Ancient Jaina Hymns

Author(s): Charlotte Krause
Publisher: SCIndia Oriental Institute Ujain
Catalog link: https://jainqq.org/explore/011036/1

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Scindia Oriental Series No. 2
ANCIENT JAINA HYMNS
CRITICALLY EDITED WITH
INTRODUCTION, DISCOURSES, NOTES AND INDEX
BY
Dr. CHARLOTTE KRAUSE
UJJAIN SCINDIA ORIENTAL INSTITUTE
1952

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distinguished Jain Scholar and Saint Siri Muni Vidya Vijayaji of Shivapuri. When the devotees recite the hymns, little do they realise what wealth of historical and geographical facts is hidden in them, and how these hymns can throw light on many obscure problems of history, geography and biography of long forgotten saints and poets. A perusal of the very well written "Remarks on the Texts" will show how the illuminating analysis and study reveal many hidden facts, which were little known to the ordinary devotee. Scholars now universally realise the need of research in the old sacred literature of the Hindus- especially the Puranas, in w.sich numerous historical facts are buried in a mass of poetic descriptions. But, few people realise the need of research in the ordinary old hymns. Dr. Krause is to be thanked for her pioneer work in this line. It is hoped that the path shown by her will be followed by some other workers as well, and systematic and scientific studies of the numerous hymns-Hindu, Jaina and Buddhist, will be undertaken. Dr. Krause deserves our hearty congratulations for her very thorough and illuminating study of the Jaina Hymns.
Gwalior, September 9, 1952.
S. N. CHATURVEDI, Director of Education,
Madhya Bharat

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CONTENTS
Page Prcface Introduction .. Remarks on the Texts ..
1. The Munisuvrata-stavana 2. The Devakulādinātha-stavana .. 3. The Varakāna-Pārsvanātha-stavana 4. The Sankhesvara-Pārsvanātha-stavana 5. The Tirthamālā-caityavandana.. 6. The Vira-stuti 7. The Mahāvira-stuti ..
8. The Simandhara-stavana The Texts--
1. Jīlānasāgara Sûri, Munisuvrata-stavana .. 93 2. Sárodaya Gaņi, Devakulādinātha-stavana .. 100 3. Hemavimala Sûri, Varakāņa-Pārsvanāthastavana
on 106
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CONTENTS
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4. Nayavimala, Sankhesvara-Pārsvanātha
stavana 5. Tirthamālā-caityavandana 6. Vira-stuti 7. Jinapati Sūri, Mahāvira-stuti
8. Sīmandhara-stavana Critical Apparatus Notes Bibliography ..
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PREFACE
The Scindia Oriental Institute of Ujjain, well-known repository of manuscripts of works pertaining to Hindu Religion and Philosophy, and to Indian Literature in general, owns a number of manuscripts of Jaina works. Some of the latter are hitherto unpublished and even unknown, and deserve to be made accessible not only to the narrower circle of Jaina specialists, but to indologists in general. A selection of such texts is being published in the present volume. All of them belong to the category of hynnal literature, and are of Svetāmbara origin. Leaving aside their literary merits, some of these texts are of high interest as the creations of renowned authors, which, by some unexplained chance, have remained hidden from the light of publicity for centuries. There is a Mahavira-stuti from the hand of as old and distinguished an author as Jinapati Sūri

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ii
(born in V. S. 1210 and died in 1277). Another text, "The Munisuvrata-stavana", so far known from literary references only, is the creation of that renowned and erudite Acārya Jñānasāgara Sūri, who died in V. S. 1460. The author of the "Varakāṇa-Pārsvanatha-stavana" is Hemavimala Suri, known as a Jaina theologian and as an eminent ecclesiastic dignitary, who died in V. S. 1583, and many of whose numerous disciples are, in their turn, famous for their literary achievements. Nayavimala, author of the "Sankhesvara-Pārsvanatha-stavana", is identical with the celebrated "Jñanavimala Suri", many of whose devotional songs, Rāsas and exegetical works both in Sanskrit and Gujarati, are well-known.
The "Munisuvrata-stavana", moreover, is of historical interest by its reference to "Aśvāvabodha" or "Śakunikāvihara", that famous shrine of the Jainas at Broach, which, believed to have been in existence already at the time of the composition of the Sacred Books, i. e. more than 2000 years ago, and for the last time directly mentioned as existing at the time of Vastupīla and Tejapala, i. e. about 700 years ago, is described in our text as a still flourishing place of pilgrimage of miraculous sanctity. Our hymn thus represents the last definite record of the existence of that sacred place, its Requiem, as it were.
Similarly, the Devakulādinātha-stavana extols the sanctity of Devakula, another famous old place of pilgrimage, identical with to-day's Delwara near Udaipur, which once resounded with the chimes of the bells from 300 Jaina temples, and is now nothing but an insignificant village with three Jaina temples, surrounded b acres of ruins.
J

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A whole list of such nanies of ancient places of pil! grimage is contained in the short Caityavandana, and constitutes its interest.
The l'ira-stuti is a striking example of onomatopoetic expression, and, at the same time, an indirect, but cloquent testimonial to the important role which music and musical science once played in the Svetāmbare ritual.
The Simandhara-stavana, last but not least, is of linguistic value as another of those not very frequent specimina of late Gaurjara Apabhrainsa in its transition to Middle Gujarati. Besides, it is not without poetic charm, an outcome of both the skill and the devotion of the poet, who, incidentally, was one of the great figures of earliest Gujarati Literature, if a conjecture ventured in the discourses is correct.
The introduction is meant to facilitate the understanding of the texts in their hagiographical settings. The subsequent discourses attempt to define the historical and literary background, and, so far as possible, to identify the author, of each individual text.
Thanks are due to my learned colleague at the Scindia Oriental Institute, Ujjain, Pt. Gopikrishna N. Dvivedi, as well as to the erudite Controller of the Institute, Dr. H. R. Diwekar, for going through the Sanskrit texts and suggesting several improvements.
Difficulty I feel in duly expressing the gratitude I owe to His Highness Shrimant Jiwaji Rao Maharaja Scindia of Gwalior, who, during the raging of the Second World War, graciously granted me sanctuary in the quietude of his Oriental Institute. In the

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following Sanskrit stanzas I have attempted to express this gratitude in the way of the bards of yore : यत्सेवाभयकल्पपादपवने सद्भावमेघोक्षिते
न्यायाचारसमीरशीतविटपे नीत्यौषधैर्वासिते । । पूज्याचार्यकवीन्द्रनिर्मितवरस्तोत्रादिपुष्पोत्करं
संचित्येममगुम्फमत्र विदुषां सयोधये ग्रन्थकम् ॥१॥
यद्राज्ये सुखशान्तिशालिनि सदा सारा विशाला-गता
ज्ञानश्री रमते विकस्वररुचिर्ग्रन्थालयोभासिता। चैत्यं चाश्रयिणी गुरोविजययुग्विद्यांकितेनर्षिणा
धर्मश्रीः करुणारता शिवपुरे संरक्षिता शोभते ॥२॥ हारामसुरम्यगोपनगरे वात्सल्यसौम्याजिता
राजश्रीविलसत्यसौ च विमला यस्य प्रतापान्विता । जीवाजीपृथिवीपतिर्विजयतां श्रीमान्स सद्भावयुग
इत्याशीर्मम हृद्गता सफलतां यायात्सुभद्रा शुभा ॥३॥
Ujjain, Scindia Oriental Institute,
Makara Sankranti, 1947.
CHARLOTTE KRAUSE.

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INTRODUCTION
As the hymns published in this volume address themselves to Tirthankaras, and contain allusions to not generally known ideas connected with the latter and with their background, a few of the main features which Jaina Hagiography teaches about them, are memorized below.
It must be remembered that according to Jaina Cosmography, the world of human beings', situated between the worlds of the gods on top, and the hells below, forms the centre of a pattern of ring-shaped islands, alternating with oceans, of steadily increasing circumference, which are concentrically arranged around the disk-shaped “Jambu-dvīņa”. The ocean immediately surrounding the latter is "Lavanoda", the "Salt-sea". Next comes the ring-island of "Dhāṭaki-khaṇḍa”, which the "Kaloda" or "Black Sea" surrounds. Then follows the island-world of “Puşkaravara-dvipa", and the further countless ring-oceans and ring-worlds, up to "Svayambhūramaṇa-samudra", the outermost and therefore largest of the oceans, which is alluded to in the Munisuvrata-stavana published below (st. 21) as "caramajaladhi", and in the Simandhara-stavana (st. 2) as "carama-siyara". The latter is immediately adjacent to the "Aloka", and thus forms the end of the world in the horizontal dimensions.
(1) Tatty. 111, 7 ., Țk, p. 248 m.

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following Sanskrit stanzas I have attempted to express this gratitude in the way of the bards of yore: यत्सेवाभयकल्पपादपवने सद्भावमेघोक्षिते
न्यायाचारसमीरशीतविटपे नीत्यौषधैर्वासिते । । पूज्याचार्यकवीन्द्रनिर्मितवरस्तोत्रादिपुष्पोत्करं
संचित्येममगुम्फमत्र विदुषां सद्बोधये ग्रन्थकम् ॥१॥
यद्राज्ये सुखशान्तिशालिनि सदा सारा विशाला-गता
ज्ञानश्री रमते विकस्वररुचिर्ग्रन्थालयोद्भासिता। चैत्यं चाश्रयिणी गुरोर्विजययुग्विद्यांकितेनर्षिणा
धर्मश्रीः करुणारता शिवपुरे संरक्षिता शोभते ॥२॥ हारामसुरम्यगोपनगरे वात्सल्यसौम्याजिता
राजश्रीविलसत्यसौ च विमला यस्य प्रतापान्विता । जीवाजीपृथिवीपतिर्विजयतां श्रीमान्स सद्भावयुग
इत्याशीमम हृद्गता सफलतां यायात्सुभद्रा शुभा ॥३॥
Ujjain, Scindia Oriental Institute,
Makara Sankranti, 1947.
CHARLOTTE KRAUSE.

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INTRODUCTION · As the layinns published in this volume address themselves to Tīrthañkaras, and contain allusions to not generally known ideas connected with the latter and with their background, a few of the main features which Jaina Hagiography teaches about them, are memorized below.
It must be remembered that according to Jaina Cosmography, the world of human beings', situated between the worlds of the gods on top, and the hells below, forms the centre of a pattern of ring-shaped islands, alternating with oceans, of steadily increasing circumference, which are concentrically arranged around the disk-shaped " Jambu-vība". The ocean immediately surrounding the latter is "Lavanoda”, the “Salt-sea”. Next comes the ring-island of “Dhāțaki-khanda", which the "Kūloda" or "Black Sea" surrounds. Then follows the island-world of "Puşkaravara-dvipa", and the further countless ring-oceans and ring-worlds, up to "Svayambhūramaņa-samudra", the outerinost and therefore largest of the oceans, which is alluded to in the Munisuvrata-stavana published below (st. 21) as "caramajaladhi", and in the Sīmandhara-stavana (st. 2) as "carama-sayara". The latter is immediately adjacent to the "Aloka”, and thus forms the end of the world in the horizontal dimensions.
(1) Tattv. III, 7 f., Tikā, p. 248 ff.

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ANCIENT JAINA HYMNS
Human beings inhabit only the central "Two-and-ahalf-worlds", viz., "Jambu-dvipa", "Dhāṭaki-khanda", and the inner portion of "Puskaravara-dvīpa", demarcated by an insurmountable ring-shaped mountain-range, the "Mānuṣottara-parvata", which divides this island into two concentric parts. The Tirthamälä-caityavandana published below, mentions this mountain-range containing places of pilgrimage (st. 3).
as
"Jambu-dvīpa”, the central island of the "Manusyaloka", is traversed, from east to west, by six insurmountable mountain-ranges, which divide it into seven continents, viz., the two segments of "Bharata" and "Airavata" in the south and north respectively, and, between the latter two, following one another from south to north, the five zones of "Haimavata", "Harikṣetra", "Mahāvideha", "Ramyaka-kṣetra", and "Hairanyavata". The central one of these seven continents, Mahāvideha, is the largest. It is diagonally traversed by four insurmountable mountain-ranges, radiating, as it were, from Mt. Meru, the hub of Jambu-dvipa. "Mahavideha" is thus sub-divided into four parts, viz., “Devakuru" and "Uttarakuru" south and north of the Meru, and "Pūrvavideha" and "Aparavideha" in the east and west respectively. Devakuru and Uttarakuru are often grouped together as "the two Kurus", while Pūrvavideha and Aparavideha are referred to as "the two Videhas", or as "Mahāvideha" in the narrower sense. Each of the two "Videhas" is again subdivided into two portions by a huge river named "Sita". Each of those portions has eight provinces, which are known as "Vijayas", and in fact are independent worlds of their own, the boundaries of which are untransgressible for the human beings and animals inhabiting them. The whole of Mahāvideha has thus 32 Vijayas. Such a
2

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INTRODUCTION
“Vijaya" is referred to in the Simandhara-stavana (st. 16).
Tree out of the seven continents of Jambu-dvīpa, viz., Bharata, Airāvata, and Mahāvideha in the narrower sense, are grouped together as the "Karmabhūnnis". There, people have to work to earn their livelihood, and Tirthaikaras appear, creating the spiritual basis from which salvation can be attained, a feat which is not possible anywhere else in the universe.
Among the three "Karmabhūmis", again, Bharata and Airāvata occupy a separate position. For only there, the "Kālacakra”, the “Wheel of Time”, revolves, alternately bringing into play, in never ending crescendodecrescendo, periods of evolution, called "Utsarpiņīs", and such of degeneration, or "Avasarpiņis", each of them being sub-divided into six "Aras" or spokes, i. e., sub-periods of increasing and decreasing duration'. Each main-period lasts ten "kotākotīs of sāgaropamas". A "Kālacakra" or "Kalpa", 1. e., the aggregate of one Utsarpiņi plus its subsequent Avasarpiņi, thus lasts twenty kotākotīs of ''sāgaropamas".
An "Avasarpinī" has the following six "Aras", the direction of development and the order of which is simply reversed in an "Utsarpiņi":
(1) "Suşama-sışanā", the beginning of which is characterized by an optinium of physical development
(1) Tattv. IV, 15, and Țikā, p. 294 fi.
(2) 1 koti=1 crore or ten millions; accordingly 1 kotākoti=the square of a koti or 10,00,00,00,00,00,000. A "sägaropama" is equal to ten kotikotis of "palyopamas”, and a "palyopama" is the number of years which it would
take to empty cylindrical container of a height and circumference of one vojana (=4 miles), Slied under enormous pressure with the finest body-hairs, if very 100 years ons hair is removed. Vide Tattv. IV, 15, Bhagya, p. 294, and Prav., Dvira 1 an 159, p. 302 ff., where details and further specifi. cations are given.

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ANCIENT JAINA HYMNS
and well-being of all that breathes. Human beings. have a body-height of six miles, and live up to an age of three palyopamas, enjoying undisturbed bliss, fed and clad by wishing-trees, husband and wife being born together as twins, and dying together when their time is up. There is neither fear nor pain, neither crime nor vice, nor worrying about scruples of justice or religion. But on the other hand, there is no possibility of spiritual enlightenment. No Tīrthankara is born, and salvation cannot be attained. As this period passes, everything slowly deteriorates, till, after four kotākotīs of sāgaropamas, a certain limit is reached, which marks the beginning of the next "Ara".
(2) "Suşamā”, at the outset of which the bodyheight of man is four miles, and his maximum age two palyopamas. It lasts three kotākotis of sāgaropamas. Tirthankaras are not born. Everything deteriorates. further.
(3) "Susana-dussamā", at the beginning of which men have a height of two miles and an age of one palyopama. Towards its end, the first Tirtharkara appears, with a body 500 "dhanu" high, and enters "Nirvāņa" after a life of 84,00,000 "pūrvas". Three years and eight and a half months after his "Nirvāņa", this period comes to an end, having lasted two kotākotīs of sāgaropamas, and seen the end of the wishing-trees and of the twinship of husband and wife.
(4) "Duşsama-suşamā”, during which deterioration ontinues, till at its end, the human body is only seven asta" high, and the maximum age 100 years. It
(1) 1 "dhanu"=4 "hasta" or cubits.
(2) 1 "pūrva"=84,00,000"pūrvangas”, one "purvāöga" 84.00,000 years: Vide Tattv, IV, 15, Tikā, p. 293.
(3) 1 "hasta"=1 cubit.
equalling

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.
INTRODUCTION
lasts one koṭākoți of sāgaropamas minus 42,000 years:-* During this period, the remaining 23 Tirthankaras out of the stereotyped "Tirthankara-caturvimsatikā", which, as a law, appears during an Avasarpiņi (as during an Utsarpiņi), succeed one another in gradually decreasing intervals, each inferior to his predecessor in height and duration of life. Thus, the first Tirthankara of this "Ara" (the second of the Caturvimsatikā) is 450 "dhanu" high and lives 72,00,000 "purvas" of years, while the last one reaches a height of only 7 "hasta", and an age of less than 100 years.
(5) "Duṣṣama", during which the body-height decreases to two "hasta", and the duration of life to 20 years. Tirthankaras no longer appear, religion slowly lapses into oblivion, and the gate to salvation is closed again. This period sees the last of the Sadhus and the last Jaina layman. It lasts 21,000 years.
(6) "Dussama-duṣṣamā”, during which the lowest limit of degeneration is reached. Human beings are, at the best, 1 "hasta" high, and their span of life does not exceed 16 years. Religion and civilization are utterly dead. The world is populated by a miserable horde of savages, who dwell in caves, troubled by wild beasts, vermin, disease, and extremes of heat and cold, against none of which evils they are any longer able to protect themselves. Having lost the art of using fire, they live on raw fish and tortoises. This ever-increasing misery lasts for 21,000 years, when the first "Ara" of the next "Utsarpiņi" starts, with fresh hope for a gradual improvement of things.
While the chain of these six "Aras", interminable like an endless band, goes on revolving for ever in Bharata and in Airāvata, there are neither Utasarpiņis nor Ava
5

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ANCIENT JAINA HYMNS sarpiņīs in the rest of the universe. Even in Pūrvavideha and Aparavidena, though they too belong to the category of "Karmabhūmis", time eternally stands still. All the 32 "Vijayas" invariably are in a condition of "DuşşamaSuşanā", with a fair average of development, and a fair share of both work and pleasure. Tirthaikaras are always in existence there, pointing out the way to salvation. As a rule, each group of eight"Vijayas” north and south respectively of the river Sitā, always has a Tīrthankara in one or another of its parts, while it may also happen that Tirthankaras simultaneously exist in all the 32 Vijayas.
Thus much for the "Karmabhūmis". The remaining four of the seven parts of Jambu-dvīpa are "Bhogabhūonis", whose inhabitants, exempt from the necessity of working, eternally "enjoy" themselves, living in neverchanging Utopian conditions, such as prevail in the first three "Aras" of an Avasarpiņi, but being also precluded from having the darsana of a Tirthaikara. Thus, the first "Ara" always prevails in the two “Kurus", the second in Hari-and Ranyaka-kşetra, and the third in Haimavata and Hairanyavata.
All the above refers to Jambu-dvīpa. The remaining parts of the Manusya-loka, viz., the whole of Dhāțaki-khanda and the inner ring of Puşkaravaradvēpa, are likewise sub-divided into a number of continents, or rather worlds, and further divisions, in such a way that these ring-islands have each two sets of exact repliqua of the seven continents described just now with regard to Jambu-dvīpa.
Thus, the whole Manusya-loka has all in all 15 "karına-bhānis" (viz., 5 Bharatas, 5 Airāvatas, 'and 5 Mahāvidehas) and 30 “Bhoga-bhūmis" (viz., 5 Haima

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INTRODUCTION
vatas, 5 Hari-kşetras, 5 Devakurus, 5 Uttarakurus, 5 Ramyaka-kşetras, and 5 Hairanyakas) with 5 Nerus, each with a separate system of suns, moons and other heavenly bodies'.
We are supposed to live in the Bharata-kşetra of Jambu-dvīpa in the 3rd millennium of the 5th "Ara" of an Avasarpiņi, the last Tīrthänkara of which latter, Mahāvīra, expired roughly two and a half millennia ago. This "Ara" is assumed to have started 3 years and $ months after Mahāvīra's Nirvāņa. At present, not only Bharata, but also Airāvata is believed to be without a Tirthaikara, while four Tirthankaras exist in Mahāvideha. Exactly the same holds good for the other two ring-worlds outside Jambu-dvipa, so that the whole Manusya-loka has just now 20 Tirthankaras, the minimum number possible, generally designated as the 20 “Viharamāras." One of them is the Lord Sīmandhara, imagined to exist in the Aparavideha of Jambu-dvipa, to whom one of the stavanas published below is addressed.
The maximum number of simultaneously existing Tīrthankaras, on the other hand, is 170. It is reached at periods when there is one Tirthankara in each of the 32 "Vijayas" of each of the 5 Mahāvidehas, and one in each of the 5 Bharatas and the 5 Airavatas”. This figure is considered not only as sacred, but as endowed with magical potentialities, and plays an important part in Jaina-Tantra-Sastra, as exemplified by the popular "Tijayapahutta"-stotra, which is one of the “Smaranas" of the Svetāmbaras supposed to be daily recitedt.
(1! Tattı. III, 12-13.
(2) Vida Pravac., Drama 13, st. 327 (where, as an alternative, 10 is also given as the minimum number).
(3) Pravac. loc. cit. (4) Palcaprat., Bh., p. 431 and clsewhere.

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ANCIENT JAINA HYMNS Best known among the Tirthańkaras of all the 15 “Karmabhūmis", past, present, and future ones, is naturally the past "Caturviñsatikā" of the world in which we live, i. e., those 24 ones who appeared during the past two "Aras" of the present "Avasarpiņi" in the “Bharata-kşetra" of Jambu-dvīpa. They are: (1) Rşabha (Adinātha), (2) Ajita, (3) Sambhava, (4) Abhinandana, (5) Sumati, (6) Padmaprabha, (7) Supārsva, (8) Candraprabha, (9) Suvidhi (Puspadanta), (10) Šītala, (11) Sreyāṁsa, (12) Vāsupūjya, (13) Vimala, (14) Ananta, (15) Dharma, (16) Sānti, (17) Kunthu, (18) Ara, (19) Malli, (20) Munisuvrata, (21) Nami, (22) Aristanemi (Neminātha), (23) Pārsvanātha, (24) Mahāvīra (Vira, or Vardhamāna). Out of them, the first, the 17th, the 18th, the 20th, the 21st, the 23rd, and the 24th are referred to in the hymns published in this volume.
The main data which Jaina tradition has handed down with regard to this group of Tīrthankaras, have been presented in poetical form by Somatilaka Sūri in his "Saptatisata-sthāna-prakarana", coniposed in V. S. 1387'. As the name indicates, these data are 170 in number. Some of them are nientioned in our stotras too (sometimes slightly. cviating). Such data are, e.g.:
(1) The "Kalyāņa-pañcaka”, i. e., the dates of the five main events of a Tīrthańkara's life, viz., conception, birth, initiation into monkhood, attainment of omniscience, and final salvation. The Munisuvratastavana mentions these five "Kalyāṇaka” with regard to the 20th Tīrthaikara (st. 15).
(2) The "antarāni”, i. e., intervals between the Norvāṇas of two Tirthankaras succeeding one another.
(1) Publ. by the Atmānanda Jaina Sabhā, Bhavnagar, V. S. 1975 (with the Commentary of Devavijaya).

Page #21

INTRODUCTION
According to the law of the "Kālacakra", these intervals are on a steady decline, as this Caturvimšatikā belongs to an Avasarpiņi. Thus, 50 lakşa-koti of sāgaropamas of years intervened between Ķsabha and Ajita, the two first ones, but only 250 years elapsed between Pārsva and Mahāvīra, the two last ones.
(3) The spans of their lives, which likewise steadily decrease, as the Avasarpiņi progresses. Thus, S4 laksa pūrvas of years is given as the age of Rsabha, 30,000 years as that of Munisuvrata (mentioned in st. 6 of the pertinent stavana), 100 as that of Pārsva, and 72 as that of Mahāvīra.
This set of data, combined with the previous one, allows a kind of chronology to be established, Rsabha, the first Tirthaikara's birth took place 84 laksa pūrvas, 3 years and si months before the beginning of the 4th "Ara”, and his death 3 years and 84 months before the same. As we are supposed to live in the third millenniurn of the 5th “Ara”, and the duration of the 4th "Ara" is 1 kotākoti of sägaropamas minus 42,000 years, this leads down into mythological ages! Munisuvrata, another of the Tīrthankaras mentioned in our texts, is supposed to have been an approximate contemporary of Rāma and Sita, and to have died 1 laksa and $4,000 years before Vīra, or roughly 11,84,500 B.C. As he died at the age of 30,000 years, he would have been born 12,14,500 B. C. It is also interesting to realize that Neminātha, the 22nd, is believed to have been contempoTary with Krsņa, and to have died $4,000 before l'īra, 2. e., roughly $4,500 B. C. As he was then 1,000 years old, he would have been born 85,500 B. C. With Pārsvanātha, the 23rd, the dawn of history is reached. As he is stated to have died 250 years before Vīra, at the age of 100 years, the date of his birth roughly comes

Page #22

ANCIENT JAINA HYMNS
to 880 B. C. and that of his death to 780 B. C. He is generally admitted to be an historical personality. Mahävira's well-known data are, of course, history, though their accurate placing is still an object of discussion.
(4) The names of the Tirthankaras' fathers and mothers, out of which those of Munisuvrata are quoted in our texts (st. 5 of the pertinent stavana).
(5) The dynasties to which they belonged (loc. cit.). (6) Their birth-places (loc. cit.).
(7) The countries to which they belonged (loc. cit.).
(8) Their colour: 16 being of brown, and each two of white, black, red, and bluish complexion. Munisuvrata's "syāma-varṇa" is referred to in the text just quoted (st. 6).
(9) The
characteristic body-marks, such as Munisuvrata's tortoise mark (loc. cit. st. 6) or Pārsva's snake mark.
(10) The body-height (for Munisuvrata loc. cit. st.6).
(11) Biographical items of their previous existences. In our texts, nine previous existences of Munisuvrata are mentioned (loc. cit. st. 3-4), re. which the individual treatise infra may be referred. The SankhesvaraPārsvanatha-stavana (st. 3-4) contains an allusion to Pārsvanatha's former lives in the shape of a reference to "Kamatha", Parsvanatha's hostile brother in his existence as Marubhūti, a minister's son. In that existence, which happened aeons ago, Kamaṭha killed Marubhūti. Subsequently, both brothers were reborn in various parallel existences, and each time, the incarnation of Kamatha hated and finally killed that of Marubhūti. In Marubhūti's final existence as Pērsvanatha, Kamatha was incarnated as Katha, a Hindu ascetic,
10
Z

Page #23

INTRODUCTION
who, while practising the five-fire-penance ancesco very nearly burnt a snake, which was hidden in. one of the logs. By chance, Pārsva, then Prince of Benares, appeared, and, aware of the plight of the snake by his supernatural knowledge, rescued. the latter. Katha resented the interference, and his ageold hatred was re-kindled. This hatred followed him into his next existence as the Asura Meghamālin, who. again tried to worry Pārsva. Pārsva had, in the meantime, become an ascetic and was wandering about in the wilderness. Meghamālin caused him to be attacked by ferocious beasts, nearly suffocated by duststorins, and drenched by cloud-bursts, but did not succeed in disturbing the concentration of the Lord. In the end, the snake, whom the Lord had saved, and who had become re-incarnated as Dharana, King of the serpent-demons, appeared with his consort Padmăvati, and both protected the Lord, forming baldachins over him with their hoods. Reproached and enlightened by Dharana, Meghamālin repented, asked the Lord's pardon, and, having attained spiritual enlightenment, sound the path to salvation'. Dharaña, or Dharanendra, however, kept serving the Lord Pārsva, and is still worshipped as his divine attendant and devotee, along with his spouse.
(12) Names of the male and female deities believed to be in attendance, each couple on one of the Tīrthaikaras or his places of Worship, as Dharanendra and Padmāvatī, inentioned just now, in Pārsva's case. Both are referred to in the Sankhesvara-Pārsvanāthastavana published below (st. 9 and 10). These divine
(1) Cp. M. Bloomfield, The Life and Stories of the Jaina Saviour Părçvanatha, Baltimore, 1919, Introduction, and the original works mentioned therein.
11

Page #24

ANCIENT JAINA HYMNS
attendants of the Tirthaikaras are generally known and worshipped as the Yakşas and Yaksinīs, or the Sāsanadevas and Sāsanadevīs, and are often found represented at the side of images of the Tirthankaras.
References to these divinities in this particular function are obviously restricted to post-canonical literature: the earliest being contained in Pädalipta's "Nirvāņakalikā'' (according to Winternitz, prior to the 5th century) on the Svetāmbara, and in Yativrsabha's Tiloyapannatti and Vasunandin's Pratisthāsā. soddhära* (both about contemporaneous with the former) on the Digaribara side. In Svetāmbara canonical literature, the very expressions "Sāsanadeva" and "Sāsanadevi" do not occur, and the word “Yaksa" has a different sense. Generally, it stands as a denomination of one of the eight sub-classes of Vyantaras, which latter, in their turn, are one of the four niain categories of gods known to Jaina dogmatics. But that at
(1) Nirnarasāgara Press, 1926; p. 34 ff.
(2) M. iVinternitz, A History of Indian Literature, Vol. II, Publ. by the Univer:ity of Calcutta, 1933, p. 478.
(3) Part I, Publ. by Jaina Sanskřti Samraksala Sangha, Sholapur, 1943, p. 266 (IV, st. 934 ff.).
(4) As quoted in Vastusāra-prakarana, Jaipur City, 1036, “Pariţişta", p. 169 ff.
(5) I. Bhavanapatis, whose realm lies 1,000 yojanas below the surface of the earth, stretching thousands of yojanas into the depth, and who are divided into the 10 sub-classes: Asura-, Näga-, Vidyut., Suparna-, Agni-, Väta., Stanita-, Udadhi-, Dvipa-, and Dik-kumāras;
II. Vyantaras, whose abodes lie 100 yojanas below the surface of the earth, and who are divided into the 8 sub-classes : Kinnaras, Kimpuruşas, Mahoragas, Gandharvas, Yakşas, Ral:gasas, Bhūtas, and Picas;
III. Jyotişkas, located high up in space, and represented by the several suns, moons, planets, fixed-stars, etc.;
IV. Vaimānikas, residing in vimānas in a layer of space high above the realm of the Jyotişkas, and represented by divinities of the highest degrees of perfection, which increases in proportion to the elevation of their abodes from the ground.
Vide Tattv. IV, 11 ff.; Prajā. II, Sūtra 46 ff., Tiloyap. III, Devendrastaaprakirnaka st. 15 ff, etc.
12

Page #25

INTRODUCTION
least Dharana, or Dharanendra, the most popular ax the Sāsanadevas, cannot be meant to belong to the Yakşa sub-class of the Vyantaras, is clear from the facts (1) that this Yaksa sub-class of the Vyantaras is stated to be ruled by two Indras only, viz., Pūrņabhadra and Māņibhadra', not leaving room for a third Indra "Dharana", and, (2) that they are not snake-deities, while the Sasanadeva Dharana is most decidedly a snake-god. Obviously, he is identical with the Dharana whom Jaina dogmatics mention as the Indra of the southern section of the Nāga-kumāras, the second sub-class of the Bhavanapatis, whose eniblem is the snake'. Yet if this identity is assumed, the difficulty arises that the Sāsanadeva Dharaṇa is unanimously described as being accompanied by his mate Padmāvati, while a list of the names of the chief-queens. of the Nāga-kumiīra ruler Dharaṇa' does not contain the name of "Padmāvati", as Professor H. R. Kapadia has. pointed out. If the Senaprasna is correct in insisting on the identity of both, as well as on Padmāyatı being Dharana's chief queen”, the name of "Padmāvati" would have to be taken as an original epithet or apposition to any one of those Indrānīs, replacing, later on, the actual name.
As thus Dharañendra, anyhow, does not belong to the Yakşa sub-class of the Vyantaras, the now prevalent technical meaning of the word "Yaksa" as "divine
(1) Cp. Tattv, IV, 6 and Devendrast. st. 15 ff. and 66 ff.
(2) Vide Tattv. IV, 12, p. 284, Bhögya, where these Yakşas are called "vata-výkşadhvaja", i. c., having the banyan tree as their emblem.
(3) Vide Prają. loc. cit.; in Tiloy. the name is "Dharap panda". (4) Tattv, IV, 11, p. 252, Bhāşya ("phani-cihna"). (5) Bhagavati-sūtra X, 5; Jsātādh. II, 1, etc. (6) Šobbana Muni, Stuti-caturvim katikā, Āgamodaya-samiti, 1926, p. 279. (.) II, 112, as quoted loc. cit.
13

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ANCIENT JAINA HYMNS attendant on a Tirthařkara" cannot directly be con. nected with the former meaning. There is more likelihood of its being based on the meaning which the word “jakkha" bears in two isolated passages of the Uttarādhyayana-sūtra', where it serves as a :synonymon for "deva”, and refers to gods of higher categories, who reside in "Kalpas”, thus proving that it is not restricted to the sub-class of the Vyantaras called Yakşas.
The idea that each couple of Yakşa and Yakşiņi serving one and the same Tirthaikara, are husband and wife, as assumed by B. C. Bhattacharya, certainly holds good in the case of Dharana and Padmāvati. There is, however, no indication which would confirm this as a general principle. Nor is the idea of the same scholar tenable that originally, every Yaksa was the leader of the disciples of his resp. Tirtharkara, and each Yakşiņi his first female convert. The very life-story of Pārsva suffices to disprove this, as he was attended by Dharana and Padmāvati before he attained omniscience and began his teaching activity.
Over and above the 170 stereotyped data, out of which the above ones have been culled, tradition has handed down life-stories and legends of those 24 Tirthankaras. Most of the latter are found collected in Hemacandra Sūri's famous compendium "Trişastisalākāpuruşa-carita”. It is seen that the details available for the majority of those Tirthankaras are
(1) III, st. 14 and 16.-This important meaning is not given in Pt. Hargovind Das T. Sheth's generally useful Prakrit Dictionary "Päia-SaddaMahannavo !"
(2) "The Jaina Iconography", Punjab Oriental Series, Lahore, p. 163. (3) loc. cit. p. 93.
14

Page #27

INTRODUCTION ?
scanty, while there are elaborate biographies of a few of them, who enjoy special popularity. Their lives, including previous existences, form also the subjects of individual monographs in Sanskrit, Prakrit, Apabhramsa, and Gujarati. Adinātha, Munisuvrata, Pārsvanatha, and Mahavira, to whom some of the hymns published below are dedicated, belong to that category.
Much less attention than to this last Caturvimsatikā of our Bharatakşetra has naturally been paid to the 24 Tirthaikaras who were contemporaneous with then in Airāvata. Their names, however, are handed down? The same must be stated with regard to the Caturvim. satikās who appeared previous to the latter, i. e., in the Last Utsarpinis both in Bharata" and in Airāvata'. It seems that a certain tradition exists regarding the five “Kalyāṇakas” of those three groups".
Lists of the names of the Tirtharkara-caturvinSatikās destined to appear in Bharata' and Airāvata in the coming Utsarpiņi are likewise handed down. These future Tirthaikaras are of somewhat stronger interest, since they are linked up with the past by certain predictions found in the Sacred Literature with regard to those personalities in whom they were once incarnated. Thus, Sulasā, a loyal lady-devotee of Mahāvira, is to be reborn as the 16th Tirthankara of the coming Utsarpiņi of Bharata. In the same way, King Sreņika, the ruler of Magadha during Mahāvīra's time.
(1) Samav., Sūtra 159, st. 66 ff. (p. 153) and Pravac., Dvara 7, st. 296-299.
(2) Pravac., Dvåra 7, st. 288-290, and Abhidhān. I, st. 50 ff. (3) loc. cit.
(4) Pūrņa-kşema-valabba-viläsa, Saugraha-kartta Śri-Vallabhasigara Gani, Neimach, V. S. 1990, Bhäga 3, p. 28.
(5) Samay., Sūtra 159, st. 72 ff.; Fravac., Dvira 7, st. 293-295; Abbidh. 1, st. 53 ff. (6) Samav., Sūtra 159, st. $7 ff.; Pravac., Dvāra 7, st. 159, S7 ff.
15

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ANCIENT JAINA HYMNS
and one of his layman-followers, is to be the first, and Śrī-Krsna, cousin and layman-follower of Neminātha, the past 22nd Tirthaikara of Bharata, is to be the 21st Tirthaikara of the future'.
At present, anyhow, those future Tirthankaras are assumed to be still roaming about in a state of relative imperfection, and are, therefore, little satisfactory objects of worship. The past ones, on the other hand, are supposed to have shed their human shape, and, having attained final salvation, to be no longer capable of action nor of interest in mundane affairs, and, therefore, utterly out of reach of the worshipper's imagination. Still, Tirthankara-worship forms one of the six-Āvaśyakas or daily observances of every Jaina, meant to effect internal purification. In view of this aim, all the Tirthankaras are considered equal, and full scope is left to the personal liking of the worshipper in addressing his hymn or his prayer to any one out of them, or even to a particular statue at a particular place of pilgrimage, imagined to represent the Tirthankara by “sthāpanā”. What is more natural than that the worshipper should turn his mental sight towards the distant world of Mahā-- videha, or rather of the several Mahāvišenas, where at this very moment, the twenty“Viharaniānas" are wandering about in actual human shape, and yet perfect in their supernatural knowledge and their absolute purity of thinking, feeling and acting, apparently much nearer in approach for the naïve type of bhakti than those past and future Tirthankaras, Both the Digambaras and the Svetāmbaras have lists of names of those twenty “Viharamānas?”, as well as a number of hymns address
(1) Samav., Sutra 159, st. 77 ff.
(2: For the Digambara Tradition, vide "Jaina-vêni-sangraha", Calcutta, V. s. 1982, Adhyaya 7, p. 66; for the Svetămbara one: "Sri Hindi-PancaPratikramana", Indore, A. D. 1927, p. 523.
16

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INTRODUCTION
ed to one or the other or to all of them. A special favourite among them is the Lord Simandhara, to whom one of the hymns published below, is addressed. He is believed to live at present, in the full possession of omniscience, in the Vijaya “Puşkaravara" of the Pūrvavideha of Jambu-dvīpa, having a body-height of 500 dhanu (=2,000 cubits). As our poem recalls to mind (st. 16 ff.), he was born in the city of Puņdarskiņi in the period intervening between the Nirvāņa of Kunthu', the 17th, and that of Ara, the 18th Tirthankara, which latter is supposed to have taken place about of a palyopama of years, i, e., aeons, ago. He renounced the world in the interval between Munisuvrata, the 20th, and Nami, the 21st Tirthankara, obtained omniscience subsequently, and is destined to attain Nirvāna by the time when the 7th Tirthankara of the coming Utsarpiņi of the Bharata of Jambu-dvipa, Udaya, will have attained salvation, 1. e., millions of years hence?
Thus much about the Tirthaikaras collectively. As regards the individual Tirtharkara (also designated as Arhant or Jina), he is, as has already been hinted at, so free from passion that not even traces of the four "kaşāyas”, viz., anger, deceit, pride and greed, mar the perfect peace of his mind. The omniscience which he has achieved, in fact presupposes the complete annihilation of the four types of "obroxious karman” (“'ghātikarman”) which Jaina metaphysics assumes, viz., (1) karman obscuring knowledge, (2) karman obscuring vision of mind, (3) karman preventing ethically correct
(1) Kunthu is believed to have been born palyopama, 66 lakga, 79 millennia of years and 89 fortnights previous to the beginning of the 5th "sta".
(2) For further data re. Simandhara vidc 'Ratnasamuccaya-grantba" Publ. by Seth Manekchand Pitambardas. Hubli, V. S. 1985, p. 202, st. 517 ii.
17

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ANCIENT JAINA HYMNS
acting, and (4) karman which produces obstruction in general. Consequently, the four infinite qualities which in fact inhere, in latent form, in every soul (the "ananta-catuşka"), viz., infinite knowledge, infinite mental vision, infinite bliss, and infinite power, are fully manifested in him. Nothing separates him from final emancipation but remnants of the four types of "non-destructive karman” (“aghāti-karman”), viz., (1) karman pre-ordaining pleasure and pain, (2) karman pre-ordaining the duration of life in the respective incarnation, (3) karman pre-ordaining the characteristics of body and surroundings, and (4) karman, pre-ordaining family, social rank, etc. So long as particles of these four categories of karman remain unconsumed, the Saint retains his human body, and wanders about, passionless, perfect, preaching the true religion, adored by mortals, immortals and animals. Innumerable beings gain spiritual enlightenment and follow in his path, both in the figurative and the literal sense. In this way, a "Tīrtha" is formed, i. e., the prototype of the fourfold community, consisting of ascetics and laymen, both male and female, professing the newly revived eternal Jaina Faith, which had been dormant since the Nirvana of the preceding Tirthankara. Many members of this Tirtha become "Kevalins", i, e., omniscient saints, and precede the Tirthankara to final salvation ("Mokṣa" or "Siddhi") as Siddhas, i. e., emancipated, perfect souls, to reside for ever at the top of the universe, from where there is no return into the Samsara or circle of metempsychosis. A time comes when the Tirthankara himself enters Mokṣa, his store of karman being exhausted. From that time onward, omniscience again becomes unattainable for all, excepting a few sporadic cases happening
18

Page #31

INTRODUCTION
in the immediately following decades. The existing “Kevalins" enter Nirvāņa. Then, Moksa too can no longer be attained, till, after aeons over acons, another Tirthaikara appears.
The only feature which distinguishes a Tirthankara from the infinite number of likewise perfect "Kevalins", is the fact that the former initiates a period of religious revival, founds a "Tirtha", whose supreme leader he remains during his lifetime, and gives, as it were, the signals for the opening and closing of the gate to salvation by the beginning and end respectively of his Tirthaikara activity, as pre-ordained by a peculiar type of karman, a variety of "punya' of the most exalted degree, named "Tortharkara-zrānia-karnian?".
Not content with this definition of the personality of a Tīrthaikara, Jaina hagiography describes him as invariably distinguished by a number of stereotyped “eminences". Thus, every Tīrthaikara belongs to a royal dynasty, and some are ruling princes or emperors themselves, before renouncing the world. His imminent birth is announced to his mother by a chain of stereotyped auspicious dreams. His five "Kalyāņakas" are celebrated by the gods with divine pomp. From his very conception, he is equipped with supernatural knowledge, and from early childhood possesses extra. ordinary physical strength. When he prepares to renounce the world, he distributes, for a year, valuables of all kinds, which are continuously replenished by devoted genii. Then, seated in his royal palanquin, he moves into the wilderness, with a huge retinue of mortals and immortals, balts under some tail tree, and removes, along with his royal robes and ornaments, his hair in five handfuls. Leaving his followers behind, he wanders about from place to place, a homeless ascetic,
19

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ANCIENT JAINA HYMNS
practises severe penance, and patiently suffers hardships and persecutions, till he obtains omniscience. Only then, his activity as a Tīrthankara begins, in which he perseveres till his karman is consumed. Wherever he goes, gods and genii produce miraculous phenomena to his glorification.
Generally, 34 miraculous phenomena' of this kind are described in Jaina texts under the name of "the 34 atiśayas", which are also referred to in some of our hymns. They are as follows: (a) 4 innate atisayas : (1) His body is of exquisite beauty, always
clean, fragrant, and free from perspira
tion. (2) His breath has the fragrance of lotuses. (3) His flesh and blood are the colour of milk
and free from odour. (4) The actions of eating and of evacuating
are imperceptible to the human eye (or :
do not take place according to Digam
· bara doctrine). (6) 11 atisayas produced by exhaustion of "ghāti.
karman" : (1) One kotākoți of gods, men and animals find
place within the space of one mile around
him, to listen to his words. (2) Every living being listening to him, can un
derstand his teachings in his or her own
language within that space. (3) A su-like halo surrounds his head (1) Abhidh. I, st 57-64; Saptat., Sthāna 97.
20

Page #33

INTRODUCTION
(4! No disease appears within the space of one
yojana around him. (5) Nor does enmity exist therein. (6) Nor calamity produced by the seasons. (7) Nor epidemics. (8) Nor excess of rain.
(9) Nor drought. (10) Nor famine.
(11) Nor fear from government or from enemies. (c) 19 atisayas created by gods : (1) The "dharma-cakra” steadily accompanies
him, floating in the air in front of him. (2) Divine chowries keep fanning him. (3) A throne with foot-stool accompanies him. (4) A triad of divine parasols keeps moving
with him. (5) A jewel-flag accompanies him. (6) Golden lotuses arise wherever he puts down
his feet. (7) Wherever he stops to preach, the "Samava
sarana-hall" miraculously arises around him, with three enclosures of precious
materials. (8) Though he sits down with his face turned
towards the east, reflections of his shape are visible in the remaining three directions, so that he seems to be present fourfold ("caturmukha”)..
21

Page #34

ANCIENT JAINA HYMNS (9) In the middle of those four shapes, a huge
Asoka tree is visible, overshadowing the
audience. (10) Wherever his foot treads, thorns turn their
spikes downward. (11) The trees salute him, as it were, bending
down towards him. (12) The sound of divine drums keeps accompany
ing his voice. (13) A pleasant breeze keeps blowing. (14) The birds fly around him in the auspicicus
direction. (15) Showers of fragrant water fall. (16) Divine flowers of ail the five colours fall in
showers and cover the ground knee-deep. (17) His hair and nails do not grow. (18) At least one krore of gods and genii are
always near him to serve him. (19) The weather is always pleasant.
All these "atisayas" are enumerated in the Munisuvrata-stavana (st. 8-13). Seven out of those mentioned under 16) and (c), viz., the Asoka tree, the flower-rain, the chowries, the throne, the halo, the divine drums, and the three parasols, with the addition of a further item, viz., divine music accompanying the Lord's voice (generally quoted as the third in stereotyped order), form the "eight pāờibera”, or "prātiharya". They are described in the VarakāņaPārsvanātha-stavana (st. 20 ff.) in detail. (1) Vido Pravac., Dvāra 440, p. 106.
22

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INTRODUCTION
Besides, the voice of the Tirthankara is described as possessing 35 special merits', his body as adorned with 1008 auspicious characteristics“, and his mind as free from 18 weaknesses which inhere in ordinary human beings'. References to these characteristics are given in the Alunisuvrata-stavana (st. 14)*.
The latter hymn also mentions some further features generally connected with a Tirthaikara's appearing. Thus there are the 12 "parsadan" (st. '16), Ž. e., groups of listeners who surround the Lord in the "Samavasarana"-hall, viz., the four classes of gods and goddesses, male and female Jaina ascetics, and human laymen and laywomens. "Then there is that miraculous power of the Lord simultaneously to answer all the questions and dissolve all the doubts that may arise in the minds of any number of individuals of his vast audience (st. 1616. There is, moreover, that mode of argumentation so typical of Jaina Philosophy known as the "Sjādivāda" (i. e., the method of deducing an absolute truth from an aggregate of statements made from various stand-points, nr, in other words, the method of relativity in argumentation), which likewise finds a mentioning there as one of the characteristics of the teachings of the Lord (st. 31).
(1) Vido Abhidh. I, st. 65-71; Saptat. Sthina 98. (2 Vido Saptat., Sthana 44. (3) Vide Abhidh. I, st. 72-73.
(4) Digambara tradition deviates slightly in all thesc points: cp. J. Jaini, "Outlines of Jainism", Cambridge, 1916, App. IV.
(5) Vide Trilast. I, 6, st. 100 ff. and I, 3, st. 423 ff., where full descriptions of the Samavasarana are given. This work is now partially available in the English translation by Miss H. Johnson, G. O. S. No. 51.
(6) Vide s. r. "Samavasarapa" in the "Abhidhānarăjendra-kosa”.

Page #36


Page #37

REMARKS ON THE TEXTS.
1. THE MUNISUVRATA-STAVANA.
As its name indicates, this hymn is addressed to Munisuvrata, the 20th of the 24 Tirthaikaras who appeared in this Bharataksetra of Jambu-dvīpa during the previous two "aras” of the present Avasarpiņi.
After announcing, in st. 1, his intention to sing the praise of Munisuvrata, and expressing, in st. 2, his incompetence to do justice to this task, the poet gives, in
st. 3-7, the data of the last nine existences, in which he · was incarnated respectively as :
(1) King Sivaketu of Supratiştha-nagara. (2) A god in "Saudharma" (the southern half of
the lowest heaven). (3) Kuberadatta of Varapura. (4) A god in the third heaven. (5) King Vajrakundala of Paurāņa-nagara. (6). A god in the fifth heaven. (7) King Śrīvarma of Campā. (8) A god in "Aparājita" (one of the five
"vimānas" of "Anuttara”, the highest heaven, the inhabitants of which are predestined to attain final salvation after, at the most, two more re-births).

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. ANCIENT JAINA HYMNS (9). Munisuvrata, son of King Sumitra of Rāja
grha, of the Harivamsa dynasty, and Queen Padmā, and later himself King of Magadha, which position he resigned, to become a homeless ascetic, attain omniscience, and after a long and beneficent
career as a Tirthankara, enter Mokşa. While dwelling on this last existence, the poet alludes to some of the stereotyped features common to all Tīrthařkaras, the birth festival celebrated by the gods, and the supernatural knowledge inherent in them from birth, mentioning also Munisuvrata's black complexion, . the characteristic tortoise-mark on his body, his bodyheight of 20 "dhanu" (i. e., 80 cubits), and his age being 30,000 years.
The next stanzas, 8-14, describe the conventional "Atisayas" and other supernatural phenomena believed to accompany a Tirthankara's appearance (as specified above).
Then follows, in st. 15, the list of Munisuvrata's five "Kalyāņakas”, viz. : (1) entering his mother's womb on Śrāvaņa
Pūrņimā, (2) birth on the dark Aştami of Jyestha, (3) initiation as a monk on the bright Dvādasi
of Phālguna, (4) attainment of omniscience on the dark
Dvādasī of Phālguņa, (5) "nirvāņa" on the dark Navami of Jyeştha.
With regard to all the above data of Munisuvrata's life, our poet agrees with a tradition represented by Somatilaka Sūri's "Saptatisata-sthāna-prakarana", as
(1) Loc. cit. Sthāna 1, st. 26.

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REMARKS ON THE TEXTS well as Dharmaghoşa Sūri's "Munisuvrata-štotra", except that the latter has "Sirikëne" instead of "Sivakëu" as the name of Munisuvrata's first incarnation. A poetical passage in Prabhācandra's "Prabhāvaka-carita" said to be quoted from the "Āgama” in illustration of Munisuvrata's nine last existences, likewise agrees regarding that subject, except that here, "Prāṇata" (the tenth heaven) stands for "Aparājita". Another tradition, represented by Vimalasūri's "Päumacaria's, Hemacandrācārya's "Trişaşti-salākāpuruşa-carita", and Jinaprabha Sūri's "Vividha-tīrtha-kalpa", knows only of the three last existences of Munisuvrata, which deviate from the former version in so far as here, the name of the first incarnation is "Siridhanmo” according to Vimalasūri, "Suraśreşthini” according to Hemacandra, and "Surasiddha" according to Jinaprabha (he is King of Campā in Aparavideha according to all three unanimously), while the second is that as a god in "Prāṇata" (only Vimalasūri has "Pupphottara" instead), and the last as Munisuvrata. Hemacandra further deviates in giving the Dasaini instead of the Dvādasī as the "Diksā-kalyāņaka”. It would be futile to try to assess the mutual relationship and value of these variants, before further works dealing with Munisuvrata's life, particularly all those monographs mentioned in
(1) Jaina-stotra-sandoha, I, p. 109 ("Varājammi" must be corrected there to "varāiammi").
(2) Singhi Jaina Series 13, p. 42, st. 27-28; the stanza is not located.
(3) Uddeso 20 and 21, on pp. 96 ff. and 104 ff. of H. Jacobi's edition, published by the Jaina-dharma-prasaraka-sabhā, Bhavnagar; 1914 (the work is believed to be composed at the beginning of the Christian era).
(4) Parvan VI, Sarga 7, st. 1 ff. (edited by the J. D. P. S., Bhavnagar, 1903-13).
(5) Singhi Jaina Series 10, p. 20, line 12.

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H. D. Velankar's "Jinaratnakosa", will have become available in print.
Only thus much may be mentioned that none of all the above post-canonical works follows the Samavayānga-sūtra in including, in the list of pre-existence names, that of "Sihagiri”, the only pre-existence name of Munisuvrata which that Sútra, and for the natter ol that the canon, happens to mention?.
The stanza of our hymn following this biographical sketch (st. 16), extolls some of the stereotyped merits inherent in a Tirthankara's preaching.
The next stanzas contain a very compressed summary of the legends of “Asvāvabodha-tërtha" and **Sakunikā-vihāra" (st. 17-21). This time-honoured place of pilgrimage of Munisuvrata at Broach is frequently mentioned in Jaina literature, and, though no longer existing as such, still reverently remembered. The very Avasyaka liturgy of the Svetāmbaras contains a reference to it in the much recited passage :
"Jayau..........Bharuacchahim Muņisuvvaya I”, . e., "At Broach, Munisuvrata ('s image) be victorious !" .
These are words of the "Jagacintāmaņi-caityavandana"), which is believed to go back to the Lord Gautama Indrabhūti, Mahāvīra's direct disciple, and
(1) A modern "Munisuvratasvāmi Caritra" in Gujarati, by M. T. Jhaveri, Thana, V. S. 1998, written with a devotional outlook, does not make attempts in that direction, though it contains come bibliographical hints.
(2) Sūtra 157, st. 13 (p. 151 a): in the case of other Tirthavkaras too, the generally followed tradition does not agree with this Sūtra regarding the pre-existence names.
(3) "Pañca-Pratikramana-Sutra", Jaina Ātmananda Sabha, Bhavnagar, 3.S. 1932, p. 26 ff.

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thus to be older than the Agamas themselves. This indicates that Broach must indeed have been a very ancient centre of Munisuvrata worship. According to the legends referred to, it is even a "Jivamta.-Sāmitittha', 1. e., a Tirtha’ founded during the lifetime of the Tirthankara', in this case nearly 12 lakhs of years ago. The reference to it in our hymn is, therefore, amply justified from the poet's stand-point.
The legends themselves are a popular subject of Jaina literature, and, therefore, handed down in slightly varying shapes. According to the version followed by our poet, their gist is as follows:
Munisuvrata once came to know by his omniscience that an Asvamedha-sacrifice was about to be performed
(1) Mahendra Suri Astottari-Tirthamalā, st. 80; V. T. K., p. 21.
(2) Here and in the following, this word is used in the ordinary sense of "place of pilgrimage".
(3) This is the topular explanation !
(4) Some of the more important sources, also for the history of the Tirtha are:
1. Vädideva Sūri, Syüdvådaratnākara, I. 1, st. 2 (ed. by Motila) Ladhaji, Poona, Vira Samvat 2153), composed V. S. 1181.
2. Hemacandra Sūri, Trişaşți-balâkāpuruga-carita, IV, 7, st. 1 ff., composed V. S. 1216-29.
3. Somaprabha Sūri, Kumārapăla-pratibodha, Prastāva V, Prakarana 10, and (translated into Gujarati : Jaira Atmananda Sabha, Bhavnagar, p. 436), composed V. S. 1241.
4. Mahendra Sūri, Astottari-Tirthamālā-Caityavandana (ed. in Vidhi. pakşagacchasya Pancapratikramaña Sūtrāņi, V. S. 1984, 56 ff.), composed V. S. ca. 1290.
5. Prabhacandra Sūri, Prabhāvaka-carita, Singhi Jaina Series, VI, p. 41 ff., composed V. S. 1334.
6. Inscription No. 297 of Mt. Abu Jaina Temples (Jayantavijaya, "Abu”, I, p. 109 ff. and II, p. 124, Sri-Vijaya-Dharma-Süri Jaina Granthamålā), dated V. S. 1335.
7. Merutunga Sūri, Prabandha-cintīmaņi (Singhi Jaina Serics', para, 146 and 187, pp. 87 and 100 f., composed V. S. 1361.
8. Jinaprabha Sūri, Vividha-tīrtha-kalpa (Singhi Jaina Series, X, p. 20 ff., composed V. S. 1389.

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.: ANCIENT JAINA HYMNS
at Broach, and that a stallion was destined to be sacrificed who, in a former human existence, had been his friend'. As according to the Jaina doctrine, dying with a depressed or frightened or otherwise worried mind causes re-incarnation in a low order of living beings, the Lord foresaw that this might happen to the stallion, who owed his present plight .too to such a previous death. Deciding to save him, the Lord hastened from Pratişthāna, where he was staying, to Broach, doing the whole distance of 60 yojana (=240 miles) in one night. He halted in the grove "Korintaka-vana" near Broach, where his Samavasaraṇa was arranged. High and low, gods, men and animals flocked there to listen to his sermon. In the crowd was the sacrificial stallion'. Listening, the remembrance of his former life, when the Lord had been his friend, suddenly came over him, and with it, religious enlightenment. Fortified by the re
9 Purātac.apratandha-sangraha (Singhi Jaina Series), pp. 40 and 76.
10. Jinamaņdana Gaại, Kumãrapāla-prabandh3, p. 74; composed V. S. 1492.
11. Somadharma Gaņi, Upadeśa-saptati (Ahmedabad, V. S. 1998), Adhikara II, Upadesa 2, p. 26 a, composed V. S. 1503.
12. Jinabarga Gani, Vastupäla-caritra (Translation into Gujarati, Jaina Dharma Prasăraka Sabhā, V, S. 1974), Prastāva IV, p. 136 ff., composed V. S. 1793.
13. Lakşmivijaya Súri, Upadeba-prāsāda, Sthambha V, Vyākhyāna 70, p. 148 ff., composed V. S. 1843.
Besides, most works dealing with Ambada and with Te apāla refer to the subject : vide M. D. Desai, Short History of Jaina Literature, V, S. 1989, paras. 313, 324, 385, 456, 527, Note 374.
(1) According to most sources, this happened in the 7th of the above mentioned nine pre-existences of Munisuvrata.
(2) On this point, the several sources greatly differ from one another. According to Hemacandra, e. g., this death occurred in the same existence in which the stallion was the friend of the Lord.
(3) The Prabhāvaka-carita has "2005 yojana".
(4) Hemacandra omits the Aévamedha, relating that the stallion was the mount of King Jita katru of Broach, and mere chance took it into the Samavasarana, and the Lord to Broach.

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quisite observances, including the vow of fasting into death, he died with a serene mind, and was thus re-incarnated as a god. In grateful remembrance, this god built, on the scene of his enlightenment, a temple dedicated to Munisuvrata. According to the present version, it contained the foot-prints of the Lord'. This temple became known as "Asvavabodha”, i. e., "Stallion's Enlightenment”, vying in religious importance with the local "Asvamedha”. Tirtha of the Hindus.
Near the Asvāvabodha Temple, a female bird, according to our hymn a "vata-sabalikā" (" sabalikā"= Prakrit "savaliyā"=Gujarati "samali'')?, was once hit by an arrow. Wounded to death, she fell down at the foot of the Banyan tree, which contained the nest with her young ones. Two Jaina Sadhus saw her, and, desirous to help her to improve her future life, whispered the “Namaskāra-mantra”s into her ear. Soothed by the sound of the words of this holiest of all Jaina prayer formulas, which is believed to possess miraculous faculties, the bird died with a calm mind. She was thus reborn as the daughter of the King of Ceylon, and was named Sudarśanā. Once, a Jaina merchant from Broach, who attended the Durbar of her father, was seized by a fit of sneezing, and spontaneously exclaimed "Namo Arihamtāṇam"! When the sound of these words reached the ear of the Princess, she suddenly awoke to a recollection of her previous life, when, as a bird, she had heard recited the sacred mantra which contains these
(1) According to the Vividha-Tirtha-kalpa and the Upadela-prasāda, the god decorated the temple with statues of Munisuvrata and of the horse.
(2) The pre-existences of the bird are dwelt upon with great length in some sources. :
(3) "Namo Arihamtāṇam, namo Siddhāṇam, namo Āyariyāṇam, namo Uvajjhāyānan, namo loe Savva-sāhūņañ ! Eso parca-namukkāro savvappavappaņāsaņo, mamgalānam ca savvesim padhamam havai mamgalam".

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very words. Eager to see the scene of that event once more, she undertook a pilgrimage to Broach, accompanied by that merchant, as well as by a large retinue, accommodated in 700 ships'. She became a devoted Jaina laywoman, and restored the shrine of Asvāvabodha. In commemoration of her experience, the place became known as "Sakunikā-vihāra" or "Samalikā-vihāra", the "Bird's Temple". After a virtuous life, she died and became re-incarnated as a goddess in Isāna (the northern half of the lowest heaven), from where she sometimes descends to worship the Lord Munisuvrata, producing miraculous phenomena in the temple. Obviously, our poet refers to the latter belief, when calling the temple-walls "adhisthita” (st. 38).
So far the legend.
To substantiate these accounts of animals_horse and bird-awakening to a recollection of pre-existences and spiritual enlightenment, the poet then quotes, in st. 21, the instance of a fish in the "Last Ocean”, i. e., the "Svayambhūramaņa-samudra”. Encountering another fish, whose body faintly resembled a Jina statue, he remembered how in a previous human existence, he had seen such a Jina image (and, so the story goes on according to Somadharma Gani's Upadesa-saptati",
(1) According to the Prabhāvaka-carita 18. (2) This belief is particularly dwelt upon in the Prabhāvaka-carita. (3) Loc. cit. Adhikāra I, Upadesa 24, P. 23: " विनापि भावं विहितः प्रणामो जिनेषु न स्यादफल: कदापि ।
स दुःसुतः श्रेण्ठिवरस्य मीनोऽप्यापत् प्रबोधं यत उद्धतोऽपि ॥॥" as well as the following stanza quoted there : " तातादेशवशादपीह नृभवे न त्वं मयाराधितस् तेनाहं भवसागरे निपतितोऽम्भोधी महापातकी । तत् त्रायस्व जिनेन्द्र मामशरणं सर्वज्ञबिम्बाकृतेमीनो मीनवरानमस्कृतिपरो जातिस्मृतेः स्वर्ययो ॥"

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had paid many involuntary obeisances to it, as it had been placed close to a very low house-door by his devout father, in the intention of thus reforming a religiously indifferent son). This recollection inspired the fish to introspection and to a religiously blameless conduct, which caused his becoming incarnated as a god.
The subsequent stanzas, 22-36, glorify the Jaina Religion in general, and express the poet's firm belief in the sublime teaching of the Tirtharkara as the means by which he hopes to be rescued from the terrifying ocean of re-births, and to attain final beatitude.
Then. his thoughts revert to Munisuvrata's shrine at Broach, whose sacredness he extolls in st. 37-39 under both the ancient names, “Asvāvabodha" as the general name of the Tirtha, and “Sakunikā-vihāra” as that of the temple? Of great interest are the attributes "pravara-mahima", i. e., “being of outstanding grandeur, applied to the whole Tirtha, as well as “tatra-samstha”, i. e., "standing there" (viz., at Ašvāvabodha) applied to the temple, and "guru-parivždhadhisthita-supratiştha”, 1. e., "big, massive, attended and protected by divine power, and well founded”, applied to the surrounding wall, the dwellers within the precincts of which "are not robbed even by cruel thieves !” This sounds like irony nowadays, when the ancient place of pilgrimage no longer exists, and its very site can only be inferred ! Yet it shows that the poet cannot have. had the modern Munisuvrata Temple in view, which is only a small, unimpressive building, standing in a row of houses, sandwiched between them, without any surrounding space, not to speak of a "big and massive” wall. The poem can only have been composed at a time
(1) Similar to the application of these names in the Prabhivakacarita (p. 42, st. 39; p. 43, st. 65) and the Vividha-tirtha-kalpa (p. 20,1.31).

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when Śakunika-vihara was an impressive stone building and a renowned Jaina place of pilgrimage. Since the poem itself is anonymous and undated, it will be necessary to define that period more precisely so as to ascertain the time of its composition. What happened to Asvavabodha and Sakunika-vihāra after its restoration by Sudarsanā ?
Literature is full of accounts of its existence, its sanctity and popularity, and of its being restored and embellished over and again by kings and ministers'. Some of those accounts lead back into mythological darkness, so that it is not easy to draw a sharp line between legend and history. According to a summary of the history of the shrine, given in the Prabhavaka-carita2, Asvavabodha had twice been restored previous to Sudarsana, viz., by the pre-historical emperors Padma (i. e., Śri-Rama) and Harisena. After the restoration effected by Sudarsanā, it is related to have been renewed by the Śravaka King Samprati, Asoka's grandson, who, according to Jaina belief, never tired of building and restoring temples of the Tirthankaras, nor of installing their images, though there are historians who doubt his existence. Then followed a restoration effected, on Siddhasena's advice, by the great Vikramaditya, who, in the essential aspects, shares Samprati's fate. The subsequently reported events indicate that the poet indeed refers to the "Samvatsara-pravartaka" of 56 A. D., though in reality, Siddhasena was not contemporary with the latter, but with some Gupta-Vikramāditya3.
(1) Vide the above note for bibliography.
(2) Loc. cit. VI, 1, p. 41 ff.
(3) Vid my article "Siddhasena Divakara and Vikramaditya" in the English Vikramaditya Memorial Volume published by the Gwalior State.
7/1

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The sacred place fell then into the hands of the Bauddhas, from whom Ācārya Khapuța wrangled it back 484 years after the Vira-Nirvāņa, . e., 14 years previous to the Vikrama Samvat. In the Vīra-Nirvāņa Samvat 845, 1. e., 375 V. S., the "Turuşkas”, having destroyed Valabhi, tried to take Broach, but were repulsed by the intervention of the divine incarnation of Sudarsanā. In the Vira-Nirvāṇa year 884, 1. e., 414 V. S., the influence of the Bauddhas, who had again gained preponderence there, was paralysed by the Jaina ascetic Mallavādin, whose identity is not clearly established.
The temple is also related to have been restored by King "Sātavāhana", and the subsequent consecration to have been performed by the well-known Jainācārya Pādalipta Sūri, who is credited with the authorship of several works preserved up till now. A monograph on Pādalipta Sūri contained in the same "Prabhāvaka
carita" which relates that event', is, however, so seriously , marred by chronological improbabilities, that his date is still a subject of discussion. The fact that Aryaraksita, who is assumed to have died in V. S. 127, mentions Pādalipta as the author of "Taramgavai" in his Anuyogadvāra-Sūtra, makes it appear that Padalipta Sūri must have flourished before that date, so that those inconsistencies would dissolve themselves into mere anachronisms, due perhaps to the possible existence of several Padaliptas at different periods .
Subsequently, at the time of Vijayasiinha Sūri, who is known as the author of an ancient hymn, though his time is uncertain, Broach was destroyed by fire,
(1) Loc. cit. V. p. 28 ff.
(2) Vid. M. Bh. Jhaveri on p. 179 of his "Comparative and Critical Study of Mantrasastra”, Ahmedabad.
(3) Vide Jainastotrasandoha, ed. by Mudi Catunavijaya, I, Ahmedabad, 1932, p. 190 and Introduction, p. 9 f.
11

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which consumed the wooden structure of Sakunikāvihāra. Vijayasimha Sūri, who was the Acārya of the temple, caused the same to be re-erected in wood. ACcording to our source, this structure, having been rendered uninflammable by the Sūri's magic power, lasted till, in the time of the Solanki King Kumārapāla of Gujarat, Ambada rebuilt it in stone. Re its fate in the intervening period, our source has nothing to say.
Its existence is, however, testified by two references in other works. One of these references is contained in Śricandra Sūri's "Munisuvrata-caritra", a work of nearly 11,000 Prakrit Gathās, which is assumed to have been composed in about V. S. 1200'. It states that Maladhārin Abhayadeva of the Harsapuriya Gaccha, one of the author's spiritual ancestors (otherwise known to have performed the consecration of Antariksa Pārsvanātha, a famous Tīrtha at Sirpur, near Akola, in V. S. 1142), caused golden pinnacles ("hemamaya-kalasā'') to be fixed on “Savaliyā-vihāra", i. e., "Sakunikā-vihāra" by "Varanaga-suya Samtuya”, i. e., Sārtu, or Sampatkara, the pious Jaina Minister of the Solanki kings Bhīma (V. S. 1078-1120), Karņa (1120-50) and Jayasimha (1150-99), a well-known figure of the Prabandha literature.
The second reference occurs in the Prakrit Pārsvanātha-carita of Devabhadra Sūri (of the Kharatara Gaccha), who states that he composed this work in
(1) Vide "Jinararatnakoia", p. 311. (2) M. D. Desai, 1.1., paras, 312, 313, 300.
() Prabandha-cintamani, paras. 89-93 and 124, and Puratanaprabandha-sangraha, paras. 58, 65, 323, 326.
(4) "Sri-Pasanäha-Cariyam", Samsodhaka Ācārya Mahārāja Srivijayakumuda-sūri, Manivijayagani-granthamălā, X, Ahmedabad, A. D. 1945; vide also M. D. Desai, 11., para. 3.4.
(5) Loc. cit., p. 503, st. 8 (above).
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V. S. 1168 in "Amadatta's Temple" at Broach, which town he describes as being "attractive by the temples of Vira and of Munisuvrata, adorned with golden pinnacles" ("sovannimḍaya-mamḍiya-Munisuvvaya-Vira-bhavaṇa-ramaņie Bharuyacche tehim tthiehim mandire Amadattassa”). This reference very clearly indicates that in V. S. 1168, the temple of Munisuvrata must still have been in the possession of the Jainas, and that it must have been a place fairly frequented and held in esteem by them, to say the least. Most likely the pinnacles' which Devabhadra Suri saw, were those which Santu had presented.
We return now to the account of the Prabhāvakacarita. According to the latter, the old wooden building of Sakunika-vihara lasted till the time of Kumārapāla3, when it was in a state of utter decay, brought about by white ants and monsoon-moisture (according to Jinaharṣa Gani, by the floods of the Narbada). In that condition, it was seen by Kumarapala's brave General, the "Rāņaka Ambaḍa", Governor of Lața and other parts of the kingdom, who had won the title of "Rājasamhāra” by his victory over the Kadamba King Mallikarjuna of the Konkan. He was the son of the Śrāvaka Minister Udayana of the Śrīmāla clan, and younger brother of Kumarapala's later Minister Bähaḍa or Vāgbhaṭa, and a good Jaina himself. He undertook the next restoration
(1) Strictly speaking, the word "imḍaya" (Skr. "andaka") denotes the central part of the pinnancle or "kalasa" (Skr. "kalaia") only, which latter expression, as we saw above, is used by Śricandra Suri. Vide "Vistusira-prakarana" by Thakkura Pheru, Jaipur, A. D. 1936; p. 139. Both the words are, however, used as synonyma in colloquial modern Gujarati, as Muni Jyantavijaya kindly informs me. This seems to hold good in the present case too.
(2) VI, st. 136 and XXII, st. 725-766.
(3) regnal years V. S. 1199-1229.
(4) Loc. cit. IV, p. 136 ff.
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of Sakunikā-vihāra 11,85,686 years after Munisuvrata's Nirvana, i. e., in V.S. 1216' (according to later sources, he did so in fulfilment of the last wish. of his dying father, whose death occurred between V. S. 1205 and 1208). He caused the whole old wood structure to be dismantled, and re-built the temple in stone from its very foundations. It was only after a hard struggle with the treacherous river-soil, which once buried the foundation, and with it, a batch of masons, that Ambada succeeded in erecting a firm building, according to the Prabandha-cintāmaņi?. It took a year to complete it, according to the Purātana-prabandha-saigraha*. The Prabhāvaka-carita states that it measured 18 "hasta" ("hastāstādasakaṁ caityam"), i.e., 8 square-yards, which measurement refers, of course, to the innermost sanctum, not counting the several entrance-halls ("rangamaņdapa", "dvāra-maņdapa”, etc.), nor the surrounding chapels which the Prabhāvaka-carita itself refers to ("aneka-devavesmādhyam"), and which later literature mentions under the name of "deva-kulikās". According to Jinaharsa Gani, the temple contained a "lepyamaya' (plaster) statue of Munisuvrata'. All the sources concur in stating that the consecration-ceremony was performed by the Rāja-guru Hemacandra Sūri (who was intimately connected with the family of Ambada, and whose very ordination ceremony had been arranged by
(1) Obtained by deducting 11,84,000, the number of years defining the interval between Munisuvrata's and Mahavira's Nirvana, and the number of years imagined to have elapsed from Mabăvira's Nirvana.
(2) M. D. Desai, Short History, etc., para. 383. (3) Para. 146. (4) Para. 81. (5) Vide infra.
(6) Srivastupala-caritra, Gujarati translation, Jaina-Dharma-prasarakasabha, V. S. 1974, IV, p. 136 ff.
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REMARKS ON THE TEXTS Ambada's father, the Minister Udayana)'. Some of the later sources add that King Kumārapāla himself was present at the consecration of Ambada's temple, and performed the "Arātrika" rite (modern "ārati”). The very much later Jinamaņdana states in his "Kumārapālacarita"? that the consecration took place in V. S. 1220.
All those sources, including the Prabhāvaka-carita, are chronologically considerably remote from the actual event, none by less than a century. The only source which stands closer, is Somaprabha Sūri's Kumárapāla-pratibodha, composed in V. S. 1241. This source not only lacks in such features of glamour as Hemacandra's and Kumārapāla's presence at the consecration, but just plainly states that when Hemacandra once visited Broach, accompanying his Guru, he worshipped Munisuvrata at Sakunikā-vihāra and advised the Kotavāla Ambada" to restore the temple, which the latter did?! If those later sources are correct, Ambada would thus have followed Hemacandra's advice more than 50 years after it was given, for Hemacandra's Guru, Devendra Sūri, in whose company he is stated to have been then, is known to have died shortly after Hemacandra's initiation as an Acārya in V. S. 11664.
Hemacandra Sūri, moreover, would at that time have been composing his Trisasti-salākāpurusa-carita (1216-1229), the later portion of which contains (1.1.) an account of the legends of the origin of Sakunikā-vihāra. As, according to the above later sources, lie deemed it proper to praise Ambaşa's restoration in panegyrical
(1) Vid. Bühler, Life of Hemacandra, translated, Singhi Jaina Series, p. 6.
(2) Vide Bühler, 1.1., p. 90, note 67. (3) Translation into Gujarati, p. 436. (4) Vide Bühler, 1.1., p. 11.
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stanzas in the presence of the king, the former poem would have been an ideal place for inserting one or another of those stanzas, or at least mentioning Ambada's name. Yet Hemacandra himself, strangely enough, is perfectly silent about the subject. This would be in order, if the restoration had been effected not in the immediate past, but many decades back, at the time when he was still a young and unknown Sādhu and shortly after he had visited that place with his Guru.
The Caritas and Prabandhas generally cannot be relied upon as revealers of absolute historical truth, since their tendency is the supply of convenient devotional reading matter, which, though based on a certain tradition re historical events and characters, is, after all, fiction to some extent. In the present case, it is, therefore, a priori possible that Ambada's restoration has been post-dated, so as to allow of its being glorified by accounts of the illustrious presence of Kumārapāla and his Guru. Devabhadra's above statement re his stay in "Amadatta's Mandira" in V. S. 1168 even raises this assumption to something like a certainty, provided it can be admitted that "Amadatta" is another of the many variants in which Ambada's name has been handed down, to mention only “Amrabhața”, “Amabhața”, “Amradeva”, “Ambāka”, “Ambada", "Amada”, “Ambaa".
It may be objected that the "Amadatta" in whose "Mandira" Devabhadra Suri stayed, must not be separated from the "Amadatta" mentioned in st. 29 of Dharmaghosa Súri's “Šatruñjaya-kalpa" (composed
(1) "Satrunjaya-Yatra-Vicara”, Bhavnagar, V. S. 1985, p. 204.
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prior to V. S. 1357, when the poet died) and in st. 35 of Jinaprabha Sūri's poem of the same name' (V. S. 1389), in both of which works this name occurs along with the names of Samprati, Vikramāditya, Sātavāhana, Pādalipta, and Vāgbhața, all mentioned as restorers of Satruñjaya. Jinaprabha Sūri gives the name "Amadatta" combined with "Pādalipta" to a dvandva-compound, which he treats not as a Dual, but as a Plural, thus indicating that he considered "Amadatta" as two separate names, viz., "Ama" and "Datta”. Modern interpreters accordingly explain "Amadatta” as the name of king Ama or Nāgāvaloka of Kānyakubja (who died in V. S. 890 and is known as a devout Jaina and Bappabhatti Sūri's patron) plus that of “Datta", a future Patriarch, whose existence the Agamas predict (Samavāyānga-sūtra 153) ! Devabhadra's reference, however, suggests that the "Amadatta" who gave his name to the temple of Broach, must have been somebody who lived in the past and probably built or re-built that temple. Most likely the same person built or re-built temples at Satruñjaya. That our Ambađa is that very person, seems likely from the fact that the name "Amadatta" stands side by side with that of Vāgbhața, Ambaďa's elder brother in both the above poems!
Ambada, who is otherwise also known to have built the famous stairs leading up to Mt. Girnar (for which epigraphic evidence is available), would thus have joined his brother in beautifying Satruñjaya too, besides restoring Sakunikā-vihāra, which latter enterprise would have been completed prior to V. S. 1168. This would go well with Somaprabha Sūri's account,
(1) "Vividba-tirtha-kalpa", p. 2.
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and would also explain Hemacandra's silence re the restoration.
It is thus probable that it was the Sakunikā-vihāra after its restoration through Ambaḍa, which Santu decorated with golden pinnacles, which are again mentioned at the occasion of the presentation of golden flag-staffs by Tejapāla about a century later.
From Ambada's restoration onward, Prabhavakacarita, Vividha-tirtha-kalpa, and Prabandha-cintāmaņi have nothing further to say re Sakunikā-vihāra. The next reference to the sacred place, this time under the name of "Asvāvabodha", is found in the Upadesamālāvṛtti "Doghatti", which its author Ratnaprabha Sūri (Bṛhad Gaccha) states to have been composed in V. S. 12381 in that very temple.
Then, Mahendra Suri (Vidhipakṣiya Gaccha) mentions the Tirtha in his "A stottari-tirthamālā-stavana" (st. 77-80), some time after V. S. 12872. This stavana forms part of the Vidhipaksa-Avasyaka Liturgy, and contains both the names "Asvavabodha" and "Samaliyāvihāra" with references to the legends.
With Mahendra Sūri, we have approached the period of the brothers Vastupala and Tejapāla, the Śrāvaka Ministers of the Vaghela Rājā Viradhavala of Dholka (vassal of the Solanki King Bhima II of Gujarat, who ruled from 1234 to 1298). Both are famous not only as statesmen and generals, but particularly as builders and restorers of Jaina temples, and as patrons of Jaina poets and saints. They belonged to the Porvāḍ clan and died in V. S. 1296 and 1304 respectively. Out
(1) M. D. Desai, 1. 1, para. 483.
(2) Loc. cit.; vide also Pt. Lalacandra Gandhi, Tejapalano Vijaya, Bhavnagar, V. S. 1991, Introduction, p. 10 f.
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of the bulky contemporaneous literature in praise of their achievements, it is particularly the “VastupālaTejapāla-Prasasti” that interests us here. Its author is Jayasimha Sūri, pupil of Vīrasūri”, and Acārya of the Munisuvrata Temple of Broach. The Prasasti is believed to have originally been incised on a stone slab in the Sakunikā-vihāra Temple which Ambada had reerected, but is now only preserved in a MS. In this Prasasti, Jayasimha Sūri relates how he once requested Tejpīla on a visit of the latter to Broach, to replace the bamboo staffs on the 25 chapels (“devakulikā”, st. 67) of the Munisuvrata Temple of the "Mandalesvara Ambada" by golden ones, so as to match their golden pinnacles (''kalyāna-kumbha", st. 67) obviously those which Sāntu had donated, and Devabhadra Sūri mentioned. With the consent and assistance of his elder brother Vastupāla, Tejapāla had complied with this request of the Acārya (st. 64-69). The Prasasti also extolls Vastupāla for having installed images of Pārsvanātha and Mahavira in Ambada's Sakunikā-vihāra Temple (st. 63).
The Prasasti is not dated, nor does it mention the dates of those events. The circumstances of the poet are not known either, except the fact that he composed another work in honour of the two brothers, viz., the drama "Hammira-Mada-Mardana';, the oldest MS. of which is dated V. S. 1286, and which is stated to have been acted at Cambay at the order of Vastupāla's son Jaitrasimha“. It celebrates the victory of the two
(1) Published in "Hammira-Mada-Mardana". Gaekwad's Oriental Series, X. p. 59 ff. vide also M. D. Desai, 1.1., paras. 529 and 552 and Winternitz, 1. 1., II, p. 547.
(2) Hammira-Mada-Mardana, 1. 1., p. 2, st. 5. (3) Vido supra. (4) M. D. Desai, para. 552.
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brothers over Amir Shikār or Sultan Samsud-dunyā, who liảd tried to invade Gujarat. As Vastupāla entered the services of Viradhavala, for whom he fought, in V. S. 1276, the drama must have been composed between these two dates. The fact that the Prasasti mentions Vastupāla's nomination as a Minister, but not his above victory, indicates that it must have been written before the drama. The presentation of golden flag-staffs to Sakunikā-vihāra must, therefore, have happened between V. S. 1276 and 1286.
The Purātana-prabandha-sangraha', one of the versions of which proclaims to have been written in V. S. 1290 by Udayaprabha's pupil Jinabhadra of the Nāgendra Gaccha for Vastupala's son, the Minister Jayatasimha (=Jaitrasimha), likewise contains an account of the donation of those flag-staffs by Tejapāla, but states them to have been 72 instead of 25 in number, and the name of the Acārya who inspired the same, Rāsilla Sūri instead of Jayasimha Sūri?. As this reference is chronologically not far remote from the event, it has a certain weight. From the fact that the uncommon name "Rāsilla" is characteristic of the Vayada Gaccha, it may, therefore, be assumed that the former is another name of Jayasimha Sūri, and that this Acārya belonged to the Vāyada Gaccha, just like the poet Jinadatta (author of the "Viveka-vilása”), and his two famous disciples Amarasimha and Arisimha, all of whom were likwise protégés of Vastupāla and Tejapāla.
The Purātana-prabandha-sangraha also mentions a donation of 12 villages made to Sakunikā-vihāra by Vastupala at the time when Balahamsa Sūri (not identi
(1) L. 1., p. 136. (2) L. 1., para. 127. (3) M. D. Desai, 1.1., jara. 479 and note 393.

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REMARKS ON THE TEXTS fied so far) was the "adhisthāyaka" of the "matha. of that temple, enjoying a "rājya" of 700 horses!!
Jinaharşa Gani in his considerably later "Vastupālacarita" (VII, st. 97-103) likewise relates the episode of the flag-staffs presented to "the Minister Ambada's Temple” at Broach. Re their number, he follows the Purātana-prabandha-saigraha, but omits the name of the dignitary to whom he simply refers as "Vāyadagaņādhipa", że., "head of the Vāyada Gaccha" (VII, st. 99). This corroborates our assumption of Jayasimha Sūri belonging to that Gaccha. Jinaharsa then adds that Tejapāla also installed a metal "snātrapratimā" (i. e., an image that can be used for the abhişeka rite at a Pūjā cremony) in front of Munisuvrata's plaster statue, donated a "snātra-pitha" with a golden image, and provided flower gardens for the supply of ever fresh flowers for offerings, spending one Krore of "drammas". According to the same work, Vastupāla too donated to that temple a metal image, which he caused to be consecrated by Jagaccandra Sūri (the celebrated founder of the Tapā Gaccha and revered Guru of Vastupala's family), and erected 4 temples at Broach. Besides, he extended the temple of "Samali-vihāra" by two chapels dedicated to Ajitanātha and Santinātha, and set up portraits of himself and his consort in the sanctum.
Shortly after these events, the Prabhāvaka-carita was written (V. S. 1334). It contains the memorable words (as part of a prophecy of Lord Mahāvīra) :
"Etat sīmārthya-vasad Bhrgupuram etan na
bhangam ipnoti”, 3. e., (1: L. 1., para 72. (2) Vide extract in G. O. S., X, App. p. II. (3) M. D. Desai, 1. 1., para. 565.
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ANCIENT JAINA HYMNS "Owing to her (i. e., Sudarsanā's) power, Broach cannot be destroyed by enemy action."
It is clear that these words could only have been written before the Musalman invaders had appeared on the scene, and at a time when Sakunikā-vihāra was still a Jaina Tirtha.
One year later, i. e., in V. S. 1335, the beautiful bas-relief representing Asvāvabodha as a pavilion with the foot-prints of the Lord, and Sakunikā-vihāra as a temple with a high spire, containing a statue of the Tirthankara, was installed on Mt. Abu, where it still adorns chapel No. 19 of the "Lūņavasahi” of the Delwara Temples'. This would likewise show that at that time, Asvāvabodha and Sakunikā-vihāra had not yet been desecrated and thus disproved their much boasted sanctity.
For, a few decades afterwards, the Musalmans, whom the two brothers had held back from Gujarat so bravely, flooded "Karaña Ghela's” kingdom (regnal years V. S. 1353-60) under Gyās-ud-din (regnal years A. H. 720-725=V. S. 1376-81), and destroyed many of those shrines which Ambağa and Vägbhata, as well as Vastupāla and Tejapāla had so lovingly restored, embellished, and endowed. Asvāvabodha-Sakunikāvihāra seems to have been among them. It is not known when and how it ended, but anyhow, from then onward, it is no longer heard of. Some scholars, think that the present Jami Mosque represents what is left of that ancient Jaina shrine. This seems possible in view of the situation of the mosque on the bank of the Narbada outside the city, and the remains of ancient
(1) Vide "Abu" by Muni Jayantavijaya, I V. S. 1990), p. 109 f. and II, (V. S. 1994), p. 124.
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Hindu-Jaina architecture and sculpture which its three impressive and exquisitely carved domes enclose. The style and workmanship of the latter indeed recall those of the suites of "Ranga-maņdapa”, “Navacauki", and "Gūdhamanďapa" of temples like the Vimala-vasahi of Abu, and some of the pillars, covered with representations of Jaina mythological scenes, complete the impression. The stones of its walls too, are said to be of the same type as those used for the city-wall erected by Jayasimha and Kumārapāla'.
The northern gateway of this mosque bears an ancient inscription in Persian, which, though extremely worn off and only partially decipherable, reveals the date A. H. 721 (=V. S. 1378) and the name "Dawalat Shah Muhammad Butmari", along with a scriptural quotation referring to the merit acquired by building a house for Allah. This obviously allows of the conclusion that in that year, the original temple, after having been taken, desecrated, and partially demolished by the Muslims, as usual in those centuries, was adapted to serve as a mosque. As such, it still stands, now carefully protected.
The same northern wall of the mosque bears another Persian inscription, saying that the mosque was built in A. H. 458 (=V. S. 1115), and that the domes were completed in A. H. 721 (=V. S. 1378). This inscription is, however, a recent one, as Qazi Syed Nuruddin Hussain, the learned historian of Broach, informs me, adding that, according to an ancient note-book preserved in his family, the former date goes back to "the
(1) Vide "Sri Muni uvrata Cartr ", Leibaka : Man aladasa Trikamadasa llaveri, Thana, V. S. 1998, p. 67 f.
2) Pide "Epigr. phica Indo-Moslemica" 15 Dr. U. Nacim, p. 26, Plate No. XIVb (for which reference I am indebted to the Qaijji).
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verbal authority of the Koli-Rājā Panchāl Mānbhāv", and that it was also "in the Koli-Rājā's Chopadā”. If this tradition is correct, it would signify that, having fallen into the hands of the Muslims, the building would have come back into the possession of the Jainas previous to V. S. 1168, and that too prior to its being erected in stone! The authenticity of this tradition seems, however, doubtful, especially in the light of the older inscription referred to above.
If. therefore, the Jami Mosque does represent the remains of Asvavabodha-Sakunikā-vihāra, it stands to reason that it would only be up to V. S. 1378 at the utmost, that it could have answered the description of our hymn as a Jaina shrine of miraculous sanctity and inaccessibility to profanation.
On the other hand, the hymn, as pointed out previously, suggests a firm structure, probably in stone, by referring to its walls as big, massive, and well-founded, and thus chronologically presupposes the re-erection is stone of the old wooden temple effected by Ambada on the advice of Hemacandra. This fact would indicate that the terminus a quo for its composition is given by the year of Hemacandra's ordination, viz., V. S. 1154. If, however, the reading "Tapākūpāra" in its last stanza is correct, this would probably suggest that the poet belonged to the Tapā Gaccha, and, the latter name having been created as late as in V. S. 1285, that the hymn could not have been composed prior to that date.
The colophon, anonymous and undated like the hymn itself, proclaims the latter to be a work of "Jñānasāgara Sūri”. Unfortunately, no bearer of this name is so far known to have flourished in the specified period, viz., between V. S. 1285 and 1378. The earliest

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Jñānasāgara Sūri whom our present records mention, is the distinguished disciple of the 49th (or 50th) Tapā Gaccha pontiff Devasundara Sūri, mentioned himself, by a certain tradition, as the next pontiff, and as succeeded, in his turn, by his brother-disciples Kulamandana and Somasundara, while another tradition does .not count him as a pontiff'. This Jñānasāgara Sūri was born in V. S. 1405, ordained as a monk in 1417, as an Acārya in 1441, and died in 1460. He is known as the author of the following works :(1) Avacūri to the “Oghaniryukti" in V. S.
1439, (2) Avacūrņi to the "Avasyaka-sūtra" in V. S.
1449. (3) Avacūrņi to the “Uttarādhyayana-sūtra" in
V. S. 1441. (4) “Munisuvrata-stava”. (5) "Ghaņaugha-Navakhaņda-Pārsvanātha-stava”. (6) "Sasvata-caitya-stavana”.
The profound erudition of this Acārya forms the object of the enthusiastic praises of the famous prodigy, the Sahasrāvadhānin Munisundara Sūri, who, in his “Traividyā-gosthi" (composed in V. S. 1455, when he was only 9 years old !), calls himself “Sri-Jññānasāgara
(1) Vide M. D. Desai, "Jaina Gurjara Kavio", II, p. 719 f. and the same author's "Short History of Jaina Literature", paras. 652, 653, and 679.
(2) Vide Jinaratna-liosa.
(3) This work is only mentioned in Muni Caturavijaya's Introduction to "Jaina-stotra-sandoba", II, p. 83. The same Muni, in his Introduction to Part II of the same publication, p. 74 wrongly ascribes to this TGänasagara Suri a "Vimalanātha-caritra", which in reality is a work of Ratnasimha Sūri's pupil of the same name, composed in V. S. 1517. (4) Published by Sha. Devakaraña Alulaji, Bombay, V. S. 1966.
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ANCIENT JAINA HYMNS Gurūttama-pāthita” (p. 19 b), and again shows his indebtedness to him in the words (p. 1 a, st. 2)—
"श्रीज्ञानसागरावस्वगुरूणां ज्ञानवारिधिम् ।
उपजीव्योपदेशं च कुर्वे त्रैविद्यागोष्ठिकाम् ॥"
In his Gurvāvall,' a basic and widely known, though extremely difficult work on Tapā Gaccha history, composed in V. S. 1466, the same Munisundara Sûri (p. 35 ff., st. 325 ff.) extoils him in the strongest terms, saying towards the end of his long and flowery eulogy (st. 362)— ___"तत्कृतिवेला जल्पति पीतत्रैवैद्यवापिंगाम्भीर्यम् ।
भृगुपुरघोघातीर्थस्तोत्रमुखा विहितचित्तसुखा ॥"
It is obviously this stanza with its reference to a "Bhrgupura-stotra" composed by Jhānasāgara Sûri, which has caused M. D. Desai and other scholars to mention a "Munisuvrata-stava" among the works of that Ācārya, though no such work has been known to exist up till now.
Is it to be assumed that it was this statement of the "Gurvāvali'', which led the copyist of our present "Munisuvrata-stavana," published below, to imagine that he had the lost poem of that celebrated Acārya before him, and caused him to denote it as such in his colophon on the basis of mere inference ? Or could it really be that famous hymn itself, in spite of apparent chronological inconsistency ?
Compared with Jáānasāgara Sūri's “GhanaughaNavakhaņda-Pärsvanātha-stava”, our hymn em
(1) Published by the "Yalovijaya-Jaina-Granthamāls", 4, Vira-Sarvat 2437.
(2) On being consulted by me re the whereabouts of that "Munisuvrata'ava", the learned Pandit of the Baroda Oriental Institute, Pt. Lālacandra 3. Gandhi, kindly intimated this as his opinion.
(3) Printed under the name of "Ghogha-mandana-Pärsva-Jina-stava" on p. 47 of "Stotra-Samuccayaḥ", edited by Muni Caturavajaya, 1928 A: D. (N. S. P.).
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phatically proclaims to be indeed the tivin-creation of the former, as which Munisundara Sūri represents: it in the phrase "Bhrgupura-Ghoghā-tirtha-stotra”,Both the hymns not only extoll parallel subjects, but: both are also built according to an identical scheme, present identical style and diction, and, to some extent, even identical metres (Vasantatilaka with concluding Sārdūlavikriļita in the former, Mandākrāntā and Vasantatilaka with concluding Sārdūlavikrīdita in the latter). Not only thus much, but their twinship seems to have been intentionally accentuated by the author himself by the strikingly parallel construction of both the last stanzas, as well as by the still more striking identity of the wording of the last part of their first lines, which read as follows:
"Gurita yata BTTFTCITETZEAUTI" in the Ghoghā-stotra, and
"एवं श्रीभरुकच्छवर्यनगरालङ्कारचूडामणे।" in the Bhrgupura-stotra.
Both the hymns also agree in abstaining from betraying the author's name directly or by Slesa, and both use the word "deva" repeatedly, allowing it to be referred to Jõānasāgara's erudite Guru Devasundara Sūri.
It can thus be assumed as fairly certain that our "Munisuvrata-stavana" is indeed the lost creation of the great Jainācārya Jiiānasāgara Süri, and thus represents a find of no small importance.
If this assumption is correct, the above referred to idea that the Jami Mosque of Broach represents the remains of "Sakunikā-vihāra", must be abandoned. For, if not from V. S. 1115, it has definitely been in the hands of the Muslims from V. S. 1378. It may be
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one or another of the remaining Jina Temples which Vastupala and Tejapala are stated to have built in that city. "Sakunikī-vilāra", in any case, must have been intact at the time when Jñanasāyara Sûri flourished, say at Icast till V. S. 1420. Being the Lord's "Samavasarana-place", it would probably have been situated farther outside the city, and that in the north-castern direction, according to the above-quoted stanza of the Syādvāda-ratnākara. Perhaps, it was located somewhere near Sukla-tirtha and that worldfamous Banyan-trec known as the " Kabira-rata" (about 10 m. from the city'). Such a long distance from the town itself would satisfactorily explain the fact that the ancient shrine could have survived so long after the Mohammedan occupation, at a time when most Jaina and Hindu slirincs must have been destroyed or desecrated. This again would justify the apparent exultation with which the poet dwells on "caurah kraurā api" as incapable of violating the time-honoured sanctity of Asvāvabodha-Śakunikā-vihāra.
The hymn is preserved in M. S. No. 6628 of the Scindia Oriental Institute only, on the basis of which it is published below. It consists of one leaf of very old and brittle paper, closely written in black ink, verse numbers being tinted with red pencil. The script is Devanagari, with “Adhomātrā" being carried through and “Padimātrā" mixed with “Urdhvamātrā”. In the centres of both sides, rhombs have been left blank. The text is preceded by the usual Jaina diagram and followed by the following colophon :
"श्रीमुनिसुव्रतसामिस्तवनं श्रीज्ञानसागरसूरिकृविरचितं ॥श्रीः ॥ ॥शुभं भवतुः।" 11778410146T, 11 listi 117311 1173:11" ( sic !!) The margin bears explanatory glosses in three places
. 28
ond

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(vide foot-notes to the text). The rendering of the text is fairly correct and unambiguous, so that only a few corrections were necessary, as may be seen from the critical apparatus.
Out of the 40 stanzas, 34 are in Mandākrāntā(1; 2; 6-39), 3 in Vasantatilaka- (3-5), and 1 in Sārdūla vikridita-metre (40).
2. THE DEVASULID:NĀTHA-STAVANA This hymn is addressed to Adinātha or Rsabhadeva, the first of the last group of 24 Tirthaikaras of the Bharata-kşetra of Jambu-dvipa. It is, however, so entirely void of references to this Jina's life that it could be applied to any Tirthankara. Not only thus much, but it is even so free from allusions characteristic of a Jina, that it could be an expression of the worldweariness and devotion of the follower.of any religion that stands for faith in an omniscient and in every way perfect God, an immortal soul, and a final salvation from the misery of life in this world, were it not for a few Jaina termini like "Jina", "Tirthakrt", "karman”, "sat-kāyāḥ", some proper nouns like "Vrşabha", "Nābheya" (both synonyms of the Jina's name), etc., and the emphasis laid on the Tirthaikara's perfect passionlessness, which betray its Jaina origin.
Following a custom in vogue with Jaina poets of the period, the author does not address the Tīrthankara as such (the "Bhāva-Jina", to use a Jaina technical term) but the Tirthankara image of a certain sacred place (the "Sthāpanā-Jina"), in the present case the Adinātha image of "Delaüala”, or, sanskritized, “Derakula", or "Devakula Pataka", modern Delwāsā. This is a small place in Mewar, about 3-4 m. from Ekalingji, north of Udaipur, famous for its archæological remains,
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ANCIENT JAINA HYMNS particularly such of Jaina temples, which confirm the tradition that some centuries ago, the bells from 300 Tirthaikara temples would sound there simultaneously. Even now, three Jaina temples of the Bāvana-Jinālaya type stand there, two of which are dedicated to Adinātha.'
Stanza 25 of this hymn bears a reference to Acārya Somasundara Sūri, the 50th (according to others : 51st) pontiff of the Tapā Gaccha, whom we had occasion to mention as a brother-disciple of Jhānasagara Súri, the author of the Munisuvrata-stavana, as well as to Somasundara Sūri's pupil, the Sahasrāvadhānin Munisundara Sūri, who was likewise mentioned before, as a student of Jñānasāgara Sūri. The names of both these dignitaries are followed by the expression "trida sa-vịnda", which, by way of a pun, allows of the interpretation of "belonging to the flock of Acārya Devasundara Sūri", which latter, as already stated, was the common Guru of Jõānasāgara Sūri and Somasundara Sūri.
The assertion of our poet that the feet of the Adınātha of Devakula Pataka are worthy to be reverentially saluted by Somasundara and Munisundara, bears reference to actual happenings, for epigraphical and literal evidence show that the history of this Tīrtha is bound up with the activity of these two Acāryas. Somasundara Sūri (born V. S. 1430, ordained 1437, became Vācaka 1450, Acārya 1457, died 1499) consea crated various temples and images there. After having
(1) Vide Ācārya Vijaya Dharma Súri, “Devakulapätaka", Yalovijaya Jaina Granthamālā, and Muni Vidyåvijaya, Meri Mevādayātra, Vijay Dharma Süri Jaina Granthamălă, p. 61. ff.
(2) Vide Ācārya Vijaya Dharma Sūri, loc. cit.; Puran Chand Nahar, "Jain Inscriptions", Part II, 1927, Inscriptions Nos. 1972, 1983, 1980, 1968, 1971; M. D. Desai, Short History of Jaina Literature, para. 672 ff.
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REMARKS ON THE TEXTS become a Vācaka, he was honoured there by a grand celebration, and it was this place again which he selected as the venue for the celebration of the investiture of his grand-pupil (''prasigya") Ratnalekhara with the Vācaka title in V. S. 1493. There, his disciple Munisundara Sūri, recipient of the proud title of of “Kālīsarasvati”, (born V. S. 1436, ordained 1443, became Vācaka 1466, Acārya 1478, died 1503), composed his well-known "Santikaram Stotra', which still forms part of the Tapā Gaccha liturgy. In his "Yugādideva-stava", the poet Subhasundara, obviously a "pra-pra sisya" of Munisundara Sūri, calls the Adinātha of Devakula "Munisundara-stuta",2 which reference clearly points at the "DeülavādāRşabha-stotra", a hymn in 26 Sanskrit stanzas composed by Munisundara.
The mentioning of these two names, Somasundara and Munisundara, in our hymn, indicates that the poet must have belonged to their circle, and probably flourished in the last part of the 15th or first part of the 16h century (V. S.). The colophon states “Sarodaya Gaņi” as the poet's name, which is confirmed by the last word of the hymn itself. The word immediately preceding the latter, "Prasama-madhura", possibly points to Sânticandra”, that ascetic disciple of Somasundara, as the poet's Guru. The colophon moreover states that the hymn was composed at "Ardraja",
(1) M. D. Desai, loc. cit., para. 674. (2) Jaina Stotra Sandoha, I, p. 368.
3) Edited in Part I of the Stotra-sangraha of the Ya lovijaya Jaina Granthamälä (vide Appendix p. 18 of Jaina-stotra-sandoba, loc. cit.)
(4) Vide Munisundara Sūri, "Gurvivali", loc. cit., st. 449.
(5) Probably modern "Ādrej", a village in Gujarat with Jaina Temple and Jaina population (between Bhoyani and Pansar, not far from Ahmedabad) : vide Muni Căritravijaya, "Viharadarlana", V. S. 1988, p. 84 f
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So far, a Sadhu bearing the name of "Sārodaya Gani” is not known in Jaina ecclesiastical history. Only thus much is certain from the title “Gani”, that our poet did belong to the religious order. As he professes himself to be one of the followers of Somasundara and Munisundara, and the retinue of pupils, grandpupils and great-grand-pupils of those distinguished Acāryas was remarkable by number and brilliancy, it is quite probable that a personality of the obvious erudition and poetic gift of this Sārodaya may have remained unnoticed and unknown, especially in case of a promising career shortened by an eventual untimely death. It is also possible that Sārodaya may be the unknown monk's name of some of the famous personsonalities, known only under their later, changed Acārya's name. Anyhow, the dignified and pleasing diction, which sometimes tends to becoming too highflown, betrays the hand of a promising poet, capable of expressing genuine sentiment in a convincing way by the expedient of so stiff and conventional a medium as Sanskrit poetry.
The poem consists of 26 stanzas, 11 in Sikhariņi (2—12), 1 in Pșthvi (25), 2 in Mandākrāntā (24 and 26), and 12 in Vamsastha metre, alternating with Indravamsā (1:16-23).
The poem is handed down in MS. No. 6592 of the Scindia Oriental Institute, consisting of one leaf of country paper of apparently very high age. The characters are ordinary Devanāgarī, with only the "ai" and "au" in Padimātrā. In the centre of each side,
rhomb is left blank. The beginning is marked by the ... Jaina diagram and the words : "stadar 77:" The
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colophon runs as follows: "gfa sta 377-sita cadenas ugit कृतमाजस्थेन सारोदयगणिना ॥शुभं भवतु ॥श्रीः।"
In several places, the text has been corrected. by the same hand which wrote the original. Thus, the reading adopted for the present edition," Frame
TRIT Horsfirant" (st. 7) is entered on the margin, while the original reading, maioritat 79499221" still stands undeleted in the text itself. The poet obviously felt compunction after having written the word "carata”, which in fact is not pure and genuine Sanskrit, but apparently an attempted Sanskritization of Prakrit "carada”, which denotes a special type of robber.' In st. 12 too, the poet can be watched at his work.. Here, he had first put down the word "prākāsye", then deleted it and written above the line "drsyatve", which in the end, he likewise rejected in favour of "dhyaksatve", entered on the margin. The word "sahacaraṇasīlāḥ" in st. 8 is likewise a later correction. The original order of the stanzas has also been changed later, indicated by marks. The present edition is based on the amended form.
Being thus obviously an authograph from the poet's hand, the MS. is reliable. Its spelling too is correct throughout. Yet its perfection is badly marred by external damage, one corner being torn off and part of the text thus lost. The improbability of further Mss. of this hymn being in existence, may justify the present edition of the hymn in its defective condition.
(1) Vide "Pāžasaddamahappavo" by Pandit Hargovind Das T. Sheth, Calcutta, 1928, p. 400: "lutere ki eka jäti". The Sanskrit word "carata" (only found with lexicographers) in the meaning of "wagtail", was of course not in the poet's mind.
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3. THE VARAKĀŅA-PĀRŠVANĀTHA-STAVANA.
The author of this hymn is Acarya Hemavimala Suri, a well-known ecclesiastic diginitary, for whose life the following sources are available:
(1) "Vira-vaṁsāvalı" in Gujarati, a work which seems to be full of detailed information, but was accessible only in abstract;1
(2) "Laghu-Posālika-paṭṭāvali", likewise available only in abstract;2
(3) "Hemavimala-phāga" by Muni Hamsadhira, pupil of Dānavardhana, V. S. 1554, edited by Muni Jinavijaya;3
anonymous,
(4) "Hemavimalasüri-sajjhāya", obviously composed during the Acārya's life-time;"
(5) "Hemavimalasūri-sajjhāi"
by
hamsa, which was not available to me;"
(6) "Gacchanayaka-paṭṭāvali-Sajjhai', composed by Somavimala in V. S. 1602, which Muni Jinavijaya quotes;
Sundara
(7)
"Tapa-Gaccha-paṭṭāvali-sūtra”,
composed
by Upadhyaya Dharmasagara in V. S. 1646 in Prakrit and Sanskrit;"
(1) J. G. K., II, p. 723, note; J. St. Sand., II, Introduction, p. 108, note. (2) J. Ait. G. K. S., Appendix, p. 96 ff.; J. G. K., II, p. 743; J. St. Sand., II, Introduction, p. 109.
(3) J. Ait. G. K. S., p. 186-190; it is also mentioned by Muni Caturavijaya, J. St. Sand., II, Introduction, p. 115, where, however, the poet's Guru is quoted as "Dayāvardhana".
(4) J. Ait. G. K. S., p. 190-192.
(5) J. G. K., III, p. 553.
(6) J. G. K. I, p. 188; J. Ait. G. K. S., Ap. p. 96.
(7) Patt. Sam. I, p.
68 ff.
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(8) "Mahāvīra-patta-paramparā", composed by Devavimala Gaņi between V. S. 1639 and 1656, in Sanskrit;'
(9) "Sūri-paramparā”, composed by Vinayavijaya in V. S. 1708, in Sanskrit;2
(10) "Pattāvali-sāroddhāra”, composed by Ravivardhana in V. S. 1739, in Sanskrit;$
(11) Guru-pattāvali”, anonymous."
In some points, these sources deviate from one another. Thus, according to some of them, Hemavimala Sūri was born in V. S. 1520 and ordained in V. S. 1528, but according to others, in V. S. 1522 and 1538 respectively. Some state his secular name to have been "Hadaraja”, and his monk's name (prior to becoming an Acārya) "Hemavimala", others, however, "Hädakumāra” and Hemadharma" respectively.
Yet in main points, they appear to be unanimous. He was ordained as a monk by Acārya Lakşmisāgara Sūri, the 53rd Tapā Gaccha pontiff, who, in turn, was the third in succession from the famous Munisundara Sūri mentioned above. Lakşmīsāgara Sūri's immediate successor, Acārya Sumatisādhu Sūri, became our poet's teacher, and bestowed on him the title of Acārya in V, S. 1548, since when he has been known as "Hemavimala Sūri". As such, he became the 54th Tapā Gaccha pontiff after Sumatisādhu Sūri's death in V. S. 1551.
Prior to Hemavimala Sūri's investiture with the Acārya title, Sumatisādhu Sūri had bestowed this title
(1) loc. cit., p. 134, st. 131. (2) loc. cit., p. 146, st. 22 f. (3) loc. cit., p. 157. (4) loc. cit., p. 172.
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on two other pupils, viz., Indranandin and Kamalakalasa, but had decided later on to nominate the junior Hemavimala his successor as head of the Gaccha, in supersession of the other two. Thus, the spiritual descendents of the latter came to be considered as side branches of the Tapā Gaccha, under the names of Kutubpurā Gaccha and Kamalakalasa Gaccha respectively, while the main line, carried on by Hemavimala Sūri's pupils, is designated as the Palhanapurā Sākhā or Hema Sākha. It is this line which represents the Tapā Gaccha now-a-days, and which has produced celebrities like Akbar's spiritual guide Hiravijaya Sūri, the great logician and poet Yasovijaya, the popular poet Viravijaya, and the far-sighted reformer and scholar Vijaya Dharma Sūri of venerable memory.
To judge from the above sources, Hemavimala must have been an outstanding personality, who exercised great influence over his contemporaries and commanded their unrestrained respect, mainly by the integrity of his character and the strictness of the monastic discipline which he enforced on himself as well as on his flock, at a time when monastic ethics called for reformatory steps. His popularity is reflected in the great number of inscriptions testifying to the numerous consecrations of temples and installations of images performed by him during his extensive wanderings. It is moreover reflected in those accounts of festivals and receptions arranged in his honour by the communities of various places through which he passed, such as the famous reception accorded to him in V. S. 1572 by the over-enthusiastic Jaina community of Kapad
anj, said to have been fit for an emperor. Its report eached the Emperor Muzaffar Shah, and aroused his jealousy to such an extent that he sent emissaries to
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seize the Sūri who dared compete with him. The Acarya, persecuted, took to flight, was however arrested, and kept in confinement, till the Jaina community purchased his freedom at the exorbitant ransom of 12,000 "tankā."
The Suri's influence can further be judged from the statement contained in the above mentioned "Laghuposālika-paṭṭāva!", that he ordained 500 persons as monks and nuns, and in Devavimala Gani's statement, contained in his, "Mahavira-patta-parampara", that 1800 monks obeyed his orders. Other sources relate that all his monks strictly followed the ancient ritual which he had revived in V. S. 1556. Besides, a glance on the Jaina literary history of his period reveals that many of the outstanding writers and poets of the latter were his pupils or grand-pupils. This fact has been duly stressed by Muni Caturavijaya, on the basis of the huge genealogical tree of this Sūri's retinue prepared by him.'
As his successor as head of the Tapa Gaccha, the Sūri had nominated Anandavimala, his pupil, on whom he had bestowed the title of Acarya in V. S. 1570. It seems however that later he changed his mind, and nominated, in his stead, another disciple, Saubhagyaharsa, in 1583. Yet when Hemavimala Sūri died in that very year, Anandavimala was generally accepted as the 56th pontiff, while from Saubhagyaharṣa, a new line branched off, known as the Laghu-Pausalika Gaccha.
That Hemavimala Suri, though not a habitual writer, was a scholar of profound erudition and a gifted poet, is obvious from the only Sanskrit creation from his hand that has been known so far, viz., his" Pārsva
(1) J. St. Sand., 11, Introduction, p. 113 ff. and table facing p. 122.
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ANCIENT JAINA HYMNS Jina-stavana," which comprises 32 stanzas and reveals its author's skill by the use of the word "kamala" in each "caraņa" in various shades of meaning. The newly discovered “Varakāņa-Pārsvanātha-stavana," published and mentioned here for the first time, goes to fortify the impression of Hemavimala's qualification as a Sanskrit poet.
That he also tried himself in the field of Gujarati poetry, can be seen from the "Mrgāputra-sajjhāi”, which is a creation from his hand, and is also known under the name of "Mrgāputra-copaï', composed in V. S. 1562.2
Another Gujarati poem composed by him, has been found in the collection of the Scindia Oriental Institute. It bears the title of “Tera Kāthīyāni Sajjhāi" and is preserved on fol. 8 of MS, No. 5097, from which I published it in the 'Jaina Satya Prakāsa' of 15-12--1946.*
Besides the above four poems, no further creation from the hand of Hemavimala Sūri has been traced so far.
The Varakāņā-Pārsvanātha-stavana is handed down in MS. No. 846 of the Scindia Oriental Institute, which consists of four folios written on country paper with black ink. The characters are ordinary Devanāgarī, with a few instances of "ai" and "au" rendered in Paļimātrā style. The colophon runs as follows:
(1) Edited by Muni Caturavijaya in J. St. Sand., II, p. 217-226. (2) J. G. K. II, p. 68, and III, p. 503.
(3) Its colophon runs as follows (on fol. 12 a): "H. 868€ 37 auta ५९ शनीवारे साकथली नगरे सांतीनाथजी प्रसादात् पं. मोजीजी वांचनार्थ श्री lomaa sit sft sit fosgai d. Effacta sit st sit".
(4) XII. 3, p. 73 pp. :"sit gafar great are noturit Huara".

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इति श्रीवरकारणस्तोत्रं पार्श्वनाथस्य स्तोत्र संपूर्णः लषतं मुंनी ववेकविजययेनः" The rendering is extremely unsatisfactory, owing to mistakes obviously due to deficiency in both grammatical training as well as memory on behalf of the copyist, and necessitated numerous corrections and conjectures, as the apparatus shows.
The hymn itself consists of 46 stanzas in Vasantatilaka metre, which, though their language is a high-flown and proud Sanskrit, and though they are laden with the usual adornments of Kavya style, make pleasant and easy reading, owing to the lucidity and melodious flow of their phrasing. This is all the more creditable to the poet since the whole poem is an instance of "samasyā-pūraña," or rather double "samasyā-pūraña". It is carried through in such a way that, except for the first and last stanzas, the first and last "caraņas" of each stanza are taken from the corresponding stanzas of what are considered to be the two model Jaina hymns by both Svetāmbaras and Digambars, viz., Siddhasena Divākara's "Kalyāņa-mandira-stotra" and Merutunga Sūri's 'Bhaktāmara-stotra". Only the second and third "caraņa" of each stanza, which artistically connect the two heterogeneous “carana", as well as stanza 1 and 46, are the poet's own creation. Only in one instance, he has changed the "samasyā”, viz., in st. 45, where the pertinent "caraņa" of the Kalyāna-mandirastotra" (st.44) was required to be re-shaped so as to fit into the metrical scheme.
In Jaina literature, "samasyā-pūraņa", particularly on the basis of those two classical stotras, which are very popular and credited to be gifted with miraculous virtues, has repeatedly been practised. Five "Bhaktāmarastotra-pādapūrti-stotras” have been edited in two
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stately volumes by Professor H. R. Kapadia,' along with a learned introduction dealing with the subject in general, and with further references re this type of literature. Our present hymn forms a supplement to that collection.
1
Our hymn is addressed to Pārsvanātha, the 23rd Jina, without however containing any allusion to the latter's life or personal characteristics, except for a reference to the king of the snake-demons and his mate, the well-known "Sasana-deva" and "Sasana-devi" of that Jina, in st. 45. It describes, on the other hand, in detail, the eight "prātihāryas", common to all the Jinas (st. 21-29), as well as the conventional eight great dangers from which the devotee can be saved by remembering the Tirthankara (st. 35-42).
Like the "Devakulādinātha-stavana", this hymn too is addressed to a "sthāpanā-Jina", in this case the ancient Pārsvanatha image of Varakāṇa. The latter is even now a famous and much visited place of pilgrimage in Marwar, 3 m. from the B. B. C. I. Ry. Station Rani, known as one of the five sacred places which form the "Pañca-tirth" of Marwar (i. e. Nadol, Nadulai, Ghaneray, Ranakpur, and Varkana). It possesses a huge temple of the "Bāvana-Jinālaya” type, dedicated to Pārsvanātha, whose image is believed to be very old and equipped with magical powers.
Munisundara Suri, whose name the poet has woven into the last stanza, was already mentioned before as the 51st pontiff of the Tapa Gaccha, and one of the poet's spiritual ancestors. The last word of the hymn,
(1) "Śri-Bhaktamarastotra-pădapurti-rupasya Kavyasangrahasya Prathamo Vibhagaḥ (Agamodaya-Samiti), 1926," and "Dvitiyo Vibhāgaḥ 1927".
(2) Muni Caritravijaya, "Vihara-darśana", P. 234. (3) Muni Santivijaya, Jaina Tirtha Guide, p. 135 ff.
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“Vimaladharma", if at all meant as a "Sleṣa, may be'an allusion to a personality of that name to whom the poet felt bound in gratitude or admiration, perhaps some one under whom he studied. This is all the more likely since the same name occurs a second time in this hymn, in st. 19, though disguised in the form of "Vimalavabodha".
Contemporaneous literature does indeed know of a personality of the name of "Vimaladharma". An anonymous Gujarati poet refers to him as to his Guru in his "Jīrāülā Pārsvanātha Vinati”, and his “Mahāvīra Vinati", the latter composed in V. S. 1520, in the following words:1
"जय पंडितवर सिरि विमलधर्म, ते जाणइ आगम वेद मर्म । " and:
" राय राणा भूप अति घणाए, जिण रंजिय देस नयर तणाए, विमलधमें पंडित तणइए उपदेसिइ जीर्ण उधार करइए || १३ "
The colophon of an ancient MS. of the "Gautama Rasa" too mentions the name of Vimaladharma in the following way : " " पूज्याराध्य पंडित शिरोमणि पं. विमलधर्म गणि शिष्य पं. जिनशील गणि पं. श्रीविमल गणि शिष्य पं. माणिक्यविमल गणि."
This record is undated. It is, however, supplemented by another, dated one, viz., the colophon of a MS. of "Śrī Gurūṇām Svādhyāya”, of V.S. 1569, in which the same Manikyavimala, who wrote the above MS. of the "Gautama Rāsa", states his Guru "Śrivimala" to be a pupil of the "Laghu-Sallya Gacchanayaka ŚrīHemavimala Suri". Since, as we saw above, the "Laghu
(1) J. G. K., III, p. 552. (2) J. G. K. III, p. 553 f.
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Pausalika", or "Laghu-Śaliya" Gaccha branched off from the Tapa Gaccha after Hemavimala Sūri's death, these two records clearly indicate that "Vimaladharma Gani" belonged to the the same order as Hemavimala Süri. The former two references show that this Vimaladharma must have been at least 20 years older than our poet, and that he was a "Pandita", familiar with the Agamas and the Vedas, as well as a personality of influence and attractive force. Nothing stands thus in the way to assume that this "Vimaladharma", may have been our poet's "Vidyaguru", whom he felt bound in gratitude to extol in his hymn.
4. THE SAŃKHEŚVARA—PĀRŚVANĀTHA—STAVANA.
Hemavimala Sūri, the 55th pontiff of the Tapa Gaccha main line, was, as we saw above, succeeded by his pupil Anandavimala,, in the straight continuation of that line, the "Hema Śākhā”. In a minor line branching off from the latter, the Sadhus Harṣavimala, Jayavimala, Kirttivimala, Vinayavimala, and Dhiravimala Gani succeeded one another in .this order. The latter's disciple Jñānavimala Suri made himself a name as a poet and scholar during the pontificate of Vijayaprabha Sūri, the 61st head of the Tapa Gaccha, and gained such influence that, after Vijayaprabha's death, he was counted as the 62nd pontiff by his followers. The new branch thus initiated is known as the "Vimala Sakha" or "Vimala Gaccha."" It is this dignitary who interests us here as the author of the "Sankhesvara- Parsvanatha-stavana".
A sketch of his life has been given by the late M. Desai, along with a survey of his works, so that details
(1 J. G. K., II, p. 753 f. (2) J. G. K., II, p. 308 ff.

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re both need not be reiterated here. For the present: purpose, it will be sufficient to know that he was born in: V. S. 1694, ordained by his Guru Dhiravimala Gani in! 1702 under adoption of the monk's name of "Nayavimala”, invested with the title of “Acārya" under adoption of the name of "Jīlānavimala Sūri" in 1748 or(1749) - by orders of the head of the Gaccha, and died in 1782 at the ripe age of 89 years. He was a prolific writer, His creations comprise a number of Rāsas, Stutis, Stavanas, Sajjhāyas, and Bālāvabodhas in Gujarati, while his Sanskrit works are commentaries on texts like the Prašnavyākarana-sūtra and the Dāvānala-stuti, as well as an orginal "Sripāla-caritra" in prose, and a "Prasna-dvātrimsikā-stotra.
The "Saikhesvara-Pārsvanātha-stavana", published here for the first time, thus brings the number of his Sanskrit hymns up to two. The fact that this hymn opens with the word "aindra”, naturally makes the reader think of Yasovijaya,' the famous author and reformer, senior to our poct by a few decades, who had such a predilection for this word that he began many ci nis Sanskrit works with it. For, according to his own testimonial, it was by repeating the first syllable, of this word, "aim”, the “mantra-bīja" of Sarasvatī, that this goddess bestowed her favour on him, on the bank of the Ganges, during his 12 years' stay at Benares as a student. The mystic meaning of the whole word "aindra”, which, in Tantra-castra, is an equivalent of "mati”, "buddhi”,9 may also partially be responsible for Yasovijaya's predilection for the same. One could therefore think of Yasovijaya as the
(1) He was ordain:d in 1689 and died in 1743 (J. G. K., II, p. 20 fi). (2) Vide J. St. Sand., I, Introduction, p. : 4. (3) Vide "Tanträbhidana", ed. A. Avalon, p.o.
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ANCIENT JAINA HYMNS
author of the present hymn, assuming "Naya+vimala" in the last stanza to be a lapsus calami for "Naya+ vijaya", which latter is the name of Yasovijaya's Guru, who might have been glorified by the poet in this way. The proud language and the erudition displayed therein, would be in congruence with such illustrious authorship. Yet the mentioning of "Dhiravimala" in st. 13 leaves` no doubt that its author can be nobody else but the latter's disciple Nayavimala alias Jñanavimala Sūri. Since he gives his name as "Nayavimala", the hymn must have been composed before this name was changed to "Jñanavimala Suri" at his investiture with the Acarya title in V. S. 1748-9; and since he mentions, in the same stanza, Vijayaprabha Sūri as pontiff, it must have been after the death of the preceding pontiff Vijayadeva Sūri in V. S. 1713 (or anyhow, after VijayaprabhaSuri's investiture with the Acarya title in V. S. 1710).
Still, the word "aindra" is not a wrong clue, if interpreted as pointing towards eventual connections of the poet with Yasovijaya. Such connections are indeed established. For it is well known that NayavimalaJñanavimala wrote Bālāvabodhas on two of Yasovijaya's works, viz., (1) on his "Simandhara-stavana" (V.S. 1763)1 and (2) on his "Atha-yogadṛṣṭi-sajjhāi" (undated).2 Muni Caturavijaya3 has inferred from Yasovijaya's "Aṣṭapadr" and from the "Navapada-pūjā" going under the latter's name, that personal relations existed between Yasovijaya on one side and the three philosopher poets Jñanavimala, Anandaghana, and Devacandra on the other side. This is quite impossible in Devacandra's case, who was born in V. S. 1746, i. e., three years
(1) J. G. K., II, p. 45 ff.; p. 7; and III, p. 1312 and 1631.
(2) J. G. K., II, p. 39; p. 336; and III, p. 1637.
(3) J. St. Sand., 1, p. 101.
(4) Vide "Srimad-Yafovijayaj! Upadhyaya-kṛta Śrl NavapadajI Pūjā”, Jaina Atmananda Sabha, Bhavnagar, V. S. 1981, Introd. p. 7 f..
AA

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REMARKS ON THE TEXTS after Yasovijaya's death (V. S. 1743). Yasovijaya may personally have known the Sage Anandaghana, whom he celebrates eloquently in his "Astapadi”, and it is possible that he and our poet, who was his junior by only 14 years, did meet. Such personal acquaintance is, however, not inferable from the fact that the “Navapada-pājā" contains, besides Yasovijaya's name, also the names of those poets: the passages composed in “Ulālālani Desi'' and the "kalasas" being marked as Devacandra's work, and the passages in "Bhujangaprayāta" and in "Malini'metre as Jñānavimala Sūri's. For, though no written account of the history of this collaboration is so far known to exist, there is an oral tradition, according to which this "pūjā” was compiled after Yasovijaya's death in execution of a joint resolution of the representatives of the three main Svetāmbara Gacchas, viz., our poet Jñanavimala Sūri as representative of the "Vimala Gaccha", Devacandra Sūri as representative of the "Kharatara Gaccha", and Uttamavijaya Sūri as representative of the main line of the 'Tapā Gaccha”, decreeing that a pūjā text should be created which would be palatable to followers of the three Gacchas. To achieve this, certain portions of the extremely popular “Sripāla-rāsa" composed by Yasovijaya, representing the Tapā Gaccha, were approved as the basis of the pūjā text, while Jñanavimala Sūri on behalf of the Vimala Gaccha and Devacandra on behalf of the Kharatara Gaccha contributed each a number of stanzas prepared ad hoc, a compilation which proved so successful that it forms even
(1) Vencrable Upidhyaya Labdhimuniji, who commands my sincere admiration as a poet, a scholar, and before all as a truc embodiment of the an. cicnt idcal of Jainasadhu-hood, has assured me that this tradition is handed down in his "Sampradaya" as a historical fact, which is sufficient guarantec for its reiliability
45

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ANCIENT JAINA HYMNS now the most frequently used pūjā text of the Svetāmbara community.
In any case, it is certain that Nayavimala-Jõāna.. vimala was an admirer of Yasovijayaji. It would thus have been natural for him to show his reverence for the great philosopher and scholar by opening his hymn with the two syllables which the latter loved so much. And in fact he opened it not only with those two syllables, but with the whole phrase which follows them in one of Yasovijaya's works, the "Pratimā-Sataka", which likewise begins with the words "Aindra-sreņinatā"'.' Not only thus much, but in this very way of expressing his veneration, our poet seems to follow the example of Yasovijaya, who opened his SankhesvaraPārsvanātha-stotra with the words "Ananta-vijñānam apāstadosam" in imitation of Hemacandra's “Anya-yogavyavaccheda-dvātrimsikā" (which begins "Anantavijñānam atita-dosam”), and who, at the end of some of his works, used the word "rahasya", the literary stamp of the erudite neo-logician, Pandita Mathurānātha, who had been his teacher, and whom he greatly admired.?
Like the preceding two hymns, Nayavimala's "Sankhesvara-Pārsvanātha-stavana" addresses itself to the image of a particular place of pilgrimage, here the timehonoured and much worshipped statue of Pārsvanātha at Sarikheśvara, an ancient Jaina place situated 16m. from the B. B. C. I. Ry. Station Harij in the Radhanpur District of Gujarat. Its history and legends have been dealt with in detail recently, in a monograph entitled "Śankhesvara Mahātīrtha" (in Gujarati) by the
(1) So does the (probably Svopajña) Țabi to Yasovijaya's "Dravya Guña Paryaya Răsa" (J. G. K., II, p. 30).
(2) Vide M. B. Jhaveri, "Comparative and Critical study of Mantra
shastra", Ahmedabad, A.D. 1944, Introduction p. 245 f, an
J. G. K. II, P.25.
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REMARKS ON THE TEXTÍ learned Muni Jayantavijaya (Vijaya-Dharma SūríJaina-Granthamālā 57),' where also the pertinent-epigraphic, as well as literary records are given. The present hymn, which has been discovered only recently in the collection of the Scindia Oriental Institute, is not included therein, so that the following edition supplements that work. A previous reference to the hymn
was made in my Gujarati article "कंइक शंखेश्वर साहित्य", "published in the “Jaina Satya Prakāša”.?
The main portion of the hymn consists of prayer for transcendental bliss and eulogy of the Tirthankara, who is repeatedly identified with certain aspects of Hindu deities, being invoked as “Vişņu”, “Sankara", Page #84

ANCIENT JAINA HYMNS
enced works of a number of well-known poets, such as Manatunga, Hemacandra, Dharmaghosa, Munisundara and even Yasovijaya.'
((
In st. 9,our poet extolls the magic power of the most popular and ancient of all the Pārśvanātha-mantras, which is generally known as the Visahara-phulimga-" or "Cintamani"-mantra, and which is mentioned in as early a piece of Jaina literature as Bhadrabahu's famous "Uvasaggahara stotra", assumed to have been composed in the 6th century A. D., if not earlier." Many texts of the subsequent centuries, such as Mānatunga's famous "Bhayahara-stotra", composed during the reign of king Harṣa of Thanesar, Dharmaghosa Suri's "Śrī-Cintamani-kalpa", belonging to the 14th century or perhaps even to an earlier period, the Pārsvanatha. hymns by Taruṇaprabha Sūri, Kamalaprabha Sūri, Ratnakīrtti Sūri, Jinapati Sūri, etc.3 contain the mantra, (some with prescriptions re its use), and glorify its miraculous efficacy. The "mula-mantra” runs as follows: “Namiūņa Pāsa visahara vasaha Jiņa phulimga”.4
Around this "mula-mantra", various "bījas" are generally arranged in varying number and order. Our poet mentions the following "bījas": "aim" (general, for "Sarasvati"), "om " (general, for "pranava"), "hrim" (general, for "Māyā”), the latter twice, "arham” (especially Jaina, for "Tīrthankara", "Siddhacakra”, or "Aṣṭa-mahā-siddhi", or according to another school
(1) Vide M. B. Jhaveri, loc. cit., and J. St. Sand. I and II, where a number of texts of this type are published.
(2)
Vide J. St. Sand. II, Introduction P. 8.
(3)
Vide J. St. Sand., both parts.
(4) Vide J. St. Sand. II, p. 27.
(5) This definition is given in a list of "mantra-bijas", contained on an ancient stray MS. leaf in the possession of the Venerable Upadhyaya Labdhimuniji.
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REMARKS ON THE TEXTS of thought, for "jñāna”), and "Sri()" (general, for “Lakşmi'), without however giving any hint as to their intended arrangement.
In the same way, st.10 glorifies the efficacy of a mantra of Padmavati, Pārsvanātha's much worshipped "Sāsana-devī”, whom Jaina Mantra-sāstra believes to embody Sarasvati, Durgā, Tārā, Sakti, Aditi, Laksmī, Kāli, Tripurasundari, Bhairavi, Ambikā, Kundalini, etc. The "mūla-mantra” is given in the following form:
"Padmavatyai namo'stu sphuta hana daha raksa raksa”.
It is accompanied by the following "bijas”: "om" ("pranava"), "hrin" ("Māyā"), "klīm" ("Ananga"), "Srīn ("Lakşmi"), "blīm" ("ākarşana'), "hsom" ("Sakti”), which are all well-known from general Tantric lore, except for "blīm”, which seems to be particularly Jaina. The poet winds the list up with "svadha”, which, according to Jaina Tantrasāstra, indicates "sánti”,4 just as "namo" is said to stand for "moksa"If the third line of the pertinent stanza, an isolated Citralekha-pada between two Sragdharā-padas, and, for the matter of that, the only Citralekhā-pada of the whole poem is to be corrected
(1) Vide the list of "mantra-bijas” on p. 139 ff. of “Gri Jaina-KalpaMantra-Nahodadhi", I, by Muni Viravijaya, Multan, V. S. 1999. (2) The following arrangement is generally found:
"Om hrinú frimu (arbam) namiūna Pisa visahan rasaha Jiņ3 phulinga hrim (irim) (sviba)". Vide J. St. Sand. II, p. 15, 27, 34, II. B. Jhaveri, loc. cit., Texts p. 43, 44, and "Panca. pratikramapa-sutra", Jaina Atminanda Sabha, Bhavnagar,
V. S. 1952 p. 456. (3) Though "blin" is occasionally found in Jaina texts, still I have seen this explanation only in Upidhyaya Labdhimuni's list referred to above.
(*) M. B. Jhaveri, loc. cit., Texts, p. 20, 1. 11.
(5) Tide "T1-Sün-mantra-t tabatkalpavivaran:", Almccatad, 133 S. 2455, p. 2 a.
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ANCIENT JAINA HYMNS into a Sragdharā-pada, it would most likely have contained also the bīja "aim", the most important of the bījas applicable to Padmāvati-Sarasvats from the stand-point of our poet. The line would then perhaps read as follows:
"aim klim Srim blim tathā hsom" etc. It is also possible that the well-known "slīm” (“amsta") is a more correct reading than the rather doubtful "blīm”. Yet when constituting the text, I thought it advisable not to trust conjecture, so long as the latter is avoidable.
I have not succeeded in tracing this particular mantra anywhere else, though similar mantras are frequent, so far as thus much can be stated without proper "uddhāra”.!
That a precise "uddhāra" is not possible in the case of both the mantras on the basis of the data as the poet puts them before the reader, is only natural, for to him, like to the equally spiritual-minded among his predecessors on the field of "mantra-garbhita" poetry, the mantra, divested of its original implication of sorcery, is nothing but another means of self-realization, so that its precise woi ding is of minor importance. It is passion (“kaşāya"), the "bhāva-ripu," i., e., the esential enemy of the ātman, which the poet visualizes (and the Jaina reader correctly conceives) as the object of the barbarous-sounding "hana" and "daha”, and it is “Final Beatitude" or "moksa”, which hides behind the mystic-allegorical veil of the secularluxurious-sounding “Sāmrājya-Lakşmi” in st. 11.
In the case of the "kavaca”-like "ryāsa" of the Jina's image on various parts of the body, as recom(1) Vide M. B. Jhaveri, loc. cit., Texts, and J. St. Sand. I, Texts.
0

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REMARKS ON THE TEXTS mended in st. 12, the imagined spiritual aim, viz., "siddhi”, final emancipation, after only 2-3 more rebirths in high forms of existence, is clearly expressed.
The hymn consists of 21 stanzas in the Sārdūlavikridita metre, which occasionally, sometimes in the middle of a stanza, changes over to Sragdharā (Sa,Sh; 10b, 100, 11b-12d, and 20d), and once (st.10c) to Citralekhā, unless the latter is to be changed to Sragdharā, as discussed above.
The hymn is handed down in MS. No 5084 of the Scindia Oriental Institute, on two leaves of very old country paper. The first page is blank, the second contains, on its right side, a blank space, obviously meant for an intended, but not excuted illustration, the third is fully covered with writing, and the fourth has only three and a half lines of writing at the top. The centres of pages lb and 2a are each filled with a rhomb of red lines, each rhomb being sub-divided by further red lines into 9 small rhonbs, each of which contains one letter of the running text. The characters are ordinary Devanāgari, “Adhomātrā" being carried through, and "Padimātra" regularly used for the "ai" and "au" only. The writing is in faded black ink, with occasional superimposed corrections in age-browned yellow pigment, The cyphers and some of the signs of punctuation, as well as the "Mangalācaraņa" formula('stanca 77: 11", preceded by the usual diagram) are overpainted with red ink, darkened by age. The US. has no colophon, except for the words "fa Steia daratanta" ( sic !):
After st. 20, the words "siteta Camigov silaca 97" are clearly readable through the yellow pigment. This may be an indication that the JIS, was written
5

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ANCIENT JAINA HYMNS by the poet himself, who first framed the beginning of this stanza in this way, and later rejected the phrase in favour of the present wording. The general correctness of the spelling of the whole text is in favour of such an assumption. This would greatly enhance the value of the MS., which is, anyhow, the only record of this hymn known up till now, and, in view of the celebrity of its author, a find of no small literary importance.
5. THE TIRTHAMĀLĀ—CAITYAVANDANA: According to Śvetāmbara terminology, a "caityavandana" is a short ritual performed (either separately in the temple, or as part of the “Āvasyaka”-liturgy) in praise of the "caitya”, i. e., the Jina Temple, and what the latter stands for. It consists in the recitation of liturgic formulas and hymns in Sanskrit, Prakrit, Apabhramsa, and Modern Indian languages respectively, under adoption of prescribed postures, accompanied by the performance of a number of obeisances ("khamāsaņā”) and the "kāyotsarga” rite (i. e., a certain posture which is held for a certain measure of time with perfect motionlessness ). Those formulas and hymns are fixed, except for two hymns which the devotee selects himself, one for being recited in the beginning, the other at the end of the ritual. The former of these two hymns bears itself the name of "caitya-vandana'. which represents a particular type of hymnal literature.
A "caitya-vandana" in the latter sense is always short poem in praise of the Tīrthankara, the Tīrthanara image, the Tirthankara temple, the Jaina Tirtha, or any abstract idea connected with Tirthaikara worship which lends itself to eulogy. The Jina statue, being
52

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REMARKS ON THE TEXTS
installed and consecrated under special rites (the "añjana-salākā"), is not merely holy by association, but is considered a concrete representative of the Tirthankara by "sthāpanā”, though, contrary to the Hindu conception, it is not imagined to be in any way presided over, or animated by him whom it represents. The ritual importance of the temple with its multitude of images, and of the place of pilgrimage with its multitude of temples and chapels can thus easily be understood. The caitya-vandana, however, often does not content itself with extolling image, temple, and place of pilgrimage, but pays homage to a whole chain of such sacred places. The caityavandana published below, belongs to this type, justifying its name "Tirthamālācaitya-vandana", the first part of which, "tīrthamālā" denotes, in ancient Gujarati, a poem describing a number of places of pilgrimage, or a pilgrimage undertaken to them."
Our Tirthamālā-caitya-vandana is anonymous. It consists of five Sārdūlavikiīļita stanzas in Sanskrit, which are formally all but perfect, and void of poetical charm. The interest of the poem lies in the list of names of ancient Jaina tīrthas which it contains, and most of which are borne out as genuine geographical names, either by their modern equivalents, or by other references in old Jaina works. In the order of the poem, they are as under (names inferred by conjecture being marked by (?))
(1) Śatruñjaya (modern Shatrunjaya Hill), (2) Raivatāri (modern Mt. Girnar),
(3) Blurgoh Pattana (modern Broach), (1) Vido "Prācina Tirthamälä-saigraba”. Sam kodhaka Sri-Vijaya. dharma Sūri, I, Bhavnagar, V. S. 1978.
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ANCIENT JAINA HYMNS
(4) Simhadvipa'
(5) Dhanera (modern Dhānerā in Palanpur State, 22 m. n. w. of Deesa Station), (6) Mangalapura (modern Mangrol on the south coast of Kathiawar),
(7) Ajjāhara (modern Ajārā near Veraval on the south coast of Kathiawar),
(8) Śrīpura (modern Sirpur in Berar, near Akola, with "Antarikṣa-Pārsvanātha” Temple),
(9) Koḍināraka (modern Kodinar, near Mt. Girnar),2
(10) (Mantri-) Dahaḍapura (modern Dahidro near Mt. Abu),
(11) Mandapa (modern Fort Mandu),
(12) Arbuda (modern Mt. Abu),
(13) Jirapalli (modern Jiravla, with "JävlaPārsvanatha" Temple, near Deesa),
(14) Phalarddhi (modern Falodhi in Marwar, near Merta Station, with "Falodhi Parsvanatha" Temple),
(15) Parakanaga
(1) Simhadvipa may stand for "Simhaladvipa", Ceylon, where ancient place of Jaina worship is testified to have existed in the "Vividhatirtha-kalpa" (loc. cit. p. 85), or for "Singhapura", an ancient Jaina tirtha near Jhelum mentioned by Hiuen Tsang (Cunningham, p. 142 ff.), and in V. T. I., p. 3, 85, 86.
(2) Vide Muni Caritravijaya, "Vihāradaríana", p. 229, and V. T. K.,
P. 107.
an
(3) Perhaps "Parakaraga", for "Parakara", would be the correct reading. Jaina paces of worship situated in "Pārakara-defa", i. e., the modern Thara-Parakara District of Sindh, are referred to in the V. T. K, p. 85 and the Aṣṭottari-Tirthamālā, st. 83 ff.
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REMARKS ON THE TEXTS (16) Śairssa (modern Seraiya,' near Kallol in
Distr. Ahmedabad), (17) Śanklesvara (modern "Sankheśvara
Pārsvanātha" Tirtha, near Radhanpur,
Gujarat); (18) Campāneraka (?) (modern Champaner
at the foot of Pavagadh, Baroda.
State), (19) Dharmacakra (?) (modern Taxila) (20) Mathurā," (21) Ayodhyā, (22) Pratişthānaka (modern Paithan), (23) Svarşagiri (modern Jalor. in Marwar), (24) Suragiri (modern Daulatabad) (25) Devaki Pattana (modern Prabhas Patan
near Veraval in Kathiawar),
(1) In ancient texts, this place is referred to as "Serisa" or "Serisayapura" (vide V. T. K, p. 24, 25, and 106). It seems to have once been an im. portant town. Vidc also Muni "Joanavijaya, Jain Tirthono Itihās", p. 40 ff.
(2) About the history of this ancient place vide Pt. Lālacandra Gandhi, "Teja pälano Vijaya" and "Pavagadh thi Vadodarī mir Prakata Thayeli Jirāvala Pirávanitha", Bhavnagar, V. S. 1997 and 1991.
(3) Vide V. T. K., p. 85 and Astot, st. 41 and 56, and p. 66 ff. ("Dhammacakka-tittham"). According to "Puritana-prabandba-sangraha"1., p. 107, para. 232, Taksa ila had once 105 "tirthas."
(4) The importance of Mathuri as an ancient Jaina centre has been revealed by excavations. Detailed references are fonnd in the V. T. K. Vide also "Prācida Tirthamala-Saigraha", Introduction p. 40.
(5) For ancient references vidc tho V. K. T.; for further information: "Prācina Tirthamali-sangraha", Introduction, p. 34.
(6) Vide V. T. K. p. 61 ff., p. 86, etc.
7) Cp. Astot., st. 86 f. ("Jälaure...... Suvannagiri-sihare"), etc. (8) The form "Devagiri" is better known : cp. V.T. K., p. 44f.
(9) Cp. the referenccs given by M. D. Desai, "Short History", Index p. 994.
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ANCIENT JAINA HYMNS
(26) Hastoḍipura',
(27) Pāḍalipura (modern Patna),2
(28) Dasapura (modern Mandasor in Gwalior State),
(29) Carupa (modern Charup near Patan in Gujarat),
(30) Pañcāsara
(modern Panchasar near
Wadhwan in Radhanpur State),"
(31) Karaṇāvati (?) (modern Ahmedebad), (32) Śivapura (modern Ahichchhatta),*
(33) Nāgadraha (modern Nagda in Udaipur State),
(34) Naṇaka (modern Nana near Pindwara in Jodhpur State),"
(1) "Hastoḍipura" is, according to the well-known specialist in the history of Jaina tirthas, Muni Jayantavijaya, whom I consulted, identical with "Hastikuṇḍi", an ancient Jaina tirtha, the name of which occurs in inscriptions pertinent to a tirtha now known as "Rätä Mahivira", situatedlin the jungles about 2 m. from Bijapur (the latter place being situated 8 m. south-east from the Ry. Station Eranpura Road). In an inscription of V. S. 1345, this "Hastikundi" is referred to as "Hathiuḍi" (Nahar, "Jaina Inscriptions", I No. 897), which linguistically lends itself well as prototype for a demiSanskritic "Hastoḍipura". The "Hastikundiya-gachha" (Vijaya Dharma Sūri, "Prācina-lekha-sangraha", No. 43) seems to have derived its name from that place.
(2) Cp. "Paḍalipura" etc., in V. T. K., p. 34, and "Paḍaligama" in Astot., st. 82; vide also Pric Tirtha. Sangr., Introduction, p. 15. The form "Pataliputra" is better known.
(3) Vide Pt. L. Gandhi, "Pavagadh" etc., p. 52, 71, 90.
(4) In Astot., st. 59, this place is referred to as "Sivanayari". Vide also prác. Tirth. Sangr., Introduction, p. 39. The modern place of the name of "Ahichchhatta" is situated near the E. I. Ry. Station, Aonla, not far from Rampur (Distr. Bareilly).
(5) Cp. Muni Vidyavijaya, "Meri Mevaḍ-yatra", p. 59 ff. The place is situated about 13 m. north of Udaipur.
(6) Cp. V. T. K. p. 86 Astot., st. 89 ("Nsnaya").
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REMARKS ON THE TEXTS (35) Meru (mythological)," (36) Kundala (myth.); (37) Mānuşa (myth.), (38) Rucaka (myth.).* (39) Vaitāļhya (myth.)," (10) Nandīsvara (myth.), (41) 4ştāpada (myth.); (42) Gundara, (43) Gajapada, (41) Sammetasaila (modern Mt. Sametshikhar
or “Shikharji” in Bihar), .
(1) Ticc above, chapter on the "Tirthaikaras."
(3) Xanic of the lith ring-continent, counted from Jambu-dvipa,'also ci thic ring-mountain traversing it. Being outside the "Manusyaloka", its empics are built and attended only by divine and semi-divine teinys (Sthiniuga-Sutra. "Kundala").
(3) "Manuşa" is an abbreviation for "Männsottara" similar to the form anun" used in the Astot., st. 25. Re the Männuşottara Mountain, ride chapter on the "Tirthaikaras”.
14) Yame of the 13th ring-continent as well as of the ring-mountain traversing it. Its temples are divine. (Sthânăuga-Sūtra IX: "Ruyaga").
(5) Mountain-range which traverses the Bharata-kşetra from east to west, parallel to its northern boundary, the Himavat (Tattv. III, p. 256).
(6) Xame of the Sth ring-world, famous for its splendid temples and the corgeous religious festivals celebrated there by gods and genii. (SthânăugaSütra IV, 3: "Xandisara").
a) According to V.T. K., p. 91, this much culogized semi-mythological sacred mountain ("Atthavaya") is situated 12 yojana north of Ayodhva, and is identical with the Kailisa, also called "Dhavalagiri", which, so this work states, can b: seen from Ayodhya on clear days, with its range of white summits.
(8) "Gundara" may be the same as "Gudara-giri", which is mentioned in the Astot., st. S3, as situated in "Parakara-desa", i. c., in Sindh, and a being sacred to dinitha.
(9) Gajapada may be the same as "Gajāgrapada" ("Gayaaggapaa"), a Jaina Tirtha mentioned in stot., st. 41 ana 49 under this name and under the name of "Dairuaküta" ("Dasanpaküda"). According to V. T. K. p.is, a "Dasama-pavvaya" was situated in Magadha uear the Tirtha Kotilila". There is matter for research.
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ANCIENT JAINA HYMNS (45) Vindhya (?) (modern Vindhya Mountains), (46) Sthambhana-nagara (modern Cambay), (47) Sittha-Mīttha-nagara (modern Set
Mahet), (48) Rājadrala (?) (modern Rajasagar Lake
in Udaipur State),' (49) Śrīnaga (modern Parwattam on the
Krishna River), (50) Kuntivihāra (Modern Nasik), (51) Pallavihāra (modern Palanpur in Gujarati, (52) Tārañagaậlia (modern Taranga Hill in
Mahikantha, Gujarat), (53) Sopāraka (modern Soparo near RY.
Station Nalasopara, north of Bombay), (1) The V. T. K., p. SS rcfcrs to a Jaina Tirtha in the VindhyaMountains.
(2) Modern "Set-Maliet", or "Saliet-Nahet", situated near the O. B. Ry. Station Balrampur, represents the site of ancient "Sråvasti", as the former part of the name suggests (ride Prác. Tirth. Saugr., Introduction, p. 36 f.). The V. T. K., p. 70, testifies that at the time of its composition (V. S. 1389), the old city of Srāvasti ("Sávatthi") was known as "Nähethi".
(3) "Rājadiaha" is an obvious equivalent of "Rājasigara", the name of the famous lake in Udaipur State, at the shore of which the ancient Jaina place of "Rajanagara" was situted. Even now, the ruins of the latter cxist, with the remains of a grand Tirthaikara Temple, known as "Dayalshab ki Hila" : tide Muni Vidyāvijaya, "Meri Mevad-yātra", p. 64 ff.
(4) "Srinaga" obviously stands for "Sriarvata", a name often mentioned in Jaina Literature, as, c. g., V. T. K., p. 86 and 105. M. D. Desai, Short History, para. 524 locates it "near Conjeeveram". Nundo Lal De identifies ancient "Srisaila or Śr iparia'a" with lanvatam, 50 m. from the G. I. P. Ry. Station Krishna.
(5) Vide V. T. 1., p. 53.
(6) Cp. Aştot., st. 100, where this sacred place is referred to as *Tá anagiri".
(7) Vide al:0 V. T. K., p. 25. The modern plac, lics 40 m. from Andher. It was once an important Jaina centre.
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(54) Arāsaṇa (modern Arasan near Mt. Abu),' (55) Dvaravati (modern Dvaraka),2
(56) Jirnavapra (modern Junagadh near Mt. Girnar),
(57) Thārāpadrapura (modern Tharad near Radhanpur in Gujarat),
(58) Vavihapura (modern Vavipur near Radhanpur),
(59) Kasadraha (modern Kasindra, 8 m. north of Abu Road Station),3
(60) Iḍara (modern Idar in Gujarat), (61) Tejallavihāra;“
(62) Nimbatataka,'
(63) Candra (modern Chandur close to Sankheshvara, vide above, No. 17),
(64) Darbhavati (modern Dabhoi, 25 m. from Broach),
(1) Arasana is a synonymon of "Kumbhariya", once a flourishing city, much mentioned in Jaina literature. As a tirtha, it is aiso re erred to in Astot., t. 102.
(2) lide also V. T. K., p. 12, 85, S3, etc.: Dvaraka was once a Jaina tirtha, bound up with the History of the 22nd Jina Neminatha, contemporary and relative of Sri-Krsna. Cp. also M. D. Desai, loc. cit. para. S42.
(3) This place is mentioned in the Astot., st. 102 as "Kasaddaha”, and in V. T. K., p. 85 as "Kaśahrada”.
(4) V. T. K., p. 7, st. 3 and p. 10 mentions a place "Tejalapura", built by Tejapala at the foot of Mt. Girnar. l'ide also Pra. Tirth. Sangr., Introduction p. 57 f. "Tejallavihara" may refer to the temple erected there by him in honour of Paisvanatha, and named "Asarayavihara" in honour of Tejapala's father.
(5) This may be "Nimbuyada", a Jaina place mentioned in Meghavijaya's "Pārivanātha-nāma-mālā", st. 20 (Prac. Tirth. Sangr., p. 151), or "Nibeḍa Kala", mentioned in the "Tirthavali-pravasa" (No. 383) as possessing an old Jaina temple. Perhaps both names denote one and the same place.
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(65) Satyapura (modern Sachor, 80 m. from
Deesa station), (66) Bāhadapura (modern Bahadpur near Mt.
Shatrunjaya), (67) Rāờadraha, (68) Vāyaṇa (modern Bayad near Kapadvanj
in Gujarat)," (69) Nandasama," (70) Sami (modern Sami near Radhanpur), (71) Dhavalaka (modern Dholka in Gujarat), (72) Jarjjāda (modern Majadar near Patan
in Gujarat), (73) Jundasthala (modern Mungthala at the
foot of Mt. Abu),
(1) Satyapura, mentioned in this form in the V. T. K., p. 4 and 86, and in the Prakrit form "Saccaura" in the Astot., st. 85. This is a very o referred to already in the "Jagacinti mani-caityavandana" (ascribed to Mahāvira's direct disciple Gautama) as sacred to Mahavira.
(2) Vide Muni Jñanavijaya, "Jain Tirthono Itihas", p. 5.. The place was founded by Kumārap'la's Minister Vägbhata, the elder brother of the above mentioned Ambada, who restored Sakunike-vihāra.
(3) This place is frequently mentioned in old works in varying form, as "Rādadraha", "Rädadaha", "Rāðadre", "Lāțahrada", "Rīdadhada", (etc.), one of the oldest references being in Astot., st. 84. From an anc'ent inscripttion of V. S. 1209 (M. D. Desai, Short History, p. 261, note 294), it appears that this place was part of the territory of King Alhaņa Deva, a vassal of Kumārapāla of Gujarat. The learned Jainācārya Sri Vijayendra Sūriji refers me to Epigraphica Indica IX, p. 73-78 and XI, p. 44 f. and 74 f., wbich were not available to me.
(4) Vide also V. T. K., p. 56 and Astot., st. 101, as well as M. D. Desai, Short History, para. 496. Re the modern place, vide Caritra-vihāra, 1). 155 and Tirthāvali-pravåsa, No. 696.
(5) From Aştot., st. 90 ("Mevada-desa-gāme........Nam disama-name, Sagadala-mamti-kāriya-Jina-bhavane"), it appears that this place was situated in Newar and contained a Jina Temple built by the Minister "Sagadāla". Nothing further could be ascertained.
(6) Vide V. T. K., p. 96 Aștot., st. 97, and Muni Jayantavijaya, "Abu", II, p. 245, Inscription 10-11, according to which references, "Wupdasthala" was an old Jaina place.
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REMARKS ON THE TEXTS (74) Modhera (modern Modhera near Baman
vada in Baroda State), (75) Dadlipadra (modern Dahod near Godhra
in Gujarat),
(76) Karkarapura (modern Karakal near Mudbidri in South Kanara)'
It is obvious that the above sacred names have not been arranged according to any fixed scheme, but are strung together as they presented themselves to the memory of the poet, and as metrical exigency demanded. Though most of the places belong to Gujarat, with which the poet must have been particularly: samiliar from wanderings there, still he seems to have endeavoured to incorporate names of places situated in as many parts of India, or, for the matter of that, in as many parts of the universe as possible. In his pious zeal and his firm belief in the pertinent Jaina doginata regarding cosmography, he has thus mixed up genuine geographical names with purely mythological ones, such as Neri, Vaitādlıya, Astāpada, Kundala, NIānusottara, Rucaka, and Nandišvara, explicitly referring to temples situated in the realms of all the four classes of gods?
Yet among the remaining references, a great number of names of even now popular Jaina places of pilgrimage can be recognized at first sight, such as Shatrunjaya, Girnar, Broach, Mangrol, Ajara, Sirpur,
(1) Karakal has long since been "famous for the Jaina and Buddhist pilgrims", according to Nundoo Lal Dc, p. 93; ride also Tirth vali-pravāsa. No. 416..
(2) Wis., (a) Bhavanavasin, in the underworld, (6) Vyantara, in the aver between the underworld and the world of men, (c) Jyotiska, in the lower strata of the atmosphere, and (d) Vaiminika, in layers above the latter in movable "vimanas".
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Fort Mandu, Mt. Abu, Falodhi, Sankheshvara, Prabhas Patan, Mandasor, Charup, Ahmedabad under the ancient Hindu name of Karaṇāvati, Mt. Sametshikhar, Cambay, Palanpur, Taranga Hill, Arasan, Junagadh, Idar, Dabhoi, Sachor, Karakal. Others of the places mentioned as tirthas, are now not much in prominence, but do possess Jina temples, and some of them also a Jaina population, such as Dhanera, Kodinar, Dahidro, Jiraval, Champaner, Jalor, Panchasar, Nana, Tharad, Vavipur, Kasindra, Nibeda, Chandur, Bahadpur, Bayad, Sami, Dholka, Majadra, Modhera, Dahod. Some places of both these types as, e. g., Fort Mandu, Arasan, Champaner, Jalor, Panchasar, Dholka, were once flourishing and celebrated centres of Jaina culture, whose former grandeur can be inferred from literary references or architectural remains.
Another type of places is represented by names like Taxila, Mathura, Ayodhya, Paithan, Daulatabad, Patna, Nasik, Dvaraka, Parwatam, all of which are still flourishing and well-known, but seem to have lost their association with Jainism, which is amply testified for the past.
A further category of ancient tirthas mentioned in our poem is formed by places which have lost both their association with Jainism and their economical importance, their very sites being identifiable now by nothing but either fields of ruins with here and there an epigraphical testimonial, or with the half-hearted help of the modern names of otherwise unsuspect villages built over their remains. Such places are Ahicchattra, Nagadraha, Śrävasti, Rājanagara, Soparaka, Tejalapura, Munḍasthala, Serisa, and the tirthas of Sindh. Entire oblivion seems to envelop those tirthas which our poem mentions as existing in the
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Vindhya Mountains, as well as places like Gundara Gajapada, Rīḍadraha, Nandasama, which have escaped identification up till now.
From references like the above, to names which the later hymnal literature no longer knows, it would appear that the Caityavandana must have been composed at least several centuries ago, when the reminiscences of those places were still alive. A terminus a quo is given by the names of Bahaḍpur and Tejalavihara, founded by Kumārapāla's Minister, Vāgbhaṭa and Viradhavala's Minister, Tejapāla, the latter of whom died in V. S. 1296. If Rajadraha is the correct reading, in st. 3 c, the poem cannot, however, have been composed prior to V. S. 1731, when Dayalshah built the famous temple near the Rājasāgara Lake in Mewar, so high with its nine stories that the shadow of its flag fell as far as six kos across the land. On the other hand, it must have been composed before Aurangzeb partially destroyed that temple, and before it thus ceased being an object of worship. The reading is, however, doubtful.
The text is contained on fol. 10 of MS. No. 855 of the Scindia Oriental Institute, in which a collection of stavanas and caityavandanas is handed down (all in all 23). The material is country paper, the writing in black ink. In the centre of each page, a rhomb is left blank, with four letters of the text jutting out, so as to form another, smaller rhomb. The characters are modern Jaina Devanagari. The writing looks extraordinarily neat and spectacular, the text is, however, very incorrect, and necessitated frequent conjectures, as the apparatus shows. After the text of our poem, the following colophon is given : " इति श्री तीर्थमालचैत्यवंदन समाप्तं : २२ सं. १८८० वर्षे माघकृष्ण चतुर्ये श्रीशमीनगरे लः ॥", which is
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, ANCIENT JAINA HYMNS
followed by one more caityavadana with a colophon of its own, written by the same land.
6. THE VIRA-STUII. In older Svetāmbara works, the word "stuti” is often used in the ordinary sense of "hymn" in general.' Mostly, however, especially in more recent terminology, its use is restricted to a particular category of hymnal literaturc, viz., hymns which are rather aggregates of four separate "stutis”, and culogize, strictly in this order, 1. any of the Tirthankaras individually in the in the first part, 2. all the Tirthankaras collectively in the second, 3. the Jaina doctrine or the Jaina Sacred Writings in the third, and 4. any of the Sāsana-devas, Śāsana-devīs, Vidya-devīs, the "Śruta-devi'' Sarasvati, or other divinities known to be devoted to the Jaina religion, in the fourth (each part mostly consisting of a single stanza). That this definition is generally accepted, can be seen from the fact that the hymns contained in any random collection of "stutis”, are throughout built according to this scheme.
(Only the followers of a modern sect, known as the “Tri-stuti-mata”, believe it to be infra dignitaterii for a good Jaina to pay homage to beings so much below the moral standard of perfection as gods are supposed to be, and therefore dispense with the fourth parts of stutis.)
Stutis of this description form part of the "Pratikramaņasūtra”, i.e., the text of the daily ritual, of all the “vetāmbara sects, since “Tirthaikara-vandana" is one of the six “Avasyakas”, or indispensable daily duties of a Jaina. The first quarter of a stuti of the
(1) Tide the references quoted by Professor H. R. Kapadia, in his . :* , of "Śri-Bappabhattisūri-viracită. Caturvim satikā”. Āgamodaya wamiti, No. 53, "Upodghāta", p. 45 ff.
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devotee's selection also forms part of the caityavandana ritual mentioned in a former chapter, representing the second of the two changeable recitation pieces of the pertinent liturgy.
Our present stuti is true to type with its fourfold eulogy, clearly presented in four exactly parallel Sragdhara stanzas.
One of its formal attractions is the skilful way in which oilomatopocia has been carried through therein, suggesting, in the first stanza, vocal, and in the second and third ones, instrumental music. Obviously, the poet intends this musical performance to illustrate the belief that when the Tirthaikara preaches in the "samavasarana", his voice is not only in itself distinguished by"upanīta-rāgatvam”,' i. e., possession of melody in the technical sense (one of its 35 stereotyped supernatural qualities), but it is also liarmoniously accompanied by celestial music, which devoted gods and genii continuously produce (another of the stereotyped atiSayas of the Tīrthaikaras).?
The use of onomatopoeia in this way, though, is not unique. A famous Sanskrit stuti composed by the celebrated Saint and poet Jinakusala Sūri of the Kharatara Gaccha, who died in V. S. 1389, is conposed according to the very same principle. I refer to the Pārsvanātha-stuti beginning with the words "Dren dreni ki dhapa mapa", which, forming part of the Pāksika Pratikramaņa of the Kharatara Gaccha,
(1) Hemacandra Sūri makes this expression clear by his explanation "Milava-Kaubikyūdi-.rimaråga-yuktată" in the Sropajña-tikā to his "Abhidhảna-Cintāmaņi-Kola", I, st. 66.
(2) Vide Introduction.
(3) Vide A. and Bh. Nalta, ”Dādā Śri Jinakušala Sūri, Calcutta, V. S. 1996, p. 58.

Page #102

ANCIENT JAINA HYMNS is also known as the “Pākşika-stuti”.! It is possible that our poet, whose name' and 'whereabouts are not known, tried to emulate that popular piece of poetry and its fascinating tingle of sounds.
Yet while Jinakusala Sūri's stuti is in honour of Pārsvanātha, the present hymn celebrates Mahāvira, the last Tirthařkara, in its first quarter.
The object of eulogy in the fourth quarter is likewise a different one. In Jinakusala Sūri's stuti, it is the "Sīsana-devatā" quite generally, while our poet addresses himself to the goddess "Vairotyā”, whom he visualizes, with extraordinary vividness, as a snake deity of militant qualities and of an appearance fit to fill an adversary's heart with terror, whom he seems to invoke in a spirit of tantric ecstasy and expectation.
Jaina Literature knows several goddesses of this name, as under:
1. In the shape of "Vairoti”, it designates the Sasana-devī of Vimalanātha, the 13th Tirthaikara, in Digambara literature. She is represented as "harivarņā”, mounted on a snake ("gonasa''), and holding snakes in her four hands. In Svetāmbara literature, Vimalanātha's female attendant, described as being of the same colour, but seated on a lotus, and holding a single snake, bow, arrow, and noose in her hands, is referred to as “Viditā", or "Vijay..". The male
(1) "Púrpa Kgema-Vallabha-Vilāsa", Neemach, V. S. 1990, Part II, p. 16 ff.
(2) Loc. cit., p. 22.
(3) Cp. B. C. Bhattacharya, "The Jaina Iconography" Punjab Oriental Series No. 26, Lahore, 1939, p. 133.
(4) Nirvāpakalikā, edited by M. Bh. Jhaveri, Nirpaya Sagara Press, Bombay, A. D. 1926, p. 35.
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counterpart in attendence on Vimalanātha is, in both literatures, "Şanmukha", who is seated on a peacock, and holds various weapons in his twelve (or eight) hands.' Our hymn being a Svetambara text, this "Vairoti" is a priori not likely to be invoked therein, though she is a snake goddess too.
3
2. In the shape of "Vairotyā" (Sanskrit), "Vairuṭṭā”, “Vaïruṭṭā" or "Vaïrota (Prakrit), the name further designates the Sasana-devi of Mallinātha, the 19th Tīrthankara, in Śvetāmbara works. She is described as "kṛṣṇavarṇā", and as seated on a lotus. In Digambara sources, the Sasana-devi of Mallinatha is "Aparajita," ," described as "harid-varna", and as seated on that fabulous creature named "aṣṭāpada" or "Sarabha". Both sects agree re the attributes in three of her hands, viz., "varada-mudra", citrus-fruit, and sword, while the fourth carries a rosary according to the Svetambaras, but a shield according to the Digambaras. Her male counter-part is, according to both, the four-headed Yakṣa Kubera.
In neither of the two categories of sources is this deity associated with snakes, which form an essential attribute of the goddess invoked in our hymn.
(1) Cp. Bhattacharya, 1.1, p. 107; Pheru, Vastusara Prakaraṇa, Jaipur, A. D. 1936, p. 168-12 and p. 156-13. In some Digambara works, the name "Caturmukha" is found.
(2) Nirvaṇakalikō, p. 36; Saptatiśata-sthāna-prakarapa, 1.1., Dvāra 109; Tika; Pravacanas roddhāra, Tikā, Dvāra 27; Hemacandra, Abhidhanacintamani-kośa, I, 45, Țikā.
(3) Munisundara, Santikara-stavana, st. 10.
(4) Saptatisata-sthina-prakaraṇa, st. 228.
(5) Pravacana-saroddhāra, st. 376.
(6) Pratistha-sangraha, as quoted by Bhattacharya, I.1. pp. 139; vide Iso "Tiloya-pannatti", st. 939.
(7) On what basis Bhattacharya, 1.1., mentions a "lion", is not clear.
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Only from Hemacandra's "Abhidhāna-cintāmanikosa", I, st. 45, such an association might appear to exist. For, Hemacandra, instead of mentioning Mallinātha's Sāsana-devi under her actual name, refers to her as "Dharaṇa- priya”, which he explains, in his "Sropajñatīkā”, as "Dharañoragendrasypriyā Vairotyā”, i.e., "Vairotyā, consort of Dharana, tle Indra of the Snakes”. Obviously, this Vairotyä cannot be separated from the goddess whom Aryānandila invokes in his "VairotyaDeví-stava",' as “Dharaninda-padhama-patti Vaïruttā nāma Nāgiņi" (st.4), and as “Dharaṇoraga-dažā...... Vaïruttā” (st.12). The Prablāraka-carita contains, in its "Aryanandila-carita”, an account of the origin of this stava, in the form of a legend, tle motif of which recurs in Hindu folk-lore. According to this longend, Vairotyā was the wife of a merchant's son named Padma, and the mother of Nāgadatta, a disciple of Aryanandila (the second "a" of the latter name being short here). By some action of kindness, Vairotyā gained the favour of the snake people, who adopted and treated her as a relative, overshowering licr with divine favours. After her death, she became the queen of their ruler Dharana, the same divinity whom we mentioned previously as Pārsvanātha's Śāsana-deva ("'Dharanendrasya devi Sri-Pārsva-sevituh"), and has since then been assisting her mate in coming to the rescue of devotees of Pārsvanātha, especially in danger threatening from poison or fire. Aryanandila, who had been Vairotyā's Guru in her human existence, composed in her honour, the above mentioned hymn, the recitation
(1) Vide J. St. Sand., I, p. 347 ff. and its Introduction, p. S.
(2) L. l., p. 19 ff.; vide also Muni Kalyāņavijaya's remarks in his troduction to the Gujarati Translation of the Prabhavaka-carita (Jaina tmapanda Sabha, Bhavnagar, V. S. 1987), p. 22.
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of which is asserted to be particularly efficacious in securing her help.
In the "Pādalipta-carita" of the Prabhāvakacarita' too, a “Vairotyā Devi', obviously the very same goddess, is referred to, for she bears the epithet of "PhaņIndra-kântā”, and is described as an attendant of Pīrsvanātha, the patron saint of the snake-king.
Yet it is difficult to understand how this Vairotyā, who is thus supposed to have lived and died as a human being during the life-time of Aryanandila, i.e. roughly in the former half of the second century after Vikrama, and to have been a snake deity and Dharanendra's consort only since then, could be identical with Mallinātha's Sāsana-devī. For, as all the Śāsanadevas and -devīs are believed to come into existence during the time of the "tīrtha," 1. c. the original community of the resp. Tirthankara," Mallinātha's Śīsana-devi would have been in existence since more than 65,86,000 years, Mallinātha's nirvāņa being assumed to have taken place 65,84,000 years before the Vira-nirvāņa.
Did the great Hemacandra allow himself to be misled by the chance identity of the name of Mallinātha's Sāsana-devi with that of Aryanandila's "Istadevatā”, and thus wrongly apportioned to the former goddess the epithet of "Dharana-priyā”, to which only her namesake was entitled ? This seems likely in view of the already mentioned absence of all snake attributes in Mallinātha's Sāsana-devī: for, a consort of Dharanendra would necessarily belong to the class of the
(1) L. 1., p. 28 f. (2) Cp. Muni Kalyāṇavijaya. loc. cit.
(3) Cp. Nirvonakalika, 1. c., p. 34 ff., particularly the regularly recurring attribute of the "Yakşipis" : "tasminneva tirthe samutpannā").
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"Nāgakumāras”, and as such, be bound to wear the snake emblem, as Aryanandila's Vairotyā ostentatiously does ("nāgiņi nāgārudhā nāga-karā nāga-bhūsiyasarīrā, nāgehim siramālā nāga-mulā sā”, st. 3 of the pertinent stava).
As the deity whom our poem eulogizes, is doubtiessly a snake-goddess, she would probably not be Mallinātha's Sāsana-devī, but may be identical with the Dharana-priyā Vairotyā of Aryanandila's hymn. It remains to be seen whether she cannot be more clearly defined.
(3) The Jaina Pantheon knows of a third goddess of the name of Vairotyā, viz., one of the 16 "Vidyadevīs”.? The latter are common to Digambaras and Svetāmbaras. Like the Sāsana-devas and -devis, they too are first mentioned, as a group, and described, with their emblems, in post-canonical works. They are often invoked in connection with rites of a more or less tantric character as well as for purposes of magic protection, and thus play a great part in Jaina Mantra-Sīstra" and in hymnal literature. Though it is possible that some of their features, particularly their number (16), arc connected with such of the 16 tantric Goddesses of the Hindu Agamas, viz., the ten forms
(1) Cp. Tattv. IV, 11, Bháşya, p. 282 ("tirassu plianicilină Någakumaril”).
(2) The word “Vidyâ-devi" does not mean "Goddess of Learning" at all, as Bhattacharya (loc. cit., p. 163 ff.) translatcs it, but "divine personnification of magic lore". The "Goddess of Learning" is (the "Śruta-cevi" Sarasvati.
(3) The carliest references appear to be with the Svetimbaras the "Nirvaņakalikā" of Pädalipta Súri, and with tlic Digambaras thc "Prat:atha-sära" of Vasunandin.
(4) Vidc M. Bh. Jhaveri, "Comparative and Critical Study of Mantratra", p. 258.

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of Tripura and her six friends,' still the very idea of “vidyas" in the sense of "tantric lores", can be traced back to the Jaina Sacred Writings themselves. In their role as personifications of such tantric lores, they are linked up with the ancient Jaina legend of the origin of the "Vidyadharas", as related in a number of texts.3 According to that legend, Nami and Vinami, two princes, had been absent when Rṣabhadeya, the first Cakravartin, and, subsequently the first Tirthankara of this avasarpiņī, gave away all his property to his relatives and friends, to become an ascetic. Thus deprived of their share, they followed the Lord, serving. him perseveringly, in the hope of material reward.. The Lord, however, had now nothing to bestow.. Dharaṇa, the ruler of the Nagakumāras, and a devotee of the Lord, felt a desire to fulfil their hope. The earth and everything on it having been given away already, Dharana gave them land outside the usual realm of mortals, on the slopes of Mt. Vaitāḍhya, that mythological mountain range which traverses Bharatakṣetra from east to west, being embraced by the Ganges and the Sindhu respectively. The land being 10 yojana above the ground, and inaccessible to ordinary man, Dharana also bestowed on the two princes 48,000 "vidyās", enabling them to walk through the air and on water and to perform other miraculous feats. Thus outfitted, they settled on Mt. Vaitaḍhya with their kith and kin, and founded each
(1) Vide Daksiņamurti, "Uddhārakota", ed. by Raghuvira, Introduction p. 9 f.
(2) Fide M. Bh. Jhaveri, loc. cit., p. 147 ff., and 271 ff.
IV,
(3) Representative are: Saùghadasa Gani, "Vasudevahindi", p. 163 f.; Jinadasa Gaņi Mahattara, "Avásyaka-Curņi", p. 161 f.; Haribhadra Sūri, "Avásyaka-Țika", p. 143 ff.; Hemacandra Sūri, "Triṣaṣṭi-falākāpuruṣacarita", III st. 124-233; Vinayavijaya, Kalpasūtra-țikā "Subodhikā”, I, 212 (p. 152); Cp. also M. Bh. Jhaveri, 1. c., p. 175 f. and 260 ff.
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a row of cities on the northern and southern slope respectively, directly below the cities of the Vyantara gods. Dharana then installed Nami and Vinami as the rulers of the semi-divine "Vidyadharas", by which name they and their followers became known, Nami ruling in the south, and Vinami in the north.
Each of these two rulers was the lord of 8 "Vidyadhara-nikāyas", to each of which a particular group of "vidyās" was apportioned. The 16 "Vidyādharanikayas" were named after the countries from where the pertinent group of Vidyadharas had originally emigrated, and the several "vidya" groups were named accordingly. Lists of the names of these 16 groups of “vidyās” are given in Prakrit in the "Vasudevahindi" and the "Avasyaka-cūrņi”, and in Sanskrit in the "Triṣaṣṭisalākāpuruṣa-carita", all three deviating from one another in several items. According to the lastnamed text, these "vidya"-groups were 1. Gauri-, 2. Manu-, 3. Gandhārī-, 4. Mānavī-, 5. Kausiki-, 6. Bhū-, mituṇḍā-, 7. Múlavīryā-, S. Šaňkukā-, 9. Pāṇḍukī-, 10. Kali-, 11. Śvapākī-, 12. Mātaǹgi-, 13. Parvati, 14. Vamsalaya-, 15. Pāṁsumulā-, and 16. Vṛkṣamūlā-vidyās. Out of these names, the "Subodhika" mentions only Nos. 1 and 3, as belonging to the southern, and 9 and 14, as belonging to the northern part of "Vidyadhara”
land.
Besides these "vidya"-groups, the "Avasyakacūrṇi” and the "Subodhikā" mention four individual “mahāvidyās”, viz., 1. Gaurī, 2. Gandhārī,' 3. Rohiṇī, and 4. Prajñapti. Haribhadra Suri, obviously following
(1) These two vidyas are also mentioned in the Sütrakṛtauga-Sūtra (II, 2, Sutra 30, p. 318).
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the
the former text, mentions them with the of any other name.
exclusion
Traces of the "Vidyadhara"-legend can be found in the Jainagama itself, where the two rows of "Vidyādhara-cities" are repeatedly mentioned as adorning the slopes of the Vaitaḍhya', though details and names are not given.
Though it is not feasible restlessly to solve, with the help of the text-material available at present, the fascinating problem of the origin of the 16 "Vidya-devîs" and of their relationship with the ancient "vidyās", as raised by Dr. Miss Helen Johnson2, still thus much can be inferred from a comparison of the respective names that the first, second, ninth and tenth “Vidyādevis" are identical with the four "mahavidyās" enumerated above, the two latter of whom again seem to have derived their names from the designations of the first and third "vidya"-groups of "Vidyadhara"-land. Besides, the names of two further "Vidyā-devīs", viz., Nos. 7 and 12, seem to have been derived from the names of the "vidya"-groups Nos. 10 and 4 respectively. It is thus possible that each of the 16 "Vidya-devis” may originally have been imagined as representing one of the 16 "vidyā-nikāyas” of “Vidyadhara”-land, bearing either an individual name, or a generic name derived from that of her group, or perhaps both.
Incidentally, the names of all the sixteen "Vidyādevis" find themselves again, without exception, in
(1) Jambudvipa-prajñapti IV; Sthanaiga-sutra X, 3.
(2) In her English Translation of the "Trisasti-salakāpurusa-carita", Vol. I, p. 176.
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ANCIENT JAINA HYMNS the list of the names of the "Sāsana-devis”, some in that of Svetāmbara, others in that of Digambara tradition, and some in both simultancously, in such a way that 11 of the Svetāmbara, and 13 of the Digambara Śāsana-devīs, 8 of them being common to both, appear to be in fact nothing but "Vidyā-devīs”, though some of the names slightly vary. The following synoptic table will make this clear::
Vidya-devi.
Vidyadhara-vidyā.
Svetambara Sāsapadevi.
Digam ara Si sabadevi.
1. Rohiņi .. | Mahāvidyā
No. 3.
No. 2.
2. Prajñapati. Mahāvidyā
No. 4.
No. 15.
No. 3.
3. Vajrasr
khalā.
No. 4.
4. Vajrāň
kusā.
No. 14. (Aůkusa).
No. 1.
5. Apraticakrā
or CakreSvari.
No. 1 (only Cakresvari).
No. 20 (only | No. 5 (only Naradattā). Puruşadatta)
6. Purugadat
tā or Na
radattā. 7. Kāli ...Vidyā-nikā
ya No. 10.
No. 4. No. 7 or 18.
1) Small variances found in some individual texts, are not considered. The Arabic figures in the columns of the Sāsana-devis denote the resp. Tirthankara to whom the goddess concerned is attached.
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Vidyi-devi.
Vidyadhara-vidya.
Svetambara Sisapadevi.
Digambara S sanadevi.
No. 5.
No. 9.
8. Malūkāli. 9. Gauri
No. 11.
Mahāvidyā No. 1 and Vidya-nikaya No. 1.
10. Gandhari.
No. 21.
No. 12.
Mahavidyā No. 2 and Vidyā-nikāya No. 3.
11. Sarvāstrā
Mahājvālā.
No. S (Jvā
lā).
No. 11.
No. 7 or 10.
12. Mānavi .. Vidyā-nikāya
No. 4. 13. Vairogyā. 14. Acchuptā. 15. Mānasi..
No. 19
No. 20.
No. 15. No. 16.
16. Mahāmā
nasi.
B.C. Bhattacharya (1. c. p. 164), who also noticed that there are “clear points of identity between Vidyādevis and Sāsanadevis, not only regarding names, but also attributes, etc.", has come to the conclusion that "the Vidyā-devīs in conception were modelled after the Yakşiņīs”, and this "on the ground of the priority of the
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Yaksinis as connected in mythology and ritual with the Tirthankaras". It does not seem, however that such a priority can be proved for the Sasanadevis as a class, leaving aside individual cases. I think, the above synopsis goes, on the contrary, strongly against this theory. For, the list of the Vidya-devis of the Svetāmbaras (vide "Nirvāṇakalikā”) exactly agrees with that of the Digambaras (vide "Pratiṣṭhā-sara") not only with regard to the names themselves, but also to their order (deviations being restricted to their attributes), while, on the other hand, the lists of the Sasanadevis (vide the same two works) differ from each other so strikingly both in names and order (not to speak of the attributes) that in fact only three out of the 24 can be recognized at first sight as mutual replica (viz., Nos. 1, 23, and 24). This leads to the conclusion that the common list of the Vidya-devis must go back to the time before the schizma of the Jaina-sangha into Digambaras and Śvetāmbaras had occurred, and that it has been handed down unaltered from generation to generation up to this day, while the lists of the names of the Šāsana-devis, as entities, developed separately in two different directions, incorporating, of course, single items, which represented a common heritage, such as the names of Sasana-devis Nos. 1, 23, and 24, as well as those of the pertinent Vidya-devis, pointed out above. Significantly enough, even those eight Vidya-devi-names which are common to the list of the 11 taken over by the Śvetāmbaras, and the 13 taken over by the Digambaras as Šāsana-devi-names, have been apportioned to different Tirthankaras. This accounts for the fact that Vairotya, the thirteenth Vidya-devi, who alone interests us here, has become associated with the 13th Jina in Digambara, but with the 19th in Svetāmbara theology.
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The name of the Vidya-dovi Vairotyā occurs in the forms of "Vairotyā" in Sanskrit, and "Vairoti' as well as “Vaïrutta''3 in Prakrit sources. All the texts, so far as they give a description, agree in depicting her as holding a snake, or snakes, in one, or two respectively, of her four hands. The "Nirvanakalikā” further describes her as "syāma-varņā”, and mounted on a Boa constrictor ("ajagara-vāhanā"), Sāgaracandra Sūri in his "ŚriMantrādhiraja-kalpa." (st. 15) as "payodharābhā" and mounted on a "vihanga-rāja", and the likewise Sve. tāmbara "Acāradinakara" as "abja-muda-tāra-tuşāragaurā'' and seated on a lion ("simhavāhana"), while according to the Digambara "Pratisthā-säroddhära", she is "ablira-nila" or "haritā” and seated on a lion ("simhagā").
It appears that Bappablaţti Sūri and Sobhana Nuni refer to this Vidyā-devi when they eulogize a goddess "Vairotyā'' each in the fourth stanza of one of the stutis of their famous,''Caturvimsatikās" (Nos. 18 and 23 resp.), the former describing her as "Syānā” and “nāgāstrapatrā” (1. e. "having snakes as weapon and vehicle"), and the latter as "syāma-dehā", as "avişama-vişabhrdbhūsaņā” (i. e. "having harmless snakes as ornaments), and as "yātā.... pārindra-rājam” (. e. "mounted on a king of pythons").
(1) Hemacandra, Abhidhinacintīmaņi, II, st. 154; Nirvapakalikā, p. 38 Ācāradinakara, as quoted by Bhattacharya.
(2) Pratişthi-siroddhira, as quoted by Bhattacharya, p. 175. (3) Santikara-stava, loc. cit. (4) J. St. Sand., II, p. 241.
(5) Here in the sense of "slining" as in the expression "gauràòga" as an epithet of Kropa.
(6) Here in the sense of "dark-blue".
(7) Edited by Professor H. R. Kapadia, Agamodaya-Samiti Nos. 53 and 52.
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ANCIENT JAINA HYMNS The only serious discrepancy, viz., that re the mount, which according to some sources is a snake, . according to others a lion, and according to a third group, a Garuda, can easily be removed by the assumption that the archetypus, to which they all go back in the last \instance, contained a word like "pārindra”, which may mean a snake as well as a lion, or like "vyāla”, which may denote any vicious animal and could refer to a snake as well as to some dangerous quadruped. "Vihanga-rāja”, the Garuļa, may simply be a misread "bhujanga-rāja”. Since Vairotyā is anyhow equipped with the snake emblem, the idea that her mount was originally likewise a snake, does not seem to be a far-fetched conclusion. In any case, it means only a supplenientary stroke of the brush to complete her picture as that of a doubtless snake-deity.
In this way, the similarity of this Vidyā-devi with the Digambara Šāsana-deví of Vimalanātha of identical name, emblem, and mount, is even more perfect than Bhattacharya assumes. As moreover, in the invocation quoted by that scholar, Vimalanatha's Sāsana-devī is actually addressed as a Vidyā-devi ("Vairoti haritārcyate, om hrīm Vidyā-devi?”), no doubts can obviously be raised regarding their original identity. While thus the Digambaras apportioned this Vidyā-devī to Vimalanātha, without changing her original character, the Svetämbaras, when associating her with Mallinātha, allowed her snake attributes to fall into oblivion. The only link that still connects this Svetāmbara goddess with her original home, the snake-world, is apparently the above-mentioned name of "Dharaṇa-priyā” under which Hemacan
(1) Loc. cit., p. 140. (2). Loc. cit., p. 175, note.
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dra refers to her. Thus, this "kalikāla-sarvajña" is once more vindicated as standing on the firm ground of a very old and original tradition, while the legend of the Prabhavaka-carita re Vairotya Devi's direct association with Aryanandila is proved to be nothing but a recent growth of devotional fiction.
The fact that the Vidya-devī Vairoṭya was indeed imagined to be the consort of Dharana, the king of the snake-demons, is amply testified. Thus, Sobhana Muni gives her the epithet of "Ahīnāgryapatni". Sagaracandra Sūri calls her "Bhujagendra-patni". Both these epithets exactly correspond to the expression “Phaṇīndra-kantā" of the hymn of Aryanandila, who moreover refers to her as "Dharanoraga-daïa", and, even explicitly, as "Dharanimda-padhama-patti Vaïruṭṭā nāma nāgiņī vijja", which latter phrase, besides, clearly defines her as a "vidya", i.e. "Vidya-devi".
more
Yet since the honour of being Dharanendra's favourite queen, in generally known to go to Padmavati, the Śāsana-devi of Pārsvanatha, and actual female counterpart of Dharanendra, the Sasana-deva of that same Jina, the above epithets obviously bring Vairotyā into collision with Padmavati. The question may be raised as to whether both these names, Vairotya and Padmavati, may not be synonyms for one and the same deity. This seems possible from a passage of the "Supasanaha-cariya" (composed in V.S.1199), which runs: "atthi supasiddha-vijjā vijjāsahaga-sahassa-naya-calana mamta-saroruha-sarasi devi Padmavati nama", and clearly calls Padmavati a vidya, i. e., Vidya-devi Padmavati is, in fact, the main goddess of Jaina Tantric literature. According to an (1) p. 131, st. 54.
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old "Padmãvati-stotra”, she is the equivalent of the Sakti of Hindu tantric lore, the Gaurs of the Saivas, the Gāyatri of the Vedāntins, the Praksti of the Sāṁkhyavādins, the Tārā of the Buddhists, the Vajrā of the Kaulikas. From the name “Vajrā” in its Prakrit form “Vaïrā", and eventual derivatives, it seems to be but a small step to "Vairotyā”. The Padalipta-carita of the Prabhāvaka-carita moreover clearly states that the "Phanindra-kāntā Vairotyā" was worshipped in a temple of Pārsvanātha at Kosalā as the "Sāsana-devi", and "Aryānandila's" hymn as well as the "Aryanandila-carita' of the Prabhāvaka-carita agree in asserting that this Vairotyā favours the devotees of Pārsvanātha with her help.
That in spite of so much semblance of identity, both the names will have to be understood as designating two separate deities, is, however, suggested by the following two pieces of literary evidence:
1. a prayer formula (quoted by Professor H. R.
Kapadia in proof of their separateness), in which Dharaṇendra is described as accompanied by both the goddesses ("Vairotyā..
Padmavati-devi-yuta”),and 2. the second stanza of Aryānandila's hymn,
where both are clearly referred to as separate individuals (''Dharaṇoraga-dažā devi Pau
māvāi ya Vairuttā”). If the Svetāmbara poets eulogize Vairotyā as Dharana's "agrya-patni" and "padhama-patti", this may be due to the idea that since Vairotyā is the
(1) "Comparative and Critical Study of Mantrasastra," Appendix V (p. 28), st. 20. (2) Edition of Sobhana's "Caturviņiatikā", 1. 1. p., 279, note 3.
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Śāsanadevi of the 19th Jina, she must naturally be senior to Padmavati, the Sasanadevi of the 23rd. (That, for the matter of that, she must also be senior to her husband by millions of years, is of no consequence, in view of the Jaina belief in the eternal youth of their deities.)
The above expressions leave no doubt about the fact that anyhow Vairotya is considered to be an "Agramahişi" of the Indra Dharana of the Naga-kumāras. The same has been stated with regard to her co-wife Padmavati.' Professor Kapadia, who has stressed this idea, has expressed his disappointment on not finding the name of either of these two queens in the list of the names of Dharanendra's "Agramahiṣis" given in the Sacred Books. Besides the Bhagavati (Vihāyapaṇṇatti), which he quotes (X,5, Sūtra 406), the Jñātādharmakathanga (Nāyādhammakahão) likewise (II,1) contains that list, which runs as under: (1) Alā or Ila, (2) Sakkā or Sukkā, (3) Sakrā or Sadārā, (4) Sodāmiņī, (5) Iṁdā, (6) Ghaṇavijjuya. To solve this difficulty, it might be assumed that either the names Vairotya and Padmavati have developed from original epithets into proper names, or that those six names are not genuine proper names, but rather appellative nouns, designating the rank or "office" of these six goddesses, the incumbents of which go on changing, just as is the case with the various "Indras" of the Jaina Pantheon: the word "Indra" being nothing but an office designation either.3
(1) Senapraśna II, Praśna 112, p. 31.
(2) Edition of Sobhana's Caturvimfatikā, 1. 1., p. 27S f.
Thus, the "Dharapendra" who presented Nami and Vinami with 48,000 Vidyas, during the life-time of the first Tirthankara, is of course assumed to be a different individual from the ñsana-deva of the 23rd Tirthankara, for the latter "Dharanendra""'s soul was still incarnated in a snake when Parivanatha was Prince of Kasi, and became incarnated as god only subsequently.
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Padmavati's being referred to as a "Vidya" in the above passage, is nothing out of the ordinary in view of her being the central figure of Jaina Tantraśāstra, and, as such, subject to the moods and whims of the "arādhaka", who considers it as his privilege to invest his "Sakti" with whatever attributes his desire may drive at, not hesitating to address her as Laksmi,. Ambikā, Tripurasundarī, Kāli, Cakresvarī, Sarasvati, or even Kundalini. Besides, "Padmavati” may in fact originally have been a "Vidyādevi", i. e., one of the original Vidyadhara-vidyās.
1
On what basis the Prabhāvaka-carita (V, st. 11) mentions Vairotyā as the "Śāsana-devatā" in Pārsvanatha's temple, is not clear. The poet may have done so, thinking of her as one of the consorts of Dharaṇa, the Sasanadeva, or he may have used the word "Śāsanadevata" not in the technical sense of "divine attendant on a particular Jina", but in a more general sense of "divine devotee".
Anyhow, the goddess which the poet of our present "Vira-stuti" invokes under the name of Vairotya, is most decidedly the divinity whom later Svetambara literature would define as the 13th "Vidyādevi”. Her martial qualities, suggested in her representations and descriptions by the sword and shield in two of her hands, are clearly expressed in the first two lines, while her character as a snake goddess is unambiguously represented by the writhing snakes with which our poet describes her as tying her matted locks.
The MS. in which this stuti is handed down, belongs to Muni Śrī Nyāyasagaraji (disciple of Paṇyāsa Śrī Candrasigara Gani), with whose permission the
(1) M. Bh. Jhaveri, 1. c. p. 63 and 315.
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REMARKS ON THE TEXTS stuti is published. It is a single leaf, containing: 5 stutis in Sanskrit and Gujarati, without a colophon. Paper and ink are ordinary. The writing is in 17 lines of rather modern Devanagari. The MS. appears to be at the utmost 100 years old. Our stuti is the first text, its end being marked by the legend "for sit aterafa: 11811". The wording is very faulty, necessitating various emendations, as the apparatus shows. To the best of my knowledge, the stuti has not been published before.
7. THE MAHĀVĪRA-STUTI
This poem belongs to the same category of hymns as the preceding one.
It proclaims to be a creation of Ācārya Jinapati Sūri, the 46th pontiff of the Kharatara Gaccha, whose name is contained in the last stanza, in a slesa characteristic of the former', and whose Guru, Acārya Jinacandra Sūri, is likewise alluded to, in the third stanza.
Jinapati Suri? was born in V. S. 1210, ordained in 1218, invested with the Acārya title in 1223, and died in 1277. He is known not only as an influential pontiff and the Guru of celebrities like Acārya Jinesvara Súri (his successor), Upadhyāya Jinapāla, Vācaka Sūraprabha, Pūrņabhadra Gaņi, and Sumati Gani, but also as a hymnist and author of commentaries. The following works are from his hand:
(1) Caturvimsati-Jina-stavana, published,
(1) Cp. the conclusions of the Cintamani-Parsvanātha-stotra and thc Caturvim kati-Jina-stava, in Jaina-stotra-sandoha II, p. 47, and I, p. 209.
(2) Vide J. G. K. II, p. 677, and J. St. S. I, Prastāvanā p. 35, and II, Prastavani p. 31. (3) J. St. S. I., p. 206-209.
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(2) Cintāmaņi-Pārsvanātha-stava, likewise publish
ed, (3) Antariksa-Pārsva-stava, not found as yet, , (4) Tirthamālā, likewise not found as yet, (5) Vidhiprabodha-vādasthala (Prabodhodaya
vādasthala), available in MSS., (6) Bịhat-tikā to Jinavallabha's Sanghapattaka
prakaraña, published, (7) Vivarana to Jinesvara Sūri's Pañcalingi, .
published," and (8) Mahāvīra-stuti, published and mentioned
for the first time in this volume. The Mahāvīra-stuti consists of four Mālini stanzas, the first of which eulogizes Mahīvīra, while the fourth invokes the “Yaksa Sarvānu”.
The name "Sarvānu” looks like a sanskritization of Prakrit “Savvāņa”, which occurs in the “Vihāyapannatti”, the “Bhagavati" of the Tainas (Sataka III, Uddeļa 7, Sūtra 168, p. 200), in the description of the retinue of Vesamaņa (Sanskrit “Vaisramaņa" or "Kubera"), one of the four Lokapālas' or frontier-guard officers of Sakra, the Indra of the southern part of the first Heaven "Saudharma”. There, "Savvāņa" is mentioned along with a number of other godlings, such as Māṇibhadra and Pūrṇabhadra, known to belong to the "Yaksa” sub-class of the "Vyantaras”, one of the four categories of gods. According to that Sūtra, all those deities were favoured by Vesamaņa as if they were his own offspring ("ahāvaccābhinnāyā”, i. e.,
(1) J. St. S. II, p. 44-47. 2) Vide Jinaratnakosa. (3) 1.1. (4) 1. 1. (5) Tattv. IV, 4 and commentaries.
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("yathāpatyābhijñātāḥ”): a relationship which seems in order, the Yaksas being genii of treasure, just as Vesamaņa is the god of wealth.
This "Sarvānu" may be identical with the "Yaksa Sarvānubhūti" whom Acīrya Bālacandra, Hemcandra's notorious rather than famous, disciple, glorifies in the fourth stanza of his sparklingly beautiful stuti "Snātasya”, which forms part of the Päksika Pratikramana-sūtra of the Tapā Gaccha. There, the Yaksa is described as mounted on a ruttish elephant of cloud-colour with curved tusks and tingling bells, as granting the desires of the devotee, and as manifesting himself in any shape at will.
Our "Malāvíra-stuti” is preserved in the same MS. as the previous one, forming the second text, marked by the legend : "for Eraltyfa: "
8. THE SIMANDHARA-SVAMI-STAVANA, This hymn is addressed to the Tërthankara Simandhara, one of the twenty "Viharamīna" (vido Introduction), who is believed to be wandering about at present in the portion "Puşkaravara-Vijaya” of Pūrvavideha, the eastern half of the distant world Mahāvideha, preaching the Jaina religion. As the hymn recalls to the reader's mind, he is believed to have been born there in the city of Puņdarikiņi, during the interval between Kunthu, the 17th, and Ara, the 18th Tirthaikaras of the last Caturvimsatikā of Bharata-ksetra, i. C., uncountable years ago, to have abandoned his royal rank and possessions and become an ascetic in the interval between Muni Suvrata, the 20th, and Nami, the 21st Jinas, and to have subsequently attained the status of a Kevalin or omniscient saint (st. 16 f.). He is predestined to reach final
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Salvation after a long activity as a Tirthankara, in a far remote future, viz., at the time when Udaya, the 7th Jina of the coming Utsarpini of Bharata-kṣetra, will have entered Nirvana. The poet expresses his fervent desire that in his next incarnation, he may be re-born himself in Mahavideha, sit at the feet of the Lord Simandhara, and be allowed to listen to his sermons, to bow to him, to sing his praise, and perhaps even to become a monk in the Lord's retinue, and attain omniscience and subsequent Salvation in a very near future. (st. 14 f.).
To the reader who tries to define the language of the hymn, a number of conspicuously archaic-looking Prakrit forms obtrude themselves at the first glance, such as e. g., namira, vimda, vaṁdiya, payaṁ, kitti, lakkhana, vihamdano, sattame, Jina, jhāna, dhanuha, jamma, micchatta, harisa, daṁsaņa, rajja, māhappa, khittammi, hīnassa, diņassa, kunai, phiriūna, tiriyattane. Forms like nihi, mahura, savvahā, bohamkaro, would brand it as "Jaina-Prakrit".
Other forms, however, are developed beyond the Prakrit stage, showing clear characteristics of Gaurjara Apabhramsa. Such forms are: nouns of the a-declension with -au in the Nom. sg. masc., as divasaï, lagaü, jugai, phaliyaü, miliyaü; with -aha in the Gen. sg., as bījaha; with -i in the Loc. sg., as sari, sihari, gayani, vasi; nouns of the i- and u-declensions with -i and -u in the Nom. sg. masc., as sāmi, taru, guru; nouns of the
(1) Vide B. G. Bhandarkar, "Wilson Philological Lectures on Sanskrit and the Derived Languages," Bombay, 1914, p. 81 ff.; N. B. Divatia, "Gujarati Language and Literature", Bombay, 1921 and 1932.; Kelavarāma Kā grāma Sastri, "Apaņā Kavio, Ahmedabad, 1942 (Gujarat Vernacular Society), I.
(2) Vide Bhandarkar, 1.1., p. 108 ff. and Kefavarama Sistri, 1.1., p.
78 ff.
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sia and i-declensions with -, -I, and -i in the Acc. sg., as kariņā, vāni, siri; pronominal forms like Naüri, mūn., and mū in the First Person sg., and turhaji in the Second Person sg. (with suffix of emphasis); verbal forms like vinavauri, namauin, lagauin, in the First Person sg. Ind. Pres.; tugana do. in pl.,; rāși, kari, tāri in the Second Person sg. Imp.; nisuniso, panamiso, gāvaso, pāriso, in the First Person sg. Fut.; hoisii in the Third Person sg. Fut.; Absolutiva like older karavi, pariharavi, and more recent jodi, kari, siri; as well as . numerous endingless case forms like līņa, rayara, jasa, vayaa, jāma, rīva, poa.?
Some forms can even be recognized as bearing the stamp of rather a late stage of Gaurjara Apabhrañsa, if not of Gujarati. To this category belong the above-mentioned bējala for older bēja1111,9 thuraha for thuganu, and i-absolutiva like kari, jodi, besides chauri for acchauin (Modern Gujarati chum), the Nom. sg. neutre te, hiva' (Sanskrit adhuna, Modern Gujarati Tavc), cha pari (corresponding to Sanskrit ctadtprakare, Modern Gujarati c+per), forms with final į changed to e as sampajjac, gajjae, dippae, viharae (all four verbs being used in the Parasmaipada only, in Prakrit), and several cases of consonant aggregates being replaced by single consonants with or without lengthening of the preceding vowel, as lāgi, Prakrit laggi, Sanskrit lagna), tājiu (Prakrit tajjiya, Sanskrit tarjita), vīgravaum
(1) Kebavarima p. 175, 191, 265. (2) 1.1., p. 279. (3) Divatia I, p. 368; II, p. 55 ff.
L. 1., p. 30; Keśavarima p. 264. (5) Divatia, I, p. 333 and 378; Kesvarima p. 159. (6) Divatia, I, p. 129 ff.; II, p. 28. (7) Divatia, II, p. 77. (8) Diratia I, p. 385 and 396 ff.; Kesavarima p. 158, 221, 232, 236, 244..
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(Prakrit viņınavemi, Sanskrit vijñāpayāmi), at the side of lagaum, jugaum.
Forms like the latter ones are rare in, if not alien to, even later Apabhramsa, such as represented by the Apabhramsa portions of Somaprabha Sūri's Kumārapāla-pratibodha' (not to speak of the earlier Bhaviyasattakahā” and the Harivaṁsa-purāņa by Dhanapāla, or of the Vasudevahiņài), and characterize the earlier stages of Middle Gujarati rather than Apabhramsa, gaining more and more ground in Modern Gujarati.
All those phonological phenomena, it is true, cannot be ascribed with certainty to the poet himself, as for some of them (just as for occasional "ya-sruti”), clerical influence might be responsible. Yet a number of them are testified as doubtlessly genuine by metre, rhyme, as well as by the persistency of their occurrence. On this basis, the language of the poem can safely be defined as being either very late Gaurjara Apabhramsa, or, with more probability, early Middle Gujarati.
The mixture of archaic and recent forms, the numerous tatsamas, such as nikara, tāta, sampūraka, durita, tāraka, rāyaka, papa, tāpapaha, sādara, rddhikara, kathina, hatha, ghata, lobha, rāga, bhoga, indra, pada, gati, nati, abhinava, mada, bodha, dāyaka," the frequent ignoring of Sandhi-rules, even in compounds, such as in iramira-sulya-asura, sāra-upayāra, vişaya-visama-amiya-bhara, Nami-añtaram, all these peculiarities
(1) V. S. 1241. (2) Pre-Hemacandra.
(3) Probably earlier than 7th century (V. S.) xide M. D. Desai, Short History para 203.
(4) Kesavarāma, p. 158, 181, 189, 221, 232, 236, and 265. (5) General tendency of Middle Gujarati, stabilised in the modern
anguage.
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go to stamp the language of our hymn as true to type. So does the word alajaya (st. 20), if taken as a loanword from Arabic-Persian, equivalent' to Modern Gujarati alijahām, meaning "august", and being here an attribute of the Jina.2
Tadbhava-like, hybrid formations, such as paḍiyau, caḍiyau sāhaga, moaga, jagi, jaga-jantu, vaņa-rāji, kammāņi, samsiddhae, upayāra, jāgaramanā, haratāra, along with genuine Prakrit forms such as mentioned above, as well as Sanskritisms, like mama, karavāņi (for karavāni, First Person sg. Imp.), dehi, gamī, obviously represent attempts of the poet to express himself in archaic style, in order to enhance the dignity and solemnness of his eulogy. Nominal and verbal forms in -o and -e (for -i and -u) may also fall under this category of phenomena, though, on the other hand, they may also be recent development, representing cases of "contracted svara-yugma", so typical of Middle and Modern Gujarati.
3
>
The language of the interlinear commentary ("Tabba") is far more developed, and can be defined as Modern Gujarati of rather an early type, to judge from formations like en parim, dihaḍau (Modern Gujarati dahaḍo), mū and muhanai (Modern Gujarati mane), atibhāgu (modern atibhāṁgyo), lāgaü (modern lāgyo), lādhi (modern lādhī), huṁ gāyasuṁ (modern hum gāïś); huṁ joyusu (modern hum joïś).
Out of the 21 stanzas of the present hymn, the first 20 are in a metre of twenty mātrās in each of its
(1) Kesavarima, p. 232.
(2) The commentator takes the word as an equivalent of Prakrit alajja, "shameless", and connects it as an apposation with majha, "me" (Dat. sg.), which however does not seem satisfactory.
(3) Kesavarima, p. 265 and 278, Divatia II, p. 69 ff.
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four lines with caesura after the tenth mātrā and paired end-rhyme: the metre which Hemacandra in his "Chando'nusāsana" (IV, 8; Vrtti p. 32 a) designates as "Avali" (mātrās 6+4+4+4+2).' The last stanza is in Harigita, likewise with paired end-rhyme.
"1
"1
As regards his own identity, the poet says in st. 20: कम्मकरू विणयपरु जोडि कर वीनवुं", which passage the commentator explains in the following way: हुं ताहरउ दास विनयपर हुंतउ हाथ जोडी वीनती करटं ". According to this interpretation, the poet would have remained anonymous. The interpretation is, in itself, unobjectionable, especially since the expression "vinayaparu" (here sg.) is reflected by the similar "sādarapara" (st. 7: there pl.). Still, it appears likely that instead of "vinayaparu", the archetypus read "Vinayapahu", and thus contained the actual name of the poet (with the Genitive sg. ending -u, typical of Apabhramsa). Vinayapaha, generally known by his sanskritized name Vinayaprabha Suri, was a famous Jainācārya and poet of the very period to which our poem belongs, who composed in the very same language. He was a direct disciple of the well-known Saint and poet "Dādā” Jinakusala Sūri of the Kharatara Gaccha, was ordained as a monk in V. S. 1382 and raised to the rank of an Upādhyāya between V. S. 1394 and 1412. His famous "Gautama-Rāsa", composed in V. S. 1412 at Cambay, is even now so popular that it forms part of the standing repertoire of recitation pieces of Svetambara Sadhus and Sadhvis. Among his further
(1) From the stand-point of Sanskrit prosody, it would be "Matta", but for some minute deviations.
(2) अ. भ. नाहटा, “दादा श्री जिनकुशल सूरि", कलकत्ता वि. सं. १९९६; मो. द. देशाई, "जैन गुर्जर कविओ", प्रथम भाग, ई. स. १९२६, पृ. १५, त्रीजो भाग पृ. ४१६; केशवराम काशीराम शास्त्री, पृ. २७३.
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,
REMARKS ON THE TEXTS
creations are five hymns in honour of various Jinas, which are of approximately the same length (19-29 stanzas), and, to judge from the scanty specimina reproduced by Mr. Nahta,' of the same linguistic and poetical qualities as our hymn. Not only thus much, but in his Mahavira-stavana of 24 stanzas, the same metre seems to have been used in which the 20 first stanzas of the former are composed. In depth of religious sentiment, gracefulness of diction, and melodiousness of flow, our hymn is not inferior to the Gautamarāsa either.
au
It is, therefore, quite possible that our hymn may represent another creation of this poet, whose thorship of the Gautama-rāsa too was long unknown, owing to a similar mutilation of that part of the text which contained the name, till older Mss. with a more authentic text were found, and the truth revealed with their help. In the present case, the conjectured "Vinayapahu" makes smoother reading from the standpoint of the tonic qualities, and gives more aesthetic satisfaction from that of the train of ideas than the "vinayaparu” of our MS., by harmoniously gratifying the curiosity regarding the poet's identity, which the words " कम्मकरु जोडि कर वीनवउ", i. e., “With folded hands, I, your servant....pray", arouse
in the reader.
The manuscript from which this hymn is being published was kindly placed at my disposal by Upadhyāyaji Śrī Labhimuniji of the Kharatara Gaccha, from the Bhandar of the Santinatha Temple of Ujjain. It consists of six leaves of country paper (4/10), bearing on the margin the figures 3-8. Each leaf has four lines.
(1) नाहटा पृ. ६०.
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ANCIENT JAINA HYMNS of bold "paạimātrā" Devanāgarī characters of archaic type, in which the hymn is recorded, with an interlinear commentary written above the text in smaller letters, all in black ink. The cyphers, colophons of the original hymn as well as of the text which preceded the latter, and of which only the final passage is preserved, and the vertical marginal lines are in red, the marginal lines being double, and the interstices filled with yellow pigment. The right and left margins moreover are decorated with multicoloured floral designs, considerably reduced by frequent handling, owing to which even the original marginal cyphers of pageing have partially disappeared, being subsequently over-written by fresh ones. The yellow pigment used for corrections, has likewise become so much worn off by friction, and is So much faded that the corrected letters are clearly discernible below it. From all this it seems that the MS. must be fairly old. .
The first two leaves obviously contained the wellknown and often published "Bharatesvara-sajjhāi" (part of the Tapī Gaccha Liturgy), part of the last stanza of which appears on the top of the first leaf numbered as the third. Our hymn is the last text of the MS, and bears the following colophon: "fa SARTEF FTTT II Gill 3 11" The interlinear commentary has the colophon: "sfor siteiramareraifafianraaf ATT II". More than half of the last page, left blank by the copyist, is filled with meaningless scribblings from later hands.
To the best of my knowledge, the hymn has never been printed nor cited before, nor does there seem to exist any further MS. of the same.
(1) "31 spoolfa facut GIAT I F TEET FESTU FYRS 118311 sfat FEITE Horarit pros HT 11011"
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THE TEXTS
(१) श्रीमुनिसुव्रत स्वामि-स्तवनम् श्रीज्ञानसागरसूरि-कृतम्
श्रीकैवल्यावगमविदिताशेषवस्तुस्वभाव
भावद्वेषिप्रमथनपटुं दोषनिर्मुक्तवाचम् ।
भक्तिप्रह्नत्रिभुवननतं सुव्रत श्रीजिनाहं
देव स्तोष्ये भृगुपुरमहीमौलिमौले भवन्तम् ॥१॥
प्रज्ञोत्कर्षाधिगतसकलद्वादशाङ्गार्थसार्थे
रीशांचक्रे न कविवृषभैर्यां स्तुतिं ते विधातुम् । मादृक्षः किं निविडजडिमा तद्विधौ स्यात्समर्थो
बालः किं वा कलयति निजाशक्तिशक्त्योर्विभागम् ॥२॥
आद्ये भवे त्वमभवः शिवकेतुभूमी
शः सुप्रतिष्ठनगरे; सुमना द्वितीये ।
1
सौधर्मगो; ऽवरपुरेऽथ कुवेरदत्त
स्तस्मात्तृतीयदिवि दैवतपुंगवोऽभूः ॥३॥
श्रीकुण्डलनृपो नगरेऽजनिष्ट
पौराणनाम्न्यथ च पञ्चमकल्पवासी ।
श्रीधर्मभूपतिरुदग्रबलस्तु चम्पा
स्वामी; विमानमपराजितमागमस्त्वम् ॥४॥
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ANCIENT JAINA HYMNS
च्युत्वा ततो हरिकुले विपुलेऽवतीर्णः
श्रीमत्सुमित्रनपवंशविशेषकस्त्वम् । पद्मात्मजः प्रवरराजगृहे; गरीयः
पुण्यास्पदं जनिमहं तव तेनुरिन्द्राः ॥ ५ ॥ आयुस्त्रिशत्रिभुवनविभो वत्सराणां सहस्रा
देहोच्चत्त्वं तव जिनपते विंशतिः कार्मुकाणि । आद्यज्ञानत्रयपरिगतः श्यामवर्णाभिरामो
राजत्वं ते मगधविपयं कूर्मलक्ष्मा व्यधास्त्वम् ॥ ६ ॥ उत्सृज्यातः पुरधनमहाराज्यराष्ट्रादि सर्वं ।
प्रवज्य सागधिगतमनःपर्ययज्ञानशाली । हत्वा मोहाद्यरिकुलवलं सारखादैस्तपोभि
लोकालोकाकलन कुशलं कैवलं लेभिषे त्वम् ।। ७ ।। देहः स्वेदाममलविकलोऽतुल्यरूपः सुगन्धः
श्वासः पङ्केरुहपरिमलः प्रोज्ज्वले मांसरक्ते । चर्माक्षाणामविषयमिहाहारनीहारकृत्यं
चत्वारोऽमी लसदतिशया जन्मनस्ते सहोत्थाः ॥ ८ ॥ देवादीनां समवसरणे संस्थितिः कोटिकोटे
र्वाणी तिर्यग्नरसुरसदोबोधिदानप्रवीणा । अर्कज्योतिर्विजयि विमलं देव भामण्डलं ते
__ मौलेः पृष्ठे स्फुरति जगतो बाढमाश्चर्यकारि ।। ९ ॥ एकैकस्यां दिशि शतमितकोशमध्ये जनानां
न स्युर्मारि वनभयदा स्वस्य चक्रोत्थभीतिः । दुर्भिक्षोग्रामयभरमहावृष्टयवृष्टीतिवैरं
स्वामिन् कर्मक्षयसमुदिता एवमेकादशैते ॥ १० ॥

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THE TEXTS आकाशे ते रुचिरचमरश्रेणयो धर्मचक्रं
भास्वत्सिंहासनमनुपमं पादपीठेन युक्तं । प्रौढच्छत्रत्रयमुरुतरश्रीकरत्नध्वजोंऽन्हि
न्यासे चामीकरनवपयोजानि दीप्रत्रिवप्री ॥११॥ चातूरूप्यं तरुवरनतिय॑ङ्मुखा कण्टकाली
वृक्षोऽशोकः समवसृतिभूव्यापकस्तापहर्ता । उच्चै दो ध्वनति गगने सर्वतो दुन्दुभीना
मिष्टो वातः सकलशकुना दक्षिणावर्तचाराः ॥१२॥ वर्ष गन्धप्रवरपयसामिन्द्रियार्थानुकूल्य
जानूत्सेधः कुसुमनिचयः केशरोमाद्यवृद्धिः । या सेवाविहितहृदया देवकोटिर्जघन्या
देते विश्वेश्वर सुरकृता विंशतिर्येकहीना ॥१३॥ पञ्चत्रिशद्वरतरगुणा वाचि संस्कारवृत्तौ
__ दात्याद्यास्ते मनसि परमः कोऽप्युदासीनभावः । स्वामिन्नष्टोत्तरदशशती बाह्यसल्लक्षणानां
सत्त्वादीनां वपुषि तु तथानन्त्यमाभ्यन्तराणाम् ॥१४॥ दीक्षाज्ञाने ह्यसितसितयोः पक्षयोः फाल्गुनस्य
द्वादश्योस्ते; च्यवनमथ च श्रावणे पूर्णिमस्याम् । ज्येष्ठेऽष्टम्यां जनुरिन शितौ; मुक्तिलाभो नवम्या
मासन्विश्वप्रमदविधयेऽमूनि कल्याणकानि ॥१५॥ आसर्वार्थ जिन तनुमतामत्र संस्थो व्यपास्यन्
__संख्यातीतानपि च युगपत्संशयानेकवाचा । धर्म स्मात्थ त्रिभुवनगुरो पर्षदां द्वादशाना
मग्लान्या द्विः प्रतिदिनमहो विष्टपानुग्रहस्ते ॥१६॥
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ANCIENT JAINA HYMNS मध्ये कोरिण्टकवनवने त्वं प्रतिष्ठानतोऽत्रा
गत्यैकस्यां सपदि रजनी योजनानां तु पष्टिम् । यागे जोहूयितहरिवरं बोधयित्वा स्वमित्रं
स्वामिन् धर्मेऽनशनविधिनाऽजीगमः स्वर्गलोकम् ॥१७ ।।
तद्गन्धर्वामरविरचिते श्रीमदवावबोधे
तीर्थेऽस्मिंस्त्वच्चरणयुगलीपाविते साधुदत्तम् । शुश्रावका वटशवलिका म्लेच्छवाणेन विद्धा
निःशेषांहोहरणनिपुणं श्रीनमस्कारमन्त्रम् ॥ १८ ॥
मृत्वा साऽभूत्सुकृतवशतः सिंहलेशस्य पुत्री
वुद्धा भूयोऽपि च भगुपुरेऽभ्योक्ततन्मन्त्रमाप्य । भीता पापात्कुगतिजनितात्सप्तशत्या तरण्डै
रेत्योद्दभ्रे जिनगृहमिह त्वत्पदद्वन्द्वपूतम् ॥१९॥
त्वत्पूजायां भृशमवहिता ब्रह्मचर्यादिपुण्या
न्यातन्वाना त्रिदशरमणीशानकल्पे वभूव । सम्यग्भावातिशयविहिता पर्युपास्तिस्त्वदीयो
किं किं दत्ते न सुखमतुलं कल्पवल्लीव पुंसाम् ॥२०॥
यबुध्यन्ते प्रवरवचनाकर्णनात्प्राणिवर्गा
आश्चर्य तत्तव न हि जगद्बोधदायिजिनेन्द्र । भ्राम्यन्मीनश्चरमजलयौ कोऽपि कर्मानुभावा
ज्जैनाकारं झपमपि समालोक्य बुद्धस्तु चित्रम् ॥२१॥
-
(1) Marginal gloss: पूर्वमियमभिधा वभूव । (2) Marginal gloss: श्रावकत्वे ।
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यद्वत्पूर्ण पृथुतरनदे संचरन्निन्दुबिम्बं
कूर्मोऽपश्यत्पवनदलितोदामसेवालबन्धे । कर्मोऽत्कृष्टस्थितिविघटनेऽनन्तकालात्तथाई
त्वामद्राक्षं जिन पुनरयं भाग्यलभ्यो हि योगः ॥२२॥ आज्ञायां ते विमुखमनसां भूरिकर्मावृतानां
__ भूयोऽपि त्वं भवसि भविनां नाथ दृष्टोऽप्यदृष्टः । आयुर्वेदी व्यपनयति किं रोगमुग्रं जनानां
निर्बुद्धीनामवगणयतामुक्तभैषज्यजातम् ॥२३॥ दुःखानन्त्यं त्रिजगति मया योनिलक्षेषु सेहे
भ्रामं भ्रामं प्रतिपदमविश्रान्ति धर्म विना ते । किं पाथेयं दृढतरमृते दीर्वमध्वानमाप्तः
___स्यादध्वन्यः क्वचिदपि सुखी क्षुत्पिपासाभिभूतः ॥२४॥ मिथ्यात्वाद्यैर्बहुभवभवाभ्यासपुष्टैः प्रमादैः
संसारान्तर्न सुखकणिकाः काश्चनापं कदापि । सञ्जायन्ते न खलु निहितैः कोद्रवैः क्षेत्रमध्ये
शालिस्तम्बा रुचिरकणिशश्रेणिसम्पत्तिमन्तः ॥२५॥
मोक्षोपायं भगवदुदितं भावतो ये प्रपन्नाः
प्रत्यासन्नीभवति भविनां निवृति थ तेषाम् । पारे पाथोनिधिगुरुतराच्छिद्रबोहित्थमध्या
सीना केचिज्जिगमिषुजनाः स्युन गन्तुं समर्थाः ॥२६॥ देवानादिनिखिलभविनां कर्मराशिस्त्वदुक्ता
ऽनुष्ठानस्याभ्यसनविधिना द्रागदनीध्वस्यतेऽसौ । स्वर्णान्नाना भवति न हि किं वहियोगेन सद्यो
ऽलोलीभावस्थितिरपि मलो मार्तिकः सर्व एव ॥२७॥

Page #134

ANCIENT JAINA HYMNS लव्धे धर्मे नवशिवगति प्रापुरन्तर्मुहर्तात्
क्लेशैर्मुक्ता भविकनिवहाः साम्यपीयूपतुष्टाः । गेहस्यान्तर्भवति तिमिराकीर्णवस्तूपलम्भः
किं नो पुंसां विलसति सुखात्सर्वतो दीप्रदीपे ॥२८॥ अन्येऽध्वन्याः स्वमतनिरता वर्षकोटीतपोभिः
क्लिश्यत्कायाः शिवपदमगुर्न त्वदानाविहीनाः । किं जात्यन्धा अभिमतपुरमापणेऽलं भवेयु
म्यन्तोऽपि प्रसभमभितो देव जवाबलेन ॥२९॥ संसत्यन्तभ्रमिभवमहातापनिर्वापहेतोः
शिश्रायासौ जनसमुदयः शासनं तावकीनम् । नो लीयन्ते किमु पथगतं शाइवलं पान्थसार्था
नो के ऽशोकाभिधवरतरुं ग्रीष्मभीष्मार्कतप्ताः ॥३०॥ त्वत्स्याद्वादेऽखिलनयमये विश्वलब्धप्रतिष्ठे
स्फूर्जत्युच्चैः परमतगणा भान्ति नो लेशतोऽपि । तेजःपुजे प्रसरति दिवा भानवीये ऽथवा किं
द्योतन्ते ऽन्तर्धरणिवलयं क्षुद्रखद्योतपोताः ॥३१॥
रागद्वेषौ विरुजत इतो हन्ति कामः प्रकामं
मोहोऽत्यर्थं तुदति सततं चैकतः शत्रुवन्माम् । त्रायस्वातस्त्रिभुवनपते भीतभीतोऽहमद्य
त्वत्पादानं शरणमगम संश्रितानां शरण्यम् ॥३२॥ पारावारोत्तरणमनसो मानवा यानपात्रं
मार्गभ्रष्टा अभिरुचितभूप्रापकं सार्थवाहम् । नानाव्याधिव्यथितवपुषः प्राप्य वैद्याधिराज
मोमुद्यन्ते जिनवर यथा पेप्रियेऽहं तथा त्वाम् ॥३३॥
98

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THE TEXTS स्वामिन्दन्ताबलघनघटा उत्कटा वाजिघट्टाः
. स्थामप्रौढा विकटसुभटाः स्यन्दनाश्चाभिरामाः। भव्यं द्रव्यं कनकरजतं भूरिमाणिक्यमुक्ता
राशिर्न स्युस्तव मतमृते दुर्गतित्राणहेतोः ॥३४॥ कामाध्मातः प्रवणमनसा विश्ववन्धान पादां
श्चक्रे वाचा विविधविकथा न स्तुतिस्ते गुणानाम् । पापं कर्म व्यरचि वपुषा पर्युपास्मिया नो
ही जन्मोदग्विफलमगमं देव दुर्दैवयोगात् ॥३५॥ पुष्पैर्गन्धैर्बहुपरिमलैरक्षतधूपदीपैः
सत्रैर्वाद्यैः शुभफलगणैर्वारिसम्पूर्णपात्रैः । कुर्वाणास्ते जगदधिपतेरर्चनामष्टभेदां
सर्वाशंसारहितमतयो विश्ववन्द्या भवन्ति ॥३६॥ एतत्तीर्थ प्रवरमहिमं श्रीमदवावबोध
त्वत्पादाम्भोरुहपरिचयप्राप्तपावित्र्यभावम् । तृष्णाच्छेदं मलविशरणं सर्वदाहोपशान्ति
कुर्यात्केषां न हि मुनिपते देव भव्याङ्गभाजाम् ॥३७॥ नश्यत्यंहो जिन शकुनिकाश्रोविहाराभिधान
प्रासादेनाश्रिततनुमतामत्र संस्थेन दूरे । प्राकारेऽन्तर्गुरुपरिवृढाधिष्ठिते सुप्रतिष्ठे
चौराः क्रौरा अपि विदधते मोषमावासिनां नो ॥३८॥ धन्यो लोको भृगुपुरगतः कस्य पुण्यात्मनोऽपि
__ श्लाघास्थानं न भवति विभो प्रत्यहं यः प्रभाते । उत्थाय त्वच्चरणयुगलोपास्तिमस्तान्यकृत्यश्चक्राणः स्वं सजति सफलं मानुषं जन्म लब्धम् ॥३९॥
99

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ANCIENT JAINA HYMNS
एवं श्रीभरुकच्छवर्यनगरालङ्कारचूडामणे
नूतो मुग्धजनोचितेन मयका भक्तिस्तवेनामुना | संसाराम्बुनिधौ विभो निरवधौ मज्जन्तमत्राणकं
देव श्रीमुनिसुव्रतोद्धर तपाकूपार मामानतम् ||४०|
( २ ) श्रीदेवकुलादिनाथ -स्तवनम् श्रीसारोदय गणि-कृतम्
श्रीमन्तमादीश्वरमादरेण तं
स्तुवे परात्मानमनन्तसंविदम् ।
यः साम्प्रतं देवकुलाश्रमे सतां
हितार्पणैर्दर्शयति स्वमंशतः ॥१॥
न की सम्प्रीतिर्न हि विदुरतायाः प्रकटनं
न चातुच्छा वाञ्छा विषयजसुखे न व्यसनिता । प्रयुक्ते मां स्तोत्रे जगदधिपतेरेव भवतः
परं सर्वाभीष्टमथननिपुणं नाथ सहजम् ||२||
विभो दायं दायं भवसुखमभीष्टं शिवसुखं
प्रदत्से वात्सल्याज्जिन निजपदोपास्तिसजुषाम् । प्रसिद्धो नीरागस्तदपि विजयेथास्त्वमथवा
न मादृक्षैक्षं विलसितमहो दैवतमिदम् ||३||
तथा यौगं योगं निरुपमतपोजापविधिभि
स्त्वमभ्यासीर्व्यासीत्त्वयि स हि यथा कर्ममलहृत् ।
धराद्याः षट्कायाः पडपि ऋतवः पञ्चविषया
स्तवैतन्माहात्म्याज्जिन यदनुकूलत्वमगमन् ॥ ४ ॥
100

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THE TEXTS
प्रणिन् विग्नौघान् प्रबलरिपुभूतादिदमनैः
प्रयच्छन्नानन्दाभ्युदयमभितोऽभीष्टघटनैः ।
अपस्मारस्मेरस्मरगडुविकारज्वरमुखा
रुजोऽजर्यस्थैर्यात् प्रमथसि सपर्या प्रणयिनाम् ॥ ५ ॥
इमौ रागद्वेषौ प्रसभमनिवार्यौ भववने
प्रबाधेते व्याधाविव बहु मनो मे मृगमिव । कृपालुस्त्वं नाथस्त्रिजगदवनोपायजनक
स्तदाभ्यां नो कस्मादवसि भवदेकाश्रितमिदम् || ६॥
स्फुरन् रागश्चौरो भवजलनिधौ' द्वेषमकरो
महामोहग्राहो जनिमृतिचलद्वीचिनिचयाः । भृशं सर्वं दुःखमदमिदमभून्मे परमतो
न च त्रातर्यस्मात्तव पदयुगल्याप्यत तरी ॥ ७ ॥
स्वयं निर्मायामी भृशमशुभमर्माण्यसुमतां
तुदन्तो विद्वेष्याः सहचरणशीलाः प्रतिपदम् । यथा स्युस्ते चिन्त्या इह न हि बहिः स्थास्तदिव ते
ततस्त्वं मद्दूरीभवनमुभयेषामपि कुरु ॥ ८ ॥
त्रिलोक्यन्तस्तावच्चिरपरिचितं राज्यमजितं
जनस्वान्तास्थान्यां ननु विदधतां मोह महिमा | न यावत्सर्वान्ता रिपुकुलतरोर्मूलविभुजो
हठात्तामाक्रामत्यधिप तव निस्सीममहिमा ॥ ९॥
(1) Thus corrected on margin, substituting the original reading “भवांभोधौ रागप्रवलचरटो".
101

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ANCIENT JAINA HYMNS सुखापेक्षः श्रीमन् वृपम निखिलो दुःखविमुखो
विमोक्षो दुःखेभ्यः प्रभवति सुधर्मानुपरमात् । सुसामग्रीयोगात्स च भवति तस्मादपि स त
च्छूितानामन्योन्याश्रयमनयमेनं व्यपनयं ॥१०॥
पवित्रत्वद्गोत्रस्मरणविधिभिः संसृतिभवै
धनापायैः कामैः प्रसृमरतराण्यान्तरतनौ । अवश्य नश्यन्ति प्रथमजिनपैनांसि भविनां
विपावेगा वेगादिव पटुतरै गुलिजपैः ॥११॥
जगच्चक्षुः साक्षात्त्वमसि कमलोल्लासजनना
दलक्ष्योऽप्यध्यक्षो भवभवतिरस्कारचतुरः । यतस्तेऽध्यक्षत्वे' प्रशमगुणभाजामसुखदा
न हि प्रोज्जयन्तेऽभ्युदितुमवनौ तामसगणाः ॥१२॥
तवानुकम्प्येषु भवन्ति सवदा
समृद्धयः सर्वहितार्थसिद्धिदाः । मतोऽनुकूले जलदेऽखिलं भवे
दिलातलं मञ्जुलशालं न किम् ॥१३॥
शनैः शनैर्नीरदवृष्टिभिः क्षितौ
प्रजायते शाखिगणः फलेग्रहिः । प्रसन्नतायाः पदपङ्कजस्य ते
फलोदय(स्तत्)क्षणमे(व) न(1) ध्रुवः ॥१४॥
-
-
(1) Thus corrected on margin for original "STATU" and its first correction "दृश्यत्वे" entered above the line.
102

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THE TEXTS भवद्वयीशर्मदधर्म (- - -
- - - - -) हितयीमदीदृशः । तवोपकर्तुः धृतीनतीः स्तुती
रतो न कस्कोविदधीत तत्त्वधीः ॥१५॥ धन्यास्त एव स्तवनैर्नवैर्नवै
भवन्तमा (- - - - - - - - । ~ ~ ~ --) नल्पविकल्पकल्पना
निरस्य वश्यात्मतया सुमेधसा ॥१६॥ न रुष्यसि त्वं न च तुष्यसि स्वत
स्तदप्यनिष्टेष्टरमासमर्पणैः । (- - - -) देहभृतां तवेश त
ल्लोकोत्तरं प्राभवमत्र चित्रंकृत् ॥१७॥ फलन्ति वाचां मनसां च गोचरै
ध्रुवं फलदैवतपादपादपाः। भवांश्च विश्वेशितरप्यगोचरै
जगत्यतस्ते समतादरिद्रता ॥१८॥ तव क्रमौ वन्दितुमुत्सुकायितः
कृती स्वभावान्न हि नीचकैःशिराः । गरीयसा किं तु तदा समर्जित
__ स्वधर्मसम्भारभरेण मन्महे ॥१९॥ उच्चैः क्रमादुन्नततां तव क्रमौ
स्वस्मिन्नुदारप्रकृती दरीधृतः । स्वभाक्तिकानामपि तां चरीकृतः
स देव दीयेत दयालुनापि यत् ॥२०॥
103

Page #140

ANCIENT JAINA HYMNS
प्रणेमुषां कौसुमशेखरन्ति दि
ग्विलासिनीनां विलसद्यशांसि यत् । स्फुरन् गुणौधो हृदये च हारति
प्रभुस्तवैवात्र पदप्रसन्नता ॥२१॥
व्यपास्य संसारविकारविप्लवा
नमन्दमानन्दपदं दधास्यतः ।
भवोद्भवोपप्लवविप्लुतात्मनो
मनः समाधानविधिं विधेहि मे ॥ २२॥
त एव वर्ण्या भगवन् विकल्पना
निरस्य साम्यामृतनित्यशीतलाः । नासाग्रविन्यस्तदृशः स्मरन्ति ते
पदाम्बुजं ये हृदयाम्बुजे निजे ॥२३॥
नो शास्त्रार्थे प्रसरति मतिर्नो तपस्सु प्रयत्नो
नात्मध्याने धृतिरनुभवो नैव योगप्रयोगे । नाप्युत्साहः प्रथमजिन मे धर्मकृत्येऽपरस्मि -
नोहे मुक्ति तदपि तब यत्तत्र भक्तिः प्रयोक्त्री ॥२४॥
कृतार्थितमनोरथः सकलवर्णसद्वर्णनः
स सोममुनिसुन्दर त्रिदशवृन्दवन्धक्रमः । स दैवकुलिको मम प्रथमतीर्थनाथः पृथू
करोत्ववितथाः प्रथाः प्रमथितापदां सम्पदाम् ||२५||
इत्थङ्कारं स्तुतिपथमहं त्वामनैषं कृतार्थ
धर्मार्थादीन् स्वहितजनकानाप्तुकामः पुमर्थान्- | नाथः प्रार्थ्यप्रथननिपुणः प्राथ्यसे त्वत्प्रासादा
छीनाभेय प्रशममधुरा मेऽस्तु सारोदयश्रीः ॥ २६ ॥
104

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THE TEXTS (३) श्रोवरकाण-पार्श्वनाथ-स्तोत्रम्
श्री-हेमविमलहरि-कृतम् । श्रेयोमहोदयलतावनयौवनश्री
सम्प्राप्तिमाधवमगाधतरं महिम्ना । पार्श्वप्रभुं स्तवयुगैकपदैः समस्या
बन्धान्नवीमि वरकाणपुरीगिरीशम् ॥१॥ कल्याणमन्दिरमुदारमवद्यभेदि'
पादाम्बुजं त्रिजगतीश तव स्तवीमि । अम्भस्तरङ्गनिकरैः स्नपितं मिषेण
भक्तामरप्रणतमौलिमणिप्रभाणाम् ॥२॥ यस्य स्वयं सुरगुरुगरिमाम्बुराशेः'
प्रज्ञानिधिर्न हि विभुर्गदितुं गुणौघम् । अयणवायितगुणं परमेष्ठिवर्गे
स्तोण्ये किलाहमपि तं प्रथमं जिनेन्द्रम् ॥३॥ सामान्यतोऽपि तव वर्णयितुं स्वरूप
मज्ञः कथं स्तुतिविधी प्रभवेयमीश । सङ्क्रान्तमप्सु शशिनं निशि वा विनाभ
मन्यः क इच्छति जनः सहसा ग्रहीतुम् ॥४॥ मोहक्षयादनुभवन्नपि नाथ मयों
मानातिगांस्तव गुणान्न हि चक्रमीष्ट । प्राज्यप्रभुत्वपरमेश्वरमप्रगाह्य
को वा तरीतुमलमम्बुनिधिं भुजाभ्याम् ॥५॥
(3)
"Kalyinamandira stotra" st. la. (2) "Bhaktimara-stotra" st.1a. K. 2a. (4) B. 2d. (5) K. 3a. (6) B. 3d. (7) K. a (8) B.4d.
105

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ANCIENT JAINA HYMNS
अभ्युद्यतोऽस्मि तव नाथ जडाशयोऽपि
भक्त्येरितः स्तुतिविधावुपहासदेऽपि । रागात्स्वशक्तिमविचिन्त्य हरि कुरङ्गी
नाभ्येति किं निजशिशोः परिपालनार्थम् ॥६॥
ये योगिनामपि न यान्ति गुणास्तवेश'
स्तोतुं कथं चतुरता मम तान् समेतु । यद्वा त एव खलु यान्तु चिदाश्रयं मा
____ मल्पश्रुतं श्रुतवतां परिहासधाम ॥७॥
आस्तामचिन्त्यमहिमा जिन संस्तवस्ते'
दूरेऽस्तु दर्शनमपि प्रशमप्रशस्यम् । नाम्नाऽपि ते दुरितसन्ततिरन्तमेति.
सूर्यांशुभिन्नमिव शार्वरमन्धकारम् ॥८॥
हृद्वर्तिनि त्वयि विभो शिथिलीभवन्ति
भव्याङ्गिनां भवशताजिर्तकर्मपाशाः । आत्मा श्रयेद्विमलतामिव शुक्तिसङ्गा
, न्मुक्ताफलद्युतिमुपैति ननूदविन्दुः ॥९॥
मुच्यन्त एव मनुजाः सहसा जिनेन्द्र'
त्वत्सेवनादशुभकर्मभरेण भव्याः । तेषां च धाम शुचिरं विलसत्यपास्य
पद्माकरेपु जलजानि विकाशभाजि ॥१०॥
(7)
(1) K. a. (2) B. 5d. (3) K. Ga. (4) B. 6a. (5) K. Ta. (6) B. 7d. K. Sa. (8) B. Sd. (9) K. 9a. (10) B. 9d.
106

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.... THE TEXTS त्वं तारको जिन कथं भविनां त एव'
यत्त्वां हृदा परिवहन्त्यथवान्तरस्थम् । त्वं तारयस्यथ न चेन्महतोऽय्यता का
भूत्याश्रितं य इह नात्मसमं करोति ॥११॥
यस्मिन् हरप्रभृतयोऽपि हतप्रभावा-'
स्तं मन्मथं क्षपयतो भवतोऽन्यदेवम् । कः सेवतेससितगव्यपयः प्रपीय
क्षारं जलं जलनिधेरशितुं क इच्छेत् ॥१२॥
स्वामिन्ननल्पगरिमाणमपि प्रपन्ना
स्त्वच्छासनं लघु तरन्ति भवाम्बुराशिम् । विश्वत्रयेऽप्यनुपमाः खलु ते प्रजातो
यैः शान्तरागरुचिभिः परमानुभिस्त्वम् ॥१३॥
क्रोधस्त्वया यदि विभो प्रथमं निरस्तः'
शेषद्विषो विमहसः स्वयमेव नेशुः । भानुर्विभां किमु हरेच्छशिमण्डलस्य
यद्वासरे भवति पाण्डुपलाशकल्पम् ॥१४॥
त्वां योगिनो जिन सदा परमात्मरूप-'
मारोप्य हृत्कमलकोशपदे भजेयुः । तेषां गुणाः शशिरुचः शवते त्रिलोकीं
- कस्तान्निवारयति सञ्चरतो यथेष्टम् ॥१५॥
(6)
(1) K. 10a. (2) B. 10d. (3) K. Ila. (4) B. 1ld. B. 12a. (7) K. 13a. (8) B. 13d. (9) K. 14a. (10)
107
(5) K. 12a. B. 14d.

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ANCIENT JAINA HYMNS ध्यानाजिनेश भवतो भविनः क्षणेन'
कर्मावलिक्षयकरान मनाक् चलेयुः । दुर्गोपसर्गनिवहेन; युगान्तवातैः
कि मन्दराद्रिशिखर चलितं कदाचित् ॥१६॥
अन्तः सदैव जिन यस्य विभाज्यसे त्वं'
मन्ये तदेव हृदयं निलयं शिवस्य । यस्मिस्तमः प्रशमयन्नपधूमवर्ति
दीपोऽपरस्त्वमसि नाथ जगत्मकाशः ॥१७॥
आत्मा. मनीपिभिरयं त्वदभेदबुद्धया-'
रोपेण संस्मृत इह प्रगुणप्रभावः । त्वद्वद्भवेद्भविकपद्मवनावबोधः
सूर्यातिशायिमहिमाऽसि मुनीन्द्र लोके ॥१८॥
त्वामेव वीततमसं परवादिनोऽपि
प्राप्य प्रभो लघु तरन्ति भवाम्बुराशिं । वाक्यं तवेश जयताद्विमलावबोधं
नित्योदयं दलितमोहमहान्धकारम् ॥१९॥
धर्मोपदेशसमये सविधानुभावाः'
स्वान्ते समक्षसमुदो; भवशर्म भव्याः । नेच्छन्ति वा; फलितशस्यवतीह विश्वे
कार्य कियजलधरैर्जलमारनप्रैः ॥२०॥
(6)
(1) K. 15a. (2) B. 15d. (3) K. 16a. (4) B. 16d. (5) K. 174. B. 17d. (7) K. 18a. (8) B. 18a. (9) K. 19a. (10) B. 19d.
108

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THE TEXTS
चित्रं विभो कथमवाङ्मुखवृन्तमेव'
सुनोत्रं तव किरन्ति यथा सुरास्ते ।
नैवं परस्य; महिमा सुमणेस्तु यादृङ्
नैवं तु काचशकले किरणाकुलेऽपि ॥ २ ॥ ॥
स्थाने गभीरहृदयोदधिसम्भवा या
वाचस्तवामृततुला विबुधास्त्वदीयाः ।
यजुषां सुमनसां न परो भवत्तः
कश्चिन्मनो हरति नाथ भवान्तरेऽपि ॥२२॥
स्वामिन्सुदूरमवनम्य समुत्पतन्तः '
संसूचयन्ति भविकानिति चामराः किम् ।
यन्नेतरा सुतमसूत विभो समं ते
स्त्रीणां शतानि शतशो जनयन्ति पुत्रान् ॥२३॥
श्यामं गभीरगिरमुज्ज्वलहेमरत्न
सिंहासनेऽमरगिरिस्थनवाम्बुदाभम् ।
त्वामीक्षते भविककेकिगणो यतस्त्वं
नान्यः शिवः शिवपदस्य मुनीन्द्र पन्थाः ॥ २४ ॥
उद्गच्छता तव शितिद्युतिमण्डलेन'
भात्या वपुः परिवृतं सुषमां विभर्त्ति ।
लुम्पत्यशोककिसलान्सलतानतस्त्वां
10
ज्ञानस्वरूपममलं प्रवदन्ति सन्तः " ॥२५॥
(1) KX. 203. (2) B. 20d. (3) K. 21a. (4) B. 121d. (6) B. 22a. (7) K. 23a. (S) B. 23d. (9) K. 24a. (10)
109
(5) K. 22a. B. 24d.

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. ANCIENT JAINA HYMNS भो भोः प्रमादमवधूय भजध्वमेन'
कर्मच्छिदे विभुमिति त्रिजगज्जनौघानं । आमन्त्रयत्यमर दुन्दुभिरुन्नदस्ते
व्यक्तं त्वमेव भगवन पुरुषोत्तमोऽसि ॥२६॥
उद्योतितेपु भवता भुवनेषु नाथ'
भ्रष्टाधिकार इव तारकवच्छशाङ्कः । श्वेतातपत्रमिपतस्त्रितनुर्विधत्ते
तुभ्यं नमो जिन भवोदधिशोपणाय ॥२७॥
स्वेन प्रपूरितजगत्त्रयपिण्डितेन'
चन्द्रांशुसान्द्रयशसा गुणराशिपूर्णः । दोपैरलब्धनिलयैर्गमितैर्विदूरैः
__ स्वप्नान्तरेऽपि न कदाचिदपीक्षितोऽसि ॥२८॥
दिव्यस्रजो जिन नमत्रिदशाधिपानां'
मूर्नो महामणिमयानपहाय मौलीन् । शेश्रय्यति क्रमयुगं तव तत्प्रतिक्षि
मुच्चैरशोकतरुसंश्रितमुन्मयूखम् ॥२९॥
त्वं नाथ जन्मजलधेविपराङ्मुखोऽपि
तीर्णश्च तारयसि संश्रितभव्यलोकम् । धामस्थितं भविकहृत्सु तमोपहं ते
तुङ्गोदयादिशिरसीव सहस्ररश्मेः ॥३०॥
(6)
(1) K. 25a. (2) B. 25d. (3) K. 26a. (4) B. 26d. (8) K. 272. B. 27d. (7) K. 28a. (8) B. 28a. (9) K. 29a. (10) B. 29d.
110

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THE TEXTS
विश्वेश्वरोऽपि जनपालक दुर्गतस्त्वं'
__ कष्टव्रजाद्वितनुषेऽभिमतं श्रितानाम् । सिंहासनं द्युतिरुचा भवतेश राज
त्युच्चैस्तटं'सुरगिरेरिव शातकौम्भम् ॥३१॥
प्राग्भारसंम्भृतनभांसि रजांसि रोषा
त्साराद्यथा जलमुचा प्रगलन्ति तद्वत् । आमस्तव स्मृतिवशेन,भवेदसाः
प्रख्यापयत्रिजगतः परमेश्वरत्वम्' ॥३२॥
यद्गजदूर्जितघनौघमदभ्रभीम'
भीतिच्छिदो जयति गीस्तव युक्तमेवम् । विश्वत्रयेऽपि गुरुतां भजतस्तवांही
उन्निद्रहेमनवपङकानपुञ्जकान्ती ॥३३॥
ध्वस्तोर्ध्वकेशविकृताकृतिमत्यमुण्ड-'
भूषाधनेषु गिरिशादिषु सा न हि श्रीः ।। या तेऽजनिष्ट सवितुः किलायः प्रकाश
। स्ताहक्कुतो ग्रहगणस्य विकाशिनोऽपि ॥३४॥
धन्यास्त एव भुवनाधिप ये त्रिसन्ध्यं”
त्वामयन्ति; विगलन्मदभिन्नगलम् । व्यालं बलोत्कटमतीवरुषन्तिकाप्तं
दृष्ट्वा भयं भवति नो भवदाश्रितानाम् ॥३५॥
(G)
(1) K. 30a. (2) B. 30d. (3) K. 31a. (4) B. 31d. (5) K. 32a, B. 32a. (7) K. 33a. (s) B. 33b. (9) R. 34a. (10) B. 34d.
111

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ANCIENT JAINA HYMNS अस्मिन्नपारभववारिनिधी मुनीश'
___ चण्डानिलोद्धतजले विषयोमिराशिः । निर्यामकोज्झितनिजक्रिययानसंस्थं
नाकामति क्रमयुगाचलसंस्थितं ते ॥३६॥
जन्मान्तरेऽपि तव पादयुग न देव'
नेमे; वयाश्मपतनप्रसृतं दवामिम् । ज्वालालिदग्धविपिनं भयदं समेतं
त्वन्नामकीर्तनजलं शमयत्यशेपम् ॥३७||
नूनं न मोहतिमिरावृतलोचनेन'
दृश्य प्रभो भवदुपास्तिवशाजनोऽयम् । भीमद्विजिहमणुवन्मनुते भुजङ्गं
रक्तक्षणं समदकोकिलकण्ठनीलम् ॥३८॥
आकर्णितोऽपि महितोऽपि निरीक्षितोऽपि
त्राता जिन त्वमसि यत्समरे रिपृणाम् । सेना गजाधसुभटध्वनिभीपणापि
त्वत्कीर्तनात्तम इवाशु भिदामुपैति ॥३९॥
त्वं नाथ दुःखिजनवत्सल हे शरण्य'
रक्षेति संस्मतिपरा विचरत्कवन्धे । युद्धेऽस्त्रविद्धगजभीमरवे जयश्रीं
__ त्वत्पादपङ्कजवनायिणो लभन्ते ॥४०॥
(6)
(1) K. 35a. (2) B. 35d. (3) K. 36a. (4) B. 36d. (5) K. 378. B. 37a. (7) K.38a. (8) B. 38d. (9) K. 39a. (10) B. 39d.
112

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THE TEXTS
निःसंख्यसारशरणं शरणं शरण्य- '
मीशं प्रपद्य मृगपस्य शरन्नखस्य ।
हेलाविनिर्दलित कुम्भिघटस्य सत्त्वा
स्त्रासं विहाय भवतः स्मरणाद्व्रजन्ति ॥४१॥
देवेन्द्रवन्द्य विदिताखिलवस्तुसार
त्वद्भक्तितः झगिति जीवितसंशयाप्ताः ।
कासक्षयज्वरजलोदररुक्प्रतप्ता
मर्त्या भवन्ति मकरध्वजतुल्यरूपाः ॥४२॥
यद्यस्ति नाथ भवदहिसरोरुहाणा-'
मन्तः षडंन्हितुलित सुधियां तदाशु | मोक्षं भजन्ति निबिड निगडैनिंबद्धा
आपादकण्ठमुरुशृङ्खलवेष्टिताङ्गाः ॥४३॥
इत्थं समाहितधियो विधिवज्जिनेन्द्र
मत्तेभवायनलनागरणाङ्गणोत्थाः ।
हर्यामवेधनभियश्च गलन्ति तस्य
यतावकं स्तवमिमं मतिमानधीते ॥४४॥
भव्याङ्गिदृक्कुमुदचन्द्रनिभप्रभाव
यस्त्वां नवीति वरकाणपुराधिपैवंऽ
भोगीन्द्रभोगिललनाञ्चित पार्श्वदेव ।
तं मानतुङ्गमवशा समुपैति लक्ष्मीः ॥४५॥
10
( 1 ) I. 40a. (2) B. 40d. (3) K. 41a. (4) B. 41d. (5) K. 423. (6) B. 42a. (7) K. 43a. (S) B. 43d. (9) Purport only of K. 44a. (wording changed) "जननयनकुमुदचन्द्र" ( 10 ) B. 44d.
113

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ANCIENT JAINA HYMNS. एवं जिनेश मुनिसुन्दरवंशजाली
संसेव्य हेमविमलस्तुतसद्गुणोध । आशालताः सफलयेर्वरकाणनाथ
श्रीपाश्य मे विमलधर्मशुभप्रभावात् ॥४६॥
( ४ ) श्रीशर्खेश्वर-पार्श्वप्रभु-स्तोत्रम्
श्री-नयविमल-कृतम् ऐन्द्रश्रेणिनतावतंसनिकरभ्राजिष्णुमुक्ताफल
ज्योतिर्जालसदालवाललहरीलीलायितं पावितम् । यत्पादाद्भुतपारिजातयुगलं भाति प्रभाम्राजितं
श्रीशर्खेश्वरपार्थनाथजिनपं श्रेयस्करं संस्तुवे ॥१॥ यन्नामाभिनवप्रभूतमुमहोधाराधरासारतः
कल्याणावलिवल्लरी कलयति प्रस्फूर्जतः सान्द्रताम् । भव्यानां भवदीयपादयुगलोपास्तिप्रसक्ते पां
श्रोशखेश्वरपार्श्वनाथ० ॥२॥ यद्धयानोत्कटचित्रभानुरनिशं नीरोत्करर्दिद्यते
मुक्तैर्दुष्टशठेन तेन कमठेनानिष्टकृकर्मणा । स्पष्टं जुष्टफणिस्फटामणिगणालिएक्रमाम्भोरुहं
तं शूखेश्वरपाश्वनाथ० ॥३॥ दुर्सानाधिकवातकम्पितपरप्रोढप्रभावे मह- -
त्यस्मिन् कालकरालिते कलियुगे कल्पान्तकालोपमे । जाग्रच्चारुयशोभिराममलयोद्भूताभितः सौरभं
न शोश्वरपार्श्वनाथ० ॥४॥
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. THE TEXTS श्रीमद्धचानविधानतानमनसा भव्यात्मनां भाविनां
यन्नामापि पिपति पुण्यजनितान् कामान्मनोभीष्टकान् । विश्वाशापरिपूरणाय किमिमं विश्वागतं स्वस्तरं
तं शवेश्वरपार्श्वनाथ० ॥५॥ त्रैमत्कास्यविलोकनान्मम करे स्फूजन्महासिद्धयः
सम्प्राप्ता (सदामधीशविनुतप्राज्यप्रतिष्ठाः पुनः । सजाता परमा रमा सहचरी सौख्यं सदालिङ्गितं
श्रीमच्छङ्खपुराधिनाथ जिनप प्रौढप्रभावाद्भुत ॥६॥ क्षीणाज्ञानभरो नतामरनरश्रेणिप्रयुक्तादरो
___ध्वस्ताशेषदरस्तमोभयहरः कर्मद्रुमे मुद्गरः । लोकोद्योतकरः स्मरज्वरहरः सौख्यद्रुधाराधरो
दद्याद्भरितरप्रमोदनिवहं त्वन्नाममन्त्राक्षरः ॥७|| नष्ट दुष्टोग्रकर्माष्टककरटिगणैर्निर्गत क्रोधमान- '
प्रोद्यत्पञ्चप्रमादादिकचटुलतरोत्करैः कररूपैः । भग्नं पातकजातशाखिनिगहरापच्छिवाभिर्गत
दृष्टेऽस्मिन् भवदीयदर्शनमहानादे' दयायुक् प्रभो ॥८॥ ऐंकारादिमसिद्धसाध्यमहिमा ओंकारहींकारयुङ्
मायाबीजसमन्वितो विसहरस्फौलिंङ्गताश्लेषितः । अहंश्रींनमिऊणपासकलितस्त्रैलोक्यसौख्याकरो
भूयाच्छीधरणेन्द्रसेवतपदः पार्श्वप्रभुभूतये ॥९॥ ओंकारप्रथितावदाततरयुग् हींकारसाराश्रितः
पद्मावत्ये-नमोऽस्तु-स्फुटहनदहता-रक्ष-रक्षेति युक्तः । क्लीं श्रीं ब्लीं ह्तों प्रतियतिसमयं सस्वधामन्त्रबीजप्रोद्यद्धामप्रतापान्वितविशदतरस्फारवीर्यप्रचारः ॥१०॥
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ANCIENT JAINA HYMNS ये जानन्ति जपन्ति सन्ततमभिध्यायन्ति मन्त्रधिकं
ari सामाज्यलक्ष्मीः कृतकलानिलया जायते संमुखीना । सप्ताहगा; गाहगीराकृतिविदयशोगशिंगजमते मिग
लोक सम्पूर्ण कामोऽगितगुणनिकरम्यगालम्बते ते ॥११॥
कृत्यालीक न बागेतराजयुगले नाभिदेश न वस्त्र
गम्त हस्ताही वाभिमतफलदं गनि संस्थापयित्वा । पाच गझवगग गुरतकणि ये जपन्तीद शश्व
भल्या यान्ति मिति तनुतरदुरिता दिवः सदभवेश्च ॥१२॥ दुर्यानगमनमानलाटो दुर्दमदन्तावल:
श्रीधाराद्विमलपयोगकमलप्रीतिमदानोग्ज्वलः । रामशानभवलापतापयन चालावलीभूगलो
वस्तादशेपसलः सलीकृतमल: सियागनाकामलः ॥१३॥ महिन तारणीन्द्रनालजटिलोऽशुद्रतामाकन्दलः ।
सम्यगनानगलप्रवाहपयसा प्रक्षालितगातलः । स्वर्गनलः मुसाधितफलो दोरीत्यवारागलो
दत्ताभीएफलः पुनातु भुवनं पावों घनश्यामलः ॥१५॥ पाव त्वत्पदपाजनकृते सत्केतकीनां वने।
तीक्ष्णरकटकण्टकैश्न सततं विध्यन्ति येषां कराः । तेषां चारुपतिवरेव भविनां चक्रित्वशकश्रियः
स्वैरम्थैर्यतया गलबहिता भन्यं भजन्ते प्रभो ॥१५॥ साफल्यं जनुपो ममाद्य सुतरां जातं प्रशस्यो दिनः
लाध्यं जीवितमद्य हृद्यसफलश्रेयानयं स क्षणः । जाता कृत्यकृतार्थिनी बहुफला सा धारिका कारिका
सौख्यस्येव यदीश शर्मकृदिदं त्वदर्शनं प्रापितम् ॥१६॥
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THE TEXTS
लोला त्वनुतिलोलुपा तव गुणग्रामायते मे श्रुति
नित्यं त्वद्वदनावलोकनजुषी स्वामिन् पुनश्चक्षुषी । शीर्ष त्वत्पदमण्डनं तव विभो ध्यानकतानं मनो
जातं तन्मम सर्वमेव शुभकृदात्माप्ययं स्वन्मयः ॥१७॥
शस्य त्वद्गुणचक्रवालजलधेः पारं न यामि प्रभो
आत्मीयोत्कटदुष्टदुष्कृततते! यामि पारं पुनः । तस्माद्देव तथा विधेहि भगवन् प्राप्नोमि पारं तयोः
सम्यक्त्वेन विधाय भव्यकरुणां कारुण्यपात्रे मयि ॥१८॥
श्रीखण्डागुरुधूपवासनिवहैः कर्पूरपूरैस्तथा
काश्मीरद्रवसान्द्रचान्द्रविहितैः सद्वन्दनैश्चान्दनैः । स्वामिस्त्वत्पदयामलं गतमलं येऽर्ध्वन्ति चर्चाचणा
लोके लोकिततत्त्वसत्त्वसहितास्तेऽप्यर्चनीयाः सदा ॥१९॥
विष्णुस्त्वं भुवनेऽसि भूपतिरसि श्रेयस्करः शङ्करो
धाता सत्यमहानती शतधतिः कालारिरुग्रस्तथा । ऋद्धया सिद्धियुतः कृतीजजनको गौरीगुरुस्त्वं सदा
जैनै नेतरैश्चाद्भुततरविभवर्गीयसेऽस्यां जगत्यां ॥२०॥
सूरिश्रीविजयप्रभादिसुगुरौ राज्यस्थितिं कुर्वति
प्रीत्येवं नयपूर्वताविमलयुङ्नाम्ना प्रभुः संस्तुतः । भूयास्त्वं भवभीतिभेदभिदुराकारोपमानः सदा । स्वमद्रुमसानभो मम पुनः सर्वार्थसम्पत्तये ॥२१॥
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ANCIENT JAINA HYMNS
ये जानन्ति जपन्ति सन्ततमभिध्यायन्ति मन्त्रद्विकं
तेषां साम्राज्यलक्ष्मीः कृतकलनिलया जायते संमुखीना । सप्ताङ्गा; गाङ्गनीराकृतिविशदयशोरा शिंरुज्जम्भते;ऽस्मि -
ल्लोके सम्पूर्णकामोऽमितगुणनिकरस्थैर्यमालम्बते ते ॥११॥ कृत्वाली के च वामेतरभुजयुगले नाभिदेशे च वक्त्रे
शस्ते हस्तद्वये वा ह्यभिमतफलदं मूर्ध्नि संस्थापयित्वा । पार्श्व शङ्खश्वराख्यं सुरतरुकरणिं ये जपन्तीह शश्व -
त्ते भव्या यान्ति सिद्धिं तनुतरदुरिता द्वित्रकैः सद्मवैश्च ॥ १२॥ दुर्ध्यानद्रुमखण्डखण्डनखटो दुर्दम्यदन्ताबलः
श्री धीराद्विमलप्रबोधकमलप्रीतिप्रदानोज्ज्वलः ।
सद्ध्यानप्रबलप्रतापबहुलज्वालावलीधूमलो
ध्वस्ताशेषखलः खलीकृतमलः सिद्ध्यङ्गनाकामलः ॥१३॥
मूर्द्धिन स्फारफणीन्द्रजालजटिलोऽक्षुद्रक्षमाकन्दलः
सम्यग्ज्ञानजलप्रवाहपयसा प्रक्षालितक्ष्मातलः । धैर्यस्वर्ग्यच: सुसाधितकलो दौर्गत्यवारार्गलो
दत्ताभीष्टफलः पुनातु भुवनं पाव घनश्यामलः ॥१४॥
पार्श्व त्वत्पदपद्मपूजनकृते सत्केतकीनां वने
तीक्ष्णैरुत्कटकण्टकैश्च सततं विध्यन्ति येषां कराः । तेषां चारुपतिंवरेव भविनां चक्रित्वशक्रश्रियः
स्वैरस्थैर्यतया चलत्वरहिता भव्यं भजन्ते प्रभो ॥१५॥
साफल्यं जनुषो ममाद्य सुतरां जातं प्रशस्यो दिनः
श्लाघ्यं जीवितमद्य हृद्यसफलश्रेयानयं स क्षणः । जाता कृत्यकृतार्थिनी बहुफला सा धारिका कारिका
सौख्यस्यैव यदीश शर्मकृदिदं त्वद्दर्शनं प्रापितम् ॥१६॥
116

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THE TEXTS लोला त्वनुतिलोलुपा तव गुणग्रामायते मे श्रुति
नित्यं त्वद्वदनावलोकनजुषी स्वामिन् पुनश्चक्षुषी । शीर्ष त्वत्पदमण्डनं तव विभो ध्यानकतानं मनो
जातं तन्मम सर्वमेव शुभकृदात्माप्ययं स्वन्मयः ॥१७॥
शस्य त्वद्गुणचक्रवालजलधेः पारं न यामि प्रभो
आत्मीयोत्कटदुष्टदुष्कृततते! यामि पारं पुनः । तस्माद्देव तथा विधेहि भगवन् प्राप्नोमि पारं तयोः
- सम्यक्त्वेन विधाय भव्यकरुणां कारुण्यपात्रे मयि ॥१८॥
श्रीखण्डागुरुधूपवासनिवहैः कर्पूरपूरैस्तथा
काश्मीरद्रवसान्द्रचान्द्रविहितैः सद्वन्दनैश्चान्दनैः । स्वामिस्त्वत्पदयामलं गतमलं येऽर्ध्वन्ति चर्चाचणा
लोके लोकिततत्त्वसत्त्वसहितास्तेऽप्यर्चनीयाः सदा ॥१९॥
विष्णुस्त्वं भुवनेऽसि भूपतिरसि श्रेयस्करः शङ्करो
धाता सत्यमहाव्रती शतधतिः कालारिरुग्रस्तथा । ऋद्धया सिद्धियुतः कृतीजजनको गौरीगुरुस्त्वं सदा
जैन नेतरैश्चाद्भुततरविभवर्गीयसेऽस्यां जगत्यां ॥२०॥
सूरिश्रीविजयप्रभादिसुगुरौ राज्यस्थितिं कुर्वति
प्रीत्येवं नयपूर्वताविमलयुङ्नाम्ना प्रभुः संस्तुतः । भूयास्त्वं भवभीतिभेदभिदुराकारोपमानः सदा
स्व‘मद्रुमसान्नभो मम पुनः सर्वार्थसम्पत्तये ॥२१॥
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1
,
ANCIENT JAINA HYMNS (५) श्री - तीर्थमाला - चैत्यवंदनम्
श्रीशत्रुन्जय रैवताद्रिशिखरे द्वीपे भृगोः पत्तने
सिंहद्वीपधनेरमङ्गलपुरे चाज्जाहरे श्रीपुरे । कोडीनारकमन्त्रिदाहडपुरे श्रीमण्डपे चार्बुदे
जीरापल्लिफलर्द्धिपारकनगे शैरीसशङखेश्वरे ॥१॥
चम्पानेरकधर्मचक्रमथुरायोध्याप्रतिष्ठानके
वन्दे स्वर्णगिरौ तथा सुरगिरौ श्रीदेवकीपत्तने । हस्तोडीपुरपाडलादशपुरे चारूपपञ्चासरे
वन्दे श्री करणावतीशिवपुरे नागद्रहे नाणके ॥२॥
मेरौ कुण्डलमानुषे च रुचके वैतान्यनन्दीश्वरे
वन्देऽष्टापदगुण्डरे गजपदे सम्मेतशैलाभिधे । विन्ध्यस्थम्भनशीट्टमीट्टनगरे राजद्र हे श्रीनगे
कुन्ती पल्लविहारतारणगढे सोपारकारासणे ॥३॥
द्वारावत्यपरे गढे मढगिरौ श्रीजीर्णवप्रे तथा
थारापद्रपुरे च वाविहपुरे कासव हे चेडरे । श्रीते जल्लविहार निंवतटके चंद्रे च दर्भाविते
वन्दे सत्यपुरे च वाहडपुरे हे वाडे ||४||
वन्दे नन्दसमे समीधवल के मर्जादमुंडस्थले
मोढेरे दधिपद्रकर्करपुरे ग्रामादिचैत्यालये ।
ज्योतिर्व्यन्तरकल्पवासिनिलये भौमेषु वा भूतले
ते सर्व्वेऽपि हि शाश्वतेतरजिनाः कुर्व्वन्तु वो मंगलम् ||५||
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THE TEXTS
( ६ ) वीर - स्तुतिः
पापाधाधानिधाधा धम धम धगसा सागसा सारिगापा
सासागागारिधापा निगरम सरिगा पापगा सारिधाधा । इत्थं षड्जादिरम्यं करणलययतं सत्कलाभिः समेतं
संगीत यस्य देवैर्विहितमतिशुभं पात्वसौ वर्द्धमानः ॥ १ ॥
बुंदा पुंदा षुपुंदां डिषि डिषि डिषिमा टाघुमाटां घुमाटां
दुक्मां दुक्मां दुदुक्मां दुलि दुलि दुलिमां भीभभां भंभभांभम् । तल्मां छल्मां छछल्मां टिकरिटिकरिमां भांवां भंभ्रुवां
येषामातोद्यवाद्यं विदधति विबुधाः पान्तु वस्तीर्थपास्ते ॥२॥
कोटेंट रावणेंट त्रिभुवनकरिटं कर्पणंट रणंटं
डाव्यं डाव्यं डड।व्यं डह डह डहवत् त्रांगुलं त्रांगुनेत्रम् ॥ झंप्रं झप्रं झझप्रं त्रिषि मषि षुषुमां भांक्षुभिः क्षुद्रमासै
रेभिस्तूर्यैरलेशं जिन पतिवचसः पातु पूज्योपचारः ॥३॥
त्रेताभिस्त्रोटयन्ती त्रुटितकटितटं कण्टकं लोटयन्ती
कोटान्दुःकोटयन्ती कपटमतिमटंकापदं शाटयन्ती ।
उत्तालैर्व्यालफालैः स्फुटजटिलजटाजूटकं जोटयन्ती
वैरोट्याऽव्याज्जयन्ती घनमदमवशा छन्दसा वर्द्धमानम् ॥ ४ ॥
( 1 ) In the onomatopoetic passages, "" most likely stands for "ख"
at least in st. 2.
श्री ए.
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12v

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ANCIENT JAINA HYMNS
(७) महावीर-स्तुतिः
श्री-जिनपतिसूरि-कृता मदनदहननीरं क्रोधनोबैकधीरं
मदजलदसमीरं दम्भभूभेदसीरम् । जलधिगुरुगभीरं लब्धलोभाब्धितीरं
कनकरुचिशरीरं श्रीजिनं नौमि वीरम् ॥१॥ हतविषयविकाराः कर्मवल्लीकुठाराः
नतसुरवरवाराः प्राप्तसंसारपाराः । सुखमतुलमुदारास्तीर्थपा लोकसारा
ददतु शिववधूरोमण्डने तारहाराः ॥२॥ प्रणतसुरसुरेन्द्रं ध्वस्तसम्मोहनिद्र
सुगुणमणिसमुद्रं यत्कषायारिरौद्रम् । नमत विहितभद्रं सत्त्वपीडादरिद्रं
कुमतकमलचन्द्र शासनं जैनचन्द्रम् ॥३॥ जिनपतिनतदक्षः प्लुष्टमिथ्यात्ववृक्षः
प्रणतविहितकक्षः स्मेरपद्मोपमाक्षः । नियतकुशलपक्षः सद्यशोभावलक्षः
प्रवचनकृतरक्षः सोऽस्तु सर्वानुयक्षः ॥४॥
(८) श्री-सीमन्धर-स्वामि-स्तवनम् नमिर-सुर-असुर-नर-विंद-वंदिय-पयं
रयणिकर-कर-निकर-कित्तिभर-पूरियं । पंचसय-धणुह-परिमाण-परिमंडियं थुणह भत्तीइ सीमंधरं स्सामियं ॥१॥
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THE TEXTS
मेरुगिरि-सिहरि धय-बंधणं जो कुणइ
गयणि तारा गणइ, वेलुआ-कण मिणइ । चरम-सायर-जले लहरि-माला मुणइ
सोवि नहु, सामि, तुह सव्वहा गुण थुणइ ॥२॥ तहवि, जिण-नाह, निय-जम्म सफली-कए
विमल-सुह-झाण-संधाण-संसिद्धए । असुह-दल-कम्म-मल-पडल-निन्नासणं
तात, करवाणि तुह संथवं बहु-गुणं ॥३॥ मोह-भर-बहुल-जल-पूर-संपूरिए
विषय-घण-कम्म-वणराजि-संराजिए । भव-जलहि-मज्झि निवडत-जंतू-कए
सामि सोमंधरो पोअ जिम सोहए ॥४॥ तेअ-भर भरिअ-दिसि-विदिसि-गयणंगणो
पबल-मिच्छत्त-तम-तिमिर-विद्धसणो । भविअ-जण-कमल-वणसंड-बोहंकरो
सामि सीमंधरो दिप्पए दिणयरो ॥५॥ सुजण-मण-नयण-आणंद-संपूरकं
दुरित-हरतार, तारक, मुणी-नायकं । सयल-जग-जंतु-भव-पाप-तापापहं।
नमउं सीमंधर, चंद-सोहावहं ॥६॥ सुर-भवणि, गयणि, पायालि, भूमंडले
नयरि, पुरि, नीरनिहि, मेरु-पव्वय-कुले । देव-देवी-गणा, नारि-नर-किन्नरा तुह्य जस, नाह, गायति सादर-परा ॥७॥
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ANCIENT JAINA HYMNS
नाण- गुणि, झाण-गुणि, चरण- गुणि मोहिया सार- उवयार-संभार-संसोहिआ । रयणि दिणि हरिस - वसि, सुत्त जागरमणा
तात, तुह नाम झायंति तिहुयण-जणा ॥८॥
सिद्धिकर, ऋद्धिकर, बुद्धिकर, संकरा
विषय-विष- अमिय-भर, सांमि सीमंधरा । पुव्व-भव - विहिअ वर - पुन्न-वय- पामिआ
राषि हिव भूरि- भव- भमण मू, सामिआ ॥ ९ ॥
कम्म-भर-भार-संसार - अइभग्गउ
घणउं फिरिऊण, जिण, पाय तुह लग्गउ । मज्झ हीणस्स, दीणस्स, सिव- गामिया
好
करवि करुणा-रसं, सार करि सामिआ || १० ॥
कठिण हठ घाय तिरियत्तणे ताजिउ
नरयं-गइ करुणं विलवंत नहु लाजिउ ।
मणुअ-गइ हीण, पर-कम्म - वसि पडियउ
लागि तुह चरणि आनंदि हव चडियर ॥११॥
केवि तुह दंसणे, देव, सिव- साहगा
केवि वाणी सुणी चरणि भव- मोअगा । भरह - खित्तमि हउं झाणि छउं लग्गउ
देहि आलंवणं, नाह, जइ जुग्गर ॥१२॥
धन ते नर जहिं सामि सीमंधरो
विहरए, भविअ - जण - सव्व-संसयहरो ।
काम-घट, देव-मणि, देव - तरु फलिय
तीह घरि जीह रहिं, सामि, तउं मिलियउ ॥१३॥
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THE TEXTS
कर-जुअल जोडि करि, वयण तू निसुणिसो
- बाल जिम हेल देइ, पायं तुह पण मिसो । महुर सरि तुम्ह गुण-गहण हउं गायसो
निय-नयणि रूव रोमंचिट जोइसो ॥१४॥ तुम्ह पासि छिउ, चरण परिपालिसो
हणिों कम्माणि, केवल-सिरिं पामिसो । तुम्ह, जिणु निअय-करु सिरसि संठविसउ
सोवि कईआवि y होइसिइ दिवसउ ॥१५॥ भरह-खितमि सिरि-कुंथ-अर-अंतरे
जम्म पुंडरिंगणी, विजय पुक्खलवरे । मुणिसुवय-तित्थ-नमि-अंतरं इह जया
रज्ज-सिरि परिहरवि, गहिय संजम तया ॥१६॥ हणिय कम्माणि, लहु लद्ध केवल-सिरी
देहि मे दंसणं, नाह, करुणा करी । भाविए उदय जिणि सत्तमे सिव-गए
बहूअ-कालेण सिद्धि गमी, सामिए ॥१७॥ मोह-भर, मान-भर, लोभ-भर भरियउ
राग-भर, दंभ-भर, काम-भर पूरिउ । एह परि भरह-खितमि मूं, सामिअ
सार करि, सार करि, सार करि (तारि) गोसामिअ ॥१८॥ भोग-पद, राज-पद, नाण-पद, संपदं
चक्कि-पद, इंद्र-पद, जाव परमं पदं । तुज्झ भत्तीइ सव्वं पि संपज्जए एह माहप्प तुह सयल जगि गज्जए ॥१९॥
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ANCIENI JAINA HYMNS
तुंहजि गति, तुंहजि मति, तुंहजि मम जीवनं
तात, तउं परम गुरु, कम्म-मल-पावनं । कम्मकरु विणय-परु जोडि कर वीनवडं
. देहि मे दंसणं अलजया अभिनवं ॥२०॥
इय, भुवन-भूषण, दलिय-डूषण, सव्व-लक्खण-मंडणो,
___ मद-मान-गंजण, मोह-मंजण, वाम-काम-विहंडणो । सुरराय-रंजण, नाण-दसण-चरण-गुण-जय-नायको
जिण-नाह, भवि भवि, तात, भव मे बोधि-बीजह'दायको ॥२३

Page #163

· CRITICAL APPARATUS
1. MUNISUVRATA-STAVANA . 2a. सकल on gamb. over सकले; 2d भाग; 3b सुप्रतिष्ट; 4d मार्गम; 6d ते । or तो stands above the line; 7b श्राग; 8b प्रोज्व; 11a faan; 14b Str (tot above line); 14d rat; 18a TF92; 22b afar; 27b TG2T; 27C FIAT; 29a 1897 with illegible gloss on margin; 30b ptai 1; 30d att; 31a sfarce; 31c fafa; 32a otetust; 33b #:; 340 FITA; 35a Efra:; 97T; d afac; 36a Felagna; 36b are:; 37a #fH; ata; 38C sifflce; 39d sea; 40b fait.--
2. DEVAKULĀDINĀTHA-STAVANA . ____1c देलउला; 6d ७; 7a भवांभोधौ रागप्रवलचरटो (the adopted variant stands on the margin; the 7 in tratt not being visible); <; Sb FIAT on margin (in text fall above two deleted letters in line); 8; 9d fo; 10a Float: Anugar; 100 88 and sign indicating st. 11 (numbered as "pp" and written after 12d and 13) to be inserted here; 11b letter after पायः का not readable owing to hole in paper; 11d १२ with sign indicating the place of the stanza to be after 10; 12c qardar with thisù above line, deleted, and overwritten by paura, likewise deleted, with sign referring to
(1) The following changes are not recorded : Anusvåra to class nasal, a to a and v. v., addition of Avagraha and Visarga, removal of redundant Anusvåra.
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ANCIENT JAINA HYMNS margin with the final reading ऽध्यक्षत्वे; 12d प्रोजायंते; १३, 13d १४; 14 the whole stanza is written on the margin without any indication re its place, which has been conjectured from the context and metre; 15 only partially readable owing to holes in paper; 16 do.; 17 do. .
3. VARAKĀŅA-PĀRŚVANĀTHA-STAVANA la गधत; 2d प्रणितमो; भाणा; 3a. गुरू; 3b प्राज्ञानिधिनिहि 3c मेण्टिव; 3d पितंमिप्र; 4d इछति; 5b चक्रमोष्टे; 5c प्राश्य; मंवगाज़ 5d लंमांबु; Ga. डासयापि; 6d हरिकुरींगी; 7b चतुमामम; 7c तएवयंतु; 7d वतांरि; 8a स्तामि; 8c नाम्नामिते; 8d सार्व; 9a. विभो; 9b भव्यांग; ताजित; 9d नुदवि; 10b दश्रुभ; 10c सुचिरंविलसश्वपास्य; 10d विकास; 11a यन; भवनं; 11b यत्वां; परिवहत्य; 11c भारयस्यघ; 11d जियिनात्म; 12a. हरः प्रप्टतियोपिहतः प्रभावस्तं; 12b भवन्य; 12d सितुंक इछेत् 13a नतुल्य; पनास्त्व; 13b राशि; 13d ये; रूचभिः; भिस्ते; 14b षोवि; 14c विभाकिमहछसि; 14d पलास; 15b हत्क; 15c शशीरुचोशुवते; 15d कस्त्वांनि; संचिरतोधतीष्टं; 16a. नाजि; भवनः; 16b मनाग; 16d मंदि; शिषरं; 17b तदेही; 17c यस्मिस्तमप्रसमयन्नय; वत्तिः; 17d परस्त; जग; 18b भाः वः; 18c नाचवोधा; 18d सुर्या; यमहिमासमुनिंद्र; 19b राशे; 19c वोध; 20 शसये; भाव; 20b सांते; 20c निछंति; 20d नानैः; 21a कथंवाङमु; 21b यथासुस्तन; 21c महीमासुमणोस्त्र; 21d त्रु; क्रुलेपि; 22a. गंभीरह; 22b विबुधात्वदायाः; 22c नयरे; 23b चामरं; 23c यत्रेतरो; ममुत; भोः; 23d शतसो; 24a. गंभीरगी; ज्वल; 24c गणोश्रेयतस्व; 25c लुपत्यशौककिशलासलताः मतस्त्रां; 26b छिदे; नाघा; 26d भगवंन्पुरषोत्तमोशि; 27b ईव; 27c नुवि; 27d सोष; 28b चंद्रांश्रु; 28c पैरलध्व; गमितविदूर; 28d पिक्षितोसि; 29a. श्रजो; विद; 29c तिक्षी; 29d शौक; यूषं; 30d द्रोसिशिव; रस्मः; 31a दूरगतस्तं; 31c तिरुणा; 31d (मुच्चस्टंक; 32b मुचप्र; 32c आमास्त; वशे; भवानसंग; 32d मैश्व; 33b छिदो; 33c यपि; 33d कांति; 34a झुकेशवि; 34b सानही; 34c यातज; 34d शनो; 35a नादिषु; 35b भिन्नगस्मं; .36b विषर्मेमिरा; 37b नातर्वयोस्यपदन; 37d समय; 38b वशज्ज; 39d त्कोतिना; वासु; 40a त्वन्ना; सरण्य; 40d लभ्यते; संख्यसारणंसरणं; 41c ऋभि; 42b त्वद्भक्तयो; 42c रुप्रत; 42d भिवंति; 43a दहीश; हानां; 43b तदाश्रु; 43c भजंती; निगव;
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CRITICAL APPARATUS 43d मरु; खलु; 44a. इछं; समाही; 44b णोच्छा; 44d वममः धित 45a दृकुमद; प्रभोवी; 45c चरकाण; 45d सुमुय; 46a. सुंदवासवाली; 45b सदगुणोघ; 45c आसा; 45d भावः.--
4. SANKHEŠVARA-PĀRŚVANĀTHA-STAVANA 2b स्फूर्जता; 2c प्रशक्ते; 3c फणीफणा; 4a. दुर्यवना; 6b प्रतिष्टाः; 9a. युक्; 10c बीजं; 11c रुज़; 12a. वस्त्रे; 13a. खटा; 13b नोज्वलः; 13c धूमल; 14b सम्यक्ज्ञा; 16b जीवितमे; 17a. श्रुती.
5. TIRTHAMĀLĀ-CAITYAVANDANA ___1a. शे; शीख, भृगुः 1b सिंहे; अज्जाहरे श्रीपूरे; 1c कोडोनाहडमंतृ (कोडी on margin); अर्बुदे; 1d पल्ली; फलद्धी; शैरंसी; 2a. चंपाराजचचक्रमथुराजोद्वाप्रतिष्टानगे; 2b स्वर्णगीरौ; सुरगीरौ; देवके; 2 पाडलादशपूरे; 2d कर्णाटके शीवपूरे; 3a. मेरु; 3b वन्देश्रापद; भोधे; 3c विणा; राजन्गरे; 3d कुंत्तिपल्लवी; 4a. त्यपूरे; गढमढगी; 4b वावीहपूरे; ईडरे; 4c वोहार; 4d शत्यपूरे; बाहडपूरे; 5a. नंदवंदसमौसमि; मंड; 5b कर्करपूरे; चत्या; 5c ज्जोतिर्वितरकल्पवाशीनी; भोमेषुच; 5d स्तेसर्वेपोहोसांस्वतेतिजिननांकु.
6. VİRA-STUTII 1c इथं; षट्जाति; जतंसकलातिः; 1d विदित; पातसौ; 2a. षुषुदा; 2d येषांवातो; बुधापातु; 3c भांक्षुद्रभिः; 3d स्तुर्यलोषं; पांतु; 4a. त्रिटाभिस्त्राटयंति; करितटं; 4b कोटादुः; मटिमट; साटयंती; 4c उता; 4d ट्याद्यालयंती; वसा; छंदसौवर्द्धमानः.
7. MAHAVIRA STUTI 1a क्रोध; 2c सुषम; 2d दधतु; मंडनमंडने; 3a मदनसुरः; 3b रौद्र; 3d सासनं; 4b विहितघृक्षः; 4c सोभावलष्यः; 4d सर्वाणु.
S. SÍMANDHARA-STAVANA 1d स्वामिय; 2b वेलुअ; 6d नमऊ; 10b लगउ; 12c लगउ; 12d नाहजइ; जुगउ; 13a धन्न; 13d रहि; 14b देइ, 14c तुम्ह; 14d रूव; 15a ठिउचरण; 17d बहू; 18d करितारिगो; 20a तुंहजि (3 times); 20b तउं; 20c वीनवउ.--
(1) In the onomatopoetic passages, o has been left unchanged, as it does not seem possible to decide when it stands for a there.
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NOTES
1. MUNISUVRATA-STAVANA (1) "bhava-dveși"="enemy by nature". Here, "bhāva” is the last of the four "niksepa" or principles of definition of Jaina dialectic, which are : (a) niman=denomination, (b) sthipanā=assumption, (c) dravya= substance, and (d) bhāva=nature or attributes, cp. Tattv. I, 5. Thus, a person of the name of "Jina" may be called a "Nama-jina", a Tirthaikara statue a "Sthipani-Jina", a being whose soul is predestined to become incarnated as a Tirthaukara in a later life, a "Dravya-Jina", and a saint possessing all the characteristics of a Tirthaikara, would be a "Bhiva-Jina". The "bhava-dvesin" or "bhiva-ripu" of the soul is, of course, karman, owing to the barm which it brings to the latter, by suppressing the innate godliness of the atman.
(2) "Dvidaçãåga"=the twelve original Sacred Writings of the Jainas, out of which the Svetimbaras believe the first 11 to be represented by those 11 works now known as "Aigas”, while the 12th, the bulky "Dşstivada", is unanimously admitted to be lost.
(3) "Kalpa"-a kind of celestial state, the rulers, officials, and subjects of which consist all of gods belonging to the lower of the two sub-sections of the fourth and highest category of Jaina gods, the "Vaiminikas". These gods are known as "Kalpopapanna", while the other sub-section of the Vaimānikas is designated as "Kalpåtita", from the idea that they do not live in "Kalpas", but are all of equal social rank. The "Kalpas" are 12 in number, and occupy the S lower strata of Heaven. The lowest layer con. sists of the first and second "Ralpas", viz., Saudharma in the south, and Itina in the north. The second layer contains the third and fourth “Kalpas", vir., Sanatkumira in the south, and Mahendra in the north. The 3rd, 4th,. 5th, and 6th layers are cach occupied by an independent "Kalpa", viz., Brahmaloka the 5th Kalpa, Lantaka the 6th Kalpa, Subra the 7th Kalpa, and Sabasråra the Sth Kalpa, respectively. The 9th and 10th Kalpas,
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ANCIENT JAINA HYMNS
viz., Anata in the south, and Praṇata in the north, form the 7th layer, and the 11th and 12th Kalpas, viz., Ārana in the south, and Acyuta in the north, constitute the 8th layer. Above these 12 Kalpas are situated the realms of the Kalpatita gods. They consist of two layers, the lower of which contains the 9 Graiveyaka-vimānas, and the higher one, or the tenth Heaven, the 5 Anuttara-vimānas, named Vijaya, Vaijayanta, Jayanta, Aparajita, and Sarvarthasiddha. Cp. Tattv. IV.17 ff. and Commentary. The physical and ethical refinement of the various classes of divinities is in direct proportion to the elevation of their respective abodes.
Out of the nine last existences of Munisuvrata, four were spent in Heaven, viz., the second in the first Kalpa Saudharma, the fourth in the third Kalpa Sanatkumāra, the sixth in the fifth Kalpa Brahmaloka, and the eighth in the Anuttara-vimāna Aparajita, each being preceded and followed by a human one, and each representing a higher level of refinement than the preceding
one.
(5) "Hari-kula"-"Hari-vamsa", the Ksatriya dynasty to which the two Tirthankaras Munisuvrata and Neminatha belonged, while the remaining 22 were all scions of the "Ikṣvāku" dynasty.
(6) "jani-maham"
"janma-mahotsavam", alluding to the belief that the gods celebrate the birth of each Tirthankara with great éclat, after taking the new-born babe to the fairy-island of Nandiśvara-dvipa, outside the world of men.
"adya-juana-traya"-the first three out of the five categories of knowledge, viz., (a) mati-jñana or knowledge obtained through the senses and the process of thinking, (b) fruta-jñāna or knowledge acquired by instruction, (c) avadhi-ju na or transcendental knowledge of material things, (d) manaḥparyaya-jñāna or thought-reading, and (e) kevala-juana or omniscience. Cp. Tattv. I, 9 ff. The Tirthankaras are believed to possess the first 3 categories from their very conception, and to acquire the last two at later stages of their lives.
(7) "mohadyari-kula" refers to the mohaniya and the other categories of karman, represented as the enemies of the soul (vide above).
(8)-(14) vide general chapter.
(11) "tri-vapri"-the threefold enclosure of the "Samavasarana".
(12) "catūrūpyam"the fourfold appearance of the Tirthankara, created by the gods in the "Samavasarana" in such a way that he seems to face all the four directions simultaneously.
(14) "audattya"-"high tone," a quality attributed to the Tirthankara's voice: cp. Hemacandra, Abhidh. I, 65 and Commentary.
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NOTES
(15) "sita" and "asita"="{ukla" and "kțgna" with reference to the two halves of the month, the order of the two words being dictated here by Kaumudi, Sūtra 904 (2/2/33). In fact, the "diksā" took place in the bright half, and the "kevala-jñāna-kalyåpaka" in the dark (cp. Saptatigata 59 and 37, Dharmaghoşa's Munisuvrata-stava, 1. 1., and Trişast. IV, 7, st. 154 and 159).
"fiti" means "dark" here, as both "janman" and "mokşa" took place in the dark halves of the resp. months according to the available sources (vide above).
(20) "Isäna"=the 2nd Kalpa (vide above).
(21) "carama-jaladhi” refers to the Svayambhuramaņa-samudra, re which vide general chapter. According to Jaina cosmology, aquatic animals are only found in the first two ring-oceans, counted from Jambu-dvipa, viz., Lavanoda and Kaloda, and in the last ocean, the Svayambhuramaņa Sea. All the other countless ring-oceans are void of life.
(22) This stanza contains a reminiscence of the famous "Tortoiseparable", one of the 10 stereotype allegories used over and again to illustrate what a rare chance it means for a living being to be born as a man, and thus to have the chance of finding the path to moksa by following the Jina's teachings. It is equal to the chance which a tortoise, living at the bottom of a lake thickly overgrown with aquatic weeds, would have to see the fullmoon through a hole made in the weeds by a chance gale in a full-moonnight (cp. "Śri-Ratnasacaya-grantha, published by Seth Chaturbhuj Tejpal, Hubli, V. S. 1984, p. 53, st. 119). (27) "márttika" adj.
"alolibhāva-sthiti"="of long standing". (28) "antarmuhurtta" =somewhat less than a mūhurtta (=two ghaţikā, =48 minutes).
"vilasati" Loc. sg, of the Part. pres.
(31) "naya"="logical stand-points", the adoption of a single one of which in viewing a problem leads to error, due to oncsidedness of judgement, while the adoption of a plurality of them is indispensible in finding the truth, according to the Jaina doctrine (cp. Tattv. I, 34 f.).
: "syadvada"=relativity of truthfulness of a statement.
(35) “vikathi" (sanskritized "vigaha")="undesirable, idle talk" such as is forbidden from the stand-point of monastic discipline. The Stháningasutra (IV. 2, Sūtra 282) discerns four types, viz., (a) "itthi-kahi" or talk about women, (b)."bhatta-kahi" or talk about food, (C) "desa-kaha" or talk about countries, and (d) "Taya-kalı" or talk about princes.
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t
(36) "astabhedi-pājā"=pūja by 1. water, 2. sandal-paste, 3. flowers,
ank-incense, 5. light, 6. rice-grains, 7. sweetmeats, and 8. fruit, as is isually performed to this day by Mūrti-pājaka Śvetāmbaras.
2. DEVAKULĀDINĀTHA-STAVANA (2) "sahajam”-disposition.
(4) "şat-kåyāḥ"=the six categories of living beings, viz., earth-, water-, ire-, air-, plant-bodies, and animals (cp. Pravac., Dvāra 152, st. 989).
The pleasantness of everything in his surroundings, as described in this stanza, is one of the "atiếayas" of a "Tirthankara: cp. general chapter.
(70) "the boat consisting in the pair of your two feet, was not Obtainable".
(10) "Vrsabha"=Rşabha, or Adinatha.
(18) "In this world, there is a scarcity of your likeness", i. e., your quals are rare.
(19) "We believe that when the devotee, eager to bow to your feet, bends his head down low, this is not due to his natural trend, but to the heavy store of merit formerly acquired by him (as without such merit, the opportunity of coming into contact with the Jaina Faith, cannot be obtained)".
(21) "The fame of those who bow to yon, spreads so far that (reaching the ends of the world) it forms, as it were, flower-chaplets for the Dikkumáris". The latter are goddesses belonging to the Dikkumara sub-class of the first main category of gods of the Jaina Pantheon, the Bhavanavåsins, and are the guardians of the heavenly quarters (Tattv. IV, 11).
(23) "vikalpanih" Acc. plur. (26) "Nābheya"="son of Nábhi", i, e., Rşabha or Ādinātha.
3. VARAKĀNA-PĀRSVANĀTHA STAVANA (3) "prathama” refers, in the original context of the Bhaktămarastotra (st. 2a), to the first Jina Ādin+tha, and therefore stands there in the literal sense. As the present hymn, however, is addressed to the 23rd Jina, it must here be taken in the sense of "foremost", "best".
(12) "sita"="sugar". (14) "mahasah"="swiftly". (15) "favate" =3rd Person plur. Pres. Tense of "lu" "to go".
(20) "samud"="joyful", a synonymon of "aļoka", meant here as an usion to the Asoka-tree, the first of the eight "prätiharyas", which are referred to, in their conventional order, in st. 20-27, each in one stanza.
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NOTES
(22) "yad bhejuşim sumanasām ......manaḥ"="ya vicah (yam viņim) pibatim sajjanāniñ.........mana!"; in this context. "vibudha" must be taken as an adjective.
(340) The first sentence ends after "yā te". (356) "bhinna"="puffed up". (37) "na neme"="I never bowed" (here the sentence ends).
"vaya"="kākha" : "a forest conflagration caused by the falling of lightning on branches (of forest trees)".
(41) "garan"=Part. Pres. of "fri" "to tear".
(45) "Bhogindra"="the Indra of the Snake(-demon)s", 1. C., Dharañendra, the Indra of the Nägakumiras, Pārsvanātha's Śāsanadeva; "Bhogi-lalani"=the Śāsanadevi of Parsvanátha, Padmavati, consort of the former,
“Lakşmil" is, of course, meant in the metaphorical sense of "Highest Bliss", i. e., "Mokşa".
4. SANKHEŚVARA-PĀRŚVANĀTHA-STAVANA
(3) "Kamatha"=the name of Parsvanatha's hostile brother in his pre-existence as the Minister's son Marubhūti. This Kamatha was, in Pärsvanātha's last existence, re-incarnated as the Asura Meghamălin, who tried to disturb the Lord's meditation by sending against him ferocious animals, dust-storms, and cloud-bursts, which latter are alluded to here along with the just mentioned snake-deities, who tried to protect him with their expanded hoods.
(8) "aşta-karma-karați"="the (hostile) elephants, consisting in the eight (well-known) karma-prakştis" : vide general chapter,
"pañcapramidah"="the five intoxicants", viz., alcohol, sexual lust, passion, sleep, and undesirable talk ("vigahi"), cp. Uttaràdh, IV.
5. TIRTHAMĀLĀ-CAITYAVANDANA
(40) The Locative "Darbhīvate" "Darbhå vata"!
presupposes a
rather
unusual
(50) This passage refers to the four main categories of gods, viz., Bhavanavisin, Vyantara, Jyotişka, and Vaimánika, and to their abodes in the various strata of the universe, all of which are supposed to contain temples of the Tirthaukaras.
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6. VIRA-STUTI
(2) "Tirthapa"-"Tirthankara".
(4) "tretā"="taurya-trika", the triad of song, dance, and music.
"aṭanka"="void of pride": cp. "amadeha" (i. e. "amada"+"iha"), an attribute of similar meaning, bestowed on this goddess by Sobhana Munf in his 23rd Stuti (loc. cit. p. 276, st. 92).
*
134

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BIBLIOGRAPHY
aryarakṣita, Anuyogadvāra-sútra, Agamodaya Samiti, Bombay, 1924
Astotlari-tirthamala-stavana=Aştottari-tirthamala-caityavandana, vide Alahendrasuri
Bappabhattisīri-viracită Caturvim satikā, Agamodaya Samiti, Bombay, 1926
Bhagavati-stītra, Agamodaya Samiti, Bombay, 1918-21
Bhaktāmarastotra-pädapurti-rūpasya kivyasangrahasya prathamo vibhāgah, dvitiyo vibhāga), Agamodaya Samiti, Bombay, 1926-27
Bhandarkar, B. G., Wilson Philological Lectures on Sanskrit and the Derived Languages, Bombay, 1914
Bhattacharyn, B. C., The Jaina Iconography, Punjab Oriental Series, Lahore, 1939
Bloomfield, M., The Life and Stories of the Jaina Saviour Parávanātha, Baltimore, 1919
Caritravijaya Muni, Vihäradarśana, Viramgam, V. S. 1988.
Ciunningham, A., Ancient Geography of India, ed. Mazumdar, Calcutta, 1924 • Dakşinâmirti, Uddhărakośa, ed. Shodo Taki, Sarasvati Vihara Series 4, ed. Dr. Raghuvira, International Academy of Indian Culture, Lahore, 1935
Desai, M. D., A Short History of Jaina Literature, Jain Shvetambara Conference Office, Bombay, 1933
Dcuabhadrasari, Pisanālia-Cariyam, ed. Acharya Shri Vijayakumudasuri, Manivijayagani-granthamala, Ahmedabad, 1945
Dcucndrastava-prakirņaka, Agamodaya Samiti, Bombay, 1927 Divatia, N. B., Gujarati Language and Literature, Bonubay, 1921;1932.
Dey, Nundo Lal, The Geographical Dictionary of Ancient and Mediaeval India, London, 1927
Hargovind Das T. Seth, Piia-sadda-mahannavo, Calcutta, 1928
Haribhadrasūri, Āvašyaka-niryuktiţiki, Agamodaya Samiti, Bombay, 1916-17
135

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ANCIENT JAINA HYMNS
Abhidhana-cintamaņi, ed. Sri Vijayadharmasūri, Yalovijaya Jaina Granthamala, Bhavnagar, Vira S. 2446
Hemacandrasūri,
Hemacandrasuri, Anya-yoga-vyavaccheda-dvātrim sikā, ed. A. B. Dhruva, Bombay, Sanskrit Series, 1933
Hemacandrasūri, Trisaṣṭi-galaka-purușa-caritra, Jaina Dharma Prasaraka Sabha, Bhavnagar, 1906-13
Hemacandrasuri, Trisaṣṭi-falaka-purusa-caritra, Parvan I, Parts I and II, translated into English by H. Johnson, GOS, 1931-37
Hindi-Panca-pratikramana, Indore, 1927
Jaina Aitihasika Gurjara Kavya Sañcaya, ed. Muni Jinavijaya, Jaina Atmananda Sabha, Bhavnagar, 1926
Jaina Gurjara Kavio, I-III, ed. M. D. Desai, Jain Shvetambar Conference Office, Bombay, 1926, 1931, 1944
Jaina-stotra-sandoha, ed. Muni Caturavijaya, Part I, Ahmedabad, 1932
Jaina-vāņi-sangraha, Calcutta, V. S. 1982
Jaini, J., Outlines of Jainism, Cambridge, 1916
Jaina Satya Prakāśa (Magazine), ed. C. G. Shah, Ahmedabad
Jayantavijaya Muni, Abu, Vijayadharmasūri Jaina Granthamala, Ujjain,
1933
Jayantavijaya Muni, Šankheśvara Mahitirtha, Vijayadharmasūri Jaina
Granthamala, V. S. 1998
Jayasimhasuri, Hammira-mada-mardana, GOS, No. 10
Jhaveri, M. Bh., Comparative and Critical Study of Mantrashastra, Ahmedabad, 1944
Jhaveri, M. T., Munisuvrata Sväāmi Caritra, Thana, V. S. 1998
Jinadasa Gani Mahattara, Avaśyaka-cūrņi: Avaśyaka-niryukti, ed Rṣabhadevaji Kesarimalaji Svetambara Samstha, Ratlam, 1928
Jinaharsa Gani, Vastupala-caritra, Gujarati Translation, Jaina Dharm Prasaraka Sabha, Bhavnagar, V. S. 1974
Jinamaṇḍana Gaṇi, Kumārapāla-prabandha, Jaina Atmananda Sabha, Bhavnagar, 1971
Jinaprabhasūri, Vividha-tirthakalpa, Singhi Jain Series 10, Santiniketana,
1934
Jinaratna-kosa, vide Velankar
Jianavijaya Muni, Jaina Tirthono Itihasa, Palitana, V. S. 1981 Jilātādharmakatha-sutra, Agamodaya Samiti, Bombay, 1916
136

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BIBLIOGRAPHY
Kesavarāma K. Sastri, Apana Kavio I, Ahmedabad, 1942, Gujarat Verna.
cular Society
Krause, C., Kaika Śaůkheśvara Sahitya, Jaina Satya Prakasa, Varṣa 11, Amka 3, pp. 73-50
Krause, C., Siddhasena Divakara and Vikramaditya, Vikrama Volume, Scindia Oriental Institute, Ujjain, 1948, pp. 213-280
Krause, C., Śri-Hemavimalasuri-kṛta Tera Kathiyani Sajjhaya, Jaina Satya Prakasa, Varsa 12, Amka 3, pp. 74-76
Lakshmivijayasuri, Upadesa-prasada, Jaina Dharma Prasaraka Sabha, Bhavnagar, 1914-23
Lalacandra, Pt. Bhagavändasa, Pavagadha thi Vadodra mi Prakața Thayela Jiravala Parsvanitha, Bhavnagar, V. S. 1992
Lalacandra, Pt. Bhagavandasa, Tejapalano Vijaya, Bhavnagar, V. S. 1991 Mahendrasuri, Astottari-tirthamila-caityavandana, Vidhipakṣa-gacchasya Pañica-pratikramaņa-sūtraņi, V. S. 1984
Mangaladasa Trikamdasa Jhaveri, vide Jhaveri, M.
Merutungasūri, Prabandha-cintamani, Singhi Jaina Series I, Santiniketana,
1933
Munisundarasūri, Gurvavali, Yasovijaya Jaina Granthamala, 9, Benares V. S. 1961
Munisundarasūri, Traividya-goṣṭhi, Sha Devakarana Mulaji, Bombay, V. S. 1966
Nahar, P. C., Jain Inscriptions, Parts I-III, Calcutta, Vira S. 2444, A.D. 1927, 1929
Nahta, A. and Bh., Dada Śri Jinakusalasūri, Calcutta, V. S. 1996
Nazim, Dr. M., Epigraphia Indo-Moslemica
Nemicandra, Pravacanasiroddhara, Devchand Lalbhai Pustakoddhar Fund Series, Bombay, 1922
Nundo Lal, vide Dey
.
Padaliplasuri, Nirvāṇa-kalikō, Nirnayasagara Press, 1926
Pañca-pratikramaņa-sūtra, Jaina Atmananda Sabha, Bhavnagar, V. S.
1982
Paṭṭavali-sangraha, ed. Muni Jinavijaya, Calcutta, 1932
Pheru, Vastu-sara-prakaraṇa, Jaipur, 1936
Prabhacandra, Prabhavaka-caritra, Singhi Jaina Series 13, AhmedabadCalcutta, 1940
137

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ANCIENT JAINA HYMNS
Prabhâcandra, Prabhāvaka-caritra, Gujarati Translation by Muni Kalyanavijaya, Jaina Atmananda Sabha, Bhavnagar, V. S. 1987
Prabhāvaka-caritra, vide Prabhācandra
Prācina-lekha-sangraha, ed. Sri Vijayadharmasuri, Part I, Yasovijaya Jaina Granthamala, Bhavnagar, 1929
Pracina-tirthamāla-sarigraha, cd. Sri Vijayadharmasūri, Part I, Yago. vijaya Jaina Granthamala, Bhavnagar, V. S. 1978
Prajñāpanā-sītra, Agamodaya Samiti, 19-20, Bombay, 1918-19 Pravacanasāroddhāra, vide Nemicandra Puratana-prahandha-saigraha, Singhi Jaina Series 2, Calcutta, 1936
Pirna-Ksema-Vallabhia-vilāsa, ed. Sri Vallabhasagara Gani, Neemuch, V. S. 1990
Ratna-samuccaya-grantha, ed. Seth Manekchand Pitambaradas, Hubli, V. S. 1985
Samavāyanga-sūtra, Agamodaya Samiti, 15, Surat, 1919
Sanghadāsa Gani, Vasudevahiņdi, Jaina Atmananda Sabha, Bhavnagar, 1930
Santivijaya Muni, Jaina Tirtha Guide, Ahmedabad, V. S. 1967 Satrıñjaya-yalra-vicāra, Bhavnagar, V. S. 1985 Savāni, L. N., Jaina Tirthavali Pravāsa, Teravala, V. S. 1963 Senapraéna, vide Subhavijaya
Sobhana Muni, Caturvim sati-Jina-stuti, ed. H. R. Kapadia, Agamodaya Samiti, 52-53, Bombay, 1926
Somadharma Gani, Upadeśa-saptati, Ahmedabad, V. S. 1998 Somaprabhasūri, Kumârapāla-pratibodha, GOS 14, Baroda, 1920
Somaprabhasūri, Kumărapăla-pratibodha, Gujarati Translation, Jaina Atmananda Sabha, Bhavnagar
Somatilakasūri, Saptatiếata-sthina-prakaraṇa, Atmananda Jaina Sabha, Bhavnagar, V. S. 1975
Sthanäriga-sūtra, Agamodaya Samiti 21-22, Bombay, 1918-20 Stolra-sangraha, Yasovijaya Jaina Granthamala Stotra-samuccaya, ed. Muni Caturavijaya, Nirnayasagara Press, 1928
Subhavijaya Gani, Senaprasna or Prašnottara-ratnākara, Devchand Lalbhai Pustakoddhar Fund Series No. 51, Bombay, 1919
Sūrimantra-brhat-kalpa-vivaranar, Ahmedabad, Vira , S. 2458 Sūtrakītājiga-sūlra, Agamodaya Samiti 18, Bombay, 1947
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BIBLIOGRAPHY
Stādtāda-ratnākara, vide Vididevasūri
Tantrābhidhāna, ed. Panchanana Bliattacharya, Tantrik Texts, ed. A. Avalon, Calcutta and London, 1937
Taltvārthādhigama-siūlra, vidc Umāsviti Tiloya-paruntli, vile Yativrşabha Tirthavali-pravåsa, vide Savini
Umásrāti, Tattvirthadhigama-sūtriņi Bhişya-salitâni, cd. M. L. Ladhaji, Pooni, Vira S. 2453
Umāsvati, Tattvarthidhigama-sútra, with Vritti and Bhāşya, ed. H. R. Kapadia, Derchand Lalbhai Pustakoddhar Fund Series 67 and 76, 1926-30
Uttaradhyayana-sufra, Yasovijaya Jaina Granthamala 46, Bhavnagar, 1927
Vadideuasiri, Pramina-naya-tatträlokalaukar with Syadvada-ratnakara, Yasovijaya Jaina Granthamala, Benares, Vira S. 243-37
Velankar, H. D., Jinaratna-kosa, Bhandarkar Oriental Research Institute, Poona, 1944
Vidyavijaya Muni, feri Mevad-vatri, Vijayadharmasuri Jaina Grantha. mala, Bhavnagar
Vijayadharmasūri, Devakulapitaka, Yasovijaya Jaina Granthamala, Bhavnagar
Vimalasiri, Paūma-caria, Jaina-Dharma Prasaraka Sabha, Bhavnagar, 1914
Virayavijaya, Kalpasūtra-ţiki Subodhika, Jaina Atmananda Sabha, Bhavnagar, V. S. 1975
Viravijaya Muni, Sri Jaina-Kalpa-Jantra-Jahodadhi, I, Multan, V. S. 1999
Vividha-lirilia-kalpa, vidc Jinaprabhasūri
TVinteruit:, M. A., History of Indian Literature, published by the University of Calcutta, 1927-33
Yasovijaya Upadhyāya, Śri Navapadaji Pūja, Jaina Atmananda Sabha, Bliavnagar, V. S. 1984
Yatirrşablia. Tiloya-panyatti, Jaina Samskrti-samtaksaka-sanglų Sholapur, I, 1943
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Page #179

CORRIGENDA
Page + line, note or stanza
Incorrect
Correct
Introduction p.
,
,
Text
E ö vuur en or w Boco vo
3 n. 2 "cylindrical a cylindrical 6 l. 31 all in all in all 7 2 Hairaṇyakas Hairanya
vatas 1, 23 eviating deviating
n. 4 Vastusāra Vastusāra 12 , 4 1036
1936 1. 24 Aştami Aştami n. 1 Sūri
Sūri, » 4.5 Prabhacandra Prabhācandra „ 4,6 Sri Śrī 1. 7 Asvavabodha Asvāvabodha n. 3 havai
havai 10 „ 3 Vid 11 2 Vid
Vide 11 ~ 3Vid
Vide 1 pinnancle pinnacle 6 Sri Śrī
Amadatta Amadora » 23 Amadatta Amit 18 17 A stottarī
141
„
Vide
,
ão
1

Page #180

HA
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Text
11
1.
13
33
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36
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97
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33
33
27
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34
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27
11
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31
33
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33
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19
ANCIENT JAINA HYMNS
19
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11
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23 n. 1
25
4
26
2
ava
29
6 Śārdila
39
39
41
45
n.
49 1. 16
55555
57
57
13
57
58
61
65
17
1.
1 श्रीवरकारण
1 ववेकविजययेनः
27 Svadhyāya
1 reiliability
blīm
49 n. 5 bṛahat
55
1
Jñana
3 Astot,
2
Sūtra.
3
"Manusot
tara"
3 Mannuṣottara
77
27
17
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21
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29
17
1. 13
n
17
66
71
79 1.
85
87
17
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Muni uvrata
Sha.
17
11
Ry
2 ayer
1 rāmarāga
1 Pūrṇa
1
19
Dakṣiņa
in
1. ("yathā
1. 20 prakare
142
Correct
Munisuvrata
Sha
stava
Śārdula
sitarau
ववेकविजयेनः
Svādhyāyaḥ
reliability
blim
bṛhat
Jñana
Astot.,
Sutra,
"Manusot
tara"
Mānuṣottara
Ry.
layer
grāmariga
Pūrṇa
Dakṣiņā
is
"yatha
prakāre

Page #181

CORRIGENDA
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Incorrect
Correct .. .
Text
Kesava Kesava vinnaveni
vide
language apposition Vrtti Labdhimuniji जन्मनस्ते সিম दात्याद्यास्ते निति
87 n. 4 Kesaava 87 , 5 Kesva
__1. Vinnavemi ___88_n. 3 xide
, 5 anguage , 2 apposation 1. 3 Vrtti
„ 29 Labhimuniji 94 st. 16d जमनस्ते 95 ,, 14a त्रिश
14b दात्यायास्ते 26b निवृति
30c शाड्वलं , 99, 34a बलघटा ,, 99 ,, 37a वबोध
2c प्रयुङकते
, 2d सवा , 104 , 22d समाधानावधि ,, 104 , 26d च्छोना
, 13d परमानु
_2a वाङमु
,, 24d मुनीन्द्र , 110 , 26b त्रिजगज्जनौघानं , 110 , 30a नाथ
शाद्वलं
वलघटा
वबोधं
प्रयुकते
सर्वा समाधानविधि च्छीना परमाणु वाम मुनीन्द्र त्रिजगज्जनौवान् नाथ
143 .

Page #182

ANCIENT JAINA HYMNS
Page+line, note or stanza
:
Incorrect
Correct
Text
1
3
या ते 5 जनिष्ट; किल यः तुलितं यस्तावकं नीरोत्करैर्दिछुते . प्रौढ
नष्टं वाभिर्गतं सेवित
इसों
p. 111 st. 34c याते; ऽजनिष्ट , 111 ,, 34c किलायः
43b तुलित
44d यन्तावकं
, 3a नीरोत्करर्दिधते , 114 , 4a प्रोढ ,, 114 ,, 4d नं , 115 , 8a. नष्ट
, 8c वाभिर्गत
9d सेवत ,, 115 , 10c इतों
11c ज्जम्भते ,, 20b शतधातिः
,, 21d सान्नभो ,, 118 , 1d शङखेश्वरे ,, 119 , 1c षडू ,, 119 ,, 3d लेश , 120 , 1a क्रोधनोद्ध
, 4c तियत
,, 6d सीमंधर ,, 124 , 21a डूषण
1. 11 bhava-ripu , 130_n. 23 adya
131 , 28 muhurtta
ज्जूम्भते शतधृतिः सन्निभो शङ्खेश्वरे
लेशं क्रोधरोध नियत सीमंधरं दूषण bhāva-ripu ādya muhūrtta
144

Page #183

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Page #184

'अविमुक्ततत्वम्-A Sanskrit compendium on the philosophy
of the holy city of Banaras, ascribed to Bhavāni, the step-mother of the renowned author Bālambhatta Pāyaguņde (c. 1780 A. C.). In progress.
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Page #185
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