, isI prakAra mRdu, guru, laghu, zIta, uSNa, snigdha, rUkSa sparza kI paryAyoM kI vaktavyatA hai| (C) PARYAYA-NAMA 225. (Question) What is this Paryaya-nama (modename)? (Answer) Paryaya-nama (mode-name) is of many types--One unit black (minimum), two unit black (twice as black as the earlier one), and so on up to infinite unit black. One unit blue (minimum), two unit blue (twice as blue as the earlier one), and so on up to infinite unit blue. Same statement goes for modes of red, yellow, and white colours also. 2) anuyogadvAra sUtra ( 340 ) Illustrated Anuyogadvar Sutra

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One unit good smell (minimum), two unit good smell (twice as good smell as the earlier one), and so on up to infinite unit good smell. Same statement goes for modes of bad smell also. One unit bitter taste (minimum), two unit bitter taste (twice as bitter taste as the earlier one), and so on up to infinite unit bitter taste. Same statement goes for modes of pungent taste, astringent taste, sour taste, and sweet taste also. One unit hard touch (minimum), two unit hard touch (twice as hard touch as the earlier one), and so on up to infinite unit hard touch. Same statement goes for modes of soft touch, heavy touch, light touch, cold and hot touch, smooth touch, and coarse or dry touch also. vivecana-prastuta sUtra meM guNoM ko mAdhyama banAkara paryAya kA svarUpa batAyA hai| paryAya eka guNa (aMza) kRSNa Adi rUpa haiN| arthAt jisa paramANu Adi dravya meM kRSNa guNa kA eka aMza ho vaha paramANu Adi dravya ekaguNa kRSNavarNa Adi vAlA hai| isI prakAra do Adi aMza se lekara ananta aMzoM taka ke lie jAnanA caahie| pudgalAstikAya ke do bheda haiM-aNu aura skndh| skandhoM meM to pA~ca varNa, do gaMdha, pA~ca rasa aura ATha sparza kula milAkara bIsa guNa hotA hai| paramANuoM meM karkaza, mRdu, guru, laghu ye cAra sparza nahIM hone se kula solaha guNa pAye jAte haiM tathA eka paramANu meM zeSa rahe zIta-uSNa, snigdha-rukSa ina cAra sparzoM meM se bhI eka samaya meM avirodhI do sparza hI hote haiN| arthAt (1) zIta ho to uSNa nahIM, (2) rukSa ho to snigdha nahIM tathA (3) eka varNa, (4) eka gaMdha, (5) eka rasa, isa prakAra kula pA~ca guNa aura unake paryAya sambhava haiN| ye varNa Adi guNa mUrta vastu-pudgala se kabhI alaga nahIM hote haiM kintu inake eka, do Adi rUpa aMza rUpAntarita hote rahate haiN| tabhI dravya ke avasthAntara hone kA bodha hotA hai| Elaboration--In this aphorism modes have been explained with the help of Guna or attributes. Mode is one unit black (fractionally black) and so on. This means that the paramanu (ultimate-particle) or substance that has only one unit of the attribute that is black colour is called one unit black paramanu nAmAdhikAra prakaraNa ( 341 ) The Discussion on Nama

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radhecheadtractsadisudaaxnxx (ultimate-particle) or substance. The same goes for two and more units (up to infinite) of the specific colour or other attribute. Pudgalastikaya (matter entity) has two basic kindsparamanu (ultimate-particle) and skandh (aggregate). There are twenty attributes applicable to Skandhs-five Varna (appearance), two Gandh (smell), five Rasa (taste), and eight Sparsh (touch). As four attributes of touch, namely hard, soft, heavy, and light are not applicable to paramanu (ultimateparticle), only sixteen attributes are applicable to paramanus. In a single paramanu (ultimate-particle) there can only be two out of the remaining four attributes of touch that are not mutually contradictory; one out of hot and cold, and one out of smooth and coarse/dry. Thus a single paramanu has only five attributes and their modes--(1) either hot or cold, (2) either smooth or coarse/dry, (3) one kind of appearance, (4) one kind of smell, and (5) one kind of taste. Matter or a tangible thing is never devoid of all these attributes including appearance. However, the modes keep on changing and that becomes evident as transformation. trinAma kA dUsarA prakAra 226. taM puNa NAmaM tivihaM, (1) itthI, (2) purisaM, (3) NapuMsagaM cev| eesiM tiNhaM pi ya aMtammi parUvaNaM vocchN||18|| tattha purisassa aMtA A I U o ya hoMti cttaari| te ceva itthiyAe havaMti okaarprihiinnaa||19|| aMti ya iM ti ya u ti ya aMtA u NapuMsagassa boddhvyaa| etesiM tiNhaM pi ya vocchAmi nidaMsaNe etto||20|| AkAraMto rAyA IkAraMto girI ya siharI y| UkAraMto viNhU dumo oaMtAo purisaannN||21|| anuyogadvAra sUtra Illustrated Anuyogadvar Sutra VOON ONVEOVODYGOD WG ORG WW * *

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AkAraMtA mAlA IkAraMtA sirI ya lacchI y| UkAraMtA jaMbU vahU ya aMtA u itthiinnN||22|| aMkAraMtaM dhannaM iMkAraMtaM napuMsakaM acchiN| uMkAraMtaM pIlUM mahuM ca aMtA nnpuNsaannN||23|| se taM tinnaame| 226. trinAma ke punaH tIna prakAra haiN| jaise-(1) strInAma, (2) puruSanAma, aura (3) npuNsknaam| ina tInoM prakAra ke nAmoM kA bodha unake antyAkSaroM dvArA hotA hai||18|| jaise pulliMgavAcI nAmoM ke anta meM 'A, I, U, o' ina cAra meM se koI eka varNa (pratyaya) hotA hai tathA strI liMgavAcI nAmoM ke anta meM 'o' ko chor3akara zeSa tIna (A, I, U) varNa hote haiM // 19 // napuMsakaliMga vAcI zabdoM ke anta meM aM, iM yA uM varNa jAnanA caahie| aba ina tInoM ke udAharaNa kahatA huuN||20|| pulliMgavAcI AkArAnta nAma kA udAharaNa rAyA (rAjA) hai| IkArAnta kA udAharaNa-girI (giri) tathA siharI (zikharI) haiM UkArAnta kA udAharaNa viNhU (viSNu) aura okArAnta kA dumo (drumo-vRkSa) hai // 21 // ___ strIliMgavAcI nAma meM-'mAlA' yaha AkArAnta kA, sirI (zrI) aura lacchI (lakSmI) IkArAnta, jambU (jAmuna vRkSa), bahU, (vadhU) UkArAnta nArI jAti ke (nAmoM ke) udAharaNa haiM // 22 // ___ napuMsakaliMgavAcI nAma kA udAharaNa hai| dhanaM (dhAnya) yaha aNkaaraant| acchiM (akSi) yaha iMkArAnta tathA pItuM (pIlu-vRkSa vizeSa) mahuM (madhu) ye uMkArAnta napuMsakanAma ke pada haiN||23|| isa prakAra yaha trinAma kA svarUpa hai| ANOTHER TYPE OF TRINAMA 226. Also there are another three types of Trinama __ (tri-name) (1) Stree-nama (feminine-name), (2) PurushnAmAdhikAra prakaraNa ( 343 ) The Discussion on Nama

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nama (masculine-name), and (3) Napumsak-nama (neutername). The word endings give the indication about these three kinds of names. (18) Masculine gender names end with any of the four vowels 'a', 'i', 'u', or 'o'. Leaving aside 'o'feminine gender names end with any of the three remaining vowels ('a', 'i', 'u'). (19) Neuter gender names end with any of the three vowels 'am', 'im', or'um'. Now I will give examples of these three. (20) The example of masculine name ending with 'a' is raya (raja or king). That ending with 'is giri (giri or hill) and sihari (shikhari or hilltop), that ending with 'u' is Vinhu (Vishnu), and that ending with 'o'is dumo (drumo or tree). (21). The example of feminine name ending with 'a' is mala (mala or garland). That ending with oi is Siri (Shri) and Lachhi (Lakshmi), and that ending with 'u' is jambu (jamun or rose apple) and bahu (vadhu or bride). (22). The example of neuter name ending with 'am' is dhannam (dhaanya or grains). That ending with 'im' is achhim (akshi or eye), and that ending with 'um' is pilum (pilu or name of a tree) and mahum (madhu or honey). (23). This concludes the description of Trinama (tri-name) (8) stafa 227. se kiM taM catuNAme ? egura que quel A JET-(9) mavi, (a) allavi, (z) $, () Femini 776. (427) agara RIIT? (UFTT) agafa do ar yahr 1787-(9) 314 Eta am 714, (?) nity se hone vAle nAma, (3) prakRti se hone vAlA nAma, (4) vikAra se hone vAlA naam| anuyogadvAra sUtra ( 388 ) Illustrated Anuyogadvar Sutra

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(4) CHATURNAMA (FOUR-NAMED) 227. (Question) What is this Chaturnama (Four-named)? (Answer) Chaturnama (Four-named) is of four types(1) name made by Agam (adding a letter), ( 2 ) name made by Lope (dropping a letter), (3) name made by Prakriti (maintaining the natural or original form ), and ( 4 ) name made by Vikar (distortion or basic change in the natural form). 228. se kiM taM AgameNaM ? AgameNaM padmAni payAMsi kuNDAni / se taM AgameNaM / 228. (prazna) Agama se hone vAlA nAma kyA hai ? (uttara) padmAni payAMsi kuNDAni Adi ye saba AgamaniSpannanAma ke udAharaNa haiM / 228. (Question) What is this name made by Agam (adding a letter) ? (Answer) Examples of name made by Agam (adding a letter) are padmani (this is made by adding ni to padma and similar suffixes in other examples according to Sanskrit grammar), payamsi, Kundani, etc. 229. se kiM taM loveNaM ? loveNaM te atra = te'tra, paToatra = paTo'tra, ghaTo atra = ghaTo'tra, ratho atra = ratho'tra se taM loveNaM / 229. (prazna) lopa se hone vAlA nAma kyA hai ? (uttara) te + atra = te'tra, paTo + atra ratho + atra = ratho'tra, ye lopaniSpannanAma haiN| = 229. (Question) What is this name made by Lope (dropping a letter) ? nAmAdhikAra prakaraNa ( 345 ) paTo'tra, ghaTo + atra ghaTo'tra, The Discussion on Nama

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___(Answer) Examples of name made by Lope (dropping a letter) are-te + atra = tetra (a from atra is dropped here), similarly patotra, ghatotra, and rathotra. 230. se kiM taM pagatIe ? agnI etau, paTU imo, zAle ete, mAle ime| se taM pgtiie| 230. (prazna) prakRti se hone vAlA nAma kyA hai ? (uttara) agnI etau, paTU imau, zAle ete, mAle ime ityAdi prayoga prakRtiniSpanna nAma haiN| 230. (Question) What is this name made by Prakriti (maintaining the natural or original form) ? (Answer) Examples of name made by Prakriti (maintaining the natural or original form) are-agni etao (both these words are in their natural form without making any change to combine them), patu imao, male ime, etc. 231. se kiM taM vikAreNaM ? vikAreNaM daNDasya agraM daNDAgram, sA AgatA sA''gatA, dadhi idaM dadhIdam, nadI Ihate nadIhate, madhu udakaM madhUdakam, bahu Uhate bhuuhte| se taM vikaarennN| se taM cunnaame| ___231. (prazna) vikAra se hone vAlA nAma kyA hai? (uttara) daNDassa + agraM-daNDAgram, sA + AgatA-sA''gatA, dadhi + idaM-dadhIdaM, nadI + Ihate-nadIhate, madhu + udakaM-madhUdakaM,bahu + Uhate-bahUhate, ye saba vikAraniSpannanAma haiN| yaha caturnAma kA svarUpa hai| [sUtra 226 se 231 taka ke sUtroM para vyAkaraNa arthAt zabda zAstra kI dRSTi se vistAra pUrNa vivecana ke lie jJAna munikRta hindI TIkA. bhAga 2 pRSTha 64 se 80 taka dekheN| anuyogadvAra sUtra ( 346 ) Illustrated Anuyogadvar Sutra

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231. (Question) What is this name made by Vikar (distortion or basic change in the natural form) ? (Answer) Examples of name made by Vikar (distortion or basic change in the natural form) are dandassa + agram = dandagram (here the natural form of dandassa has been changed to danda), sa + agata = sagata, dadhi + idam = dadheedam, nadi + eehate = nadihate, madhu + udakam = madhoodakam, bahu + oohate = bahoohate, etc. This concludes the description of Chaturnama (four named). ___ [Aphorisms 226 to 231 relate to Sanskrit grammar. For details refer to Anuyogadvar a Hindi Tika part-2 by Jnana Muni p. 64-80] (5) paMcanAma 232. se kiM taM pNcnaame| paMcanAme paMcavihe pnnnntte| taM jahA-(1) nAmikaM, (2) naipAtikaM, (3) AkhyAtikaM, (4) aupasargikaM, (5) mizraM c| azva iti nAmikama, khalviti naipAtikam, dhaavtiityaakhyaatikm| pari ityaupsrgikm| saMyata iti mishrm| se taM pNcnaame| 232. (prazna) paMcanAma kyA hai ? (uttara) paMcanAma pA~ca prakAra kA hai| jaise-(1) nAmika, (2) naipAtika, (3) AkhyAtika, (4) aupasargika, aura (5) mishr| jaise 'azva' yaha nAmikanAma kA, 'khalu' naipAtikanAma kA 'dhAvati' AkhyAtikanAma kA, 'pari' aupasargika nAma aura 'saMyata' yaha mizranAma kA udAharaNa hai| (5) PANCH NAMA (FIVE-NAMED) 232. (Question) What is this Panch nama (Five-named)? (Answer) Panch nama (Five-named) is of five types-- (1) Namik, (2) Naipatik, (3) Akhyatik, (4) Aupasargik, and nAmAdhikAra prakaraNa ( 347 ) The Discussion on Nama

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(5) Mishra. For example ashva ( horse ) is Namik nama' (name or noun), khalu is Naipatik nama (indeclinable), dhavati is akhyatik nama (verb), pari is Aupasargik nama (prefix), and smayat is Mishra nama (mixed). vivecana - vyAkaraNa ke niyamAnusAra nAma pA~ca prakAra kahe haiM (1) nAmika - koI bhI arthavAna zabda nAma kahalAtA hai - jaise azva | (2) naipAtika - kucha vizeSa arthoM ko vyakta karane ke lie nizcita kiye gaye ve 'pada' jo saba liMgoM aura vibhaktiyoM meM samAna hote haiM-jaise 'ca' 'khalu' 'vA' aadi| (3) AkhyAtika - dhAtu (kriyA pada) ke Age pratyaya lagAkara jo dhAtu rUpa banatA hai, vaha AkhyAtika jaise- dhAvati, bhavati / (4) aupasargika - 'pra', 'parA', 'pari' Adi upasargoM se banane vAle zabda jaise 'prahAra', 'parAbhUta', 'pariSkAra' Adi / (5) mizra - upasarga, dhAtu aura pratyaya Adi ke mizraNa - yoga se bane zabda jaise - saMyata, sudarzana Adi / (- vistAra ke lie dekheM hindI TIkA bhAga 2 pR. 80 - 82 ) Elaboration-According to Sanskrit grammar there are five types of name : Namik-noun. Naipatik-indeclinable. Akhyatik-verb. Aupasargik-prefix. Mishra of mixed nature. (For details refer to Anuyogadvar Hindi Tika part-2 by Jnana Muni p. 80-82) anuyogadvAra sUtra * ( 348 ) Illustrated Anuyogadvar Sutra

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bhAva prakaraNa THE DISCUSSION ON BHAAVA bhAva varNana : chaha nAma 233. se kiM taM chanAme ? chanAme chabihe pnnnntte| taM jahA-(1) udaie, (2) uvasamie, (3) khaie, (4) khaovasamie, (5) pAriNAmie, (6) snnivaatie| 233. (prazna) chaha nAma kyA hai? (uttara) chaha nAma ke chaha prakAra kahe haiM-(1) audayika, (2) aupazamika, (3) kSAyika, (4) kSAyopazamika, (5) pAriNAmika, aura (6) saannipaatik| CHHAHA NAMA (SIX-NAMED) 233. (Question) What is this Chhaha nama (Six-named) ? __ (Answer) Chhaha nama (Six-named) is of six types9 (1) audayik, (2) aupashamik, (3) kshayik, (4) kshayopashamik, (5) parinamik, and (6) sannipatik. vivecana-bhAva jIva kA guNa bhI hai, aura paryAya bhI hai| jIva kA samagra svarUpa samajhane ke ke lie usakI vibhinna paryAyoM ko jAnanA Avazyaka hai| karmoM ke udaya, upazama Adi se hone vAlA jIva kA spandana yA svarUpa bhAva hai| bhAva ke chaha prakAra haiM (1) audayikabhAva-jJAnAvaraNa Adi ATha prakAra ke karmoM ke vipAka-phala kA anubhava karane ko udaya kahate haiN| isa udaya kA athavA udaya se niSpannabhAva paryAya (udayoprApta 0 avasthA) kA nAma audayikabhAva hai| saMsArI jIva ko karma kA udaya nirantara hotA rahatA hai| OM naraka-manuSya Adi avasthAe~ udaya niSpanna bhAva haiN| (2) aupazamikabhAva-sattA meM rahate hue bhI karmoM kA udaya meM nahIM rahanA arthAt AtmA meM karma kI nija zakti kA kAraNavaza prakaTa na honA yA pradeza aura vipAka donoM prakAra ke karmodaya kA ruka jAnA upazama hai, jaise rAkha se AcchAdita agni chipI rahatI hai, usI prakAra " isa upazama avasthA meM karmoM kA udaya nahIM hotA hai, kintu ve sattA meM rahate haiN| jaise miTTI yukta jala kI miTTI nIce daba jAne para Upara jala svaccha dikhAI detA hai| miTTI nIce dabI rahatI hai| " isa upazama se niSpanna bhAva ko aupazamikabhAva kahate haiN| yaha bhAva sAdi-sAnta hai| OM bhAva prakaraNa ( 349 ) The Discussion on Bhaava

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ATha karmoM meM cAra aghAti karmoM kA upazama nahIM hotaa| jaise AyuSya karma nirantara bhogA jAtA hai| sAtA-asAtA ke rUpa meM vedanIya karma bhI nirantara bhogA jA rahA hai| ghAti karmoM meM jJAnAvaraNIya, darzanAvaraNIya tathA antarAya karma kA upazama nahIM hotaa| kevala eka mohanIya karma kA upazama hotA hai, kyoMki mohanIya karma kI prakRtiyA~ saMvegAtmaka aura vikAraka hotI haiN| ___ nIrasa kiye hue karma dalikoM kA vedana pradezodaya tathA rasayukta karma dalikoM kA phala bhoga-vipAkodaya hai| (3) kSAyika bhAva-karma ke pUrNa vinAza ko kSaya kahate haiN| kSaya se jo bhAva prApta hotA hai vaha kSAyikabhAva hai| yaha bhAva sAdi-ananta hai| jaise jIva kI arihaMta siddha Adi avsthaaeN| (4) kSAyopazamikabhAva-karmoM kA kSaya aura upazama honA kSayopazama hai| kSayopazama se utpanna kSAyopazamikabhAva hai| yaha bhAva kucha bujhI huI aura kucha nahIM bujhI huI agni ke samAna jAnanA caahie| kSayopazama kI prakriyA meM udayAvalikA prApta athavA udIrNa dalikoM kA kSaya hotA rahatA hai| sattA meM rahate hue bhI jo dalika udaya meM Ane yogya nahIM hai una anudIrNa dalikoM kA upazama hotA rahatA hai| - isake do rUpa banate haiM-(1) udaya meM Ane yogya karma dalikoM ko vipAkodaya ko ayogya banA denaa| (2) tIvra rasa ko maMda rasa meM pariNata krnaa| kSayopazama kevala cAra ghAti karma kA hI hotA hai| aghAti karma kA kSayopazama nahIM hotaa| ___ ghAtikarma AtmA ke jJAna, darzana, Adi cAra maulika guNoM ko AvRta tathA vikRta karate haiM, kintu unakA sarvathA nAza nahIM karate isalie unakA kSayopazama hotA hai| (5) pAriNAmikabhAva-pariNAma kA artha hai-naye-naye paryAyoM meM jaanaa| yaha do prakAra kA hotA hai-svAbhAvika tathA pryogjnit| yaha pariNAma hI pAriNAmikabhAva hai| athavA jisake kAraNa mUla vastu meM kisI prakAra kA parivartana na ho, vastu kI svabhAva meM hI pariNati hote rahanA pAriNAmika bhAva hai| (6) sAnnipAtikabhAva-ina pA~coM bhAvoM meM se do-tIna Adi bhAvoM kA milanA sannipAta hai, yaha sannipAta hI sAnnipAtika bhAva kahalAtA hai| ina bhAvoM kA vistArapUrvaka svarUpa nirUpaNa Age kiyA jAtA hai| ___Elaboration-Bhaava is both attribute as well as mode of beings. In order to understand a being or soul fully it is necessary to understand its various modes. The form or activity of soul anuyogadvAra sUtra / ( 350 ) Illustrated Anuyogadvar Sutra

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FIVE TYPES OF THOUGHT-ACTIVITY pA~ca bhAva ulaya meM upazama bhAva udayaniSpanna bhAva upazamaniSpanna bhAva svaccha jala, miTTI sAdi pAriNAmika MOM pAriNAmika bhAva sAdi pAriNAmika vRkSa, parvata, bAdala anAdi pAriNAmika purAnA gur3a kSaya bhAva kSayopazama bhAva / miTTI sahita svaccha jala svaccha jala jalA huA aMkura kSayaniSpanna bhAva kSayopazamaniSpanna bhAva AcArya hemacandra sUri svaccha jala TAILOR For Frivale & Pe sonal Use Only

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citra paricaya 16 pA~ca bhAva (1) udaya bhAva - karmoM kA phala -vipAka dene kI sthiti meM AnA / jaise - bIja vRkSa banakara phala dene kI sthiti meM A gayA hai / (1) udaya niSpanna bhAva - manuSya, pazu Adi yoniyA~ / Illustration No. 16 (2) upazama bhAva - bhItara karmoM kI sattA rahate hue bhI Upara se anudaya kI sthiti / jaise- rAkha se dabI Aga yA miTTI se nitarA huA pAnI / (2) upazama niSpantra bhAva meM AtmA ke krodha Adi kaSAya zAnta rahate haiM / (3) kSaya bhAva - cAra ghAti yA AThoM karmoM kA sampUrNa kSaya honA / jaise- citra meM batAyA hai miTTI haTa jAne se pAnI bilakula svaccha ho gayA hai| karmarUpI aMkura pUrNa rUpa se jalakara rAkha ho gaye haiN| (3) kSaya niSpanna bhAva meM arihaMta tathA siddha avasthA prApta hotI hai / (4) kSayopazama bhAva - udaya prApta karmoM kA kSaya tathA anudIrNa karmoM kA upazama honA / jaise- pAnI kA kucha bhAga pUrNataH svaccha hai tathA kucha bhAga kI miTTI nIce jama jAne se Upara pAnI svaccha dIkhatA hai| (4) kSAyopazama niSpanna bhAva-jaise AcArya hemacandra sUri zruta jJAnAvaraNa kA vizeSa kSayopazama hone se vipula sAhitya kA nirmANa kara ske| (5) pAriNAmika bhAva - pratikSaNa naye-naye paryAyoM meM jaanaa| isake do bheda haiM- (1) sAdi pAriNAmika | jaise - vRkSa, parvata, bAdala gur3a, ghI Adi / (2) anAdi pAriNAmika jaise-loka, aloka Adi / - sUtra 235 - 259 FIVE BHAAVA (STATES) (1) Udaya bhaava - Maturing of karmas to the stage of fruition. For example a seed has grown into a tree and come to the stage of giving fruits. (1) Udaya nishpanna bhaava-Genuses like human, animal etc. (2) Upasham bhaava-In spite of being in existence the karmas do not come to fruition, they remain dormant. For example a cinder covered with ash or water with settled impurities. (2) Upasham nishpanna bhaava-The passions like anger remain in pacified state. (3) Kshaya Bhaava-Complete destruction of four vitiating karmas or all the eight karmas. For example water becomes clean by removing all impurities. All the karmas in form of sprouts are burnt to ash. (3) Kshaya nishpanna bhaava-Attainment of the state of Arihant and Siddha. (4) Kshayopasham bhaava-The destruction of karmas coming to fruition and pacification of non-fruiting karmas. For example one part of the water is absolutely pure and another appears clean due to settled impurities. (4) Kshayopasham nishpanna bhaava-For example Acharya Hemchandra could write vast literature because of the extreme destruction-cumpacification of Shrut jnanavaran karma. (5) Parinamik-To undergo transformation every moment. It has two kinds -- (i) Sadi-parinamik like tree, hill, clouds, jaggery, butter, etc. (ii) Anadi-parinamik like universe, space, etc. -Sutra: 235-259

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inspired or caused by fruition or precipitation, pacification, etc. of karmas is called bhaava, which are of six kinds (1) Audayik-bhaava (culminated state)-To experience the fruits or consequences of the maturing or precipitating of karmas (the eight kinds including Jnananvaraniya or knowledge obscuring) from their dormant state is called udaya or culmination. The state caused by this culmination is called audayik-bhaava (culminated state). A worldly being or soul continuously experiences the culmination or precipitation of karmas. States like human beings, hell-beings are culminated states. (2) Aupashamik-bhaava (pacified state)-The state where the karmas are not active, although they exist, is called Upasham. In other words the energy of karmas attached to a soul is in a dormant and not active state. In this state karmas remain pacified and partial or complete fruition does not take place. Like a cinder covered in ash, karmas do not precipitate or come into action but they still exist. As when dissolved impurities precipitate and settle down, water appears clean and pure. This pacified state is called Aupashamik-bhaava (pacified state). It is with a beginning as well as an end. Of the eight karmas the four non-vitiating ones cannot be pacified. For example the age determining karma is always active or in state of fruition. As pleasure or pain the Vedaniya karma is also always active. Of the vitiating karmas Jnanavaraniya, Darshanavaraniya and Antaraya also cannot be pacified. Only Mohaniya karmas can be pacified because its consequences are intense and maligning. The suffering caused by pacified or less potent karmas is called pradeshodaya or partial fruition and that caused by potent karmas is called vipakodaya or mature fruition. (3) Kshayik-bhaava (extinct state)-The destruction of karma is called kshaya. The state produced by destruction of karma is called Kshayik-bhaava. It is also with a beginning as well as an end. For example Arihant and Siddha states of a being. ( 351 ) bhAva prakaraNa The Discussion on Bhaava

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(4) Kshayopashamik-bhaava (state of extinction-cumpacification)-Destruction-cum-pacification of karmas is called kshayopasham. The state produced by destruction-cumpacification is called Kshayopaashamik-bhaava. This state is like a fire partly live and partly extinguished. In this state the karma particles attaining maturity get destroyed and those still dormant get pacified. This has two categories-(1) To diffuse the mature karma particles that are about to come to fruition. (2) To reduce the potency of karma particles. The process of extinction-cumpacification is applicable only to vitiating karmas and not nonvitiating karmas. The vitiating karmas only obscure and distort the four basic attributes of soul (Knowledge, perception, etc.) they cannot completely destroy these. That is why they can have extinction-cum-pacification. (5) Parinamik-bhaava (transformed state)-Parinam means to get transformed into new modes. This is of two kindsnatural and enforced. This transformed state is called Parinamikbhaava. In other words that which causes modal changes only and not basic changes in a thing is called Parinamik-bhaava. (6) Sannipatik-bhaava (mixed state)-The combination of any two or more of the aforesaid states is called sannipat. This combination is called Sannipatik-bhaava. More details of these states will be discussed in following aphorisms. (1) audayika bhAva 234. se kiM taM udae ? uda duvihe paNNatte / taM jahA - ( 1 ) udae ya, (2) udayanipphaNNe ya / 234. (prazna) audayikabhAva kyA hai ? (uttara) audayakibhAva do prakAra kA kahA hai- (1) udaya, aura (2) udayaniSpanna / (1) AUDAYIK BHAVA 234. (Question) What is (culminated state)? anuyogadvAra sUtra ( 352 ) this Audayik-bhaava Illustrated Anuyogadvar Sutra TATATATATATATAVADADADA DADA DADADANADADALADAVAD

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(Answer) Audayik-bhaava (culminated state) is of two types--(1) Udaya and ( 2 ) Udayanishpanna. 235. se kiM taM udae ? udae aTThaNhaM kammapagaDINaM udaeNaM / 235. (prazna) udaya kyA hai ? (uttara) jJAnAvaraNAdika ATha karmaprakRtiyoM kA udaya hotA hai| udaya se hone vAlA audayikabhAva hai| 235. (Question) What is this Udaya (culmination) ? (Answer) Jnanavaran and other seven natures of karma undergo fruition. The state produced by this fruition is called Audayik-bhaava. 236. se kiM taM udayanipphaNNe ? udayanipphaNNe duvihe paNNatte / (2) ajIvodayanippanne ya / 236. (prazna) udayaniSpanna audayikabhAva kyA hai ? taM ( uttara ) udaya niSpanna audayikabhAva ke do prakAra haiM - ( 1 ) jIvodayaniSpanna, (2) ajIvodayaniSpanna / jahA - ( 1 ) jIvodayanipphanne ya, 236. (Question ) What is this Udayanishpanna Audayikbhaava (culminated state caused by fruition)? (Answer) Udayanishpanna Audayik-bhaava (culminated state caused by fruition) is of two types - ( 1 ) Jivodaya - nishpanna (culminated state manifesting directly in soul) and (2) Ajivodaya - nishpanna ( culminated state caused by non-being). bhAva prakaraNa vivecana- ye tIna sUtra audayikabhAva nirUpaNa kI bhUmikA haiN| jJAnAvaraNAdi ATha karmoM kA udaya aura karmoM ke udaya se hone vAlA bhAva - avasthAe~ - paryAya audayikabhAva hai jo udaya meM Akara kisI anya paryAya ko janma detA hai| ( 353 ) The Discussion on Bhaava

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udayaniSpanna ke jIvodayaniSpanna aura ajIvodayaniSpanna bheda mAnane kA kAraNa yaha hai ki karmodayajanya jo avasthAe~ sAkSAt jIva ko prabhAvita karatI haiM athavA karma ke udaya se jo paryAyeM jIva meM niSpanna hotI haiM, ve jIvodayaniSpanna aura ajIva arthAt pudgala ke yoga se jIva meM jina avasthAoM kA udaya hotA hai, ve ajIvodayaniSpanna audayikabhAva haiN| Elaboration-These three aphorisms give outline of Audayikbhaava (culminated state). The fruition of karmas (Jnanavaraniya, etc.) and the states or modes caused by this fruition are called Audayik-bhaava (culminated state) which on fruition give rise to some other mode. The two categories of Udayanishpanna Audayik-bhaava (culminated state caused by fruition), namely Jivodayanishpanna and Ajivodaya-nishpanna are explained as the conditions caused by fruition of karma directly influencing soul are called Jivodaya-nishpanna. In other words the modes manifested in soul due to fruition of karmas is called Jivodayanishpanna. The modes manifested in soul due to its contact with matter or non-being are called Ajivodaya-nishpanna Audayikbhaava (culminated state caused by non-being). jIvodayaniSpanna audayikabhAva kA svarUpa 237. se kiM taM jIvodayanipphanne ? jIvodayanipphanne aNegavihe paNNatte / taM jahA - Neraie tirikkhajoNie maNusse deve, puDhavikAie jAva vaNassaikAie, tasakAie, kohakasAyI jAva lohakasAyI, itthIvedae purisavedae NapuMsagavedae, kaNhalese evaM nIla. kAu. teu. pamha. sukkalese, micchAdiTThI avirae aNNANI AhArae chaumatthe sajogI saMsAratthe asiddhe / se taM jIvodayaniphanne / 237. ( prazna) jIvodayaniSpanna audayikabhAva kyA hai ? (uttara) jIvodayaniSpanna audayikabhAva aneka prakAra kA hai / yathA - nairayika, tiryaMcayonika, manuSya, deva, pRthvIkAyika yAvat vanaspatikAyika, trasakAyika, krodhakaSAyI yAvat lobhakaSAyI, strIvedI, puruSavedI, napuMsakavedI, kRSNalezyI, anuyogadvAra sUtra ( 354 ) Illustrated Anuyogadvar Sutra bha * * * *

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01.9.1.1.11.19.1.ba bababa baba baba baba baba bababa. 6dege Adege Adegb ddar nIla- kApota-teja-padma- zuklalezyI, mithyAdRSTi, avirata, ajJAnI, AhAraka, chadmastha, sayogI, saMsArastha, asiddha / yaha jIvodayaniSpanna audayikabhAva hai| [ye Atmazuddhi ke starAnusAra jIva ke vibhinna bhAvoM ke nAma haiN| pratyeka nAma kI vistRta paribhASA bhAga -2 meM pariziSTa meM dI jA rahI hai / ] JIVODAYA-NISHPANNA AUDAYIK-BHAAVA 237. (Question) What is this Jivodaya- nishpanna Audayikbhaava (culminated state manifesting directly in soul)? (Answer) Jivodaya-nishpanna Audayik-bhaava (culminated state manifesting directly in soul) is of many types-Nairayik, Tiryanch-yonik, Manushya, Deva, Prithvikiyik to Vanaspatikayik, Traskayik, Krodh-kashayi to Lobh-kashayi, Stri-vedi, Purush-vedi, Napumsak-vedi, Krishna-leshyi, Neel-Kapot-Teja-Padma-Shukla-leshyi, Mithydrishti, Avirat, Ajnani, Aharak, Chhadmasth, Sayogi, Samsarasth, Asiddha, etc. [These are names of various states (in terms of disposition and attitude) of a being based on levels of purity of soul. Detailed description of these names is given in appendix in vol-2] This concludes the description of Jivodaya-nishpanna Audayik-bhaava. ajIvodayaniSpanna audayikabhAva kA svarUpa 238. se kiM tama ajIvodayanippanne ? ajIvodayaniSpanne coddasavihe paNNatte / taM jahA - ( 1 ) orAliyaM vA sarIraM, (2) orAliyasa rapayogapariNAmiyaM vA davvaM, (3) veuvviyaM vA sarIraM, (4) veuvviyasarIrapayogapariNAmiyaM vA davvaM, ( 5 - 6 ) evaM AhAragaM sarIraM, ( 7 - 8 ) teyagaM sarIraM, ( 9 - 10 ) kammagaM sarIraM ca bhANiyavvaM, (11) payogapariNAmie vaNNe, (12) gaMdhe, (13) rase, (14) phAse / se taM ajIvodayanippaNNe / se taM udayaniSphaNNe / se taM udae / ( 355 ) bhAva prakaraNa The Discussion on Bhaava 2044041, 504, 504, 5011.5071901.201201901.9.1.2.19.19.19.19.19.1

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238. (prazna) ajIvodayaniSpanna audayikabhAva kyA hai ? (uttara) ajIvodayaniSpanna audayikabhAva caudaha prakAra kA hai| yathA(1) audArikazarIra, (2) audArikazarIra ke prayoga se pariNAmita (banAyA huA) pudgala dravya, (3) vaikriyazarIra, (4) vaiyikrazarIra ke prayoga se pariNAmita dravya, isI prakAra (5-6) AhAraka zarIra aura AhArakazarIra ke prayoga dvArA pariNAmita dravya, (7-8) taijasazarIra aura taijasazarIra ke prayoga se pariNAmita dravya, (9-10) kArmaNazarIra aura kArmaNazarIra ke prayoga se pariNAmita dravya tathA (11-14) pAMcoM zarIroM ke vyApAra se pariNAmita varNa, gaMdha, rasa, sparza drvy| __yaha ajIvodayaniSpanna udayabhAva tathA udayaniSpanna aura audayika donoM prakAra ke audayikabhAvoM kI prarUpaNA hai| AJIVODAYA-NISHPANNA AUDAYIK BHAAVA ___238. (Question) What is this Ajivodaya-nishpanna (culminated state caused by non-being)? (Answer) Ajivodaya-nishpanna Audayik Bhaava (culminated state caused by non-being) is of fourteen types--(1) Audarik Sharir, (2) Substance produced by action of Audarik Sharir, (3) Vaikriya Sharir, (4) Substance produced by action of Vaikriya Sharir, (5) Aharak Sharir, (6) Substance produced by action of Aharak Sharir, (7) Taijas Sharir, (8) Substance produced by action of Taijas Sharir, (9) Karman Sharir, (10) Substance produced by action of Karman Sharir, (11) Substance produced by action of these five types of Sharir and responsible for attributes of Varna (appearance) (12) that of Gandh (smell), (13) that of Rasa (taste), and (14) that of Sparsh (touch). * This concludes the description of Ajivodaya-Nishpanna Audayik Bhaava (culminated state caused by non-being). This also concludes the description of Udai-Nishpanna (culminated state caused by fruition) and Udaya (culmination). (These are names of various types of bodies of beings and substances produced by their action. Detailed description of these names isgiven in appendix in vol-2]. esaxis .. .d FONNAOVOOTV ta PARODAROG. * ROMROMOSAPO * anuyogadvAra sUtra ( 356 ) Illustrated Anuyogadvar Sutra

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KAParonvHOROHORTHORTHORIHORTHORTHORVHORTHORVARGAORVAORNHOMHORTHORVHORVAORNAORMAOINAORNAORYAONYMOTIOMONOMI vivecana-jIvodayaniSpanna audayikabhAva meM nAraka Adi cAra gatiyA~, krodhAdi cAra kaSAya, tIna veda, mithyAdarzana, ajJAna, chaha lezyAyeM, asaMyama, saMsAritva, asiddhatva Adi parigaNita kiye gaye haiM, kyoMki ye saba bhAva karma ke udaya se jIva meM hI niSpanna hote haiN| jaise ki gatinAmakarma ke udaya se manuSyagati aadi| isI prakAra krodhAdi cAroM kaSAyoM kA udaya kaSAyacAritra mohanIyakarmajanya hai tathA nokaSAyacAritramohanIya kA udaya hone para strI Adi vedatrika, hAsyAdi nokaSAya niSpanna hote haiN| isa prakAra jo bhI jIva ke svAbhAvika guNoM ke ghAtaka karma haiM, una sabake udaya se utpanna paryAyoM ko jIvodayaniSpanna audayika bhAvarUpa samajhanA caahie| ___ajIvodayaniSpanna audayikabhAva ke bhI aneka prakAra batAye haiN| jaise audArika Adi shriir| audArika Adi zarIranAmakarmoM kA vipAka mukhyatayA zarIra rUpa pariNata pudgaloM meM hone se inheM pudgalavipAkI prakRtiyoM meM parigaNita kiyA hai aura pudgala ajIva hai| ataH inako ajIvodayaniSpanna audayikabhAva rUpa mAnA jAtA hai| ___Elaboration-Jivodaya - nishpanna Audayik . bhaava (culminated state manifesting directly in soul) includes four Gatis (dimension or realm of birth) such as Narak (hell), four kashayas (passions) such as anger, three vedas (genders), mithyadarshan (false perception), ajnana (ignorance), six leshyas (complexion of soul), asamyam (indiscipline), samsaritva (mundane state), Asiddhatva (absence of ultimate purity), etc. This is because all these states and attitudes manifest within the soul due to fruition of karmas. For example Gati-nama-karma causes birth as a human being, etc. In the same way passions like krodh (anger) are caused by precipitation of Kashayacharitra-mohaniya karma; veda (gender) and nokashaya (subpassions) are caused by Nokashaya-charitra-mohaniya karma. Thus the modes or changes caused by karmas vitiating natural attributes of soul should be considered Jivodaya-nishpanna Audayik-bhaava (culminated state manifesting directly in soul). ____ Ajivodaya-nishpanna Audayik-bhaava (culminated state caused by non-being) are also said to be of many types such as Audarik- sharir. As the fruition of Sharira-nama karmas such as audarik mainly manifests as aggregates of matter particles forming the body these have been classified as mattermanifesting karma categories. And matter is a non-being, therefore they are considered to be Ajivodaya-nishpanna Audayik-bhaava (culminated state caused by non-being). DRO90090090809009009009009009009005ROSARODAR09009002069RODRODRO900DRDARO90090090090090090090020 n bhAva prakaraNa (357 ) The Discussion on Bhaava

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(2) aupazamikabhAva kA svarUpa 239. se kiM taM uvasamie ? uvasamie duvihe pnnnntte| taM jahA-(1) uvasame ya, (2) uvasamaniSphaNNe y|| 239. (prazna) aupazamikabhAva kyA hai ? (uttara) aupazamika bhAva do prakAra kA hai| yathA-(1) upazama, aura (2) upshmnisspnn| AUPASHAMIK-BHAAVA 239. (Question) What is this Aupashamik-bhaava (pacified state)? __(Answer) Aupashamik-bhaava (pacified state) is of two types--(1) Upasham and (2) Upasham-nishpanna. 240. se kiM taM uvasame ? uvasame mohaNijjassa kammassa uvsmennN| se taM uvsme| 240. (prazna) upazama bhAva kyA hai ? (uttara) mohanIyakarma ke upazama se hone vAle bhAva ko upazama (aupazamika) bhAva kahate haiN| 240. (Question) What is this Upasham bhaava (state of pacification)? (Answer) The state caused by upasham (pacification) of Mohaniya Karma (deluding karma) is called Upasham or Aupashamik bhaava (state of pacification). This concludes the description of Aupashamik-bhaava __ (pacified state). 241. se kiM taM uvasamaniSphaNNe ? uvasamaniSphaNNe aNegavihe pnnnntte| taM jahA-uvasaMtakohe jAva uvasaMtalobhe uvasaMtapejje uvasaMtadose uvasaMtadaMsaNamohaNijje uvasaMtacarittamohaNijje anuyogadvAra sUtra ( 346 ) Illustrated Anuyogadvar Sutra

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book k Sodeg 6deg ha uvasamiyA sammattaladdhI uvasamiyA uvasaMtamohaNijje uvasaMtakasAyachaumatthavItarAge / se taM uvasamanipphaNNe / se taM uvasamie / 241 (prazna) upazamaniSpanna aupazamikabhAva kyA hai ? (uttara) upazamaniSpanna aupazamikabhAva ke aneka prakAra haiN| jaise ki upazAMtakrodha yAvat upazAntalobha, upazAntarAga, upazAMtadveSa, upazAMtadarzanamohanIya, upazAMtacAritra mohanIya, upazAMtamohanIya, aupazamika samyaktvalabdhi, aupazamika cAritralabdhi, upazAntakaSAya chadmasthavItarAga Adi upazamaniSpanna aupazamikabhAva haiN| yaha aupazamikabhAva kA svarUpa hai| 241. (Question) What is this Upasham-nishpanna Aupashamik bhaava (pacified state produced by pacification of karmas)? (Answer) Upasham-nishpanna Aupashamik bhaava (pacified state produced by pacification of karmas) is of many types-Upashanta krodh to Upashanta lobha, Upashanta raga, Upashanta dvesh, Upashanta Darshan mohaniya, Upashanta Charitra mohaniya, Upashanta mohaniya, Aupashamik Samyaktva-labdhi, Aupashamik Charitralabdhi, Upashanta-kashaya Chhadmasth-vitarag, etc. This concludes the description of Upasham-nishpanna Aupashamik bhaava (pacified state produced by pacification of karmas). This also concludes Aupashamik-bhaava (pacified state). carittaladdhI vivecana - mohanIyakarma ke do bheda haiM, darzanamohanIya aura cAritramohanIya / darzanamohanIya ke udaya se jIva Atma-svarUpa kA darzana, zraddhAna karane meM asamartha rahatA hai aura cAritramohanIya ke udaya se jIva AtmasvarUpa meM sthira nahIM ho pAtA hai | darzanamohanIya ke tIna bhedoM aura cAritramohanIya ke paccIsa bhedoM ko milAne se mohanIyakarma ke aTThAIsa bheda haiN| mohanIyakarma kA pUrNa upazama gyArahaveM guNasthAna meM hotA hai / darzanamohanIya ke upazama se samyaktvalabdhi kI aura cAritramohanIya ke upazama se cAritralabdhi kI prApti hotI hai / (vizeSa vistAra ke lie dekheM bhAga - 2 meM pariziSTa / ) ( 359 ) bhAva prakaraNa The Discussion on Bhaava

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Elaboration--There are two categories of Mohaniya Karma (deluding karma)-Darshan (perception) Mohaniya and Charitra (conduct) Mohaniya. A soul or being is incapable of perceiving and having faith in the real form of soul due to fruition of Darshan Mohaniya karma (perception deluding karma). Due to the fruition of Charitra Mohaniya (conduct deluding karma) the soul becomes incapable of stabilization in the real form of soul. There are twenty eight categories of Mohaniya karma including three of Darshan Mohaniya karma (perception deluding karma) and twenty five of Charitra Mohaniya (conduct deluding karma). Complete pacification of Mohaniya karma is attained at the eleventh Gunasthana. (the Jain system of levels of purity of soul) The pacification of Darshan Mohaniya karma (perception deluding karma) results in Samyaktva-labdhi (attaining righteousness) and that of Charitra Mohaniya (conduct deluding karma) in Charitra-labdhi (attaining purity of conduct). (for more details see appendix in part-2.) (3) kSAyika bhAva kA svarUpa 242. se kiM taM khaie ? agt start your IS JET-(9) apa, () cufaragot all 787. (927) 105479 RIT ? (577) aucta et stehtTI 47877--(9) 874, 317 (2) foi (3) KSHAYIK-BHAAVA (EXTINCT STATE) 242. (Question) What is this Kshayik-bhaava (extinct state)? (Answer) Kshayik-bhaava (extinct state) is of two types--(1) Kshaya (state of extinction) and (2) kshayanishpanna (produced by extinction). 383. A for a ay ? khae aTThaNhaM kammapagaDINaM khennN| se taM khe| anuyogadvAra sUtra (390) Illustrated Anuyogadvar Sutra 2

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YONYAYAORYAORYA 243. (prazna) kSaya kise kahate haiM ? (uttara) ATha karmaprakRtiyoM ke kSaya se hone vAlA bhAva kSAyika hai / 243. (Question) What is this Kshaya (state of extinction of karmas) ? (Answer) The process of extinction of eight categories of karma particles is called Kshaya (state of extinction). 244. se kiM taM khayanipphaNNe ? (1) khayaniSphaNNe aNegavihe paNNatte / taM jahA - uppaNNaNANadaMsaNadhare - arahA jiNe kevalI, khINa- AbhiNibohiyaNANAvaraNe khaNANAvara khINaohiNANAvaraNe khINamaNapajjavaNANAvaraNe khINakevalaNANAvaraNe aNAvaraNe NirAvaraNe khINAvaraNe NANAvaraNijjakammaviSpamukke / ( 2 ) kevaladaMsI savvadaMsI khINanidde khINaniddAni khINapayale khINapayalApayale khINathI giddhe khINacakkhudaMsaNAvaraNe khINaacakkhudaMsaNAvaraNe khINaohidaMsaNAvaraNe khINakevaladaMsaNAvaraNe drisnnaavrnnijjkmmvipymukke| aNAvaraNe nirAvaraNe (3) khINasAyaveyaNijje khINaasAyaveyaNijje aveyaNe nivveyaNe khINaveyaNe subhAsu bhaveyaNijjakammavippamukke / (4) khINakohe jAva khINalobhe khINapejje khINadose khINadaMsaNamohaNijje khINacarittamohaNijje amohe nimmohe khINamohe mohaNijjakammavippamukke / (5) khINaNeraiyAue khINatirikkhajoNiyAue khINamaNussAue khINadevAue aNAue nirAue khINAue Auyakammavippamukke / (6) gati jAti sarIraMgovaMga baMdha saMgha saMghayaNa aNegaboMdiviMdasaMghAyavippamuk khINasubhanAme khINAsubhaNAme aNAme niNNAme khINanAme subhaa'subhnnaamkmmvippmukke| (7) khINauccAgoe khINaNIyAgoe agoe niggoe khINagoe subhA'subhagottakammavippamukke / bhAva prakaraNa - khINAvara - ( 361 ) - The Discussion on Bhaava 504050405044040504.5041.5.1.5.19.19.va.va jaba ba ba baba baba baba

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(8) khINadANaMtarAe khINalAbhaMtarAe khINabhogaMtarAe khINuvabhogaMtarAe khINaviriyaMtarAe anaMtarAe niraMtarAe khINaMtarAe aNtraaiykmmvippumukke| siddhe buddhe mutte pariNivvue antagaDe savvadukkhappahINe / se taM khayaniSphaNNe / se taM khaie / 244. (prazna) kSaya se hone vAlA bhAva kyA hai ? (uttara) (1) kSayaniSpanna kSAyikabhAva aneka prakAra kA hai| yathAutpannajJAnadarzanadhArI, arhat, jina, kevalI, kSINaAbhinibodhikajJAnAvaraNavAlA, kSINazrutajJAnAvaraNavAlA, kSINaavadhijJAnAvaraNavAlA, kSINamanaH paryayajJAnAvaraNavAlA, kSINakevalajJAnAvaraNa, avidyamAna AvaraNa, nirAvaraNavAlA, kSINAvaraNa, jnyaanaavrnniiykrmviprmukt| (2) kevaladarzI, sarvadarzI, kSINanidra, kSINanidrAnidra, kSINapracalAvAlA, kSINapracalApracalAvAlA, kSINastyAnagaddhi, kSINacakSudarzanAvaraNavAlA, kSINaacakSudarzanAvaraNavAlA, kSINaavadhidarzanAvaraNavAlA, kSINakevaladarzanAvaraNavAlA, anAvaraNa, nirAvaNa, kSINAvaraNa, drshnaavrnniiykrmviprmukt| (3) kSINasAtAvedanIya, kSINaasAtAvedanIya, avedana, nirvedana, kSINavedana, zubhAzubha - vedanIyakarmavipramukta / (4) kSINakrodha yAvat kSINalobha, kSINarAga, kSINadveSa, kSINadarzanamohanIya, kSINacAritramohanIya, amoha, nirmoha, kSINamoha, mohniiykrmviprmukt| (5) kSINanarakAyuSka, kSINatiryaMcAyuSka, kSINamanuSyAyuSka, kSINadevAyuSka, anAyuSka, nirAyuSka, kSINAyuSka, aayukrmviprmukt| (6) gati - jAti - zarIra - aMgopAMga - baMdhana- saMghAta - saMhanana - aneka zarIravRndasaMghAta se vipramukta, kSINa - zubhanAma, kSINa-azubhanAma, anAma, nirnAma, kSINanAma, zubhAzubha naamkrmviprmukt| (7) kSINa - uccagotra, kSINa - nIcagotra, agotra, nirgotra, kSINagotra, zubhAzubhagotrakarma se viprmukt| (8) kSINa- upabhogAntarAya, kSINavIryAntarAya, antarAyakarma se viprmukt| dvA kSINa-dAnAntarAya, kSINa- lAbhAntarAya, anantarAya, ( 362 ) kSINa- bhogAntarAya, nirantarAya, kSINAntarAya, Illustrated Anuyogadvar Sutra

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siddha, buddha, mukta, parinirvRtta, antakRta, sarvaduHkhaprahINa / yaha kSayaniSpanna kSAyikabhAva kA svarUpa hai / ( vistAra hetu dekheM jJAna muni kRta hindI TIkA bhAga-2, pR. 114 - 140 tathA sacitra anuyogadvAra sUtra ke bhAga - 2 meM pariziSTa / ) 244. (Question) What is this kshaya-nishpanna (produced by extinction)? (Answer) (1) Kshaya-nishpanna (produced by extinction) Kshayik-bhaava (extinct state) is of many types-Utpannajnana-darshan-dhari, Arhat, Jina, Kevali, having Ksheenaabhinibodhik-janavarana, having Ksheena-shrutajanavarana, having Ksheena-avadhi-janavarana, having Ksheena-manahparyava-janavarana, KsheenaKeval-janavarana, having avidyaman-janavarana, having no avarana, having Ksheena-avarana, and Jnanavaraniyakarma-vipramukta. having Ksheena (2) Keval-darshi, Sarva-darshi, having Ksheena-nidra, having Ksheena-nidranidra, having Ksheena-prachala, having Ksheena-prachalaprachala, having styanagriddhi, having Ksheena-chakshu-darshan-avarana, having Ksheena-achakshu-darshan-avarana, having Ksheena-avadhi-darshan-avarana, having Ksheena-Kevala darshan-avarana, having avidyaman-darshanavarana, having no avarana, having Ksheena-avarana, Darshanavaraniya-karma-vipramukta. (3) Ksheena-sata-vedaniya, Ksheena-asata-vedaniya, having avidyaman-vedaniya, having no vedana, having Ksheena-vedana, and Shubh-ashubh-Vedaniya-karmavipramukta. (4) Ksheena-krodh to Ksheena-lobha, Ksheena-raga, Ksheena-dvesh, Ksheena-darshan-mohaniya, Ksheenacharitra-mohaniya, having avidyaman-mohaniya, having no moha, having Ksheena-moha, and Mohaniya-karmavipramukta. bhAva prakaraNa ( 363 ) and The Discussion on Bhaava KIKIRIKARARKKIKARKKAIKIRKKAI

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(4) Ksheena-narak-ayushk, Ksheena-tiryanch-ayushk, Ksheena-manushya-ayushk, Ksheena-deva-ayushk, having avidyaman-ayushk, having no ayush, having Ksheenaayush, and Ayush-karma-vipramukta. ___ (5) Gati-Jati-Sharira-Angopanga-Bandhan-SanghatSamhanan-Anekashariravrindasamghata Vipramukta, Ksheena-shubh-nama. Ksheena-ashubha-nama. having avidyaman-nama, having no nama, having Ksheena-nama, and Shubh-ashubh-Nama-karma-vipramukta. (6) Ksheena-uchcha-gotra, Ksheena-nicha-gotra, having avidyaman-gotra, having no gotra, having Ksheena-gotra, and Shubh-ashubh-Gotra-karma-vipramukta. (7) Ksheena-dana-antaraya, Ksheena-labha-antaraya, Ksheena-bhoga-antaraya, Ksheena-upabhoga-antaraya, Ksheena-virya-antaraya, having avidyaman-antaraya, having no antaraya, having Ksheena-antaraya, and Antaraya-karma-vipramukta. (8) Siddha, Buddha, Mukta, Parinirvitta, Antakrit, Sarvaduhkhapahina. This concludes the description of Kshaya-nishpanna (produced by extinction) and also of Kshayik-bhaava (extinct state). (for more details see Hindi Tika part-2 by Jnana Muni p 114-140 and also Illustrted Anuyogadvar Sutra Part-2, Appendix) vizeSa zabdoM ke artha-utpanna jJAna-darzana dhara-jJAnAvaraNIya karma ke sampUrNa kSaya se utpanna kevalajJAna, kevaladarzana ko dhAraNa karane vaale| arhat-jagata ke pUjanIya athavA jinase koI rahasya ajJAta nahIM hai| jina-karma zatru ke vijetA (cUrNi) rAga-dveSa ko jItane vAle (haribhadrasUri) AvaraNa zatru ko jItane vAle (mala. hemacandra) anAvaraNa-AvaraNoM se mukta-jaise nirmala AkAza meM candra kA bimb| nirAvaraNa-bhaviSya meM Ane vAle AvaraNoM se mukta, jaise rAhu se cndrmaa| anuyogadvAra sUtra ( 364 ) Illustrated Anuyogadvar Sutra

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kSINAvaraNa-jinake samasta AvaraNa kSINa ho gye| AvaraNa kA bIja naSTa ho cukA hai| avedn-vednaarhit| vedanA kA abhaav| nirvedana-bAhara se Ane vAle vedanA ke hetuoM se aprbhaavit| kSINa vedana-bhaviSya meM Ane vAlI vedanA kI sambhAvanA se mukt| (cUrNi evaM TIkA kI vyAkhyAoM ke anusAra) Technical Terms--Utpanna-jnana-darshan-dhar-One who has Keval-jnana (omniscience) and Keval-darshan (ultimateperception) caused by complete extinction of Jananavaraniya karma (knowledge obscuring karma). ____Arhat-Revered by the whole world; those for whom no secret is unknown. Jina--The victors of the enemy in the form of karma (Churni); The victors of attachment and aversion (Haribhadra Suri); The victors over the enemy in the form of avarana (veil) (Maladhari Hemachandra). ___Anavarana-Those who have removed the veil; like moon in clear sky. Niravarana-Without a veil; those who are free also of impending veils; like moon from eclipse. Ksheen-avarana-Those who have weakened their veils having destroyed the source of veils. Avedan-Free of sufferings; absence of sufferings. Nirvedan-Not effected by afflictions and their sources. Ksheen-vedana-Free of future possibilities of sufferings. (These explanations are based on Churni and Tika) (4) kSAyopazamikabhAva kA varNana 245. se kiM taM khaovasamie ? khaovasamie duvihe ptntte| taM jahA-(1) khaovasame ya, (2) khaovasamanipphane y| 245. (prazna) kSAyopazamikabhAva kyA hai ? (uttara) kSAyopazamikabhAva do prakAra kA hai| yathA-(1) kSayopazama, aura o (2) kssyopshnisspnn| bhAva prakaraNa ( 365 ) The Discussion on Bhaava

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(4) KSHAYOPASHAMIK-BHAAVA 245. (Question) What is this Kshayopashamik-bhaava (state of extinction-cum-pacification) ? ___ (Answer) Kshayopashamik-bhaava (state of extinctioncum-pacification) is of two types--(1) Kshayopasham (extinction-cum-pacification) and (2) Kshayopashamnishpanna (produced by extinction-cum-pacification). 246. se kiM taM khaovasame ? khaovasame cauNDaM ghAikammANaM khovsmennN| taM jahA-(1) nANAvaraNijjassa, (2) daMsaNAvaraNijjassa, (3) mohaNijjassa, (4) aNtraaiyss| se taM khovsme| 246. (prazna) kSayopazama kyA hai ? (uttara) (1) jJAnAvaraNIya, (2) darzanAvaraNIya, (3) mohanIya, aura (4) antarAya, ina cAra ghAtikarmoM ke kSayopazama ko kSayopazamabhAva kahate haiN| 246. (Question) What is this Kshayopasham (extinctioncum-pacification) ? (Answer) The process of extinction-cum-pacification of the four vitiating karmas-(1) Jananavaraniya, (2) Darshanavaraniya, (3) Mohaniya, and (4) Antarayais called Kshayopasham (extinction-cum-pacification). 247. se kiM taM khaovasamaniSphanne ? khaovasamanipphanne aNegavihe pnnnntte| taM jahA-khaovasamiyA AbhiNibohiyaNANaladdhI jAva khaovasamiyA maNapajjavaNANaladdhI, khaovasamiyA matiaNNANa laddhI khaovasamiyA suyaaNNANaladdhI khaovasamiyA vibhaMgaNANaladdhI, khaovasamiyA cakkhudaMsaNaladdhI evamacakkhudaMsaNaladdhI, evaM sammaiMsaNaladdhI micchAdasaNaladdhI sammAmicchAdasaNaladdhI, ___khaovasamiyA sAmAiyacarittaladdhI evaM chedovaTThAvaNaladdhI khaparihAravisuddhiyaladdhI suhumasaMparAiyaladdhI evaM carittAcarittaladdhI, anuyogadvAra sUtra ( 366 ) lustrated Anuyogadvar Sutra

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01.201201901101.501501 150150150.901.204504.504.504, 501.501.201201904 PAYO khaovasamiyA dANaladdhI evaM lAbha. bhoga. uvabhoga. khaovasamiyA vIriyaladdhI evaM paMDiyavIriyaladdhI bAlavIriyaladdhI bAlapaMDiyavIriyaladdhI, khaovasamiyA soiMdiyaladdhI jAva khaovasamiyA phAsiMdiyaladdhI, khaovasamie AyAradhare evaM sUyagaDadhare ThANadhare samavAyadhare vivAhapaNNattidhare evaM nAyAdhammakahA. uvAsadagadasA. aMtagaDadasA aNuttarovavAiyadasA. paNhAvAgaraNa. khaovasamie vivAgasuyadhare khaovasamie diTThivAyadhare, khaovasamie NavapuvvI jAva coddasapucI, khaovasamie gaNI, khaovasamie vAyae / se taM khaovasamanipphaNNe / setaM khaovasamie / 247. (prazna) kSayopazamaniSpanna kSAyopazamikabhAva kA kyA svarUpa hai ? dAna - lAbha (uttara) kSayopazamaniSpanna kSAyopazamikabhAva aneka prakAra kA hai / yathA - kSAyopazamikI AbhinibodhikajJAnalabdhi yAvat kSAyopazamikI manaHparyAyajJAnalabdhi, kSAyopazamikI mati - ajJAnalabdhi, kSAyopazamikI zruta - ajJAnalabdhi, kSAyopazamikI vibhaMgajJAnalabdhi, kSAyopazamikI cakSudarzanalabdhi, isI prakAra acakSudarzanalabdhi, avadhidarzanalabdhi, samyagdarzanalabdhi, mithyAdarzanalabdhi, samyagmithyAdarzanalabdhi, kSAyopazamikI sAmAyikacAritralabdhi, chedopasthApanAlabdhi, parihAra- vizuddhilabdhi, sUkSmasaMparAyikalabdhi, cAritrAcAritralabdhi, kSAyopazamikI bhoga-upabhogalabdhi, kSAyopazamikI vIryalabdhi, paNDitavIryalabdhi, bAlavIryalabdhi, bAlapaNDitavIryalabdhi, kSAyopazamikI zrotrendriyalabdhi yAvat kSAyopazamikI sparzanendriyalabdhi, kSAyopazamika AcArAMgadhArI, sUtrakRtAMgadhArI, sthAnAMgadhArI samavAyAMgadhArI, vyAkhyAprajJaptidhArI, jJAtAdharmakathAMgadhArI, upAsakadazAMgadhArI, antakRddazAMgadhArI, anuttaropapAtikadazAMgadhArI, praznavyAkaraNadhArI, kSAyopazamika vipAkazrutadharI, kSAyopazamika dRSTivAdadhArI, kSAyopazamika navapUrvadhArI caudahapUrvadhArI, kSAyopazamika gaNI, kSAyopazamika vAcaka | ye saba kSayopazamaniSpannabhAva haiN| ( yaha vibhinna karmoM ke kSayopazama se niSpanna upalabdhiyoM kI sUcI hai| isakA vistAra bhAga - 2 meM pariziSTa meM diyA jA rahA hai / ) yAvat yaha kSAyopazamikabhAva kA svarUpa hai| 247. (Question) What is this Kshayopasham-nishpanna Kshayopashamik-bhaava (state pacification caused by extinction-cum-pacification)? of bhAva prakaraNa ( 367 ) extinction-cum The Discussion on Bhaava 19.1.9.19.19.1.9.19.19.1.9.19.19.19.19.1.9.1.AC. C. ACC. 19.19..PR.P

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Eeeeeeeee220DCO DOS CORPOS (Answer) Kshayopasham-nishpanna Kshayopashamikbhaava (state of extinction-cum-pacification caused by extinction-cum-pacification) is of many typesKshayopashamiki-Abhinibodhik-jnana-labdhi Kshayopasha miki-Manahparyava-jnana-labdhi, Kshayopashamiki-Mati-ajnana-labdhi, KshayopashamikiShrut-ajnana-labdhi, Kshayopashamiki-Vibhanga-jnanalabdhi, Kshayopashamiki-Chakshu-darshan-labdhi, Kshayopasham iki - Achakshu-darshan-labdhi, Kshayopashamiki-Avadhi-darshan-labdhi, KshayopashamikiSamyak-darshan-labdhi, Kshayopashamiki-Mithya-darshanlabdhi, Kshayopashamiki-Samyagmithya-darshan-labdhi, Kshayopashamiki-Samayik-charitra-labdhi, KshayopashamikiChedopasthapana-labdhi, Kshayopashamiki-Pariharavishuddhi-labdhi, Kshayopashamiki-Sukshma-samparayiklabdhi, Kshayopashamiki-Charitracharitra-labdhi, Kshayopashamiki-Dana-Labha-Bhoga-upabhoga-labdhi, Kshayopashamiki-Virya-labdhi, Kshayopashamiki-PanditVirya-labdhi, Kshayopashamiki-Baal-Virya-labdhi, Kshayopasha miki-Baal-Pandit - Virya-labdhi, Kshayopashamiki-Shrotrendriya-labdhi to KshayopashamikiSparshanendriya-labdhi, Kshayopashamiki-Acharanga-dhari, Kshayopashamiki-Sutrakritanga-dhari, KshayopashamikiSthananga-dhari, Kshayopashamiki-Samvayanga-dhari, Kshayopashamiki- Vyakhyaprajnapti-dhari, KshayopashamikiJnatadharmakathanga-dhari, KshayopashamikiUpasakadashanga-dhari, KshayopashamikiAntakriddashanga-dhari, KshayopashamikiAnutaraupapatikadashanga-dhari, KshayopashamikiPrashnavyakaran-dhari, Kshayopashamiki-Vipakashrut-dhari, Kshayopashamiki-Drishtivada-dhari, KshayopashamikiNavapurva-dhari to Chaturdashpurva-dhari, Kshayopashamiki-Gani, Kshayopashamiki-Vachak. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra WYN CORPORALIMPALPALOMINOPAPROPAYPALMDALOXROORONDIALOMALYAHYADROPOPRODALOMPAK DOS COSMO DOS SOPOT SODO O BRAR

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(This is the list of attainments caused by extinction-cumpacification of various Rarmas. Details of these are included in Part-2, Appendix.) This concludes the description of Kshayopasham-nishpanna Kshayopashamik-bhaava (state of extinction-cum-pacification caused by extinction-cum-pacification). This also concludes the description of Kshayopashamik-bhaava (state of extinctioncum-pacification). (5) pAriNAmikabhAva 248. se kiM taM pAriNAmie ? pAriNAmie duvihe pnnnntte| taM jahA-(1) sAdipAriNAmie ya, (2) aNAdipAriNAmie y| 248. (prazna) pAriNAmikabhAva kise kahate haiM ? (uttara) pAriNAmikabhAva ke do prakAra haiN| yathA-(1) sAdipAriNAmika, (2) anaadipaarinnaamik| [vistAra ke lie dekheM sUtra 113(2)] (5) PARINAMIK BHAAVA 248. (Question) What is this Parinamik-bhaava (transformed state) ? (Answer) Parinamik-bhaava (transformed state) is of two types--(1) Sadi-parinamik (transformative state with a beginning) and (2) Anadi-parinamik (transformative state without a beginning). [for details refer to aphorism 113 (2)] 249. se kiM taM sAdipAriNAmie ? sAdipAriNAmie aNegavihe pnnnntte| taM jahAjuNNasurA juNNagulo juNNaghayaM juNNataMdulA cev| abbhA ya abbharukkhA saMjhA gaMdhavvaNagarA y||24|| bhAva prakaraNa ( 369 ) The Discussion on Bhaava

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ukkAvAyA disAdAghA gajjiyaM vijjU NigghAyA jUvayA jakkhAdittA dhUmiyA mahiyA rayugdhAo caMdovarAgA sUrovarAgA caMdaparivesA sUraparivesA paDicaMdayA paDisUrayA iMdadhaNU udagamacchA kavihasiyA amohA vAsA vAsadharA gAmA NagarA gharA pavvatA pAyAlA bhavaNA nirayA rayaNappabhA sakkarappabhA vAluyappabhA paMkappabhA dhUmappabhA tamA tamatamA sohamme IsANe jAva ANae pANae AraNe accue geveje aNuttarovavAiyA IsIpabbhArA paramANupale dupadesie jAva aNaMtapadesie / se taM sAdipAriNAmie / 249. (prazna) sAdipAriNAmikabhAva kyA hai ? (uttara) sAdipAriNAmikabhAva ke aneka prakAra haiN| jaise jIrNa surA, jIrNa gur3a, jIrNa ghI, jIrNa taMdula, abhra, abhravRkSa, saMdhyA, gaMdharvanagara // 24 // tathA - ulkApAta, digdAha, meghagarjanA, vidyuta, nirghAta, yUpaka, yakSAdipta, dhUmikA, mahikA, rajodghAta, candragrahaNa, sUryagrahaNa, candrapariveSa, sUryapariveSa, praticandra, pratisUrya, indradhanuSa, udakamatsya, kapihasita, amogha varSa (bharatAdi kSetra), varSadhara ( himavAnAdi parvata), grAma, nagara, ghara, parvata, pAtAlakalaza, bhavana, naraka, ratnaprabhA, zarkarAprabhA, bAlukAprabhA, paMkaprabhA, dhUmaprabhA, tamaH prabhA, tamastamaH prabhA, saudharma, IzAna, yAvat Anata, prANata, AraNa, acyuta, graiveyaka, anuttaropapAtika devavimAna, ISatprAgbhArA pRthvI, paramANupudgala, dvipradezika skandhase lekara anantapradezika skandha sAdipAriNAmikabhAva rUpa haiN| 249. (Question ) What is this Sadi-parinamik Bhaava (transformative state with a beginning)? (Answer) Sadi-parinamik Bhaava (transformative state with a beginning) is of many types-Jirna Sura (stale wine), Jirna Gud (stale jaggery ), Jirna Ghee (stale butter), Jirna Tandul (stale rice), Abhra (clouds), Abhra Vriksha (cloud-trees), Sandhya ( evening), Gandharva Nagar (castle in the air ). ( 24 ) Also -- Ulkapat (falling of meteor ), Digdaha (conflagration in certain direction), Meghagarjana (thunder), Vidyut (lightening), Nirghat (thunder storm ), Yupak ( mixing of lights of sun and moon at dusk specially during the first anuyogadvAra sUtra ( 370 ) Illustrated Anuyogadvar Sutra P.2015 01.01.04.504, 50404

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RONONCONOTONOPROFCON COPROFII PROPORN CO three days of the bright half of a month), Yakshadipt (demonic glow), Dhoomika (mist), Mahika (frost), Rajodghat (sandstorm), Chandragrahan (lunar eclipse), Suryagrahan (solar eclipse), Chandra-parivesh (halo of the moon), Suryaparivesh (halo of the sun), Pratichandra (double moon), Pratisurya (double moon), Indradhanush (rainbow), Udakmatsya (portion of a rainbow), Kapihasit (laugh of a monkey), Amogh (lines appearing around the solar disc after sunrise and before sunset), Varsh (countries like Bharat), Varshdhar (mountains like Himavan), Gram (village), Nagar (city), Ghar (house), Parvat (mountain), Patal-kalash (subterranean regions), Bhavan (abodes of gods), Narak (hells)-Ratnaprabha, Sharkaraprabha, Balukaprabha, Pankaprabha, Dhoom-prabha, Tamah-prabha, Tamastamah-prabha; (abodes of gods-) Saudharma, Ishan to Anat, Pranat, Arana, Achyut, Graveyak, Anuttaraupapatik, Ishatpragbharaprithvi; paramanupudgal (ultimate-particle of matter), aggregates of two to infinite paramanu (ultimate-particle). This concludes the description of Sadi-parinamik Bhaava (transformative state with a beginning). 250. se kiM aNAdipAriNAmie ? aNAdipAriNAmie dhammatthikAe adhammatthikAe AgAsatthikAe jIvatthikAe poggalatthikAe addhAsamae loe aloe bhavasiddhiyA abhavasiddhiyA / se taM aNAdipAriNAmie / se taM pAriNAmie / 250. (prazna) anAdipAriNAmikabhAva kyA hai ? 250. dharmAstikAya, adharmAstikAya, jIvAstikAya, pudgalAstikAya, addhAsamaya, (kAla) loka, aloka, bhavasiddhika, abhavasiddhika ye anAdi pAriNAmika haiM / yaha pAriNAmikabhAva kA svarUpa hai| 250. (Question) What is this Anadi-parinamik (transformative state without a beginning)? ( 371 ) bhAva prakaraNa The Discussion on Bhaava

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k ootona (Answer) Anadi-parinamik Bhaava (transformative state without a beginning) is-Dharmastikaya (motion entity), Adharmastikaya . (rest entity), Akashastikaya (space entity), Jivastikaya (life entity), Pudgalastikaya (matter entity), Addhakala (time), Loka (occupied space), Aloka (space beyond or unoccupied space), Bhava-siddhik (soul worthy of liberation), and Abhava-siddhik (soul unworthy of liberation). This concludes the description of Anadi-parinamik (transformative state without a beginning). This also concludes the description of Parinamik (transformative state). vivecana-pAriNAmikabhAva kA lakSaNa va vizeSatA-dravya ke mUla svabhAva meM rahate hue pUrva avasthA kA vinAza tathA uttara avasthA kI utpatti hotI rahanA pariNamana-pariNAma hai| kyA bharatAdi kSetra sAdipAriNAmika hai?-bharatAdi kSetra, himavAn Adi varSadhara parvata, OM naraka-bhUmiyA~ evaM devavimAna apane AkAra mAtra se avasthita rahane ke kAraNa zAzvata avazya haiM kintu ve paudgalika haiM aura pudgaladravya pariNamanazIla hone se jaghanya eka samaya aura utkRSTa asaMkhyAta kAla bAda usameM avazya pariNamana hotA hai| taba vilaga hue una pudgalaskandhoM ke sthAna meM dUsare-dUsare skandha milakara usa-usa rUpa meM pariNata ho jAte haiN| isalie varSadharAdikoM ko sAdipAriNAmikatA ke rUpa meM udAhRta kiyA hai| megha Adi to kucha kAla paryanta hI rahate haiM, ataH sAdirUpatA svayaMsiddha hai| ____ dharmAstikAya Adi SaDdravya, loka, aloka, bhavasiddhika, abhavasiddhika Adi anAdipAriNAmikabhAva-isalie hai ki ve svabhAvataH anAdi kAla se usa-usa rUpa se pariNata haiM aura anantakAla taka rheNge| ___Elaboration-Definition of transformative state is-The basic nature of a substance remaining same, the destruction of present state and creation of a new state is called parinaman or transformation. The state arrived at through this process is called transformative state. Are areas like Bharat examples of transformative state ? Countries like Bharat, mountains like Himavan, infernal worlds, and divine worlds apparently maintain their existing form, and anuyogadvAra sUtra ( 372 ) lustrated Anuyogadvar Sutra animoWOWIOIMMODWAORMAORYAORTAORTAOXIAORIAORTAODTARATHotaoptostot N YoPARYANVAROJANOPAN

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ja * * in that context they are eternal. But they still are of material origin. Matter being a continuously transforming substance essentially undergoes transformation within a minimum of one samaya and maximum of inexpressible time. In this process aggregates of paramanus (ultimate-particles) get exchanged with other aggregates even though the resulting apparent form remains the same. That is why all these have been included in the list of transformative substances with a beginning. Clouds nd other such things have evident transformation during much shorter span of time, thus they naturally fall in this category. Dharmastikaya and other things of the second list exist since time immemorial and will continue to do so, thus they are transformative without a beginning. kaThina zabdoM ke artha-abhA-abhra, megh| anbharukkhA-abhravRkSa-vRkSAkAra meM pariNata hue megha / saMjhA-saMdhyA-dinarAtri kA sNdhikaal| gaMdhavaNagarA-gaMdharvanagara-uttama prAsAda se zobhita nagara kI AkRti jaise AkAza meM bane hue pudgaloM kA prinnmn| ukkAvAyA-ulkApAtaAkAzapradeza se giratA huA tejpuNj| disAdAghA-digdAha-kisI eka dizA kI ora AkAza meM jalatI huI agni kA AbhAsa honA-dikhAI denaa| NigghAyA-nirghAta-gAja yukta bijalI kauMdhanA athavA girnaa| jUvayA-yUpaka-zuklapakSa sambandhI prathama tIna dina kA bAla candra/saMdhyA kI prabhA tathA candramA kI prabhA kA mishrnn| jakkhAdittA-yakSAdIpta-AkAza meM dikhAI detI huI pizAcAkRtimaya agni| dhUmiyA-dhUmikA-AkAza meM rUkSa aura virala dikhAI par3atI huI dhue~ jaisI eka prakAra kI dhuums/kuhaasaa| mahiyA-mahikA-jalakaNayukta dhuums| rayugghAorajodghAta-AkAza meM dhUli kA ur3anA, aaNdhii| caMdovarAga sUrovarAga-candoparAga, sUryoparAgacandragrahaNa aura suurygrhnn| caMdaparivesA sUraparivesA-candrapariveza, sUryapariveza-candra aura sUrya ke cAroM ora golAkAra meM pariNata hue pudgala paramANuoM kA mnnddl| paDicaMdayA, paDisUrayApraticandra, pratisUrya-utpAta Adi kA sUcaka dvitIya candra aura dvitIya sUrya kA dikhAI pdd'naa| iMdadhaNu-indradhanuSa-AkAza meM nIla-pIta Adi varNa viziSTa dhanuSAkAra aakRti| udagamacchaudakamatsya-indradhanuSa ke khaNDa, ttukdd'e| kavihasiyA-kapihasitA-kabhI-kabhI AkAza se sunAI par3ane vAlI ati karNakaTu dhvni| amohA-amogha-udaya aura asta ke samaya sUrya kI kiraNoM dvArA utpanna lambI-lambI kAlI rekhA vishess| ___Technical Terms-Abbha-abhra; clouds. Abbharukkhaabhra-vriksha; clouds in the shape of a tree. Sanjjha-sandhya; conjunction (sandhi) of day and night; dusk. bhAva prakaraNa ( 373 ) The Discussion on Bhaava * 628092694098680PROPROPROD.CHODMRODMRODMRODMR Sasiriakat ROPROVAROVATOR KheKaKahanKaKheta

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Gandhavvanagara-Gandharva-nagar; clouds taking form of a beautiful city; imaginary city in sky; castle in the air. Ukkavaya-Ulkapat; falling of meteor. Disadagha-Di conflagration in certain direction. Nigghaya-Nirghat; thunder storm. Juvaya-Yupak; mixing of the glow of the sun and that of the moon at dusk specially during the first three days of the bright half of a month. Jakkhaditta-Yakshadipt; fiery glow in demonic form seen in the skies. Dhoomia-Dhoomika; mist. Mahiya-Mahika; frost. Rayugghao-Rajodghat; rising of dust; sandstorm. Chandovarag--Chandroparagor Chandragrahan; lunar eclipse. Surovarag-Suryoparag or Suryagrahan; solar eclipse. Chandaparivesa-Chandraparivesh; halo of the moon. Suraparivesa-Surya-parivesh; halo of the sun. Padichandaya-Pratichandra; to see double moon, a bad omen. Padisuraya-Pratisurya; to see double sun, a bad omen. Indadhanu-Indradhanush; rainbow. Udagamachha-Udak-matsya; portions of a rainbow. Kavihasiya-Kapihasit; an ominous sound like laughter of a monkey sometimes appearing to come from nowhere; laugh of a monkey. Amoha-Amogh; black lines appearing around the solar disc immediately after sunrise and just before sunset. (6) sAnipAtika bhAva 251. se kiM taM saNNivAie ? ___ saNNivAie etesiM ceva udaiya-uvasamiya-khaiya-khaovasamiya-pAriNAmiyANaM bhAvANaM duyasaMjoeNaM tiyasaMjoeNaM caukkasaMjoeNaM paMcagasaMjoeNaM je nippajjaMti savve se sannivAie naame| tattha NaM dasa dugasaMjogA, dasa tigasaMjogA, paMca caukkasaMjogA, ekke pNcgsNjoge| 251. (prazna) sAnnipAtika (nAma) kyA hai ? (uttara) audayika, aupazamika, kSAyika, kSAyopazamika aura pAriNAmika, ina pA~coM bhAvoM ke dvikasaMyoga, trikasaMyoga, catuHsaMyoga aura paMcasaMyoga se jo bhAva niSpanna hote haiM ve saba sAnnipAtikabhAva nAma haiN| anuyogadvAra sUtra ( 374 ) Illustrated Anuyogadvar Sutra

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___ unameM se dvikasaMyogaja dasa, trikasaMyogaja dasa, catuHsaMyogaja pA~ca aura paMcasaMyogaja eka bhAva haiN| isa prakAra saba milAkara ye chabbIsa sAnipAtikabhAva haiN| (6) SANNIPATIK-BHAAVA 251. (Question) What is this Sannipatik-bhaava (mixed state)? 251. Various permutations and combinations arrived at by mixing two, three, four or five of the five states called audayik, aupashamik, kshayik, kshayopashamik, and parinamik are called Sannipatik-bhaava (mixed state). Of these there are ten alternatives of the combination of two, ten of the combination of three, five of the combination of four and one of the combination of five. Thus in total there are 26 mixed states. vivecana-aneka bhAvoM ke saMyoga se hone vAlA bhAva sAnnipAtika bhAva hai| usake chabbIsa bhedoM kA varNana agale sUtroM meM kiyA jA rahA hai| AcAryoM kA kathana hai ki-jIva kI bhinna-bhinna paryAya ko hI yahA~ 'bhAva' kahA hai| ve mukhyataH pA~ca hI hotI haiM, jinakA varNana pUrva meM kiyA jA cukA hai| yaha chaThA sAnnipAtika bhAva una sabake saMyoga se hotA hai| ataH yaha mUla bhAva nahIM hokara saMyogaja bhAva hai| Elaboration--The state resulting from combination of many states is called Sannipatik-bhaava (mixed state). Its twenty six alternatives or types will be discussed now. Acharyas state that-Different paryayas (modes; the form in which a thing or one of its attributes manifests itself) of beings are called states here. Mainly they are five as already described. This sixth state is the result of their combinations. Thus it is a coincidental state and not basic. dvikasaMyogaja dasa sAnipAtika bhAva nAma 252. tattha NaM je se dasa dugasaMjogA te NaM ime-(1) atthi NAme udaie uvasamanippaNNe, (2) atthi NAme udaie khayanippaNNe, (3) atthi NAme udaie khaovasamanippaNNe, (4) atthi NAme udaie pAriNAmiyanippaNNe, (5) atthi NAme upasamie khayanippaNNe, (6) atthi NAme upasamie khaovasamanippaNNe, (7) atthi bhAva prakaraNa ( 2194 ) The Discussion on Bhaava piersoPMGDIMPANGPRIMPRICORNER TIGEGORIEVEDEORIGORIGORIGORYGPREDITORISODSODEODY

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NAme upasamie pAriNAmiyanippanne, (8) asthi NAme khaie khaovasamanippanne, (9) atthi NAme khaie pAriNAmiyanippanne, (10) atthi NAme khavaovasamie paarinnaamiynippne| 252. do-do ke saMyoga se niSpanna dasa bhaMgoM ke nAma isa prakAra haiM (1) audayika-aupazamika ke saMyoga se niSpanna, (2) audayika-kSAyika ke saMyoga se niSpanna, (3) audayika-kSAyopazamika ke saMyoga se niSpanna, (4) audayikapAriNAmika ke saMyoga se niSpanna, (5) aupazamika-kSAyika ke saMyoga se niSpanna, (6) aupazamika-kSAyopazamika ke saMyoga se niSpanna, (7) aupazamika-pAriNAmika ke saMyoga se niSpanna, (8) kSAyika-kSAyopazamika ke saMyoga se niSpanna, (9) kSAyika-pAriNAmika ke saMyoga se niSpanna tathA (10) kSAyopazamika-pAriNAmika ke saMyoga se niSpanna bhaav| SANNIPATIK-BHAAVA WITH A COMBINATION OF TWO 252. The names of the ten bhangs (types) of Sannipatikbhaava (mixed state) produced by combination of two are as follows (1) produced by combination of audayik-bhaava (culminated state) and aupashamik-bhaava (pacified state), (2) produced by combination of audayik-bhaava and kshayik-bhaava (extinct state), (3) produced by combination of audayik-bhaava and kshayopashamik-bhaava (state of extinction-cum-pacification), (4) produced by combination of audayik-bhaava and parinamik-bhaava (transformed state), (5) produced by combination of aupashamik-bhaava and kshayik-bhaava, (6) produced by combination of aupashamik-bhaava and kshayopashamik-bhaava, (7) produced by combination of aupashamik-bhaava and parinamik-bhaava, (8) produced by combination of kshayikbhaava and kshayopashamik-bhaava, (9) produced by combination of kshayik-bhaava and parinamik-bhaava, (10) produced by combination of kshayopashamik-bhaava and parinamik-bhaava.. anuyogadvAra sUtra ( 376 ) Illustrated Anuyogadvar Sutra

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253. kayare se nAme udaie uvasamanippanne ? (1) udae tti maNUse uvasaMtA kasAyA, esa NaM se NAme udaie uvsmnippnne| (2) kayare se nAma udaie khayanippanne ? udae tti maNUse khaiyaM sammattaM, esa NaM se nAme udaie khynippnne| (3) kayare se NAme udaie khaovasamanippanne ? udae tti maNUse khaovasamiyAiM iMdiyAiM, esa NaM se NAme udaie khovsmnippne| (4) kayare se NAme udaie pAriNAmiyanippanne ? udae tti maNUse pAriNAmie jIve, esa NaM se NAme udaie paarinnaamiynippnne| (5) kayare se NAme uvasamie khayanippanne ? uvasaMtA kasAyA, khaiyaM sammattaM, esa NaM se NAme uvasamie khynippnne| (6) kayare se NAme uvasamie khaovasamanippaNNe ? uvasaMtA kasAyA khaovasamiyAiM iMdiyA, esa NaM se NAme uvasamie khovsmnippnne| (7) kayare se NAme uvasamie pAriNAmiyanippanne ? uvasaMtA kasAyA pAriNAmie jIve, esa NaM se NAme uvasamie paarinnaamiynippnne| (8) kayare se NAme khaie khaovasamiya nippanne ? khaiyaM sammattaM khaovasamiyAiM iMdiyAiM, esa NaM se NAme khaie khovsmnippnne| (9) kayare se NAme khaie pAriNAmiyanippane ? ( 377 ) bhAva prakaraNa The Discussion on Bhaava

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PAVHORVHOBVOORVAORVHORVAORVAOBVGORNHORTHORVAORVAORVAORMHORVHORVAORVAORVHORVAORYHORVHORVAORNHORVAORVHORVHORVAORYHORVHORTHORTHOUT khaiyaM sammattaM pAriNAmie jIve, esa NaM se NAme khaie paarinnaamiynippnne| (10) kayare se NAme khaovasamie pAriNAmiyanippanne ? khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se NAme khaovasamie pAriNAmiya nippnne| 253. (prazna 1) audayika upazama niSpanna bhAva kauna-sA hai ? (uttara) audayikabhAva meM manuSyagati aura aupazamikabhAva meM upazAMtakaSAya audayika-aupazamikabhAva hai| (prazna 2) audayika kSayaniSpannabhAva kauna-sA hai ? (uttara) audayikabhAva meM manuSyagati aura kSAyikabhAva meM kSAyika samyaktva yaha audayika-kSAyikabhAva hai| (prazna 3) audayika-kSayopazamaniSpannabhAva kyA hai ? (uttara) audayikabhAva meM manuSyagati aura kSayopazamaniSpanna bhAva meM indriyA~ haiN| yaha audayika-kSAyopazamikabhAva hai| (prazna 4) audayika-pAriNAmika niSpanna bhAva kauna-sA hai| (uttara) audayikabhAva meM manuSyagati aura pAriNAmikabhAva meM jIva yaha audayika-pAriNAmika bhAva hai| (prazna 5) aupazamika-kSayaniSpannabhAva kyA hai ? (uttara) upazAntakaSAya aura kSAyika samyaktva yaha aupazamika-kSAyika bhAva hai| (prazna 6) aupazamika-kSayopazamaniSpannabhAva kyA hai ? (uttara) aupazamikabhAva meM upazAMtakaSAya aura kSayopazamaniSpanna meM indriyA~ yaha aupazamika-kSayopazamaniSpannabhAva hai| (prazna 7) aupazamika-pAriNAmikasaMyoganiSpannabhAva kauna-sA hai ? (uttara) aupazamikabhAva meM upazAntakaSAya aura pAriNAmikabhAva meM jIvatva yaha aupazamika-pAriNAmikaniSpannabhAva hai| WOYAYYOY LOPALOPX100.PR. 209 29.09.2011PINPOIALIMPIALYAPAYOYAPAYPALPAYPALOPPUPALPALOVA OPAS anuyogadvAra sUtra (378 ) Illustrated Anuyogadvar Sutra

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( prazna 8) kSAyika aura kSayopazamaniSpannabhAva kauna-sA hai ? (uttara) kSAyika samyaktva aura kSAyopazamika indriyA~ yaha kSAyika kSayopazamika niSpannabhAva hai| ( prazna 9 ) kSAyika aura pAriNAmikaniSpanna kyA hai ? (uttara) kSAyikabhAva meM kSAyika samyaktva aura pAriNAmikabhAva meM jIva, yaha kSAyika-pAriNAmikaniSpannabhAva hai| ( prazna 10 ) kSAyopazamika-pAriNAmikabhAva kyA hai ? (uttara) kSAyopazamikabhAva meM indriyA~ aura pAriNAmikabhAva meM jIva yaha kSAyopazamika-pAriNAmikabhAva hai| isa prakAra se yaha dvikasaMyogI sAnnipAtika bhAva ke dasa nAmoM kA svarUpa hai| 253. (Question 1) Which is this state produced by combination of audayik-bhaava and aupashamik-bhaava? (Answer) Birth as a human being is (a consequence of) audayik-bhaava and upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava. This is audayik - aupashamik-bhaava (culminated and pacified state). (Question 2) Which is this state produced by combination of audayik-bhaava and kshayik-bhaava? (Answer) Birth as a human being is (a consequence of) audayik-bhaava and kshayik samyaktva (righteousness produced by extinction of karma) is (a consequence of) kshayik-bhaava. This is audayik-kshayik-bhaava (culminated and extinct state). (Question 3) Which is this state produced by combination of audayik-bhaava and kshayopashamikbhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava and sense organs are (a consequence of) ( 379 ) The Discussion on Bhaava bhAva prakaraNa

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DOD0308X80XX000DXOXOX(r)POMOYODOBO KOMODO SEXO 0degCdeg8080DXCXCHAUS kshayopashamik-bhaava. This is audayik-kshayopashamikbhaava (culminated and extinct-cum-pacified state). (Question 4) Which is this state produced by combination of audayik-bhaava and parinamik-bhaava? (Answer) Birth as a human being is (a consequence of) audayik-bhaava and soul is (a consequence of) parinamikbhaava. This is audayik-parinamik-bhaava (culminated and transformed). (Question 5) Which is this state produced by combination of aupashamik-bhaava and kshayik-bhaava ? (Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava and kshayik samyaktva (righteousness produced by extinction of karma) is (a consequence of) kshayik-bhaava. This is aupashamikkshayik-bhaava (pacified and extinct state). (Question 6) Which is this state produced by combination of aupashamik-bhaava and kshayopashamikbhaava? (Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava and sense organs are (a consequence of) kshayopashamik-bhaava. This is aupashamik-kshayopashamik-bhaava (pacified and extinctcum-pacified state). (Question 7) Which is this state produced by combination of aupashamik-bhaava and parinamik-bhaava? (Answer) Upashant-kashaya (pacified passions) is the (a consequence of) aupashamik-bhaava and soul is (a consequence of) parinamik-bhaava. This is aupashamikparinamik-bhaava (pacified and transformed state). (Question 8) Which is this state produced by combination of kshayik-bhaava and kshayopashamikbhaava ? anuyogadvAra sUtra ( 360 ) Illustrated Anuyogadvar Sutra

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___(Answer) Kshayik samyaktva (righteousness produced a by extinction of karma) is (a consequence of) kshayik3 bhaava and sense organs are (a consequence of) Akshayopashamik-bhaava. This is kshayik-kshayopashamikbhaava (extinct and extinct-cum-pacified state). (Question 9) Which is this state produced by combination of kshayik-bhaava and parinamik-bhaava ? __ (Answer) Kshayik samyaktva (righteousness produced or by extinction of karma) is (a consequence of) kshayik bhaava and soul is (a consequence of) parinamik-bhaava. This is kshayik-parinamik-bhaava (extinct and transformed state). (Question 10) Which is this state produced by combination of kshayopashamik-bhaava and parinamik| bhaava? ____ (Answer) Sense organs are (a consequence of) tokshayopashamik-bhaava and soul is (a consequence of) parinamik-bhaava. This is kshayopashamik-parinamikbhaava (extinct-cum-pacified and transformed state). This concludes the description of the names of the ten 8 bhangs (types) of Sannipatik-bhaava (mixed state) produced 2 by combination of two. trikasaMyogaja dasa sAnipAtikabhAva 254. tattha NaM je te dasa tigasaMjogA te NaM ime (1) asthi NAme udaie uvasamie khayanippanne, (2) atthi NAme udaie uvasamie khaovasamanippanne, (3) asthi NAme udaie uvasamie pAriNAmiyanippanne, (4) atthi NAme udaie khaie khaovasamanippanne, (5) atthi NAme udaie khaie pAriNAmiyanippanne, (6) atthi NAme udaie khaovasamie pAriNAmiyanippanne, (7) atthi NAme uvasamie khaie khaovasamanippanne, (8) atthi NAme uvasamie ( 381 ) The Discussion on Bhaava bhAva prakaraNa

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NEPAVAORVKORMAORNHORTHORVAORTAORTAORYAORTAORYAORTHOAVAORYKORVAORTAORTADATORVAORTAORYAOAVAAYAAVARVAORTAOAVAOAVAORMAOAVAOAVAORMANAD khaie pAraNiAmiyanippanne, (9) asthi NAme upasamie khaovasamie pAriNAmiyanippane, (10) atthi NAme khaie khaovasamie paarinnaamiynippne| __254. yahA~ trikasaMyogaja dasa nAma isa prakAra haiM-(1) audayika-aupazamika kSayaniSpannabhAva, (2) audayika-aupazamika-kSayopazamaniSpannabhAva, (3) audayikaaupazamika-pAriNAmikaniSpannabhAva, (4) audayika-kSAyika-kSayopazamaniSpannabhAva, (5) audayika-kSAyika-pAriNAmikaniSpannabhAva, (6) audayika-kSAyopazamikapAriNAmikaniSpannabhAva, (7) aupazamika-kSAyika-kSAyopazamikabhAva, (8) aupazamikakSAyika-pAriNAmikaniSpannabhAva, (9) aupazamika-kSAyopazamika-pAriNAmikaniSpannabhAva, hai (10) kssaayik-kssaayopshmik-paarinnaamiknisspnnbhaav| SANNIPATIK-BHAAVA WITH A COMBINATION OF THREE 254. The names of the ten names of Sannipatik-bhaava (mixed state) produced by combination of three are as follows__(1) produced by combination of audayik-bhaava (culminated state), aupashamik-bhaava (pacified state), and kshayik-bhaava (extinct state), (2) produced by combination of audayik-bhaava, aupashamik-bhaava, and kshayopashamik-bhaava (state of extinction-cumpacification), (3) produced by combination of audayikbhaava, aupashamik-bhaava, and parinamik-bhaava (transformed state), (4) produced by combination of audayik-bhaava, kshayik-bhaava, and kshayopashamikbhaava, (5) produced by combination of audayik-bhaava, kshayik-bhaava, and parinamik-bhaava, (6) produced by combination of audayik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava, (7) produced by combination of aupashamik-bhaava, kshayik-bhaava and kshayopashamikbhaava, (8) produced by combination of aupashamik-bhaava, kshayik-bhaava and parinamik-bhaava, (9) produced by combination of aupashamik-bhaava, kshayopashamik___bhaava and parinamik-bhaava, (10) produced by anuyogadvAra sUtra ( 382 ) Illustrated Anuyogadvar Sutra VAAYAORYAORTAOAYAORTAOAVAORYAORYAORYANVARYAORTAORTAORYAOAVADAYAOKMARVAOAVAAYAAVARTAORYAORY.COAVAOAVAOAVAORYADAVARANA2

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PAVARVAORTHORVAOROHORRORNHORNHORVAORMAORTHORVAORTAORNHOROHORIHORNHORTHORVAORTHORVADAVHORRORTAOAVAORTAOIMAOINOMIOWomimiliaria combination of kshayik-bhaava, kshayopashamik-bhaava and parinamik-bhaava. 255. (1) kayare se NAme udaie uvasamie khayanippanne ? udae tti maNUse uvasaMtA kasAyA khaiyaM sammattaM esa NaM se NAme udaie, uvamie. khynippnne| ___255. (prazna 1) audayika-aupazamika-kSayaniSpanna bhAva kauna sA hai? (uttara) manuSyagati audayikabhAva, upazAntakaSAya aupazamikabhAva aura kSAyikasamyaktva kSAyikabhAva yaha audayika-aupazamika kSaya niSpannabhAva hai| 255. (Question 1) Which is this state produced by combination of audayik-bhaava (culminated state), aupashamik-bhaava (pacified state), and kshayik-bhaava (extinct state)? (Answer) Birth as a human being is (a consequence of) audayik-bhaava (culminated state), upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava (pacified state), and kshayik samyaktva (righteousness produced by extinction of karma) is (a consequence of) kshayik-bhaava (extinct state). This is audayikaupashamik-kshayik-bhaava (culminated, pacified and extinct state). ___ (2) kayare se NAme udaie uvasamie khaovasamanippanne ? udae tti maNUse uvasaMtA kasAyA khaovasamiyAiM iMdiyAI, esa NaM se NAme udaie uvasamie khovsmnippnne| 255. (prazna 2) audayika-aupazamika-kSayopazamikaniSpannabhAva kyA hai ? (uttara) manuSyagati audayikabhAva, upazAMtakaSAya aupazamika aura indriyA~ kSAyopazamikabhAva, yaha audayika-aupazamika-kSayopazamaniSpannabhAva hai| bhAva prakaraNa __ ( 383 ) The Discussion on Bhaava AdamVAORYAORYAORYAORYAORYAORVAOAVAOAVAORYKOAVAOAVAOAVKORVAODVAOAVAORYKOAVADAVAOAVAOAVAORVARYAAVAORYAORVADAVAOPYADAVKOAVAORYAAVAT

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(Question 2) Which is this state produced by combination of audayik-bhaava, aupashamik-bhaava, and kshayopashamik-bhaava . (state of extinction-cumpacification)? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, and sense organs are (a consequence of) kshayopashamik-bhaava. This is audayik-aupashamik-kshayopashamik-bhaava (culminated, pacified and extinct-cum-pacified state). (3) kayare se NAme udaie uvasamie pAriNAmiyanippanne ? udae tti maNUse uvasaMtA kasAyA pAriNAmie jIve, esa NaM se NAme udaie uvasamie paarinnaamiynippne| 255. (prazna 3) audayika-aupazamika-pAriNAmikaniSpannabhAva kyA hai ? (uttara) manuSyagati audayika, upazAMtakaSAya aupazamika aura jIvatva pAriNAmika bhAva isa prakAra audayika-aupazamika-pAriNAmikaniSpannabhAva hai| (Question 3) Which is this state produced by combination of audayik-bhaava, aupashamik-bhaava, and parinamik-bhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is audayikaupashamik-parinamik-bhaava (culminated, pacified and transformed state). (4) kayare se NAme udaie khaie khaovasamanippanne ? udae tti maNUse khaiyaM sammattaM khaovasamiyAiM iMdiyAI esa NaM se NAme udaie khaie khovsmnippnne| anuyogadvAra sUtra (384 ) Illustrated Anuyogadvar Sutra

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255. (prazna 4) audayika-kSAyika-kSayopazamaniSpanna bhAva kyA hai ? (uttara) manuSyagati audayika, kSAyika samyaktva kSAyikabhAva aura indriyA~ kSAyopazamikabhAva yaha audayika-kSAyika-kSAyopazamikaniSpanna bhAva hai| (Question 4) Which is this state produced by combination of audayik-bhaava, kshayik-bhaava, and kshayopashamik-bhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, and sense organs are (a consequence of) kshayopashamik-bhaava. This is audayik-kshayikkshayopashamik-bhaava (culminated, extinct and extinctcum-pacified state). (5) kayare se NAme udaie khaie pAriNAmiyanippanne ? udae tti maNUse khaiyaM sammattaM pAriNAmie jIve, esa NaM se nAme udaie khaie paarinnaamiynippnne| 255. (prazna 5) audayika-kSAyika-pAriNAmikaniSpanna bhAva kyA hai ? (uttara) manuSyagati audayikabhAva, kSAyika samyaktva kSAyikabhAva aura jIvatva pAriNAmikabhAva isa prakAra audayika-kSAyika-pAriNAmikaniSpanna bhAva kA svarUpa hai| (Question 5) Which is this state produced by combination of audayik-bhaava, kshayik-bhaava, and parinamik-bhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, and soul is (a consequence of) parinamikbhaava. This is audayik-kshayik-parinamik-bhaava (culminated, extinct and transformed state). (6) kayare se NAme udaie khaovasamie pAriNAmiyanippanne ? ( 385 ) bhAva prakaraNa The Discussion on Bhaava

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udae tti maNUse khaovasamiyAiM iMdiyAI pAriNAmie jIve, esa NaM se NAme udaie khaovasamie paarinnaamiynippne| 255. (prazna 6) audayika-kSAyopazamika-pAriNAmikaniSpannabhAva kyA hai ? (uttara) manuSyagati audayika, indriyA~ kSAyopazamika aura jIva pAriNAmika, yaha audayika-kSAyopazamika-pAriNAmikaniSpanna bhAva hai| (Question 6) Which is this state produced by combination of audayik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, sense organs are (a consequence of) kshayopashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is audayik-kshayopashamikparinamik-bhaava (culminated, extinct-cum-pacified and transformed state). (7) kayare se NAme uvasamie khaie khaovasamanippanne ? uvasaMtA kasAyA khaiyaM sammattaM khaovasamiyAiM iMdiyAiM esa NaM se NAme uvasamie khaie khovsmnippnne| 255. (prazna 7) aupazamika-kSAyika-kSayopazamaniSpannabhAva kyA hai ? (uttara) upazAMtakaSAya aupazamikabhAva, kSAyikasamyaktva kSAyikabhAva, indriyA~ kSAyopazamikabhAva, yaha aupazamika-kSAyika-kSayopazamaniSpanna bhAva hai| (Question 7) Which is this state produced by combination of aupashamik-bhaava, kshayik-bhaava and kshayopashamik-bhaava ? (Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava and sense organs are (a consequence of) kshayopashamik-bhaava. This is aupashamik-kshayik-kshayopashamik-bhaava (pacified, extinct and extinct-cum-pacified state). anuyogadvAra sUtra / ( 386 ) Illustrated Anuyogadvar Sutra

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(8) kayare se NAme uvasamie khaie pAriNAmiyanippanne ? uvasaMtA kasAyA, khaiyaM sammattaM pAriNAmie jIve, esa NaM se NAme uvasamie khaie paarinnaamiynippne| 255. (prazna 8) aupazamika-kSAyika-pAriNAmikaniSpanna bhAva kyA hai ? (uttara) upazAMtakaSAya aupazamikabhAva, kSAyikasamyaktva kSAyikabhAva, jIvatva pAriNAmikabhAva yaha aupazamika-kSAyika-pAriNAmikaniSpanna bhAva hai| (Question 8) Which is this state produced by combination of aupashamik-bhaava, kshayik-bhaava and parinamik-bhaava ? ___(Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava and soul is (a consequence of) parinamik-bhaava. This is aupashamikkshayik-parinamik-bhaava (pacified state, extinct and transformed state). (9) kayare se NAme uvasamie khaovasamie pAriNAmiyanippanne ? uvasaMtA kasAyA khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se NAme uvasamie khaovasamie paarinnaamiynippne| 255. (prazna 9) aupazamika-kSAyopazamika-pAriNAmikaniSpanna bhAva kyA hai? (uttara) upazAntakaSAya aupazamikabhAva, indriyA~ kSAyopazamika aura jIvatva pAriNAmika, isa prakAra yaha aupazamika-kSAyopazamika-pAriNAmikabhAvaniSpannanAma kA svarUpa hai? (Question 9) Which is this state produced by combination of aupashamik-bhaava, kshayopashamikbhaava and parinamik-bhaava ? / (Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, sense organs are (a consequence of) kshayopashamik-bhaava and soul is bhAva prakaraNa ( 387 ) The Discussion on Bhaava

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seases (a consequence of) parinamik-bhaava. This is aupashamikkshayopashamik-parinamik-bhaava (pacified, extinct-cumpacified and transformed state). (10) kayare se NAme khaie khaovasamie pAriNAmiyanippatre ? khaiyaM sammattaM khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se NAme khaie khaovasamie pAriNAmiyanippanne / 255. (prazna 10) kSAyika - kSAyopazamika - pAriNAmikaniSpannabhAva kauna-sA hai ? (uttara) kSAyikasamyaktva kSAyikabhAva, indriyA~ kSAyopazamikabhAva aura jIvatva pAriNAmikabhAva, isa prakAra kSAyika kSAyopazamika-pAriNAmikabhAvaniSpanna nAma hai| (Question 10) Which is this state produced by combination of kshayik-bhaava, kshayopashamik-bhaava and parinamik-bhaava. (Answer) Kshayik samyaktva is (a consequence of) kshayik-bhaava, sense organs are (a consequence of) kshayopashamik-bhaava and soul is (a consequence of) parinamik-bhaava. This is kshayik-kshayopashamikparinamik-bhaava (extinct, extinct-cum-pacified transformed state). and vivecana-ina dasa saMyogaja bhaMgoM meM se pA~cavAM aura chaThA bhaMga jIvoM meM pAyA jAtA hai| yathA - audayika kSAyopazamika-pAriNAmikabhAvoM ke saMyoga se niSpanna chaThA sAnnipAtikabhAva manuSyagati meM pAyA jAtA hai| audayika, jJAna- darzana - cAritra kSAyika aura jIvatva pAriNAmika rUpa hone se pA~cavA~ bhaMga kevaliyoM meM ghaTita hotA hai| ina tIna bhAvoM ke atirikta anya bhAva kevalI meM nahIM haiN| kyoMki upazama mohanIyakarma kA hotA hai aura ve mohanIyakarma kA sarvathA kSaya kara cuke haiM tathA kevaliyoM kA jJAna indriyAtIta - atIndriya hone se unameM kSAyopazamikabhAva bhI nahIM hai / Elaboration-Of these ten coincidental states only fifth and sixth are applicable to human beings. The sixth Sannipatikbhaava (mixed state) produced by combination of audayikbhaava, kshayopashamik-bhaava, and parinamik-bhaava is applicable to normal human beings. The fifth one produced by yogadvA ( 388 ) Illustrated Anuyogadvar Sutra

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combination of audayik-bhaava (birth as human being), kshayikbhaava (extinction of karmas resulting in right knowledge, perception, and conduct) and parinamik-bhaava (pure soul) is applicable only to Kevalis (omniscients). Besides these three states other states are not applicable to a Kevali. This is because Upasham (pacification) is of Mohaniya (deluding) karmas which have already been made extinct by a Kevali. Also, as the knowledge of a Kevali is para-sensual the kshayopashamik state is also not applicable to him. catuHsaMyogaja sAnnipAtikabhAva 256. tattha NaM je te paMca caukkasaMyogA te NaM ime-(1) asthi NAme udaie uvasamie khaie khaovasamanippanne, (2) atthi NAme udaie uvasamie khaie pAriNAmiyanippane, (3) atthi NAme udaie uvasamie khaovasamie pAriNAmiyanippanne, (4) atthi NAme udaie khaie khaovasamie pAriNAmiyanippanne, (5) asthi NAme uvasamie khaie khaovasamie paarinnaamiynippnne| 256. cAra bhAvoM ke saMyoga se niSpanna pA~ca bhaMgoM ke nAma isa prakAra haiM(1) audayika-aupazamika-kSAyika-kSAyopazamikaniSpannabhAva, (2) audayika aupazamika-kSAyika-pAriNAmikaniSpannabhAva, (3) audayika-aupazamika-kSAyopazamikapAriNAmikaniSpannabhAva, (4) audayika-kSAyika-kSAyopazamika-pAriNAmikaniSpannabhAva, (5) aupshmik-kssaayik-kssaayopshmik-paarinnaamiknisspnnbhaav|| SANNIPATIK-BHAAVA WITH A COMBINATION OF FOUR 256. The names of the five bhangs (types) of Sannipatikbhaava (mixed state) produced by combination of four are as follows (1) produced by combination of audayik-bhaava (culminated state), aupashamik-bhaava (pacified state), kshayik-bhaava (extinct state), and kshayopashamikbhaava (state of extinction-cum-pacification), (2) produced by combination of audayik-bhaava, aupashamik-bhaava, kshayik-bhaava, and parinamik-bhaava, (3) produced by bhAva prakaraNa ( 389 ) The Discussion on Bhaava

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combination of audayik-bhaava, aupashamik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava, (4) produced by combination of audayik-bhaava, kshayikbhaava, kshayopashamik-bhaava, and parinamik-bhaava, (5) produced by combination of aupashamik-bhaava, kshayik-bhaava, kshayopashamik-bhaava, and parinamikbhaava. 257. (1) kayare se NAme udaie upasamie khaie khaovasamanippanne ? udae tti maNU se, uvasaMtA kasAyA, khaiyaM sammattaM, khaovasamiyAiM iMdiyAI, esa NaM se NAme udaie uvasamie khaie khaovasamanippanne / 257. (prazna. 1) audayika-aupazamika-kSAyika-kSayopazamaniSpannabhAva kyA hai? (uttara) audayikabhAva meM manuSya, aupazamikabhAva meM upazAMtakaSAya, kSAyikabhAva meM kSAyikasamyaktva aura kSAyopazamikabhAva meM indriyA~, yaha audayika-aupazamikakSAyika-kSayopazamabhAvaniSpanna kA svarUpa hai| 257. (Question 1) Which is this state produced by combination of audayik-bhaava (culminated state), aupashamik-bhaava (pacified state), kshayik-bhaava (extinct state), and kshayopashamik-bhaava (state of extinction-cum-pacification) ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava (culminated state), upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava (pacified state), kshayik samyaktva is (a consequence of) kshayik-bhaava (extinct state), and sense organs are (a consequence of) kshayopashamik-bhaava (state of extinction-cum-pacification). This is audayik-aupashamikkshayik-kshayopashamik-bhaava (culminated, pacified, extinct and extinct-cum-pacified state). (2) kayare se nAme udaie uvasamie khaie pAriNAmiyanippanne ? anuyogadvAra sUtra ( 390 ) Illustrated Anuyogadvar Sutra

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___udae tti maNUse, uvasaMtA kasAyA, khaiyaM sammattaM, pAriNAmie jIve, esa NaM se NAme udaie uvasamie khaie paarinnaamiynippne| 257. (prazna 2) audayika-aupazamika-kSAyika-pAriNAmikabhAvaniSpanna bhAva kyA hai? (uttara) audayikabhAva meM manuSyagati, aupazamikabhAva meM upazAMtakaSAya, kSAyikabhAva meM kSAyikasamyaktva aura pAriNAmikabhAva meM jIvatva, yaha audayika-aupazamikakSAyika-pAriNAmikabhAvaniSpanna hai| ___257. (Question 2) Which is this state produced by combination of audayik-bhaava, aupashamik-bhaava, ___kshayik-bhaava, and parinamik-bhaava ? (Answer) Birth as a human being is (a consequence of) audayik-bhaava, upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is audayikaupashamik-kshayik-parinamik-bhaava (culminated, pacified, extinct and transformed state). (3) kayare se NAme udaie uvasamie khaovasamie pAriNAmiyanippanne ? ___ udae tti maNUse uvasaMtA kasAyA khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se NAme udaie uvasamie khaovasamie paarinnaamiynippne| ___ 257. (prazna 3) audayika-aupazamika-kSAyopazamika-pAriNAmikaniSpannabhAva kyA hai? (uttara) audayikabhAva meM manuSyagati, aupazamikabhAva meM upazAMtakaSAya, kSAyopazamikabhAva meM indriyA~ aura pAriNAmikabhAva meM jIvatva, isa prakAra se audayika-aupazamika-kSAyopazamika-pAriNAmikabhAvaniSpanna kA svarUpa hai| ___257. (Question 3) Which is this state produced by combination. of audayik-bhaava, aupashamik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava ? bhAva prakaraNa The Discussion on Bhaava

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* * * * * . ... (Answer) Birth as a human being is (a consequence of) audayik-bhaava, upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, sense organs are ( a consequence of) kshayopashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is audayikaupashamik-kshayopashamik-parinamik-bhaava (culminated, pacified, extinct-cum-pacified and transformed state). (4) kayare se NAme udaie khaie khaovasamie pAriNAmiyanippanne ? udaitti maNUse khaiyaM sammattaM khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se nAme udaie khaie khaovasamie pAriNAmiyanippanne / 257. ( prazna 4 ) audayika - kSAyika kSAyopazamika-pAriNAmikabhAvaniSpannanAma kyA haiM ? (uttara) audayikabhAva meM manuSyagati, kSAyikabhAva meM kSAyikasamyaktva, kSAyopazamikabhAva meM indriyA~ aura pAriNAmikabhAva meM jIvatva, yaha audayika - kSAyikakSAyopazamika-pAriNAmikabhAvaniSpanna nAma hai / 257. (Question 4) Which is this state produced by combination of audayik-bhaava, kshayik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava? (Answer) Birth as a human being is (a consequence of ) audayik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, sense organs are (a consequence of ) kshayopashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. is audayik-kshayikkshayopashamik-parinamik-bhaava (culminated, extinct, extinct-cum-pacified and transformed state). This (5) kayare se NAme uvasamie khaie khaovasamie pAriNAmiyaniSpanne ? uvasaMtA kasAyA khaiyaM sammattaM khaovasamiyAiM iMdiyAiM pAriNAmie jIve, esa NaM se nAme uvasamie khaie khaovasamie pAriNAmiyanippanne / yogadvAra ( 392 ) Illustrated Anuyogadvar Sutra ...909,95

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257. (prazna 5) aupazamika-kSAyika-kSAyopazamika-pAriNAmikaniSpanna bhAva kyA hai? (uttara) aupazamikabhAva meM upazAMtakaSAya, kSAyikabhAva me kSAyika-samyaktva, kSAyopazamikabhAva meM indriyA~ aura pAriNAmikabhAva meM jIvatva, yaha aupazamika-kSAyika-kSAyopazamika-pAriNAmikaniSpanna bhAva kA svarUpa hai| 257. (Question 5) Which is this state produced by combination of aupashamik-bhaava, kshayik-bhaava, kshayopashamik-bhaava, and parinamik-bhaava. ___ (Answer) Upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, sense organs are (a consequence of) kshayopashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is aupashamikkshayik-kshayopashamik-parinamik-bhaava (pacified state, extinct, extinct-cum-pacified and transformed state). vivecana-ina pA~coM bhaMgoM meM se tIsarA aura cauthA ye do bhaMga hI jIva meM ghaTita hote haiM, zeSa tIna nhiiN| ghaTita hone vAle bhaMgoM kA spaSTIkaraNa isa prakAra hai audayika-aupazamika-kSAyopazamika aura pAriNAmika ina cAra bhAvoM ke saMyoga se niSpanna tRtIya bhaMga nAraka Adi cAroM gatiyoM meM hotA hai| kyoMki gati audayikI hai tathA prathama samyaktva ke lAbhakAla meM upazamabhAva hone se aura manaSyagati meM upazama-zreNI meM bhI aupazamika samyaktva hone se aupazamikabhAva hai| indriyA~ kSAyopazamikabhAva aura jIvatva pAriNAmikabhAva rUpa haiN| isa prakAra yaha tRtIya bhaMga sabhI gatiyoM meM pAyA jAtA hai| ___ cauthA bhaMga bhI tRtIya bhaMga kI taraha narakAdi cAroM gatiyoM meM sambhava hai| parantu vizeSatA yaha hai ki tRtIya upazamasamyaktva ke sthAna para yahA~ kSAyika samyaktva samajhanA caahie| ___Elaboration of these five bhangs (types) only third and fourth are applicable to beings, remaining three are not. The applicable bhangs (types) are explained as follows The third type produced by combination of audayik-bhaava, aupashamik-bhaava, kshayopashamik-bhaava, and parinamikbhaava is applicable to all the four realms including hell. This is bhAva prakaraNa ( 393 ) The Discussion on Bhaava 8

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because birth in any realm is the sign of audayik-bhaava, the first step in the direction of righteousness in any realm and the progressive pacification in human realm are signs of aupashamik-bhaava, sense organs are signs of kshayopashamikbhaava, and soul is the sign of parinamik-bhaava. Thus this third type is applicable to all beings in all realms. In the same way the fourth type is also applicable to all beings in all realms, the only difference being that instead of aupashamik-bhaava it is kshayik-bhaava. paMcasaMyogI bhAva 258. tattha NaM je se ekke paMcakasaMjoge se NaM ime-atthi nAme udaie uvasamie khaie khaovasamie pAriNAmiyanippanne / 258. paMcasaMyogaja bhAva kA eka bhaMga isa prakAra haiaudyik-aupshmik-kssaayik-kssaayopshmik-paarinnaamiknisspnnbhaav| SANNIPATIK-BHAAVA WITH A COMBINATION OF FIVE 258. The name of the single bhang (type) of Sannipatikbhaava (mixed state) produced by combination of five is as follows___ (1) Produced by combination of audayik-bhaava (culminated state), aupashamik-bhaava (pacified state), kshayik-bhaava (extinct state), kshayopashamik-bhaava (state of extinction-cum-pacification), and parinamikbhaava (transformed state). 259. kayare se nAme udaie upasamie khaie khaovasamie pAriNAmiyanippane ? udae tti maNUse uvasaMtA kasAyA khaiyaM sammattaM khaovasamiyAiM iMdiyAiM __ pAriNAmie jIve, esa NaM se NAme udaie uvasamie khaie khaovasamie paarinnaamiynippnne| se taM snivaaie| se taM chnnnnaame| 259. (prazna) audayika-aupazamika-kSAyika-kSAyopazamika-pAriNAmikaniSpannabhAva kauna-sA hai? anuyogadvAra sUtra ( 394 ) Illustrated Anuyogadvar Sutra

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(uttara) audayikabhAva meM manuSyagati, aupazamikabhAva meM upazAMtakaSAya, kSAyikabhAva meM kSAyikasamyaktva, kSAyopazamikabhAva meM indriyA~ aura pAriNAmikabhAva meM jIvatva, yaha audayika-aupazamika-kSAyika-kSAyopazamika-pAriNAmikabhAvaniSpanna sAnnipAtika bhAva kA svarUpa hai| 259. (Question) Which is this state produced by combination of audayik-bhaava, aupashamik-bhaava, kshayik-bhaava, kshayopashamik-bhaava, and parinamikbhaava. ___(Answer) Birth as a human being is (a consequence of) audayik-bhaava, upashant-kashaya (pacified passions) is (a consequence of) aupashamik-bhaava, kshayik samyaktva is (a consequence of) kshayik-bhaava, sense organs are (a consequence of) kshayopashamik-bhaava, and soul is (a consequence of) parinamik-bhaava. This is audayikaupashamik-kshayik-kshayopashamik-parinamik-bhaava (culminated, extinct, pacified, extinct-cum-pacified and transformed state). ____This concludes the description of Sannipatik-bhaava (mixed state). This also concludes the description of Chhaha nama (Six-named). vivecana-audayika Adi pA~ca mUla bhAvoM ke saMyoga se niSpanna sAnnipAtikabhAva ke dvikasaMyogI dasa, trikasaMyogI dasa, catuSkasaMyogI pA~ca aura paMcasaMyogI eka-kula chabbIsa bhaMgoM meM se jIvoM meM sirpha dvikasaMyogI eka, trikasaMyogI do, catuSka saMyogI do aura paMcasaMyogI eka, isa prakAra chaha bhaMga pAye jAte haiN| zeSa bhaMga prarUpaNAmAtra ke lie samajhanA caahie| ___Elaboration-The total number of Sannipatik-bhaavas (mixed states) produced by combination of five basic states in various combinations of two (10), three (10), four (5), and five (1), are twenty six. Out of these only six are applicable to beings-one out of the combinations of two, two each out of the combinations of three and four, and the only one with combination of five. All the remaining types are purely academic. bhAva prakaraNa ( 395 ) The Discussion on Bhaava

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svara-maNDala prakaraNa THE DISCUSSION ON SVAR saptanAma nirUpaNa 260. (1) se kiM taM sattanAme ? sattanAme satta sarA pnnnnttaa| taM jahA(1) sajje, (2) risabhe, (3) gaMdhAre, (4) majjhime, (5) paMcame sre| (6) dhevae ceva, (7) NesAe, sarA satta viyaahiyaa||25|| 260. (prazna 1) saptanAma kyA hai ? (uttara) saptanAma sAta prakAra ke svara rUpa hai| svaroM ke nAma isa prakAra haiM(1) SaDja, (2) RSabha, (3) gAMdhAra, (4) madhyama, (5) paMcama, (6) dhaivata, aura (7) niSAda; ye sAta svara kahe gaye haiM // 25 // SAAT NAMA (SEVEN-NAMED) 260. (Question 1) What is this Saat nama (Sevennamed)? (Answer) Saat nama (Seven-named) is the seven types of Svar (musical notes). There names are(1) Shadj, (2) Rishabh, (3) Gandhar, (4) Madhyam, (5) Pancham, (6) Dhaivat, and (7) Nishad. These are said to be the seven svars (musical notes). (25) vivecana-saptanAma ke prakaraNa meM yahA~ sAta svaroM kA varNana kiyA hai| svara ke aneka arthoM meM yahA~ para 'dhvani' yA 'nAda' artha liyA gayA hai| dhvani saMgIta kA viSaya hai| saMgIta zAstra ke anusAra-jisameM maryAdita kampana ho, Aroha, avaroha yukta ho, jo snigdha ho, zruti madhura ho, uccAraNa ke bAda jisameM guMjana (raNana) ho, vaha svara hai| 'svara' ke SaDja Adi sAta bheda haiN| saMgIta zAstra meM sA re ga ma pa dha nI inake saMketa haiN| aMgrejI meM inheM kramazaH Do, Re, Mi, Fa, Soh, La, Si kahate haiM inake saMketa haiM, C. D. S. F. G. A. B. / sAta svaroM kI 22 zrutiyA~-choTI-choTI surIlI dhvaniyA~ bhI hai| sAta svaroM ke lakSaNa isa prakAra haiManuyogadvAra sUtra ( 396 ) Illustrated Anuyogadvar Sutra GPRIMORMAOMIO 068YGOVEOAVKORMONITA PAYGOVAR

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(1) SaDja-kaNTha,vakSasthala, tAlu, jihvA, danta aura nAsikA ina chaha sthAnoM ke saMyoga se utpanna hone vAlA svara 'SaDja' kahA jAtA hai| (2) RSabha-RSabha kA artha baila hai| nAbhi se uThakara aura kaNTha evaM zira se TakarAkara baila (RSabha) ke samAna garjanA rUpa nAda yA dhvani ke samAna svr| (3) gAMdhAra-nAbhi se samutthita evaM kaMTha va hRdaya se TakarAkara tathA nAnA prakAra kI gaMdhoM kA vAhaka svara gAMdhAra kahalAtA hai| (4) madhyama-zarIra ke madhyabhAga-nAbhipradeza meM utpanna huI aura uras evaM hRdaya se TakarAkara punaH nAbhisthAna meM AI huI vAyu dvArA jo uccanAda hotA hai, vaha 'madhyama' svara hai| (5) paMcama-jisa svara meM nAbhisthAna se utpanna vAyu vakSasthala, hRdaya, kaMTha aura mastaka meM vyApta hokara svara rUpa meM pariNata ho, use paMcama svara kahate haiN| (6) dhaivata-pUrvokta sabhI svaroM kA anusaMdhAna karane vAlA unake pIche daur3ane vAlA svara dhaivata kahalAtA hai| (7) niSAda-sabhI svaroM kA abhibhava/parAbhava karane vAlA svr| yaha tejasvI hone ke kAraNa anya svaroM ko dabA detA hai| Aditya (sUrya) isakA svAmI hai| ye sAtoM svara jIva aura ajIva donoM para Azrita haiN| arthAt jIva aura ajIva ke mAdhyama se inakA prAdurbhAva ho sakatA hai| Elaboration In this discussion on Saat Nama (seven named) seven svar (musical notes) are described. Of many meanings of the word svar here dhvani (sound) or naad (resonating sound) have been chosen. Sound comes under the study of music. According to musicology the definition of svar (musical note) isthat which has regulated vibrations, ascending and descending scale (aaroh and avaroh), softness, melody, and resonance is called svar (musical note). Their are seven kinds of svars (musical notes) including Shadj. In Indian music they are represented by seven symbols-Sa, Re, Ga, Ma, Pa, Dha, and Ni. In western music these symbols are Do (C), Re (D), Me (S), Fa (F), Soh (G), La (A), Si (B). These seven svars (musical notes) have twenty two shruti (short melodious sounds). The seven svars (musical notes) are defined as followssvara-maNDala prakaraNa ( 397 ) The Discussion on Svar

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(1) Shadj--This note is produced by the combined activity of six parts of the human body, i.e. nose, throat, chest, palate, tongue, and teeth. (2) Rishabh-Rishabh means bull. This note resembles the roaring of a bull and is produced by the wind rising from the navel and striking the upper part of the throat. (3) Gandhar-This note is so called because it is the carrier of various smells. It is produced by wind which rises from the navel and strikes at the heart and the throat. (4) Madhyam--A loud note rising from the navel striking at the chest and heart and reflecting back to the navel. (5) Pancham-This note is produced by the air rising from the navel and producing sound vibrating the chest, heart, throat and head. As five parts of the body are involved it is called pancham (6) Dhaivat-This note follows or chases all other notes. (7) Nishad-This note envelops all other notes. As it is sharpest and most vibrant it subdues all other notes. Its guardian is said to be the sun. These seven notes are based on jiva (living) and ajiva (nonliving). In other words these can be produced by living as well as non-living things. sAta svaroM ke svarasthAna (2) eesi NaM sattaNhaM sarANaM satta saraTThANA pnnnnttaa| taM jahA (9) Hovi a P ETS, () ott RHETI (a) cigagu vienre, (8) Halfter a fer R & || (4) arang jari 4, (E) cancao Brasil (0) Edda tari, region Fruit 2011 anuyogadvAra sUtra (386) Illustrated Anuyogadvar Sutra

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__(260-2) ina sAta svaroM ke sAta svara-(uccAraNa)sthAna kahe gaye haiN| ve sthAna isa prakAra haiM (1) jihvA ke agrabhAga se SaDjasvara kA uccAraNa hotA hai| (2) vakSasthala se RSabhasvara kA (3) kaNTha se gAMdhArasvara kA (4) jihvA ke madhya bhAga se madhyama svara kA (5) nAsikA se paMcamasvara kA (6) dA~ta aura oTha ke saMyoga se dhaivatasvara kA tathA (7) mUrdhA (bhrakuTi tane hue zira) se niSAda svara kA uccAraNa kiyA jAtA hai| ye sAtoM svaroM ke mUla sthAna batalAye gaye haiM // 26 // 27 // PLACES OF ORIGIN OF SEVEN SVARS 260. (2) There are said to be seven svars (places of origin) of these seven svars (musical notes). They are as follows (1) Shadj is produced from the tip of the tongue. (2) Rishabh is produced from the chest... (3) Gandhar is produced from the throat. (4) Madhyam is produced from the middle of the tongue. (5) Pancham is produced from the nose. (6) Dhaivat is produced from the teeth and lips. (7) Nishad is produced from raised eyebrows (eyebrows are raised when this note is produced). This concludes the description of places of origin of svars (musical notes). vivecana-pichale vivecana meM saMgIta zAstra ke anusAra sAtoM svaroM ke bhinna-bhinna sthAna batAye haiN| kintu yahA~ para mUla sUtra meM eka-eka svara kA eka-eka mUla sthAna batAyA hai| yaha satya hai ki eka svara ke uccAraNa meM vibhinna avayavoM para jora par3atA hai, kintu pratyeka svara ravara-maNDala prakaraNa . ( 399 ) The Discussion on Svar *

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ke uccAraNa meM mukhya rUpa meM jisa sthAna kI bhUmikA rahatI hai-yahA~ usI apekSA se usa eka-eka sthAna kA ullekha kiyA gayA hai| kisI-kisI prati meM niSAda svara kA utpatti sthAna muddhANeNaya aisA-pATha dvArA mUrdhA, mastaka batAyA hai| vyAvahArika dRSTi se yaha pATha adhika saMgata pratIta hotA hai| (saMgIta sambandhI vistRta vivecana dekheM zrI jJAnamuni kRta hindI TIkA, bhAga 2 pR. 238-42 taka) Elaboration-Earlier we discussed various places in the body connected with seven musical notes. Here a single place of origin of each svar (musical notes) is stated. It is true that to produce a particular note various parts of the body are activated but one particular place plays a dominant role in producing a specific note. Here those places have been listed. In some alternative texts the source of nishad svar (musical note) is shown as head. Practically speaking the text used here appears to be more logical. (for more details about music refer to Hindi Tika of Anuyogadvara Sutra by Shri Jnana Muni, part-2, p. 238-42) jIvanizrita sapta svara (3) satta sarA jIvaNissiyA pnnnnttaa| taM jahA (1) sajjaM ravai mayUro, (2) kukkuDo risabhaM rsN| (3) haMso ravai gaMdhAraM, (4) majjhimaM tu gvelgaa||28|| (5) aha kusumasaMbhave kAle koilA paMcamaM srN| (6) chaThaM ca sArasA kuMcA, (7) NesAyaM sattamaM go||29|| (260-3) jIvanizrita-jIvoM dvArA uccArita hone vAle sAtasvaroM kA svarUpa isa prakAra hai (1) mayUra SaDjasvara meM bolatA hai| (2) kukkuTa (murgA) RSabhasvara meM (3) haMsa gAMdhArasvara meM (4) gavelaka (bher3a-memanA) madhyamasvara meM anuyogadvAra sUtra ( 400 ) Illustrated Anuyogadvar Sutra

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sAta svaroM ke utpatti sthAna jihvAgra vakSasthala kaNThAgra jihvA madhya nAzikA dAMta aura hoTa bhrUmadhya (1) SaDja RSabha (3) gAMdhAra madhyama (5) paMcama koyala (6) dhaivata (7) niSAda sArasa THE STARTING PLACE OF SEVEN SOUNDS (SVAR) mRdaMga mora murgA haMsa memanA hAthI gomukhI/ zaMkha maMjIrA godhikA Dholaka mahAbherI TRILOK SHIRMA 17

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citra paricaya 17 sapta svaroM ke utpatti sthAna sabhI svaroM kA utpatti sthAna nAbhi- pradeza haiM / vahA~ se uThakara jisa sthAna para svara meM kucha bhinna prakAra kI dhvani, guMjana Adi vizeSatA utpanna hotI hai, use svaroM kA utpatti sthAna mAnA hai / jaise (9) SaDja svara - yaha jIbha ke agale bhAga se arthAt kaNTha ke pAsa jahA~ se jihvA kA prArambha hotA hai vahA~ se niHsRta hotA hai| (2) RSabha svara - vakSasthala (chAtI) se, (3) gAMdhAra svara- kaNTha ke agrabhAga se, (4) madhyamasvara - jihvA ke madhya bhAga se, (5) paMcama svara - nAzikA se, (6) dhaivata svara - dAMta aura oSTa (hoTha) se, (7) niSAda svara - bhoMha ko Upara uThAne se nikalatA hai| jIva- ajIva nizrita svara 1. SaDja 3. gAMdhAra 5. paMcama 7. niSAda jIva mora haMsa kokila hAthI 1. 2. 3. 4. 5. 6. 7. ajIva mRdaMga zaMkha godhikA mahAbherI Shadj svar Rishabh svar Gandhar svar Madhyam svar Pancham svar Illustration No. 17 svara 2. RSabha 4. madhyama 6. dhaivata Dhaivat svar Nishad svar PLACES OF ORIGIN OF SEVEN SVARS Athough all the svars (musical notes) originate at the navel in the human body, after rising from there they get specific tone, pitch and other qualities by vibrating at other parts of the body. Therefore these apparent sources of svar are said to be the places of origin. They are as follows-- (1) Shadj is produced from the beginning of the tongue (at the throat). (2) Rishabh is produced from the chest. (3) Gandhar is produced from the top of the throat. (4) Madhyam is produced from the middle of the tongue. (5) Pancham is produced from the nose. (6) Dhaivat is produced from the teeth and lips. (7) Nishad is produced from raised eyebrows. SVARS (MUSICAL NOTES) ASSOCIATED WITH BEINGS AND NON-BEINGS S. No. Svar Jiva Pea-cock Cock Swan Lamb jIva murgA memanA sArasa Cuckoo Cranes Elephant ajIva gomukhI maMjIrA Dholaka - sUtra 260 Ajiva Mridang Gomukhi Conch-shell Manjira Godhika Dholak Mahabheri Sutra : 260

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(5) puSpotpattikAla (vasanta Rtu meM) koyala paMcamasvara meM (6) sArasa aura krauMca pakSI dhaivatasvara meM, tathA (7) hAthI niSAda svara meM bolatA hai // 28 // 29 // SVARS ASSOCIATED WITH BEINGS 260. (3) The seven svars (musical notes ) associated with beings are as follows (1) Pea-cock produces Shadj svar (musical note). (2) Cock produces Rishabh svar (musical note). (3) Swan produces Gandhar svar (musical note). (4) Sheep or ram produces Madhyam svar (musical note). (5) Cuckoo produces Pancham svar (musical note) when flowers blossom (in the spring season). (6) Cranes and curlews (kraunch) produce Dhaivat svar (musical note). (7) Elephant produces Nishad svar (musical note). ajIvanizrita saptasvara (4) satta sarA ajIvaNissiyA paNNattA / taM jahA -- (1) sajjaM ravai muyaMgo, (2) gomuhI risahaM saraM / (3) saMkho ravai gaMdhAraM, (4) majjhimaM puNa jhallarI // 30 // (5) caucalaNapatiTThANA gohiyA paMcamaM saraM / (6) ADaMbaro dhevaiyaM, (7) mahAbherI ya sattamaM // 31 // ( 260 - 4) ajIvanizrita saptasvara isa prakAra haiM (1) mRdaMga (donoM ora camar3e se mar3hA huA) SaDjasvara nikAlatA hai| (2) gomukhI ( turahI - narasiMghA ) nAmaka vAdya) se RSabhasvara nikalatA hai| ( 401 ) svara-maNDala prakaraNa The Discussion on Svar

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(3) zaMkha se gAMdhArasvara nikalatA hai| (4) jhAlara (jhA~jha) se madhyamasvara nikalatA hai| (5) cAra caraNoM para sthita (cAra pAyoM para rakhI huI ) godhikA se paMcamasvara nikalatA hai| (6) ADambara ( nagAr3A - Dhola ) se dhaivatasvara nikalatA hai| (7) mahAbherI (vizAla AkAra kA nagAr3A) se niSAda svara nikalatA hai // 30-31 // SVARS ASSOCIATED WITH NON-BEINGS 260. (4) The seven svars (musical notes) associated with non-beings are as follows-- (1) Mridang produces Shadj svar (musical note). (Mridang is a type of Indian drum; a hollow barrel like musical instrument covered on both sides with suitable skin or membrane). (2) Gomukhi (Turuhi or Narasingha; trumpet like musical instrument) produces Rishabh svar (musical note). (3) Conch-shell produces Gandhar svar (musical note). (4) Jhalar (Jhanjh; Cymbal like musical instrument). produces Madhyam svar (musical note). (30) (5) Godhika, fixed on four legs, (a type of musical instrument) produces Pancham svar (musical note). (6) Adambar (Nagara; Dhol; a percussion instrument like big kettledrum) produces Dhaivat svar (musical note). (7) Mahabheri (a huge drum) produces Nishad svar (musical note). (31) vivecana - sAtoM svaroM kI utpatti meM vibhinna pazu-pakSiyoM ke udAharaNa dene se saMgIta zAstrIya vidvAnoM kI yaha dhAraNA puSTa hotI hai ki manuSya kI apekSA pazu-pakSI kI dhvani adhika saMgItamaya hotI hai| dvA ( 402 ) Illustrated Anuyogadvar Sutra

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anusaMdhAna karane vAloM kA yaha mata hai ki pazu-pakSiyoM meM saMgIta kA vizeSa upayoga hotA hai, ve nirAzA, harSa, bhaya, prema, Ananda aura krodha Adi bhAvoM ko prakaTa karate hue vibhinna svaroM meM bolate pAye jAte haiN| kucha vidvAnoM kA yaha bhI mata hai ki manuSya ne saMgIta kalA pazu-pakSiyoM se grahaNa kI hai / (dekheM, dhvani aura saMgIta pR. 143) Elaboration-The examples of animals given as sources of seven musical notes affirm the theory given by scholars that sounds produced by animals are more musical as compared to that produced by humans. Researchers opine that animals have greater use of musical sounds. In their effort to convey feelings of despair, joy, fear, love, ecstasy, anger, etc. they are found to use a variety of notes and tones. Some scholars even go to the extant that man has learned music from animals and birds. (Dhvani aur Sangeet, p. 143) saptasvaroM ke svaralakSaNa tathA phala (5) eesi NaM sattaNhaM sarANaM satta saralakkhaNA paNNattA / taM jahA(1) sajjeNa lahai vittiM kayaM ca na viNassaI / gAva puttAya mittAya nArINaM hoti vallaho // 32 // (2) risaheNaM tu esajjaM seNAvaccaM dhaNANi ya / vattha gaMdhamalaMkAraM itthIo sayaNANi ya // 33 // (3) gaMdhAre gItajuttiNA vajjavittI kalAhiyA / havaMti kaiNo paNNA je aNNe satthapAragA // 34 // (4) majjhimasaramaMtA u havaMti suhajIviNo / khAI piI deI majjhimassaramassio // 35 // (5) paMcamassaramaMtA u havaMtI puhavIpatI / sUrA saMgahattAro aga NaraNAyagA // 36 // ( 403 ) svara-maNDala prakaraNa The Discussion on Svar

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(6 ) dhevayassaramaMtA u havaMti klhppiyaa| sAuNiyA vagguriyA soyariyA macchabaMdhA y||37|| (7) caMDAlA muTThiyA metA, je ya'NNe paavkaarinno| goghAtagA ya corA ya nesAtaM srmssitaa||38|| (260-5) ina sAta svaroM ke (phala prApti ke anusAra) sAta svara lakSaNa kahe gaye haiN| jaise___ (1) SaDjasvara vAlA manuSya vRtti-AjIvikA prApta karatA hai| usakA prayatna niSphala nahIM jAtA hai| use godhana, putra-pautrAdi aura sanmitroM kA saMyoga milatA hai| vaha striyoM kA priya hotA hai // 32 // (2) RSabhasvara vAlA manuSya aizvaryazAlI hotA hai| senApatitva, dhana-dhAnya, vastra, gaMdha-sugaMdhita padArtha, AbhUSaNa-alaMkAra, strI, zayanAsana Adi bhogasAdhanoM ko prApta karatA hai||33|| (3) gAMdhArasvara se gAyana karane vAlA zreSTha AjIvikA prApta karatA hai| vAditravRttigAne kA zaukIna hotA hai| kalAvidoM meM zreSTha-ziromaNi mAnA jAtA hai| kavi athavA karttavyazIla hotA hai| prAjJa-buddhimAn-catura tathA aneka zAstroM meM pAraMgata hotA hai||34|| (4) madhyamasvara vAle sukhajIvI hote haiN| ruci ke anurUpa khAte-pIte aura sukha se jIte haiM tathA dUsaroM ko bhI khilAte-pilAte evaM dAna dete haiM // 35 // (5) paMcamasvara vAlA vyakti rAjA, zUravIra, saMgrAhaka aura aneka manuSyoM kA nAyaka hotA hai||36|| (6) dhaivatasvara vAlA puruSa kalahapriya, zAkunika (pakSiyoM ko mArane vAlAcir3ImAra), vAgurika (zikArI-hiraNa Adi pakar3ane-phaMsAne vAlA), zaukarika (sUaroM kA zikAra karane vAlA) aura matsyabaMdhaka (macchImAra) hotA hai||37|| (7) niSAdasvara vAlA puruSa cAMDAla, vadhika, mukkebAja, goghAtaka. cora aura isI prakAra ke dUsare-dUsare pApa karane vAlA hotA hai||38|| anuyogadvAra sUtra ( 404 ) Illustrated Anuyogadvar Sutra

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YA OPALOVACKROORG CHARACTERISTICS AND RESULTS OF SEVEN SVARS 260. (5) There are said to be seven characteristics (based on the results or fruits) of these seven svars (musical notes). They are as follows (1) A person with Shadj svar (musical note) easily gains his livelihood. His efforts are never wasted. He is endowed with cattle, sons and grandsons, etc., and enjoys company of good friends. He is popular among women. (32) (2) A person with Rishabh svar (musical note) is endowed with majesty and splendour. He gains the status of a commander (or other such high position) and means of pleasure and comfort including wealth and grains, apparels, perfumes, ornaments, woman, furniture, etc. (33) (3) A person with Gandhar svar (musical note) is endowed with affluence. He is fond of performing musical recitals and gets recognition as accomplished musician. He is an upright person or a poet. He is wise, clever, and scholarly. (34) (4) A person with Madhyam svar (musical note) is a happy-go-lucky man. He eats, drinks, and lives according to his taste and also offers such facilities to others. He is an altruistic person. (35) (5) A person with Pancham svar (musical note) is a king (lord of the land), a brave individual, an acquirer and collector of things, and a leader of men. (36) (6) A person with Dhaivat svar (musical note) is quarrelsome, hunter of birds, killer and catcher of animals, and a killer of pigs and fish. (37) (7) A person with Nishad svar (musical note) is chandal (keeper of cremation ground), butcher, boxer, cowslaughterer, thief and indulges in other such sinful and despicable activities. (38) svara-maNDala prakaraNa ( 806 ) The Discussion on Svar 09.00 *** RON O2

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saptasvaroM ke grAma aura unakI mUrcchanAe~ (6) etesi NaM sattaNhaM sarANaM tao gAmA pnnnnttaa| taM jahA-(1) sajjaggAme, (2) majjhimaggAme, (3) gNdhaarggaame| (260-6) ina sAta svaroM ke tIna grAma kahe gaye haiN| ve isa prakAra (1) SaDja grAma, (2) madhyama grAma, (3) gAMdhAra graam| GRAM AND MURCCHANA OF SEVEN SVARS 260. (6) There are said to be three grams (scales) of these seven svars (musical notes). They are __ (1) Shadj gram, (2) Madhyam gram, (3) Gandhar gram. (7) sajjagAmassa NaM satta mucchaNAo pnnnnttaao| taM jahA maMgI koravIyA harI ya rayaNI ya sArakaMtA y| chaTThI ya sArasI nAma suddhasajmA ya sttmaa||39|| (260-7) SaDja grAma kI sAta mUrcchanAe~ kahI gaI haiN| unake nAma haiM(1) maMgI, (2) kauravIyA, (3) harit, (4) rajanI, (5) sArakAntA, (6) sArasI aura (7) zuddhaSaDjA // 39 // 260. (7) The Shadj gram (scale) has seven Murcchanas (modulations). They are (1) Mangi, (2) Kauraviya, (3) Harit, (4) Rajani, (5) Sarakanta, (6) Sarasi, and (7) Shuddha Shadja. (39) (8) majjhimagAmassa NaM satta mucchaNAo pnnnnttaao| taM jahA uttaramaMdA rayaNI uttarA uttarAyatA assokaMtA ya sovIrA abhIrU bhavati sttmaa||40|| (260-8) madhyama grAma kI sAta mUrcchanAe~ kahI haiN| jaise (1) uttaramaMdA, (2) rajanI, (3) uttarA, (4) uttarAyatA, (5) azvakrAntA, (6) sauvIrA aura (7) abhirudgatA // 40 // anuyogadvAra sUtra ( 406 ) Illustrated Anuyogadvar Sutra

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260. (8) The Madhyam gram (scale) has seven Murcchanas (modulations). They are-- (1) Uttaramanda, (2) Rajani, (3) Uttara, (4) Uttarayata, (5) Ashvakranta, (6) Sauvira, and (7) Abhirudgata. (40) (9) gaMdhAragAmassa NaM satta mucchaNAo pnnnnttaao| taM jahA naMdI ya khuDDimA pUrimA cauthI ya suddhgNdhaaraa| uttaragaMdhArA vi ya paMcamiyA havai mucchA u||41|| suThuttaramAyAmA sA chaTThA niyamaso u nnaayvyaa| ahIuttarAyatA koDimA ya sA sattamI mucchaa||42|| (260-9) gAMdhAra grAma kI sAta mUrcchanAe~ kahI gaI haiN| unake nAma haiM (1) nandI, (2) kSudrikA, (3) pUrimA, (4) zuddhagAMdhArA, (5) uttaragAMdhArA, (6) suSThatara-AyAmA aura (7) uttraaytaa-kottimaa||41-42|| 260. (9) The Gandhar gram (scale) has seven Murcchanas (modulations). They are (1) Nandi, (2) Kshudrika, (3) Purima, (4) Shuddha Gandhara, (5) Uttara Gandhara, (6) Sushtutar-ayama, and (7) Uttarayata-korima. (41-42) vivecana-saMgIta zAstra ke anusAra manuSya kA svara kabhI bahuta U~cA aura kabhI bahuta nIce taka jAtA hai| svaroM ke isa utAra-car3hAva ko Aroha-avaroha kahA jAtA hai| yaha tIna prakAra kA hotA hai maMda-madhya aura taar| jise saptaka kahate haiN| svaroM ke isa Aroha-avarohAtmaka parivartana ko hI grAma kahA jAtA hai| eka grAma se dUsare grAma taka jAne meM svaroM ke kramabaddha utAra-car3hAva ko mUrcchanA kahA jAtA hai| pratyeka grAma meM sAta mUrcchanAe~ hotI haiN| isa prakAra sAta svaroM ke tIna grAma aura ikkIsa mUrcchanAoM kA yahA~ para ullekha huA hai| ___TIkAkAra hemacandra kA kathana hai, pUrvagata 'svara prAbhRta' prakaraNa meM yaha saMgIta sambandhI varNana thaa| parantu vaha vartamAna meM upalabdha nahIM hai| ataH bharatanATya Adi ke anusAra jAna lenA caahie| (dekheM hindI TIkA. bhAga 2 pR.260) svara-maNDala prakaraNa ( 407 ) The Discussion on Svar *

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* xokolksRIKeKrishna*** Elaboration According to musicology the pitch of human voice sometimes goes very high and sometimes very low. This rise and fall of the pitch is called aaroha or ascending scale and avaroha or descending scale. This is of three types manda (low), madhya (medium), and taar (high). This is called saptak (musical octave). This variation or rise and fall in the pitch of musical notes is called gram (scale). The progressive shift in changing from one gram (scale) to the other is called murcchana (modulation). Each gram (scale) has seven murcchanas (modulations). Thus three grams (scales) and twenty one murcchanas (modulations) of seven svars (musical notes) have been mentioned here. The commentator (Tika), Hemachandra, states that the Svar Prabhrit Chapter of Purvas (subtle canons) contained detailed description of musicology. But as it has become extinct, the relevant information should be taken from the Natya Shastra of Bharat. (Tika of Anuyogadvara Sutra by Shri Jnana Muni, part-2, p. 260) sapta svarotpatti viSayaka jijJAsA : samAdhAna (10. a) satta ssarA kato saMbhavaMti? gIyassa kA havati joNI ? katisamayA UsAsA? kati vA gIyassa aagaaraa||43|| satta sarA nAbhIo saMbhavaMti, gItaM ca runjonniiyN| pAyasamA ussAsA, tiNNi ya gIyassa aagaaraa||44|| Aimiu ArabhaMtA, samubahatA ya mjjhgaarmmi| avasANe ya jhaveMtA, tini vi gIyassa aagaaraa||45|| 260. (10-a) (prazna) (1) sapta svara kahA~ se-kisase utpanna hote haiM, (2) gIta kI yoni-jAti kyA hai? (3) isake ucchvAsakAla kA samayapramANa kitanA hai? (4) gIta ke kitane AkAra (AkRtiyA~) hote haiM ? (uttara) (1) sAtoM svara nAbhi se utpanna hote haiN| (2) rudana gIta kI yoni-jAti hai| (3) pAdasama-jitane samaya meM kisI chanda kA eka caraNa gAyA jAtA hai, utanA usakA (gIta kA) ucchvAsakAla hotA hai| (4) gIta ke tIna AkAra hote haiManuyogadvAra sUtra ( 408 ) Illustrated Anuyogadvar Sutra

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Adi meM mRdu, ArohaNa karate samaya madhya meM tIvra (tAra) aura anta meM mNd| isa prakAra se gIta ke tIna AkAra jAnane caahie||43/44/45|| SOME QUERIES ABOUT SEVEN SVARS 260. (10-a) (Question) (1) Where is the origin of seven svars (musical notes) ? (2) What is the origin or genus of song ? (3) What is the length of breath (utterance in one breath) (of a song) ? How many are the special tones of a song) ? (43) (Answer) (1) The place of origin of seven svars (musical notes) is navel. (2) Wailing is the origin or genus of song. (3) The length of breath (utterance in one breath) of a song is same as the metrical quarter of a stanza. (4) There are three special tones of a song. (44) Soft at the beginning, raise to high at the middle, and end with low tone. Thus a song has three special tones. (45) gItagAyaka kI yogyatA kA nirUpaNa (10. A) chaddose aTTha guNe tiNNi ya vittANi doNNi bhnnitiio| jo NAhI so gAhiti susikkhito rNgmjjhmmi||46|| (260. 10-A) saMgIta ke chaha doSoM, ATha guNoM, tIna vRttoM aura do bhaNitiyA~gIta kI bhASA ko yathAvat jAnane vAlA suzikSita-gAyanakalAkuzala vyakti raMgamaMca para gAtA hai||46|| ATTRIBUTES OF A SINGER ___260. (10-b) There are six faults, eight merits, three meters, and two languages (in singing a song). A well trained performer who knows these can give a stage performance. (46) gIta ke chaha doSa (10. i) bhIyaM duyamuppicchaM uttAlaM ca kamaso munneyvyN| kAkassaramaNunAsaM cha dosA hoti giiyss|| 47 // svara-maNDala prakaraNa ( 409 ) The Discussion on Svar

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( 260. 10 - i) gIta ke chaha doSa isa prakAra haiM(1) bhItadoSa - bhayabhIta dazA meM Darate hue gAnA / (2) drutadoSa - udvegavaza jaldI-jaldI gAnA / (3) utpicchadoSa - zvAsa lete hue yA hA~phate hue gAnA / (4) uttAladoSa - tAlaviruddha gAnA / (5) kAkasvaradoSa - kaue ke samAna karNakaTu svara meM gAnA / (6) anunAsadoSa - nAka se svaroM kA uccAraNa karate hue gAnA // 47 // SIX FAULTS OF A SINGING 260. (10-c) The six faults of singing are as follows-- (1) Bheet dosh-to sing in a frightened state of mind. (2) Drut dosh-to sing fast in excitement. (3) Utpatti dosh -- to sing with unstable breathing or getting short of breath while singing. (4) Uttal dosh-to sing out of beats or rhythm. (5) Kakasvar dosh-to sing in crow-like harsh or coarse voice. (6) Anunasa dosh -- to sing in nasal voice. (47) gIta ke ATha guNa ( 10. I) puNNaM rattaM ca alaMkiya ca vattaM taheva mavighuTTaM / mahuraM samaM sulaliyaM aTThaguNA hoMti gIyassa // 48 // ( 260. 10 - I) gIta ke ATha guNa isa prakAra haiM (1) pUrNaguNa - svara ke Aroha-avaroha Adi se pUrNa honA / (2) raktaguNa - geyarAga se yukta hokara gAnA / (3) alaMkRtaguNa - vividha zubha svaroM se sampanna hokara gAnA / (4) vyaktaguNa - gIta ke boloM - svara - vyaMjanoM kA spaSTa rUpa se uccAraNa karake gAnA / anuyogadvAra sU ( 410 ) Illustrated Anuyogadvar Sutra

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(5) avighuSTaguNa-vikRti aura vizRMkhalatA se rahita niyata aura niyamita svara se gaanaa| (6) madhuraguNa-karNapriya manorama svara se koyala kI bhA~ti gaanaa| (7) samaguNa-sura-tAla-laya Adi se samanugata-saMgata svara meM gaanaa| (8) sulalitaguNa-svaragholanAdi ke dvArA lalita-zrotrendriyapriya sukhadAyaka svara meM gAnA // 48 // EIGHT MERITS OF SINGING 260. (10-d) Eight merits of singing are as follows___(1) Purna guna-to sing with perfection rendering all notes in classical order. (2) Rakta Guna-to sing following proper grammar of the Raga (composition). ___ (3) Alankrit Guna-to sing with selection of melodious notes. (4) Vyakta guna-to sing with clear rendering of the words of the song with proper pronunciation. (5) Avighusta guna-to sing without discordance and distortions. ___ (6) Madhur guna-to sing in sweet and melodious tone like that of a cuckoo. (7) Sama guna--to sing harmoniously with rhythm and beat. (8) Sulalit guna-to sing with sweet and enchanting combination of softness and melody. dUsarI prakAra se saMgIta ke ATha guNa(10. u) ura-kaMTha-siravisuddhaM ca gijjate mauya-ribhiyapadabaddhaM / samatAla padukkhevaM sattassarasIbharaM gIyaM // 49 // svara-maNDala prakaraNa ( 411 ) The Discussion on Svar

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(260. 10-u) gIta ke ATha guNa aura bhI haiM, jo isa prakAra haiM(1) urovizuddha-jo svara urasthala meM vizAla hotA hai| (2) kaMThavizuddha-jo svara kaMTha meM nahIM phaTatA hai| (3) zirovizuddha-jo svara zira se utpanna hokara bhI nAsikA ke svara se mizrita nahIM hotA hai| (4) mRduka-jo.rAga mRdu-komala svara meM gAyA jAtA hai| (5) ribhita-gholanAbahula-AlApa dvArA khela sA karate hue gIta meM camatkAra paidA krnaa| (6) padabaddha-gIta ko viziSTa padaracanA se nibaddha krnaa| (7) samatAlapadotkSepa-jisa gIta meM (hasta) tAla, vAdya-dhvani aura nartaka kA pAdakSepa caraNa-nyAsa sama ho arthAt eka dUsare se milate hoN| (8) saptasvara sIbhara-jisameM SaDja Adi sAtoM svara taMtrI Adi vAdyadhvaniyoM ke anurUpa hoN| athavA vAdyadhvaniyA~ gIta ke svaroM ke samAna hoN| 49 / (vizeSa varNana dekheM ThANAMga sUtra sthAna 7) OTHER EIGHT MERITS OF SINGING ___260. (10-e) There are eight other merits of singing. They are as follows___ (1) Urovishuddh-to sing with a note that rises clear or resounding from the chest. (2) Kanthavishuddh-to sing with note that does not get distorted in the throat. ___ (3) Shirovishuddh-to sing with a note that originates in the head but does not become nasal. (4) Mriduk-to sing with soft and regulated note. (5) Ribhit-to sing with fine variations and modulations in notes producing enchanting effects on audience. (6) Padabaddh--to sing a song with attractive poetic composition of words. anuyogadvAra sUtra ( 412 ) Illustrated Anuyogadvar Sutra

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Ha ___(7) Samatalapadokshep-to sing in perfect harmony and rhythm with beats, instrumental music, and dancing steps. (8) Saptasvar Sibhar--to sing with notes that are in perfect tuning with accompanying notes from musical instruments. (49) (for more details refer to Sthananga Sutra, sthan-7) (10. U) akkharasamaM payasamaM tAlasamaM layasamaM gahasamaM c| nissasi-ussasiyAsamaM saMcArasamaM sarA stt||50|| (260. 10-U) saptasvara sIbhara kI vyAkhyA (prakArAntara se) isa prakAra hai (1) akSarasama-hasva-dIrgha-pluta aura sAnunAsika akSaroM ke anurUpa hrasvAdi svarayukta giit| (2) padasama-svara ke anurUpa padoM aura padoM ke anurUpa svaroM ke anusAra gAyA jAne vAlA giit| (3) tAlasama-tAlavAdana ke anurUpa svara meM gAyA jAne vAlA giit| (4) layasama-vINA Adi vAdyoM kI dhunoM ke anusAra gAyA jAne vAlA giit| (5) grahasama-vINA Adi dvArA grahIta svaroM ke anusAra gAyA jAne vAlA giit|| (6) nizvasitocchvasitasama-sAMsa lene aura chor3ane ke kramAnusAra gAyA jAne vAlA giit| (7) saMcArasama-sitAra vAdyoM ke tAroM para aMgulI ke saMcAra ke sAtha gAyA jAne vAlA giit| ___isa prakAra gIta svara, taMtrI Adi ke sAtha sambandhita hokara sAta prakAra kA ho jAtA hai||50|| 260. (10-f) The details about Saptasvar Sibhar are as follows___ (1) Akshar sam-there is a harmony with vowels including long, short, protracted, and nasal. (2) Pada sam--there is a harmony with words, stanzas, rhyming, and rendering. 9 svara-maNDala prakaraNa ( 413 ) The Discussion on Svar

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__ (3) Taal sam-there is a harmony with beats ___ (of percussion instruments). (4) Laya sam-there is a harmony with rhythm of musical instruments (string, wind, and other). (5) Graha sam--there is a harmony with the set notes of musical instruments. (6) Nishvasitocchavasit sam--there is a harmony with inhalation and exhalation. (7) Sanchar sam-there is a harmony with the (speed of) movement of fingers on musical instruments. Thus the rendering of a song has seven qualities in consonance with musical instruments. (50) (10. e) niddosaM sAravaMtaM ca heujuttmlNkiyN| uvaNIyaM sovayAraM ca miyaM mahurameva y||51|| (260. 10-e) geya padoM ke ATha guNa isa prakAra bhI haiM(1) nirdoSa-battIsa doSoM se rahita honaa| (2) sAravaMta-artha se yukta honaa| (3) hetuyukta-hetu se saMyukta honaa| (4) alaMkRta-upamA-utprekSA Adi alaMkAroM se yukta honaa| (5) upanIta-upasaMhAra se yukta honaa| (6) sopacAra-aviruddha komala alajjanIya artha kA pratipAdana krnaa| (7) mita-alpapada aura alpaakSara vAlA honaa| (8) madhura-zabda, artha aura pratipAdana kI apekSA priya honA // 51 // 260. (10-g) The eight merits of a song are as follows(1) Nirdosh-It should be free of thirty two faults. (2) Saravanta-It should be meaningful. anuyogadvAra sUtra ( 414 ) Illustrated Anuyogadvar Sutra

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(3) Hetuyukta-It should be purposeful. (4) Alamkrit-It should be embellished with poetic qualities like alliteration. (5) Upanit-It should be well concluded. __(6) Sopachar-It should be expressive of kind, consistent, and blameless meaning. (7) Mit-It should be well measured (not tediously long). (8) Madhur-It should be sweet in terms of word, meaning as well as rendering. (51) gIta ke vRtta-chanda (10. ai) samaM addhasamaM ceva savvattha visamaM ca jN| tiNNi vittappayArAI cautthaM novlnbhi||52|| (260. 10-ai) gIta ke vRtta-chanda tIna prakAra ke hote haiM (1) sama-jisameM gIta ke caraNa aura akSara sama hoM arthAt cAra caraNa hoM aura unameM guru-laghu akSara bhI samAna hoN| (2) ardhasama-jisameM prathama aura tRtIya tathA dvitIya aura caturtha caraNa samAna hoN| ___ (3) sarvaviSama-jisameM sabhI caraNoM meM akSaroM kI saMkhyA viSama ho, jisake cAroM caraNaviSama hoN| inake atirikta cauthA prakAra nahIM pAyA jAtA hai // 52 // VRITTA OF SONG ___260. (10-h) There are three kinds of uritta (chhand or meter) of a song___ (1) Sam-wherein all the quarter-verses are identical in structure measured in equal number of syllables (long and short). ___ (2) Ardh-sam-wherein first quarter-verse is identical in structure with third and second with forth. PRESS 8 svara-maNDala prakaraNa The Discussion on Svar

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(3) Sarva Visham-wherein all the four quarter-verses are different in structure. There is no fourth kind. (52) gIta kI bhASA (10. o) sakkayA pAyayA ceva bhaNiIo hoMti duNNi u| saramaMDalammi gijaMte pasatthA isibhaasiyaa||53|| (260. 10-o) bhaNitiyA~-gIta kI bhASAyeM do prakAra kI kahI gaI haiM-saMskRta aura praakRt| ye donoM prazasta evaM RSibhASita haiM aura svaramaNDala meM pAI jAtI hai // 53 // LANGUAGE OF A SONG 260. (10-i) There are said to be two languages of songsSanskrit and Prakrit. These two languages are exalted and spoken by sages. They are sung in full range of svars (musical notes). (53) gItagAyaka ke prakAra (11. ka) kesI gAyati mahuraM ? kesI gAyati kharaM ca rukkhaM ca ? / kesI gAyati cauraM ? kesI ya vilaMbiyaM ? dutaM kesI ? vissaraM puNa kerisI ? // 54 // (paMcapadI) sAmA gAyati mahuraM, kAlI gAyati kharaM ca rukkhaM c| gorI gAyati cauraM, kANA ya vilaMbiyaM, dutaM aMdhA, vissaraM puNa piNglaa||55|| (paMcapadI) (260.11-ka. prazna) (1) kauna strI madhura svara meM gIta gAtI hai ? (2) paruSa aura rUkSa svara meM kauna gAtI hai ? (3) caturAI se kauna gAtI hai ? (4) vilambita svara meM kauna gAtI hai ? (5) druta svara meM kauna gAtI hai ? tathA (6) vikRta svara meM kauna gAtI hai? (uttara) (1) zyAmA (SoDazI) strI madhara svara meM gIta gAtI hai, (2) kAlI strI khara (paruSa) aura rUkSa svara meM gAtI hai, (3) gauravarNA strI caturAI se gIta gAtI hai, OM (4) kAnI strI vilambita (maMda) svara meM gAtI hai, (5) aMdhI strI zIghratA se gAtI hai, aura 6) piMgalA (kapilA) vikRta svara meM gAtI hai||54/55|| P anuyogadvAra sUtra Illustrated Anuyogadvar Sutra ( 416

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TYPES OF SINGER 260. (Question 11-a) (1) What sort of woman sings in sweet tone ? (2) What sort of woman sings in rough and harsh tone ? (3) What sort of woman sings with skill ? (4) What sort of woman sings in slow rhythm ? (5) What sort of woman sings in quick rhythm ? (6) What sort of woman sings out of tune ? ___ (Answer) (1) A young woman sings in sweet tone ? (2) A woman with dark complexion sings in rough and harsh tone ? (3) A woman with fair complexion sings with skill ? (4) A one-eyed woman sings in slow rhythm ? (5) A blind woman sings in quick rhythm? (6) A woman with pale or tawny complexion sings out of tune ? (54-55) upasaMhAra (11. kha) satta sarA tao gAmA mucchaNA ekkviisii| tANA egUNapaNNAsaM sammattaM srmNddlN||56|| se taM sattanAme // (260. 11-kha) isa prakAra sAta svara, tIna grAma aura ikkIsa mUrcchanAyeM hotI haiN| pratyeka svara sAta tAnoM se gAyA jAtA hai, isalie unake (7 x 7 = 49) unapacAsa bheda ho jAte haiN| isa prakAra svaramaNDala kA varNana samApta huaa||56|| saptanAma kI vaktavyatA bhI samApta huii| CONCLUSION 260. (11-b) Thus there are seven svars (musical notes), three grams (scales), and twenty one murcchanas (modulations). Each svar (musical note) is sung with seven tones making a total of 49 tones. This concludes the description of the sphere of svars (musical notes). This concludes the description of Saat nama (Sevennamed). PRAKANAKisckm svara-maNDala prakaraNa ( 417 ) The Discussion on Svar

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vibhakti prakaraNa THE DISCUSSION ON DECLENSION 261. (1) se kiM taM aTThanAme ? aTThanAme aTThavihA vayaNavibhattI pnnnnttaa| taM jahA(1) niddese paDhamA hoti, (2) bitiyA uvesnne| (3) taiyA karaNammi kayA, (4) cautthI sNpyaavnne||57|| (5) paMcamI ya apAyANe, (6) chaTThI sssaamivaaynne| (7) sattamI sannihaNatthe, (8) aTThamA''maMtaNI bhve||58|| 261. (prazna 1) vaha aSTanAma kyA hai? (uttara) ATha prakAra kI vacana vibhaktiyoM ko aSTanAma kahate haiN| vacanavibhakti ke ve ATha prakAra yaha haiM(1) nirdeza-artha meM prathamA vibhakti hotI hai| (2) upadeza meM dvitIyA vibhakti hotI hai| (3) kriyA ke sAdhakatama karaNa meM tRtIyA vibhakti, (4) sampradAna meM caturthI vibhakti hotI hai| (5) apAdAna (pRthaktA) batAne ke artha meM paMcamI vibhakti, (6) sva-svAmitvakathana karane ke artha meM SaSThI vibhkti| (7) sannidhAna (AdhAra) kA kathana karane ke artha meM saptamI vibhakti, tathA (8) AmaMtraNa ke artha meM aSTamI vibhakti hotI hai||57, 58 // 261. (Question 1) What is this Aath nama (Eightnamed)? - anuyogadvAra sUtra ( 418 ) Illustrated Anuyogadvar Sutra

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(Answer) The eight kinds of vachan-vibhaktis (inflections or case-endings) of words (in Sanskrit grammar) are called Aath nama (Eight-named). These vachanvibhaktis (case-endings) are as follows (1) The first vachan-vibhakti (case-ending) is used for indication (nirdesh) of the meaning of the word including its gender and number. (Nominative case) (2) The second vachan-vibhakti (case-ending) is used for advice (upadesh). (Accusative case) (3) The third vachan-vibhakti (case-ending) is used for instrument (karan). (Instrumental case) (4) The fourth vachan-vibhakti (case-ending) is used for recipient (sampradan). (Dative case) (5) The fifth vachan-vibhakti (case-ending) is used for the object from which something is separated (apadan). (Ablative case) (6) The sixth vachan-vibhakti (case-ending) is used to indicate the relation of one's ownership (sva-svamitva). (Genitive case) (7) The seventh vachan-vibhakti (case-ending) is used to mean the receptacle of something (sannidhan). (Vocative case) (8) The eighth vachan-vibhakti (case-ending) is used in addressing (amantran) someone. (57-58) ATha vibhaktiyoM ke udAharaNa (2) tattha paDhamA vibhattI niddese so imo ahaM va tti 1 / bitiyA puNa uvadese bhaNa kuNasu imaM va taM vatti 2 // 59 // tatiyA karaNammi kayA bhaNiyaM va kayaM va teNa va mae vA 3 / haMdi Namo sAhA havati cautthI payANammi 4 // 60 // avaNaya giNha ya eto ito tti vA paMcamI apAyANe 5 / chuTTI tassa imassa va gayassa vA sAmisaMbaMdhe 6 // 61 // ( 419 ) vibhakti prakaraNa The Discussion on Declension

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havati puNa sattamI taM imammi AdhAra kAla bhAve ya 7 / AmaMtaNI bhave aTThamI u jaha he juvANa ! tti 8 // 62 // setaM aNAme / 261. (2) (1) nirdeza meM prathamA vibhakti hotI hai| jaise-so- vaha, imA - yaha athavA ahaM maiM / (2) upadeza meM dvitIyA vibhakti hotI hai / jaise imaM bhaNa- isako kaho, taM kuNasu-vaha karo Adi / (3) karaNa meM tRtIyA vibhakti hotI hai| jaise - teNa bhaNiyaM usake dvArA kahA gayA athavA mae kayaM - mere dvArA kiyA gyaa| (4) sampradAna, (haMdi) namaH tathA svAhA artha meM caturthI vibhakti hotI hai| jaise viprAya gAM dadAti - brAhmaNa ko (ke lie ) gAya detA hai / namo jinAya - jinezvara ke lie merA namaskAra ho / agnaye svAhA-agni devatA ko havi diyA jAtA hai| (5) apAdAna meM paMcamI hotI hai / jaise- etto apaNaya - yahA~ se dUra karo athavA ito giNha - isase le lo | (6) sva-svAmI sambandha batalAne meM SaSThI vibhakti hotI hai / jaise - tassa ime vatthu - usakI athavA isakI yaha vastu hai / (7) AdhAra, kAla aura bhAva meM saptamI vibhakti hotI hai| jaise imammi - (vaha) isameM hai| (8) AmaMtraNa artha meM aSTamI vibhakti hotI hai| jaise - he juvANa - he yuvaka ! // 59-62 // yaha ATha vibhaktirUpa aSTanAma kA varNana hai / EXAMPLES OF EIGHT VIBHAKTIS 261. (2) (1) The example of the first vachan-vibhakti ( case-ending) in the sense of indication (nirdesh ) is so (he), imo (this person), or aham (I). (Nominative case) (2) The example of the second vachan-vibhakti (caseending) in the sense of advice (upadesh) is imam bhan (speak this ), tam kunasu (do that ). ( Accusative case) anuyogadvAra sUtra ( 420 ) Illustrated Anuyogadvar Sutra

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(3) The example of the third vachan-vibhakti (caseending) in the sense of instrument (karan) is tena bhaniyam (was spoken by him) or maye kayam (was done by me). (Instrumental case) (Note : This is apparently a case of third case-ending in nominative sense. But if the preceptor is the ultimate doer, his disciples are the instruments in learning the scriptures or doing some work ordered by the preceptor. In this way this becomes instrumental.) (4) The example of the fourth vachan-vibhakti (caseending) in the sense of recipient (sampradan) is in the form of namah and svaha (obeisance and oblation) and the examples are viprayam gam dadati (gives cow to the Brahmin); Namo Jinaya (I offer obeisance to the Jina); and agnayee svaha (oblations are offered to the fire god). (Dative case) (5) The example of the fifth vachan-vibhakti (caseending) in the sense of the object from which something is separated (apadan) is etto apanaya (take away from here) or ito ginha (snatch from him). (Ablative case) (6) The example of the sixth vachan-vibhakti (caseending) in the sense of indicating the relation of one's ownership (sva-svamitva) is tassa ime vastu (this thing belongs to him or this person). (Genitive case) (7) The example of the seventh vachan-vibhakti (caseending) in the sense of the receptacle of something (sannidhan) is imammi (that thing is in this). (Vocative case) (8) The example of the eighth vachan-vibhakti (caseending) in the sense of addressing (amantran) someone is Hay juvan (Oh ! young man). (59-62) This concludes the description of Aath nama (Eightnamed). 8 vibhakti prakaraNa ( 878) The Discussion on Declension

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vivecana-va - vastu kA kathana karane vAle pada ko 'vacana' kahA jAtA hai| kartA, karma, karaNa Adi ke rUpa meM usake alaga-alaga bheda karanA vibhakti hai / yaha vacanoM kA bheda - 'vacana 'vibhakti' kahI jAtI hai| nAma se Age lagane vAlI ATha vibhaktiyA~ haiM / prAcIna vyAkaraNa ke anusAra 'sambodhana' ko AThavIM vibhakti mAnA gayA hai| navya vyAkaraNa niyamoM ke anusAra sambodhana ko 'prathamA' pahalI vibhakti meM sammilita kara liyA hai| ise 'prathamA' vibhakti kahate haiN| (1) nirdeza - 'yaha' 'vaha' Adi kriyA ke kartA kA ullekha karanA / (2) upadeza - kriyA meM pravRtti kI preraNA denA / ise karma yA dvitIyA vibhakti kahate haiM / (3) karaNa - kriyA karane meM sAdhaka kAraNa va tRtIyA vibhakti hai| (4) sampradAna - nimitta jisake lie yA jisako diyA jAya vaha nimitta yA sampradAna caturthI vibhakti hai| ( 5 ) apAdAna - eka vastu ko dUsarI vastu se alaga karanA / jaise- 'se' / yaha paMcamI vibhakti hai| (6) sva-svAmi sambandha - 'sva' aura 'svAmi' kA paraspara sambandha jor3anA / ise SaSThI vibhakti kahate haiM / (7) sannidhAna - AdhAra yA adhikaraNa / yaha saptamI vibhakti hai| (8) AmaMtraNI - kisI ko pukAranA, sambodhita karanA / Elaboration: The combination of syllables that represents a thing is called word. To put it into various grammatical categories of subject, object, instruments, etc. is called declension (Vibhakti). It is reflected in eight inflectional terminations or case-endings. Accodring to ancient Sanskrit grammar sambodhan (address) is said to be the eighth inflection. In new Sanskrit grammar rules it is taken as the first. The eight inflections are as follows : (1) Nirdesh (Nominative Case)-Indicates the subject of the verb or pronoun in a sentence. This is the first case-ending. (2) Updesh (Accusative Case)-Inspires indulgence in activities. This is the second case-ending. yogadvAra ( 422 ) Illustrated Anuyogadvar Sutra TVIDIVIDILUTULUNDAINAVADAVADAADRIDINITIAL

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(3) Karan (Instrumental Case)-Instrument in an activity. This is the third case-ending. (4) Sampradan (Dative Case)-The recipient or the object of an activity. To whom or for whom something is given. This is the fourth case-ending. (5) Apadan (Ablative Case)-Separating a thing from another, for example 'se' (from). This is the fifth case-ending. (6) Sva-svamitva sambandh (Genetive Case)Establishing relation between self and the owner. This is the sixth case-ending. (7) Sannidhan (Vocative Case)-Receptacle of something. This is the seventh case-ending. (8) Amantrani (address)-To call or address someone. This is the eight case-ending. navarasa prakaraNa ( 423 ) The Discussion on Declension

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navarasa prakaraNa THE DISCUSSION ON NINE-SENTIMENTS navanAma:kAvya-rasa prakaraNa 262. (1) se kiM taM navanAme ? navanAme Nava kavvarasA pnnnnttaa| taM jahA(1) vIro, (2) siMgAro, (3) abbhuo ya, (4) roddo ya hoi bodhvyo| (5) velaNao, (6) bIbhaccho, (7) hAso, (8) kaluNo, (9) pasaMto y||63|| 262. (prazna 1) navanAma kA kyA svarUpa hai ? (uttara) kAvya ke nau rasa navanAma kahalAte haiN| jinake nAma haiM (1) vIrarasa, (2) zRMgArarasa, (3) adbhutarasa, (4) raudrarasa, (5) vIDanakarasa, (6) bIbhatsarasa, (7) hAsyarasa, (8) karuNarasa, aura (9) prazAMtarasa; ye navarasoM ke nAma haiN||63|| NO NAMA 262. (Question 1) What is this No nama (Nine-named) ? (Answer) The nine rasas (sentiments) of poetry are called No nama (Nine-named). They are (1) Vira-rasa (heroic sentiment), (2) Shringar-rasa (amatory or erotic sentiment), (3) Adbhut-rasa (sentiment of wonder), (4) Raudra-rasa (sentiment of rage or fury), (5) Vridanak-rasa (sentiment of shame or bashfulness), (6) Vibhatsa-rasa (sentiment of disgust), (7) Hasya-rasa (sentiment of humour or comic sentiment), (8) Karun-rasa (pathos or tragic sentiment of), and (9) Prashant-rasa (sentiment of serenity). (63) vivecana-nATaka Adi ke nava rasa isa prakAra haiM-zRMgAra, hAsya., karuNA, raudra-vIra-bhayAnaka-bIbhatsa-adbhata aura zAnta rs| anuyogadvAra sUtra ( 424 ) Illustrated Anuyogadvar Sutra

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DRODDRODR0 Ga Da * *4.9 PACOVATO 9.00P.No.co kA * ___ kAvya ke 'rasa' batAne se pahale TIkAkAroM ne kAvya kA artha karate hue kahA hai-kaverabhiprAyaH kAvyaM-kavi ke karma, abhiprAya yA bhAva ko kAvya kahA jAtA hai| rasyante antarAtmanA'nubhUyante iti rasAH-jo antarAtmA ke dvArA anubhava kiye jAte haiM, kisI ukti, pada Adi ko sunane yA dRzya ko dekhane se hRdaya meM jo bhinna prakAra ke bhAva utpanna hote haiM, una bhAvoM kI anubhUti athavA utkarSa-udreka, rasa hai| kAvya zAstra ke anusAra sthAyIbhAva jaba vibhAva, anubhAva tathA saMcArI bhAvoM se paripakva hokara dekhane, sunane, par3hane vAle ke hRdaya ko taraMgita/bhava vibhora kara dete haiM taba ve 'rasa' kahalAte haiN| AcArya haribhadra ne citta kI vRttiyoM ko bhI rasa kahA hai| jaise vedanIya karma ke do rasa hote haiM, sukha aura duHkh| isI prakAra kAvya ke bhI rasa hote haiN| prAcIna kAla se kAvya ke no rasoM kI hI mAnyatA hai| kAvyAnuzAsana meM no rasoM kA hI ullekha hai| isake pazcAtvartI kAla meM 'vAtsalya' aura 'bhakti' do rasoM ko jor3akara gyAraha rasa mAnane kI carcA bhI milatI hai| kAvya zAstra meM aura prastuta Agama meM rasoM ke nAmoM meM kucha bhinnatA hai| jaise kahA gayA hai shRNgaar-haasy-krunnaa-raudr-viir-bhyaankaaH| bIbhatsAdbhuta zAntAzca nava nATye rasAH smRtaaH|| ___ jaina AcAryoM ne 'bhayAnaka rasa' ke sthAna para 'vIDanaka rasa-lajjArasa tathA zAnta rasa ke sthAna para 'prazAnta rasa' yaha nAma parivartana kiyA hai| AcArya malayagiri ke kathanAnusAra bhayAnaka rasa kA antarbhAva raudra rasa meM kara diyA gayA hai| kAvya zAstra meM, vrIDanakarasa ko svIkAra nahIM kiyA hai| Age sUtroM meM navarasoM ke sambandha meM vistArapUrvaka varNana hai| Elaboration--The nine sentiments in drama or other literary works are-Shringar-rasa (amatory or erotic sentiment), Hasyarasa (sentiment of humour or comic sentiment), Karun-rasa (pathos or tragic sentiment), Raudra-rasa (sentiment of rage or fury), Vira-rasa (heroic sentiment), Bhayanak-rasa (sentiment of fear or horror), Vibhatsa-rasa (sentiment of disgust), Adbhut-rasa (sentiment of wonder), and Shant-rasa (sentiment of tranquillity). Before stating the sentiments of poetry the commentators have defined poetry as--the work, intention, or feeling of a poet is called poetry. After that they define rasa (sentiment) as that which is experienced by inner-self. The act of experiencing, or enhancement in intensity of, the variety of feelings aroused by listening to some comment, poetic composition, or other statement or by looking at something is called rasa (sentiment). According to poetics when expressions; maturing with feelings, gestures, and moods; excite the observer, listener, or reader they * * * ROBAROPROLARODACOD-RODRO * navarasa prakaraNa ( 425 ) The Discussion on Nine-Sentiments MORE dSuggg.pU pU

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are called rasas (sentiments). Acharya Haribhadra has also included attitudes of mind in rasas (sentiments). As vedaniya karma (karma that causes feelings of happiness or misery) has two rasas (sentiments) of happiness and misery, in the same way poetry has nine rasas (sentiments). Since ancient times it is believed that in poetics and rhetoric there are nine rasas (sentiments). Kavyanushasana too has a mention of nine rasas (sentiments). In later works there are mentions of eleven rasas (sentiments) also. It appears that at some point of time Vatsalya (parents' love towards progeny) and Bhakti (devotion) were also included. There is a slight difference in the lists of rasas (sentiments) found in works on poetics and this Agam. Comparing the two we find that Jain acharyas have replaced Bhayanak-rasa (sentiment of fear or horror) with Vridanak-rasa (sentiment of shame or bashfulness) and Shant-rasa (sentiment of tranquillity) with Prashant-rasa (sentiment of profound serenity). According to acharya Malayagiri Bhayanak-rasa (sentiment of fear or horror) has been assimilated into Raudra-rasa (sentiment of rage or fury). However, in poetics Vridanak-rasa (sentiment of shame or bashfulness) is not accepted as a rasa (sentiment). Details of these nine rasas (sentiments) will be discussed now. 1. vIrarasa (2) tattha (1) pariccAyammi ya, (2) tava-caraNe, (3) sattujaNaviNAse y| aNaNusaya-dhiti-parakkamaciNho vIro raso hoi||64|| 262. (2) ina nava rasoM meM (1) parityAga (dAna) karane meM ananuzaya-garva yA pazcAttApa na honA, (2) tapazcaraNa meM dhRti-dhairya, aura (3) zatruoM kA vinAza karane meM parAkrama ye tIna vIra rasa ke lakSaNa haiN||64|| vIro raso jahA so NAma mahAvIro jo rajaM payahiUNa pvvio| kAma-kkohamahAsattupakkhanigghAyaNaM kunni||65|| vIrarasa kA bodhaka udAharaNa isa prakAra haianuyogadvAra sUtra ( 426 ) Illustrated Anuyogadoar Sutra

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___ jo rAjya-vaibhava kA parityAga karake dIkSita ho gayA hai aura dIkSita hokara kAmakrodha Adi mahAzatruoM kA nigraha karatA hai-unakA damana tathA vinAza karatA hai, vaha mahAvIra hai||65|| 1. VIRA-RASA 262. (2) Of these (nine rasas) the characteristics of Virarasa (heroic sentiment) are (1) absence of pride or repentance in giving charity, (2) patience and perseverance in austerities, and (3) valour in destroying enemies. (64) The example of Vira-rasa (heroic sentiment) is He indeed is a great hero (mahavir) who, after renouncing his kingdom and becoming an ascetic, subdues and destroys great enemies like lust and anger. (65) 2. zRMgArarasa (3) siMgAro nAma raso rtisNjogaabhilaassNjnnnno| mNddnn-vilaas-vibboy-haas-liilaa-rmnnliNgo||66|| 262. (3) rati aura saMyoga (milana) kI abhilASA se zRMgAra rasa utpanna hotA hai| maMDana (alaMkAra), vilAsa (kAmottajaka ceSTAe~) tathA vibboka (kAma krIr3A kI pravRtti) hAsya, lIlA aura ramaNa ye sabhI zRMgArarasa ke lakSaNa haiN||66 / / siMgAro raso jahA mahuraM vilAsalaliyaM hiyayummAdaNakaraM juvaannaannN| sAmA saduddAmaM dAetI mehlaadaamN||67|| zRMgArarasa kA udAharaNa hai koI manohara zyAmA (solaha varSa kI taruNI) madhura vilAsa se lalita, yuvakoM ke hRdaya ko unmatta karane vAle apane ghugharU ke zabdoM se mukhara mekhalA sUtra kA pradarzana karatI hai // 65 // 2. SHRINGAR-RASA 262. (3) The Shringar-rasa (amatory or erotic sentiment) is born out of indulgence and the desire for union with navarasa prakaraNa ( 427 ) The Discussion on Nine-Sentiments 9

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objects of enjoyment. Its characteristics are adornment (with ornaments etc.), erotic gestures, indulgence in the sexual act, laughter, merriment, and amorous dalliance. (66) The example of Shringar-rasa is A dark beauty displays her girdle with the sweet and charming sound of its jingling bells (produced with her inviting movements) to evoke passion in the hearts of men and excite them. (67) young 3. adbhutarasa (4) vimhayakaro apuvvo va bhUyapuvvo va jo raso hoi / so haTisa-visAyupattilakkhaNo abbhuto nAma // 68 // 262. (4) jisakA kabhI pahale anubhava nahIM kiyA aisA ( abhUtapUrva ) tathA vismayakArI-AzcaryakAraka jo 'rasa' - bhAva utpanna hotA hai, vaha adbhuta rasa hai / harSa aura viSAda kI uttpatti adbhutarasa kA lakSaNa hai // 68 // jaise abbhuo raso jahA abbhuyataramiha etto annaM kiM atthi jiivlogmmi| jaM viNatthAtikAlajuttA vi NajjaMti ! // 69 // adbhuta rasa kA udAharaNa - isa jIvaloka meM isase bar3hakara adbhuta aura AzcaryakAraka kyA ho sakatA hai ki jinavacana ke dvArA trikAla sambandhI samasta bhAva jAna lie jAte haiM / 69 // 3. ADBHUT-RASA 262. (4) The Adbhut-rasa (sentiment of wonder) is that which causes surprise of novelty (that which was never experienced before). It is characterized by rising of joy and sorrow. (68) The example of Adbhut-rasa (sentiment of wonder) is What else could produce greater wonderment than the fact that in the words of the Jina are revealed all the objects and states of all the three sections of time (past, present, and future). (69) anuyogadvAra sU ( 428 ) Illustrated Anuyogadvar Sutra

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1691 RECOGNITION OF NINE RASAS (QUALITIES) FROM THOUGHT-ACTIVITY vIra rasa: zRMgAra rasa adbhuta rasa prazAnta rasa brIDanaka rasa bIbhatsa rasa hAsya rasa karuNa rasa TULOK LSHAREIAS Jain Education For Private & Personal use Wweiheibrary.org

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citra paricaya 18 / Illustration No. 18 AkRti se nava rasoM kI pahacAna (1) vIrasa rasa-dRr3hatA, sAhasikatA, dhIratA, parAkramazIlatA Adi bhAva vIra rasa kA lakSaNa hai| (2) zrRMgAra rasa-vibhUSA, vilAsa Adi bhAvoM se zRMgAra rasa kI pahacAna hotI hai| (3) adbhuta rasa-naI adbhuta aura Azcaryajanaka vastu dekhane, sunane se adbhuta rasa kI pratIti hotI hai| (4) raudra rasa-bhayotpAdaka dRzyoM Adi se mana meM bhaya va ghRNA kA bhAva jgnaa| (5) bIr3anaka rasa-lajjA, apamAna va maryAdA bhaMga hone para mana meM saMkoca kA bhAva jgnaa| (6) bIbhatsa rasa-ghRNAspada azuci padArthoM ke dekhane-sunane se jugupsA bhAva paidA honaa| (7) hAsya rasa-vicitra dRzya-zravya ke kAraNa vismaya tathA ha~sI aanaa| (8) karuNa rasa-kisI snehI Adi ke viyoga se mana meM zoka, rudana Adi kI anubhuuti| (9) zAnta rasa-indriya-saMyama va nirvikAra mana yukta ekAgratA va zAnti va samAdhi kI anubhuuti| -sUtra 262 RECOGNIZING NINE SENTIMENTS FROM APPEARANCES (1) Vira-rasa-Awakening of the emotions of firmness, bravery, patience, valour etc. is the characteristic of this rasa. (2) Shringar-rasa-Its characteristics are adornment (with ornaments etc.), erotic gestures, etc. (3) Adbhut-rasa-It is experienced by seeing and hearing about new, strange, and astonishing things. (4) Raudra-rasa-It is evoked by thinking and talking about horrendous forms, etc. It is characterized by emotions of fear and revulsion. (5) Vridanak-rasa-It has its origin in acts of shame, insult, transgressing codes of modest behaviour. It is characterized by shame and apprehension. (6) Vibhatsa-rasa-It is caused by looking at and smelling the stench of filthy things. It is characterized by feeling of disgust. (7) Hasya-rasa-It is inspired by paradox or bizarreness. It produces surprise and laughter. (8) Karun-rasa-It is caused by separation from the beloved. It is characterized by sorrow, lamenting, etc. (9) Prashant-rasa-It is the experience of tranquillity and inner peace (samadhi) with discipline over senses, unblemished mind, and complete concentration. -Sutra : 262

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* 4. raudrarasa (5) bhyjnnnnruuv-sbNdhkaar-ciNtaa-khaasmuppno| sammoha-saMbhama-visAya-maraNaliMgo raso roddo||70|| (262-5) bhayaMkara rUpa, zabda athavA aMdhakAra ke cintana aura kathana, darzana Adi se raudrarasa utpanna hotA hai| saMmoha (viveka zUnyatA), saMbhrama (vyAkulatA), viSAda (kheda) evaM maraNa usake lakSaNa haiN|70|| roddo raso jahA bhiuDIviDaMbiyamuhA ! saMdaTTho? ! iya ruhiramokiNNA ! haNasi pasaM asuraNibhA ! bhImarasiya ! atirodda ! roddo'si // 71 // raudra rasa kA udAharaNa-bhRkuTiyA~ Upara car3hane se terA mukha vikarAla bana gayA hai, tere dA~ta hoThoM ko cabA rahe haiM, terA zarIra khUna se lathapatha ho rahA hai, tere mukha se bhayAnakabhayotpAdaka zabda nikala rahe haiM, jisase tU rAkSasa jaisA DarAvanA ho gayA hai| tU pazuoM kI hatyA kara rahA hai| isalie atizaya raudrarUpadhArI tU sAkSAta raudrarasa hai||71|| 4. RAUDRA-RASA 262. (5) The Raudra-rasa (sentiment of rage or fury) is evoked by thinking and talking about horrendous forms, sounds, and darkness and witnessing these. It is characterized by perplexity, alarm, sorrow, and death. (70) ____ The example of Raudra-rasa (sentiment of rage or fury) is Raised eye-brows have made your face hideous, you are biting your lips, your body is drenched in blood and you are producing fearsome sound. All this makes you awesome like a demon. You are killing animals. Thus O extremely horrendous one, you are fury (Raudra-rasa) personified. (71) 5. vIDanakarasa (6) vinnyovyaar-gujjh-gurudaar-meraavtikkmuppnnnno| velaNao nAma raso ljjaa-sNkaakrnnliNgo||72|| navarasa prakaraNa ( 429 ) The Discussion on Nine-Sentiments

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262. (6) (1) vinayopacAra-vinaya karane se, (2) gupta rahasyoM ko prakaTa karane se, tathA (3) gurupatnI Adi ke samakSa maryAdA kA ullaMghana karane se vIDanakarasa utpanna hotA hai| lajjA aura zaMkA isa rasa ke lakSaNa haiN|72 / / velaNao raso jahA kiM loiyakaraNIo lajjaNiyataraM ti lajjiyA motti| __ vArijjammi gurujaNo parivaMdai jaM vahUpottiM // 73 // vIDanakarasa kA udAharaNa-(koI nava vadhU kahatI hai-) isa laukika vyavahAra se adhika lajjAspada aura kyA bAta ho sakatI hai-maiM to isase bahuta lajAtI hU~-ki varavadhU kA prathama samAgama hone para gurujana-sAsa Adi vadhU dvArA pahane vastra kI prazaMsA karate haiN||73|| 5. VRIDANAK-RASA 262. (6) The Vridanak-rasa (sentiment of shame or bashfulness) has its origin in (1) observing modest behaviour, (2) revealing secrets, and (3) transgressing codes of modest behaviour before wives of guru and other respectable persons. It is characterized by shame and apprehension. (72) The example of Vridanak-rasa (sentiment of shame or bashfulness) is-- Is there anything more shameful than this popular practice of the elders commending the garments worn by a bride on the night of consummation of her marriage. I feel so ashamed ! (73) vivecana-loka maryAdA tathA AcAra maryAdA ke ullaMghana se vrIr3anaka rasa kI utpatti hotI hai aura lajjA AnA evaM AzaMkita honA usake lakSaNa haiN| kAma karane ke bAda sira jhuka jAnA, zarIra kA saMkucita honA aura doSa prakaTa na ho jAe isa AzaMkA se mana kA dolAyamAna-DAMvA Dola banA rahanA lajjA hai| isa udAharaNa se patA calatA hai ki kisI kSetra yA kisI kAla meM aisI rUr3hi yA lokaparamparA rahI hogI ki navavadhU ko akSatayoni siddha karane ke lie suhAgarAta ke bAda usake raktaraMjita vastroM kA pradarzana kiyA jAtA thA aura kula ke vRddha jana use dekhakara santoSa vyakta karate the| isalie vIDanakarasa meM isakA udAharaNa diyA hai||73 // (hAri. vRtti. pR. 324) anuyogadvAra sUtra ( 430 ) Illustrated Anuyogadvar Sutra

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navarasoM ke udAharaNa (1) X 10 Su vIra rasa adbhuta rasa SAAN UARY EXAMPLES OF NINE RASAS (EXPERIENCES) raudra rasa zRMgAra rasa TRILOK SHARM

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[ citra paricaya 19 / Illustration No. 19 nava rasoM ke udAharaNa (anubhUti pradhAna) 1. vIra rasa-vAstava meM vIra vaha hai jisane saMsAra-sukhoM kA tyAgakara kAma, krodha Adi mahAzatruoM kA nigraha kiyA hai| jaise bhagavAna mahAvIra ne samasta vaibhava tyAgakara dIkSA lii| manaHsaMyamI saccA vIra hai| 2. zRMgAra rasa-sundara yuvatiyoM kA nRtya dekhane, kamara va pA~voM meM ba~dhe ghughuruoM kI madhura dhvani sunane se vikArIbhAva va vilAsIbhAva utpanna honA zRMgAra rasa kA udAharaNa hai| 3. adbhuta rasa-adbhuta aura kaThina kArya ko dekhakara vismita honaa| bhautika jagat meM jaise kisI ko bA~sa kI rassI para hAthoM va sira para kapa-pleTa rakhakara eka cakke vAlI sAikila calAte dekhakara darzakoM ko vismaya hotA hai| AdhyAtmika dRSTi meM-jina vANI sunakara trikAlavartI tattvoM kA jJAna ho jAnA sabase bar3A Azcarya hai| 4. raudra rasa-kisI jIva kI hiMsA/vadha karate samaya mukha para atyanta krUra bhAvoM kA ubharanA, tathA pazuoM ke rakta-mA~sa se sane hAtha Adi dekhane se raudra rasa kA paripAka hotA hai| EXAMPLES OF NINE RASAS (EXPERIENCE BASED) 1. Vira-rasa-He indeed is a great hero (Mahavir) who, after renouncing mundane pleasures, subdues and destroys great enemies like lust and anger. True hero is he who has disciplined his mind. 2. Shringar-rasa-Rising of pervert emotions and passions by seeing dances of beautiful women, and hearing the sweet and charming sound of jingling bells tied to their waist and feet. 3. Adbhut-rasa-To be astonished by witnessing a strange and difficult act. The audience is astonished looking at an acrobat riding one wheeled cycle on a rope tied to two poles, taking cup-plates in hands and on head. From spiritual viewpoint the greatest wonde fact that in the words of the Jina are revealed all the objects and states of all the three periods of time. (69) 4. Raudra-rasa-Extremely cruel expressions appear on the face when someone kills or tortures an animal. The emotion further matures when he looks at his hands drenched in blood of that animal.

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* Elaboration--Transgressing the code of social behaviour and religious conduct produces this sentiment; bashfulness and apprehension are its expressions. Shame produces a fe apprehension of an ungainly act getting revealed and is expressed by bowing of head and cringing of the body. This example reveals that at some place or period the custom of displaying a bride's blood-splotched garments after her oon as the proof of her pre-marital chastity prevalent. The elders of the family expressed their contentment after this display. That is why this has been included as an example of Vridanak-rasa (sentiment of shame or bashfulness). 6. bIbhatsarasa (7) asui-kunnv-duiisnnsNjogbhaasgNdhnipphnnnno| nivveya'vihiMsAlakkhaNo raso hoi biibhtso||74|| 262. (7) azuci-mala mUtrAdi, kuNapa-zava, durdarzana-lAra Adi se vyApta ghRNita zarIra ko bAraMbAra dekhane tathA usakI durgaMdha se bIbhatsarasa utpanna hotA hai| nirveda, glAni yA udAsInatA aura avihiMsA (jIva hiMsA ke prati aruci) bIbhatsarasa ke lakSaNa haiN||74|| bIbhatso raso jahA asuimalabhariyanigjhara sabhAvaduggaMdhi savvakAlaM pi| dhaNNA u sarIrakaliM bahumalakalusaM vimuNcNti||75|| bIbhatsarasa kA udAharaNa apavitra mala se bhare hue jharanoM vAlA sarvakAla svabhAva se durgandhayukta yaha zarIra sarva kalahoM kA mUla hai| yaha jAnakara jo usakI mUrchA kA tyAga karate haiM, ve dhanya haiN||75|| 6. VIBHATSA-RASA 262. (7) The Vibhatsa-rasa (sentiment of disgust) is caused by repeatedly looking at and smelling the stench of filth (excreta etc.), corpse, or an obnoxious body covered with filth. It is characterize by feeling of detachment, disgust, and apathy for violence. (74) navarasa prakaraNa ( 431 ) The Discussion on Nine-Sentiments

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The example of Vibhatsa-rasa (sentiment of disgust) is Blessed are the men who renounce their fond attachment with the body that abounds in streams filled with filth knowing that it has always been a source of stench and cause of all miseries. (75) 7. hAsyarasa (8) ruuv-vy-ves-bhaasaavivriiyvilNbnnaasmuppnno| hAso maNappahAso pakAsaliMgo raso hoti||76 / / 262. (8) rUpa-vaya (avasthA) veSa aura bhASA kI viparItatA yA vicitratA se hAsya rasa kI utpatti hotI hai| hAsya rasa mana ko AhlAdita karane vAlA hai aura mukha, netra Adi kA khila jAnA usake lakSaNa haiN|||76|| hAso raso jahA pAsuttamasImaMDiyapaDibuddhaM deyaraM ployNtii| hI ! jaha thaNa-bhara-kaMpaNa-paNamiyamajjhA hasati saamaa||77|| hAsya rasa kA udAharaNastana-bhAra se nIce jhukI huI kaTi vAlI zyAmA strI apane soye hue devara ke mukha ko kAjala se pota detI hai aura jaba vaha uThatA hai taba use hI dekhakara hIM-hIM karatI huI ha~satI hai||77|| 7. HASYA-RASA 262. (8) The Hasya-rasa (sentiment of humour or comic sentiment) is inspired by paradox or bizarreness related to form, age, dress, and language. It produces joy and cheer and is characterized by brightening of the face and eyes. (76) The example of Hasya-rasa (sentiment of humour or comic sentiment) is A dark complexioned woman, bent with the weight of her bosoms, smears lamp-black on the cheeks of the sleeping younger brother of her husband. When he wakes up she laughs loudly looking at his face. (77) anuyogadvAra sUtra ( 432 ) Illustrated Anuyogadvar Sutra

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navarasoM ke udAharaNa (2) EXAMPLES OF NINE RASAS (EXPERIENCES) bIbhatsa rasa vIDanaka rasa hAsya rasa karuNa rasa prazAnta rasa

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citra paricaya 20 / | Illustration No. 20 5. bIr3anaka-vinaya vyavahAra tathA maryAdA bhaMga hone tathA gupta rahasya prakaTa hone Adi kAraNoM se mana meM zarma yA saMkoca kA bhAva utthnaa| jaise kula ke gurujanoM ke samakSa, maryAdA bhaMga yA gupta rahasya prakaTa hone se kulavadhU lajjA se pAnI pAnI ho jAtI hai| 6. vIbhatsa rasa-ghRNAspada vastu ko dekhane-sunane se isakI utpatti hotI hai| jaise pazu ke sar3e hue zava para gIdhoM, kauvoM ko mA~sa noMcate dekhakara mana ghRNA se bhara jAtA hai| 7. hAsya rasa-kisI vicitra bAta para hNsnaa| jaise bhAbhI ne soye hue devara ke muMha para kAjala pota diyaa| jaba vaha uThA to usakA kAlA mu~ha dekhakara saba hI-hI karake ha~sane lagate haiN| 8. karuNa rasa-priyajana ke viyoga kI pIr3A se zoka, vilApa rUpa vedanA karuNAbhAva hai| jaiseyuvaka kI mRtyu para patnI, mAtA Adi kA vilApa mana meM karuNAbhAva paidA karatA hai| 9. zAnta rasa-kAma, krodha Adi vikAroM se mukta hokara samAdhi bhAva meM ramaNa karane para parama zAnti kI anubhUti honA jaise-mahAyogI vItarAga bhagavAna kI zAnta, prasanna bhAva mudraa| -sUtra 262-11 5. Vridanak-rasa--The rising of the emotion of shame or bashfulness when codes of modesty and behaviour are transgressed or a secret is revealed. For example the face of a bride turns red with bashfulness when some very personal matter is revealed before elders. 6. Vibhatsa-rasa-It is evoked when looking at or hearing about an abhorrent thing. For example the scene of vultures pecking at a decaying corpse of an animal fills one with disgust. 7. Hasya-rasa-To laugh at some thing strange and comic. For example a woman, smears lamp-black on the cheeks of the sleeping younger brother of her husband. When he wakes up she laughs loudly looking at his face. 8. Karun-rasa-It is the pain of separation from the loved ones expressed by lamenting or crying. For example on death of a young man the wailing of his wife, mother, and others evokes the emotions of karuna. 9. Prashant-rasa-It is the experience of ultimate peace when one is absorbed in profound meditation (samadhi) after freeing himself of passions like lust and anger. For example the serenity and radiance on the face of the detached and great yogi Tirthankar. -Sutra : 262-11

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8. karuNarasa (9) piyvippyog-bNdh-vh-vaahi-vinnivaay-sNbhmuppno| soiya-vilaviya-pavAya-rutraliMgo raso klunno||78|| 262. (9) nirdoSa priya (pati, putra Adi svajana) ke viyoga, baMdha, vadha, vyAdhi, vinipAta-putrAdi ke maraNa evaM saMbhrama-paracakrAdi ke bhaya Adi ke kAraNa karuNarasa utpanna hotA hai| zoka, vilApa, mlAnatA, mu~ha sUkhanA aura rudana Adi karuNarasa ke lakSaNa haiN||78|| __ kaluNo raso jahA pajjhAtakilAmiyayaM bAhAgamayapappuyacchiyaM bhuso| tassa viyoge puttiya ! dubbalayaM te muhaM jAyaM // 79 // karuNarasa kA udAharaNa-(mAtA yA sAsa kahatI hai) he putri ! priyatama ke viyoga meM atyadhika cintA se klAnta-muAyA huA aura A~suoM se bhIgI A~khoM vAlA terA mukha durbala ho gayA hai||79|| 8. KARUN-RASA 262. (9) The Karun-rasa (pathos or tragic sentiment) is caused by separation from the beloved (husband, son, etc.) confinement, killing, ailment, death (of husband, son, etc.) and fear. It is characterized by sorrow, lamenting, gloom, nervousness, and wailing. (78) The example of Karun-rasa (pathos or sentiment of sorrow) is___ (Mother or an elderly lady says to a young girl-) O daughter ! The fatigue of excessive brooding triggered by separation from the beloved and tear-filled eyes have deprived your face of its healthy glow. (79) 9. prazAnta rasa (10) niddosamaNa-samAhANasaMbhavo jo psNtbhaavennN| avikAralakkhaNo so raso pasaMto tti nnaayvvo||80|| 262. (10) nirdoSa mana kI samAdhi (svasthatA aura ekAgratA) se aura prazAnta bhAva se zAnta rasa utpanna hotA hai| avikAra usakA lakSaNa hai||80|| ( 433 ) The Discussion on Nine-Sentiments navarasa prakaraNa

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pasaMto raso jahA sabbhAvanivikAraM uvsNt-psNt-somditttthiiyN| hI ! jaha muNiNo sohati muhakamalaM pIvarasirIyaM // 81 // prazAnta rasa kA udAharaNa-svabhAva se vikAra rahita, prazAnta, saumya dRSTi yukta aura puSTa kAnti vAlA muni kA mukha kamala kI taraha atIva suzobhita ho rahA hai||81|| 9. PRASHANT-RASA 262. (10) The Prashant-rasa (sentiment of serenity) is the consequence of the samadhi (profound meditation) of an unblemished mind and absolute serenity. It is characterized by absence of perversion. (80) The example of Prashant-rasa (sentiment of serenity) is The radiant face of the sage with pacifying eyes, whose mind is tranquil and free of any aberrations, looks resplendent like a blooming lotus. (81) (11) ee nava kavvarasA bttiisaadosvihismuppnnnnaa| gAhAhiM muNeyavvA havaMti suddhA va mIsA vaa||82|| se taM nvnaame| 262. (11) ye nava kAvyarasa alIka (asatya), nirarthaka Adi battIsa doSa vidhiyoM se utpanna hote haiM, inheM uparyukta gAthAoM se jAnanA caahie| ye rasa kisI kAvya meM kahIM zuddha (amizrita) bhI hote haiM aura kisI meM mizrita (aneka rasoM ke mizraNa se) bhI hote haiN||82|| navanAma kA nirUpaNa pUrNa huaa| 262. (11) These nine sentiments of poetry, which have their origin in thirty two kinds of faults (including falsity and the senseless) are to be known through the aforesaid verses. In some poem they are found to be pure (one single sentiment) and in others mixed (a mixture of more than one sentiment) as well. (82) This concludes the description of No nama (Nine-named). anuyogadvAra sUtra ( 434 ) Illustrated Anuyogadvar Sutra

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vivecana - kAvya zAstra meM navarasoM meM pratyeka ke cAra bhAva batAye gaye haiM / rasoM kI utpatti, anubhUti aura abhivyakti meM bhAva, vibhAva, anubhAva Adi kI vistRta carcA kAvya granthoM meM milatI hai| jisakI tAlikA isa prakAra hai rasa sthAyIbhAva saMcArI bhAva (1) zRMgAra rati (2) hAsya (3) karuNa (4) raudra (5) vIra (9) zAnta (10) vatsala (6) bhayAnaka bhaya (11) bhakti hAsa (7) bIbhatsa jugupsA (8) adbhuta vismaya navarasa prakaraNa zoka krodha utsAha zama vAtsalya jugupsA, Alasya Adi lajjA, nidrA, asUyA vikRta AkRti, vANI, veza Adi Adi nirveda, moha, dInatA Adi ugratA, mada, capalatA Adi garva, dhRti, asUyA, amarSa Adi trAsa, cintA Avega Adi apasmAra, dainya, jar3atA vitarka, Avega, autsukya Adi dhRti, harSa, nirveda Adi harSa, garva, unmAda Adi vibhAva Rtu, mAlA, AbhUSaNa Adi Izvara - viSayaka harSa, autsukya, prema nirveda, Adi iSTa viyoga, aniSTa saMyoga daivopalambha, niHzvAsa, svarabheda Adi asAdhAraNa apamAna, kalaha, vivAda Adi pratinAyaka kA avinaya, zaurya, tyAga Adi guru yA rAjA kA aparAdha, bhayaMkara rUpa dekhanA, bhayaMkara zabda sunanA Adi ghRNAspada tathA arucikara vastu kA darzana Adi divya vastu kA darzana, devAgamana, mAyA, iMdrajAla Adi vairAgya, saMsArabhaya, tattvajJAna Adi zizu-darzana Adi rAma, kRSNa, mahAvIra Adi ( 435 ) anubhAva muskarAhaTa, madhuravacana, kaTAkSa Adi smita hAsa Adi nathune phulAnA, hoTha phar3aphar3AnA, kanapaTI phar3akanA Adi dhairya, dAnazIlatA, vAgdarpa Adi zarIra kampana, ghabarAhaTa, hoTha sUkhanA kaNTha sUkhanA Adi aMgasaMkoca, thUkanA, mu~ha pheranA Adi netra vistAra, nirnimeSa darzana, bhrUkSepa, romAMca Adi yama-niyama pAlana, adhyAtmazAstra cintana Adi snehapUrvaka dekhanA, ha~sanA, goda lenA Adi netra vikAsa, gadgad vANI, romAMca Adi The Discussion on Nine-Sentiments

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VOOROON etc. etc. Elaboration There are said to be four bhaavas (states) of each of these nine sentiments--sthayi-bhaava (emotion), sancharibhaava (transitional state or moods), vibhaava (apparent cause), anubhaava (gesture). Detailed discussion about rising, experience, and expression of rasas (sentiments) is available in works of poetics. Here the names are given in tabulated formrasa sthayi-bhaava sanchari-bhaava vibhaava anubhaava (sentiment) (emotion) (mood) (apparent cause) (gesture) (1) Shringar rati (erotic) loathing, lethargy, season, garland, smile, sweet words, ornaments, etc. flirtatious glance, etc. (2) Hasya hasya (humour) bashfulness, sleep, distorted shape, smile, laughter, etc. jealousy, etc. speech, dress, etc. (3) Karun shoka (pathos) detachment, distance from the blaming fate, gasp, fondness, humility, desired, proximity with loss of speech, (etc.) undesired, etc. (4) Raudra krodh (rage) agitation, pride, great insult, quarrel, flaring of nostrils, infirmity, etc. argument, etc. trembling of lips, and temples, etc. (5) Vira utsaha (zeal) pride, patience, misbehavior of antagonist, patience, altruism, jealousy, anger, etc. valour, sacrifice, etc. boasting, etc. (6) Bhayanak bhaya (fear) distress, worry, crime by guru or trembling, nervousness, excitement, etc. king, horrifying form, drying of lips and horrifying sound, etc. throat, etc. (7) Vibhatsa jugupsa epilepsy, humility, seeing loathsome flinching, spitting, (loathing) torpor, etc. and ugly things, etc. turning away, etc. (8) Adbhut vismaya argument, excitement, divine vision, widening of eyes, (wonder) curiosity, etc. appearing of a god, staring, frowning, illusion, magic, etc. thrill, etc. (9) Shant sham patience, joy, detachment, fear of observing yogic (tranquillity) detachment, etc. rebirth, knowledge of conduct, philosophical fundamentals, etc. contemplation, etc. (10) Vatsal vatsalya joy, pride, frenzy, seeing a child, etc. affectionate glance, (affection) etc. laughing, taking the child in lap, etc. (11) Bhakti love for God joy, curiosity, Rama, Krishna, widening of eyes, detachment, etc. Mahavir, etc. faltering speech, exhilaration, etc. anuyogadvAra sUtra Illustrated Anuyogadvar Sutra

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prastuta sUtra meM batAye gaye nava rasoM ke nAma, utpatti sthAna aura lakSaNoM kI tAlikA isa prakAra hai rasa vIra zrRMgAra adbhuta bhayaMkara vrIr3anaka bIbhatsa hAsya karuNa zAnta Shringar Adbhut Raudra Vridanak navarasa prakaraNa utpatti parityAga, tapazcaraNa, zatruvinAza rati, saMyoga kI abhilASA apUrva aura anubhUtapUrva vastu bhayaMkara rUpa Adi, aMdhakAra, cintA aura bhayaMkara kathA guhya aura gurustrI kI maryAdA kA atikramaNa azuci padArtha, zava, aniSTa dRzya aura durgaMdha rUpa, vaya, veza aura bhASA Adi kA viparyaya priya-viyoga, vadha, baMdha, vinipAta, vyAdhi aura saMbhrama ekAgratA aura prazAnta bhAva The table of the name, origin, and characteristics of nine rasas (sentiments) mentioned in this aphorism are as follows Rasa Origin Characteristics Vira non-repentance, patience, valour adornment, erotic gestures, sexual act, laughter, merriment, and amorous dalliance. renunciation, austerities, destruction of enemies indulgence, desire for union novelty and unique experience horrendous forms, sounds, and darkness and talks of these breaking code of secrecy and modest behaviour with respectable women lakSaNa ( 437 ) apazcAttApa, dhairya, parAkrama vibhUSA, vilAsa, kAmaceSTA, hAsya, lIlA aura ramaNa harSa aura vivAda saMmoha, saMbhrama, viSAda aura maraNa lajjA, zaMkA nirveda aura jIva hiMsA ke prati hone vAlI ghRNA mukha, netra kA vikAsa zoka, vilApa, mlAnatA aura rodana avikAra joy and sorrow perplexity, alarm, sorrow, and death. shame and apprehension The Discussion on Nine-Sentiments

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40000000 DE DE DE DE TITASI DI SETATETI DI DI DID I V JE Z Vibhatsa Hasya Karun Prashant filth, corpse, and obnoxious things paradox or bizarreness of form, age, dress, and language anuyogadvAra sUtra separation from beloved, confinement, killing, ailment, death, and fear concentration and complete serenity battIsa doSa sUtra 262/11 kI vyAkhyA meM kAvya ke battIsa doSoM kA ullekha hai, parantu unakA vivaraNa yahA~ nahIM diyA hai / svara maMDala prakaraNa meM bhI battIsa doSoM kA ullekha hai| vahA~ TIkAkAra meM inakA saMketa kiyA hai / 32 doSa sAra rUpa meM isa prakAra haiM (1) asatya pratipAdana (3) arthazUnya kevala zAbdika saMracanA (5) chalayukta pratipAdana (7) nissAratA (9) apekSita akSaroM aura padoM se hIna (11) vyAhata pUrvApara virodha (13) vyutkrama (15) vibhakti - vyatyaya (17) svasiddhAnta meM anupadiSTa (19) svabhAva hIna (21) kAladoSa kAla kA vyatyaya (23) chavidoSa - alaMkAra zUnyatA (25) vacanamAtra - nirhetuka (27) asamAsa doSa (29) rUpaka doSa (31) padArtha doSa detachment, disgust, and apathy for violence brightening of the face and eyes sorrow, lamenting, gloom, nervousness, and wailing absence of perversion (2) hiMsAkAraka pratipAdana (4) asaMbaddha pratipAdana (6) drohapUrNa upadeza (8) AvazyakatA se adhika akSara aura pada (10) punarukti (12) yukti - zUnyatA (14) vacana - vyatyaya (16) liMga- vyatyaya (18) apada - kisI anya chaMda ke adhikAra meM anya chaMda kA kathana (20) vyavahita (22) yatidoSa - asthAna meM virAma (24) samayaviruddha - svasiddhAnta ke viruddha (26) arthApatti doSa (28) upamA doSa (30) nirdeza doSa (32) sandhi doSa / (dekheM - bRhatkalpabhASya bhAga prathama, gAthA 278 se 281 kI vRtti tathA jJAna muni kRta hindI TIkA bhAga 2 pR. 288 se 290 / navarasoM kA vistRta varNana bhI isI bhAga 2 meM pR. 307 para dekhA jA sakatA hai / ) ( 438 ) Illustrated Anuyogadvar Sutra 1.19.1.1.4.2016.5016404.501.504.504.504.5046.504.504, 504, 504, 504, 504, 504, 504, 504, 504,907.9.19.198

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THIRTY TWO FAULTS In the elaboration of aphorism 262/11 there is a mention of 32 faults but their details have not been given. In the discussion about circle of musical sounds these 32 faults also find a mention. Brief information about these faults is as follows (1) To propagate false concepts. (2) To propagate violent concepts. (3) Meaningless composition of word. (4) Incongruent propagation (5) To propagate deceitful concepts. (6) Hostile preaching.. (7) Worthlessness. (8) More then required syllabus and stanzas. (9) Devoid of desired syllables and stanzas. (10) Repetitiveness. (11) Disturbing contradiction of sequence. (12) Absence of logic. (13) Disorder. (14) Discrepancy of words. (15) Discrepancy of inflection. (16) Discrepancy of gender. (17) Beyond one's faith. (18) Metrical discrepancy. (19) Devoid of intrinsic characteristics. (20) Concealed or isolated. (21) Discrepancy of period. (22) Discrepancy of pause. (23) Absence of ornamentation or rhetoric. (24) Contradiction of one's on theory. (25) Without cause and reason. navarasa prakaraNa The Discussion on Nine-Sentiments

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(26) Faulty use of double meaning. (27) Avoiding compounding where required. (28) Faulty metaphor. (29) Faulty allegory. (30) Faulty instruction. (31) Faulty meaning. (32) Faulty coalescence or compounding. (for more details refer to Brihatkalpabhashya, vritti of verses 278-281; Tika of Anuyogadvara Sutra by Shri Jnana Muni, part-2, p. 288-290. Detailed description of nine rasas is also available in the same part-2, p. 307) PALLA SQUISER BLIR DUA RUDI PALA END OF ILLUSTRATED ANUYOGADVARA SUTRA FIRST PART ONI O U TO anuyogadvAra sUtra ( 880) Illustrated Anuyogadvar Sutra

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upapravatteka zrI amara muni prastuta sUtra ke sampAdaka zrI amara muni jI, zrI barddhamAna sthAnakavAsI jaina zramaNasaMgha ke eka tejasvI saMta haiN| ApakI vANI meM jAdU hai| zrotA jaba ApazrI ke mukha se jinavANI kA rasAsvAda karate haiM to jhUmane laga jAte haiN| jinavANI ke parama upAsaka gurubhakta zrI amara muni jI kA janma vi.saM. 1993 bhAdavA sudi 5 (san 1936), kveTA (balUcistAna) ke malhotrA parivAra meM huaa| 11 varSa kI laghuvaya meM Apa jainAgama ratnAkara AcAryasamrATa zrI AtmArAma jI mahArAja kI caraNazaraNa meM Aye aura AcAryadeva ne apane priya ziSyAnuziSya bhaNDArI zrI padmacandra jI mahArAja ko isa ratna ko tarAzane/sa~vArane kA dAyitva sauNpaa| gurudeva zrI bhaNDArI jI mahArAja ne amara ko sacamuca amaratA ke patha para bar3hA diyaa| Apane saMskRta-prAkRta-Agama-vyAkaraNa-sAhitya Adi kA adhyayana karake eka ojasvI pravacanakAra, tejasvI dharma-pracAraka tathA jaina Agama sAhitya ke adhyetA aura vyAkhyAtA ke rUpa meM jaina samAja meM prasiddhi prApta kii| ApazrI ne bhagavatI sUtra (4 bhAga), praznavyAkaraNa sUtra (2 bhAga), sUtrakRtAMga sUtra (2 bhAga) Adi aneka AgamoM kI sundara vistRta vyAkhyAe~ kI haiN| Agama sAhitya kA sacitra prakAzana karane kI abhinava advitIya saMkalpanA kI hai| UP PRAVARTAK SHRI AMAR MUNI The editor-in-chief of this Sutra, is a brilliant ascetic affliated with Shri Vardhaman Sthanakvasi Jain Shraman Sangh. He is endowed with a maganetic style of oration. When masses listen to the tenets of Jina they are spellbound. A great worshiper of the tenets of Jina and a devotee of his Guru, Shri Amar Muni Ji was born in a Malhotra family of Queta (Baluchistan) on Bhadva Sudi 5th in the year 1993 V. He took refuge with Jainagam Ratnakar Acharya Samrat Shri Atmaram Ji M. at an immature age of eleven years. Acharya Samrat entrusted his dear grand-disciple, Bhandari Shri Padmachandra Ji M. with the responsibility of cutting and polishing this raw gem. Gurudev Shri Bhandari Ji M. indeed, put Amar (immorta) on the path of immortality. He studied Sanskrit, Prakrit, Agams, Grammar and Literature to gain fame in the Jain society as an eloquent orator, an effective religions preacher and a scholar and interpreter of Jain Agam literature. He has written nice and detailed commentaries of Bagavati Sutra (in four parts), Prashnavyakaran Sutra (in two parts), Sutrakritanga Sutra (in two parts) and some other Agams. He is the one who came out with the unique concept of the Jain Education international

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vizva meM pahalI bAra jaina sAhitya ke itihAsa meM eka nayA zubhArambha sacitraAgama:hindI evaMaMgojIanuvAda ke sAtha For the first time in the history of Jain Literature a unique beginning Illustrated Agams With Hindi and English Translations sacitra uttarAdhyayanasUtra sacitra dazavaikAlikasUtra (Illustrated Uttaradhyayan Sutra) Rs. 500.00 (Illustrated Dashavaikalik Sutra) Rs. 500.00 bhagavAna mahAvIra kI antima vANI atyanta zikSAprada, jJAnavarddhaka jIvana sndesh| jaina zramaNa kI sarala AcAra saMhitA : jIvana meM pada-pada para kAma Ane vAle The last sermon of Bhagavan Mahavir. Inspiring and enlightening vivekayakta saMyata vyavahAra, bhojana, bhASA, vinaya Adi kI mArgadarzaka suucnaaeN| teachings. AcAra vidhi ko raMgIna citroM ke mAdhyama se AkarSaka aura subodha banAyA gayA hai| sacitra antakRddazAsUtra The simple rule book of Shraman conduct rendered vividly with the help of colorful illustrations. Useful at every step in life, even for (Illustrated Antakriddasha Surtra) Rs. 500.00 common man, as a guide book for good behavior, balanced conduct, aSTama aNg| 90 mokSagAmI AtmAoM kA tapa-sAdhanA pUrNa rocaka jIvana vRttaant|| and norms of etiquette, food and speech. The eighth Jain canon (Anga). Inspiring stories of the spiritual saciva zrI nandIsatra pursuits of 90 great men destined to be liberated. (Illustrated Sri Nandi Sutra) Rs.500.00 sacitra kalpasUtra (Illustrated Kalpa-Sutra) Rs. 500.00 matijJAna-zrutajJAna Adi pA~ca jJAna kA sarvAMga pUrNa vivecana citroM shit|| paryuSaNa parva meM paThanIya 24 tIrthaMkaroM kA jIvana-caritra va sthavirAvalI Adi kA varNana All enveloping discussion of the five facets of knowledge including raMgIna citrmy| Mati-Jnana and Sruta Jnana. Most suited for study during the Paryushan Parva. The sacitra AcArAMga sUtra (bhAga 1,2) biographies of the 24 Tirthankars along with the chronological list of the Sthavirs of the post Mahavir Jain tradition. (Illustrated Acharanga Sutra-Part 1&2) Rs. 1000.00 Multicolored illustrations. AcArAMga sUtra bhagavAna mahAvIra ke darzana kA AdhArabhUta prathama aMga sUtra hai| Acharanga Sutra is the first Anga Sutra, the foundation of sacitra jJAtA dharma kathAMgasUtra (bhAga 1,2) Rs. 1000.00 Bhagavam Mahavir's philosophy.. (Illustrated Jnata Dharma Kathang Sutra, Part 1&2) sacitra upAsaka dazA evaM anattaropapAtika dazA satra bhagavAna mahAvIra dvArA kathita bodhaprada dRSTAnta evaM rUpakoM Adi ko suramya citroM dvArA llustrated Upasak Dasha and Anuttaraupapatiksarala subodha zailI meM prastuta kiyA gayA hai| donoM bhAga 1000/-. Dasha Sutra) Rs. 500.00 Famous inspiring and enlightening tales told by Bhagavan 10 zrAvakoM tathA 33 zramaNoM kI tapaHsAdhanA kA vrnnn| Mahavir presented with colorful illustrations in this unique and Description of Spiritul and ascetic practices of 10 Shravaks and attractive edition of the sixth Jain canon. 33 Shramans. sabhI sacitra AgamoM ke sampAdaka vANIbhUSaNa upapravartaka zrIamara muni sacitra dazakAlika sUtra vidhInandIrAja aacaaraagstr| STATED ACHARANGA SUTRA O ILPUR LCSPle sacina uttarAdhyayana ILLUSTRATED pyayana sana DASAVAKAUKASUTA saMpAdaka zrI agara muni HAAR AcArAMgasa gasUtra SRI NANDI SUTRA WPAVANTARAVATARMONI Acharnga Sutra (2 C KALPASUTRA sacina zrI upAsaka dazA evaM anataropapAtikadazA sUtra Upasak Dasha and Anuttaraupapatik. Dasha Sutra sacitra zrI kalpasUtra Ilustra zI amana muni jJAtAdhamakathAjAsatra Anata Dharma Kathaiga Sutra jJAtAdhamakathAi satra Jnata Dharma Kathanga Satra IALIST TIENTATIO