Ancient Jaina Hymns

Author(s): Charlotte Krause
Publisher: Oriental Institute
Catalog link: https://jainqq.org/explore/034743/1

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zrI yazovijayajI . Ibollebic bel dAdAsAheba, bhAvanagara, phona : 0278-2425322 527,00EUR ITAL SERIES No. 2. ANCIENT NA HYMNS EDITED BY CHARLOTTE KRAUSE UJJAIN SEINDIA ORIENTAL INSTITUTE 1952

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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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(onger nesten starter ) PRINTED AT THE GOVERNMENT CENTRAL PRESS GWALIOR 1952

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PREAMBLE "Ancient Jaina Hymns" is the latest monograph in the Scindia Oriental Series of the Scindia Oriental Institute. The Institute was established by the Gwalior Darbar to foster oriental learning and research in Indology and is now maintained by the Madhya Bharat Govern. ment. It has a special library of Sanskrit, Pali, Prakrit, Hindi and Marathi books and valuable manuscripts. Its present Curator Shri S. L. Katre has published numerous research monographs in varicus learned and research journals. But lack of facilities for publications has prevented most of the research work done at the Institute from coming before the public, and paucity of funds has been responsible for so few publications by it. The Madhya Bharat Government has now undertaken its reorganisation, and it is hoped that before long not only the scope of its work will expand, but also the necessary facilities for the publication of its researches will be made available. The present work is a scholarly study of ancient Jaina Hymns by the distinguished German Scholar and Orientalist Dr. Charlotte Krause, who has spent over twenty-five years in Madhya Bharat and for a long time carried on her researches under the guidance of the

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distinguished Jain Scholar and Saint Siiri 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 wrich 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 : : : : : : : : Preface Introduction .. Remarks on the Texts .. 1. The Munisuvrata-stavana 2. The Devakuladinatha-stavana .. 3. The Varakana-Parsvanatha-stavana 4. The Sankhesvara-Parsvanatha-stavana 5. The Tirthamala-caityavandana.. 6. The Vira-stuti 7. The Mahivira-stuti .. .. 8. The Simandhara-stavana The Texts 1. Jhanasagara Suri, Munisuvrata-stavana 93 2. Sarodaya Gani, Devakuladinatha-stavana .. 100 3. Hernavimala Suri, Varakana-Parsvanatha.. stavana o 105 : : :

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CONTENTS Page 4. Nayavimala, Saikhesvara-Parsvanatha stavana 5. Tirthamala-caityavandana . 6. Vira-stuti 7. Jinapati Suri, Mahavira-stuti .. 8. Simandhara-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 hymnal literature, and are of Svetambara 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 Suri

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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 Acarya Jnanasagara Suri, who died in V. S. 1460. The author of the "Varakina-Parsvanatha-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-Parsvanatha-stavana", is identical with the celebrated "Jnanavimala Suri", many of whose devotional songs, Rasas and exegetical works both in Sanskrit and Gujarati, are well-known. The "Munisuvrata-stavana", moreover, is of historical interest by its reference to "Asvavabodha" or "Sakunikavihara", 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 Vastupila and Tejapila, 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 Devakuladinatha-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 by acres of ruins.

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A whole list of such names of ancient places of pil. grimage is contained in the short Caityavandana, and constitutes its interest. The Vira-stuti is a striking example of onomatopoetic expression, and, at the same time, an indirect, but eloquent testimonial to the important role which music and musical science once played in the Svetambara ritual. The Simandhara-stavana, last but not least, is of linguistic value as another of those not very frequent specimina of late Gaurjara Apabhramsa 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 tl'e 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: yatsevAbhayakalpapAdapavane sadbhAvameghokSite nyAyAcArasamIrazItaviTape nItyauSadhairvAsite / pUjyAcAryakavIndranirmitavarastotrAdipuSpotkaraM saMcityemamagumphamatra viduSAM sadbodhaye granthakam // 1 // yadrAjye sukhazAntizAlini sadA sArA vizAlA-gatA jJAnazrI ramate vikasvararucimranthAlayobhAsitA / caityaM cAzrayiNI gurovijayayugvidyAMkitenarSiNA dharmazrIH karuNAratA zivapure saMrakSitA zobhate // 2 // hArAmasuramyagopanagare vAtsalyasaumyAjitA rAjazrIvilasatyasau ca vimalA yasya pratApAnvitA / jIvAjIpRthivIpatirvijayatAM zrImAnsa sadbhAvayug ityAzIrmama hRdgatA saphalatAM yAyAtsubhadrA zubhA // 3 // Ujjain, Scindia Oriental Institute, | ___Makera 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-dvipa". The ocean immediately surrounding the latter is "Lavanoda"; the "Salt-sea". Next comes the ring-island of "Dhataka-khanda", which the "Kaloda" or "Black Sea" surrounds. Then follows the island-world of "Puskaravara-dviba", and the further countless ring-oceans and ring-worlds, up to "Svayambhuramana-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 Simandhara-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., lika, p. 248 ff.

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ANCIENT JAINA HYMNS Human beings inhabit only the central "Two-and-ahalf-worlds", viz., "Jambu-dvipa", "Dhataki-khanda", and the inner portion of "Puskaravara-dvipa", demarcated by an insurmountable ring-shaped mountain-range, the "Manusottara-parvata", which divides this island into two concentric parts. The Tirthamala-caityavandana published below, mentions this mountain-range as containing places of pilgrimage (st. 3). " Tambu-dvapa", 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", "Hariksetra", "Mahavideha", "Ramyaka-ksetra", and "Hairanyavata". The central one of these seven continents, Mahavideha, 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 "Purvavideha" and "A paravideha'' in the east and west respectively. Devakuru and Uttarakuru are often grouped together as "the two Kurus", while Purvavideha and Aparavideha are referred to as "the two Videhas", or as "Mahavideha" 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 Mahavideha has thus 32 Vijayas. Susb a 2

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INTRODUCTION "Vijaya" is referred to in the Simandhara-stavana (st. 16). Taree out of the seven continents of Jambu-dvipa, viz., Bharata, Airavata, and Mahavideha in the narrower sense, are grouped together as the "Karmabhunis". There, people have to work to earn their livelihood, and Tirtharkaras 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 "Karmabhumis", again, Bharata and Airavata occupy a separate position. For only there, the "Kalacakra", the "Wheel of Time", revolves, alternately bringing into play, in never ending crescendodecrescendo, periods of evolution, called "Utsarpinis", and such of degeneration, or "Avasarpinis", 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 "kotakotis of sagaropamas". A "Kalacakra" or "Kalpa", i. e., the aggregate of one Utsarpini plus its subsequent Avasarpini, thus lasts twenty kotakotis of "sagaropamas". An "Avasarpini" has the following six "Aras", the direction of developinent land the order of which is simply reversed in an "Utsarpini": (1) "Susama-susami", the beginning of which is characterized by an optimum of physical development (1) Tattv. IV, 15, and lika, p. 294 ff. (?) 1 koti=1 crore or ten millions; accordingly 1 kotakoti=the square of a koti or 10,00,00,00,00,00,000. A "Sagaropama" is equal to ten kotakotis of "palyopamas", and a "palyopama" is the number of years which it would take to empty cylindri al container of a height and circumference of our vojana (=4 miles), Sled under enormous pressure with the finest body-hairs, if every 100 years on, hair is removed. Vid, Tattv. IV, 15, Bhisya, p. 294, and Prav., Dvara 1 an 1 159, 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 Tirthankara is born, and salvation cannot be attained. As this period passes, everything slowly deteriorates, till, after four kotakotis of sagaropamas, a certain limit is reached, which marks the beginning of the next "Ara". (2) "Susama", at the outset of which the bodyheight of man is four miles, and his maximum age two palyopamas. It lasts three kotakotis of sagaropamas. Tirtharkaras are not born. Everything deteriorates, further. (3) "Susama-dussama", 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 "Nirvana" after a life of 84,00,000 "purvas". Three years and eight and a half months after his "Nirvana", this period comes to an end, having lasted two kotakotis. of sagaropamas, and seen the end of the wishing-trees and of the twinship of husband and wife. (4) "Dussama-susama", during which deterioration continues, till at its end, the human body is only seven "hasta" high, and the maximum age 100 years. It (1) 1 "dhanu"=4 "basta" or cubits. (2) 1 "purva"=84,00,000 "purvangas", one "parvanga" 84,00,000 years: Vide Tattv. IV, 15, Tika, p. 293. (3) 1 "hasta"=1 cubit. equalling

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INTRODUCTION lasts one kotakoti of sagaropamas minus 42,000 years. During this period, the remaining 23 Tirtharkarus out of the stereotyped "Tirthan kara-caturvimsatika", which, as a law, appears during an Avasarpini (as during an Utsarpini), 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 Caturvimsatika) 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) "Dussama", during which the body-height decreases to two "hasta", and the duration of life to 20 years. Tirthanka ras no longer appear, religion slowly lapses into oblivion, and the gate to saivation is closed again. This period sees the last of the Sadhus and the last Jaina layman. It lasts 21,000 years. (6) "Dussama-dussama", 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 "Utsarpini" starts, with fresh hope for a gradual improvement of things. While the chain of these six "Aras", interininable like an endless band, goes on revolving for ever in Bharata and in Airavata, there are neither Utasarpinis nor Ava 5

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ANCIENT JAINA HYMNS sarpinis in the rest of the universe. Even in Purvavideha and Aparavideha, though they too belong to the category of "Karmabhumis", time eternally stands still. All the 32 "Vijayas" invariably are in a condition of "DussamaSusama", with a fair average of development, and a fair share of both work and pleasure. Tirthankaras 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 Sita, always has a Tirthankara 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 "Karmabhumis". The remaining four of the seven parts of Jambu-dvipa are "Bhogabhumnis", 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 Avasarpini, but being also precluded from having the darsana of a Tirthankara. Thus, the first "Ara" always prevails in the two "Kurus", the second in Hari-and Ramyaka-ksetra, and the third in Haimavata and Hairanyavata. All the above refers to Jambu-dvipa. The remaining parts of the Manusya-loka, viz., the whole of Dhataki-khanda and the inner ring of Puskaravaradvipa, 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-dvipa. Thus, the whole Manusya-loka has all in all 15 "karma-bhumis" (viz., 5 Bharatas, 5 Airavatas, and 5 Vahavidehas) and 30 "Bhoga-bhumis" (viz., 5 Haima 6

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INTRODUCTION vatas, 5 Hari-ksetras, 5 Devakurus, 5 Uttarakurus, 5 Ramyaka-ksetras, and 5 Hairanyakas) with 5 Merus, each with a separate system of suns, moons and other heavenly bodies'. We are supposed to live in the Bharata-ksetra of Jambu-dvipa in the 3rd millennium of the 5th "Ara" of an Avasarpini, the last Tirthankara of which latter, Mahavira, expired roughly two and a half millennia ago. This "Ara" is assumed to have started 3 years and 81 months after Mahavira's Nirvana. At present, not only Bharata, but also Airavata is believed to be without a Tirthankara, while four Tirthankaras exist in Mahavideha. 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 "Viharamanas." One of them is the Lord Simandhara, 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 Tirthaikaras, 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 Mahavidehas, 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 Svetambaras supposed to be daily recited*. (1 Tattv. III, 12-13. (2) Vide Pravac., Dvara 13, st. 327 (where, as an alternative, 10 is also given as the minimum number). (3) Pravac. loc. cit. (4) Pancaprat., Bh., p. 431 and elsewhere.

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ANCIENT JAINA HYMNS Best known among the Tirthankaras of all the 15 "Karmabhumis", past, present, and future ones, is naturally the past "Caturviisatika" of the world in which we live, i. e., those 24 ones who appeared during the past two "Aras" of the present "Avasarpini" in the "Bharata-ksetra" of Jambu-dvipa. They are : (1) Rsabha (Adinatha), (2) Ajita, (3) Sambhava, (4) Abhinandana, (5) Sumati, (6) Padmaprabha, (7) Suparsva, (8) Candraprabha, (9) Suvidhi (Puspadanta), (10) Sitala, (11) Greyamsa, (12) Vasupujya, (13) Vimala, (14) Ananta, (15) Dharma, (16) Santi, (17) Kunthu, (18) Ara, (19) Malli, (20) Munisuvrata, (21) Nami, (22) Aristanemi (Neminatha), (23) Parsvanatha, (24) Mahavira (Vira, or Vardhamana). 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 Tirthankaras, have been presented in poetical form by Somatilaka Suri in his "Saptatisata-sthana-prakarana", composed in V. S. 1387'. As the name indicates, these data are 170 in number. Some of them are mentioned in our stotras too (sometimes slightly reviating). Such data are, e.g.: (1) The "Kalyana-pancaka", i. e., the dates of the five main events of a Tirthankara's life, viz., conception, birth, initiation into monkhood, attainment of omniscience, and final salvation. The Munisuvratastavana mentions these five "Kalyaraka" with regard to the 20th Tirthankara (st. 15). (2) The "antarani", i. e., intervals between the Nirvanas of two Tirthankaras succeeding one another. (1) Publ. by the Atmananda Jaina Sabha, Bhavnagar, V. S. 1975 (with the Commentary of Devavijaya).

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INTRODUCTION According to the law of the "Kalacakra", these intervals are on a steady decline, as this Caturvinsatika belongs to an Avasarpini. Thus, 50 laksa-koti of sagaropamas of years intervened between Rsabha and Ajita, the two first ones, but only 250 years elapsed between Parsva and Mahavira, the two last ones. (3) The spans of their lives, which likewise steadily decrease, as the Avasarpini progresses. Thus, 84 laksa purvas 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 Parsva, and 72 as that of Mahavira. 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 purvas, 3 years and 87 months before the beginning of the 4th "Ara", and his death 3 years and 81 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 kotakoti of sagaropamas minus 42,000 years, this leads down into mythological ages! Munisuvrata, another of the Tirthankaras mentioned in our texts, is supposed to have been an approximate contemporary of Rama and Sita, and to have died 1 laksa and 84,000 years before Vira, 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 Neminatha, the 22nd, is believed to have been contemporary with Krona, and to have died 84,000 before l'ira, 2. e., roughly 84,500 B. C. As he was then 1,000 years old, he would have been born 85,500 B. C. With Parsvanatha, the 23rd, the dawn of history is reached. As he is stated to have died 250 years before Vira, at the age of 100 years, the date of his birth roughly comes 9

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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. Mahavira'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 "Syama-varna" 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 Parsva'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 SankhesvaraParsvanatha-stavana (st. 3-4) contains an allusion to Parsvanatha's former lives in the shape of a reference to "Kamatha", Parsvanatha's hostile brother in his existence as Marubhuti, a minister's son. In that existence, which happened aeons ago, Kamatha killed Marubhuti. Subsequently, both brothers were reborn in various parallel existences, and each time, the incarnation of Kamatha hated and finally killed that of Marc bruti. In Marubhuti's final existence as Parsvanatha, Kamatha was incarnated as Kaha, a Hindu ascetic, 10

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INTRODUCTION who, while practising the five-fire-penance, once very nearly burnt a snake, which was hidden in one of the logs. By chance, Parsva, 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 Meghamalin, who again tried to worry Parsva. Parsva had, in the meantime, become an ascetic and was wandering about in the wilderness. Meghamalin 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 Padmavati, and both protected the Lord, forming baldachins over him with their hoods. Reproached and enlightened by Dharana, Meghamalin repented, asked the Lord's pardon, and, having attained spiritual enlightenment, found the path to salvation'. Dharana, or Dharanendra, however, kept serving the Lord Parsva, 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 Tirthankaras or his places of Worship, as Dharanendra and Padmavati, mentioned just now, in Parsva's case. Both are referred to in the Sankhesvara-Parsvanathasta vana published below (st. 9 and 10). These divine (1) Cp. M. Bloomfield, The Life and Stories of the Jaina Saviour Parcvanatha, Baltimore, 1919, Introduction, and the original works mentioned therein. 11

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ANCIENT JAINA HYMNS attendants of the Tirtharkaras are generally known and worshipped as the Yaksas and Yaksinas, or the Sasanadevas and Sasanadevas, 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 Padalipta's "Nirvanakalika" (according to Winternitz, prior to the 5th century) on the Svetambara, and in YativTsabha's Tiloyapannatti and Vasunandin's Pratisthasa. roddhara* (both about contemporaneous with the former) on the Digarribara side. In Svetambara canonical literature, the very expressions "Sasenadeva" and "Sasanadevi" do fiot 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 nain categories of gods known to Jaina dogmatics. But that at (1) Nirnavasagara Press, 1926; p. 34 ff. (2) M. Winternitz, A History of Indian Literature, Vol. II, Publ. by the University of Calcutta, 1933, p. 478. (3) Part I, Publ. by Jaina Sanskrti Samraksaka Samgha, Sholapur, 1943, p. 266 (IV, st. 934 ff.). (4) As quoted in Vastusara-prakarana, Jaipur City, 1036, "Parisista", 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-, Naga., Vidyut., Suparna-, Agni-, Vata., Stanita., Udadhi-, Dvipa-, and Dik-kumaras; II. Vyantaras, whose abodes lie 100 yojanas below the surface of the earth, and who are divided into tbe 8 sub-classes : Kidnaras, Kimpurusas, Mahoragas, Gandharvas, Yaksas, Raksasas, Bhutas, and Pisacas; III. Jyotiskas, located high up in space, and represented by the several suns, moons, planets, fixed stars, etc.; IV. Vaimanikas, residing in vimanas in a layer of space high above the realm of the Jyotiskas, 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.; Praja. II, Sutra 46 ff., Tiloyap. III, Deven-Irasta - vaprakirnaka st. 15 ff. etc. 12

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INTRODUCTION least Dharana, or Dharanendra, the most popular of the Sasanadevas, cannot be meant to belong to the Yaksa 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., Purnabhadra and Manibhadra', not leaving room for a third Indra "Dhaiana", 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 Naga-kumaras, the second sub-class of the Bhavanapatis', whose emblem is the snaket. Yet if this identity is assumed, the difficulty arises that the Sasanadeva Dharana is unanimously described as being accompanied by his mate Padmavati, while a list of the names of the chief-queens of the Naga-kumara ruler Dharana does not contain the name of "Padmavati", as Professor H. R. Kapadia has pointed out. If the Senaprasna is correct in insisting on the identity of both, as well as on Padmavati being Dharana's chief queen', the name of "Padmavati" would have to be taken as an original epithet or apposition to any one of those Indranis, replacing, later on, the actual name. As thus Dharanendra, anyhow, does not belong to the Yaksa sub-class of the Vyantaras, the now prevalent technical meaning of the word "Yaksa" as "divine (1) Cp. Tatty. IV, 6 and Devendrast. st. 15 ff. and 66 ff. (2) Vide Tattv. IV, 12, p. 284, Bhagya, where these Yaksas are called "vata-vrksadhvaja", i. e., having the banyan tree as their emblem. (3) Vide Prajn. loc. cit.; in Tiloy. the name is "Dharapananda". (4) Tattv. IV, 11, p. 282, Bhasya ("phani-cihna"). 5) Bhagavati-sutra X, 5; Jfatadh. II, 1, etc. (6) Solbana Muni, Stuti-caturvim katika, Agamodaya-samiti, 1926, p. 279. (7) II, 112, as quoted loc. cit. 13

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ANCIENT JAINA HYMNS attendant on a Tirthankara" 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 Uttaradhyayana-sutra', 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 Yaksas. The idea that each couple of Yaksa and Yaksini :serving one and the same Tirthankara, are husband and wife, as assumed by B. C. Bhattacharya', certainly holds good in the case of Dharana and Padmavati. 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. Tirthankara, and each Yaksini his first female convert. The very life-story of Parsva suffices to disprove this, as he was attended by Dharana and Padmavati before he attained omniscience and began his teaching activity. Over and above the 170 stereotyped data, out of which the above ones have been culed, tradition has harued down life-stories and legends of those 24 Tirthaikaras. Most of the latter are found collected in Hemacandra Suri's famous compendium "Trisastisalakapurusa-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 "Paia-SaddaMahannavo !" (2) "The Jaina Iconography", Punjab Oriental Series, Lahore, p. 163. (3) loc. cit. p. 93. 14

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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. Adinatha, Munisuvrata, Parsvanatha, and Mahavira, to whom some of the hymns published below are dedicated, belong to that category. Much less attention than to this last Caturvim. satika of our Bharataksetra has naturally been paid to the 24 Tirthaikaras who were contemporaneous with them in Airavata. Their names, however, are handed down'. The same must be stated with regard to the Caturvimsatikas who appeared previous to the latter, i. e., in the last Utsarpina both in Bharataand in Airavata?. It seems that a certain tradition exists regarding the five "Kalyanakas" of those three groupse. Lists of the names of the Tirthankara-caturvimSatikas destined to appear in Bharata and Airavata in the coming Utsarpini are likewise handed down. These future Tirthankaras 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, Sulasa, a loyal lady-devotee of Mahavira, is to be reborn as the 16th Tirthaikara of the coming Utsarpini of Bharata. In the same way, King Srenika, the ruler of Magadha during Mahavira's time, (1) Samav., Sutra 159, st. 66 ff. (p. 153) and Pravac., Dvara 7, st. 296-299. (2) Pravac., Dvara 7, st. 288-290, and Abhidhan. I, st. 50 ff, (3) loc. cit. (4) Parna-ksema-vallabha-vilasa, Sangraha-kartta Sri-Vallabhasagara Gani, Neemach, V. S. 1990, Bhaga 3, p. 28. (5) Samav., Sutra 159, st. 72 ff.; Pravac., Dvira 7, st. 293-295; Abhidh. I, st. 53 ff. (6) Samav., Sutra 159, st. 87 ff.; Pravac., Dvara 7, st. 159, 87 ff. 15

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ANCIENT JAINA HYMNS and one of his layman-followers, is to be the first, and Sri-Krsna, cousin and layman-follower of Neminatha, the past 22nd Tirthankara of Bharata, is to be the 21st Tirthankara 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-Avasyakas 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 Tirthaikara by "sthapana". What is more natural than that the worshipper should turn his mental sight towards the distant world of Mahavideha, or rather of the several Mahavidenas, where at this very moment, the twenty"Viharamanas" 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 naive type of bhakti than those past and future Tirthankaras. Both the Digambaras and the Svetambaras have lists of names of those twenty "Vikaramanas?", as well as a number of hymns address (1) Samav., Sutra 159, st. 77 ff. (2) for the Digambara Tradition, vide "Jaina-vani-sangraha", Calcutta, V. S. 1982, Adhyaya 7, p. 66; for the Svetambara one: "Sri Hindi-PancaPratikramana", Indore, A. D. 1927, p. 523. 13

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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 "Puskaravara" of the Purvavideha of Jambu-dvipa, 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 Pundarikini in the period intervening between the Nirvana of Kunthu', the 17th, and that of Ara, the 18th Tirthankara, which latter is supposed to have taken place about 1 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 Nirvana by the time when the 7th Tirtharkara of the coming Utsarpini of the Bharata of Jambu-dvipa, Udaya, will have attained salvation, i. e., millions of years hence? Thus much about the Tirthaikaras collectively. As regards the individual Tirthankara (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 "kasayas", 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 "obnoxious karman" ("ghatikarman'') 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 laksa, 79 millennia of years and 89 fortnights previous to the beginning of the 5th "ara". (2) For further data re. Simandhara vide Ratnasamuccaya-grantha'? Publ. by Seth Manekchand Pitambardas, Hubli, V. S. 1985, p. 202, st. 517 ff. 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-catuska"), 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" ("aghati-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 "Tirtha" 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 ("Moksa" or "Siddhi') as Siddhas, i. c., emancipated, perfect souls, to reside for ever at tbe top of the universe, from where there is no return into the Samsara or circle of metempsychosis. A time comes when the Tirthaikara himself enters Moksa, his store of karman being exhausted. From that time onward, omniscience again becomes unattainable for all, excepting a few sporadic cases happening 18

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INTRODUCTION in the immediately following decades. The existing "Kevalins" enter Nirvana. Then, Moksa too can no longer be attained, till, after aeons over acons, another Tirthankara 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 "Tirtharkara-nama-karman". Not content with this definition of the personality of a Tirthankara, Jaina hagiography describes him as invariably distinguished by a number of stereotyped "eminences". Thus, every Tirthankara 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 "Kalyanakas" are celebrated by the gods with divine pomp. From his very conception, he is equipped with supernatural knowledge, and from early childhood possesses extraordinary 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, halts 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, bis activity as a Tirtharkara 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 atisayas", 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 "ghati karman": (1) One kotakoti 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 sui-like halo surrounds his dead (1) Abhidh. I, st 57-64; Saptat., Sthana 97. 20

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INI RODUCTION (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) Gelden lotuses arise wherever he puts down his feet. (7) Wherever he stops to preach, the "Samava sarapa-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

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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 drims 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 paoibera", or "pratiharya". They are described in the VarakanaParsvanatha-stavana (st. 20 ff.) in detail. (1) Vids Pravac., Dvara 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 Munisuvrata-stavana (st. 14)'. The latter hymn also mentions some further fea. tures generally connected with a Tirthankara's appear. ing. Thus there are the 12 "parsadah" (st. 16), i. 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 laywomen. Then there is that iniraculous 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 "Syavada" (i. e., the method of deducing an absolute truth from an aggregate of statements made from various stand-points, at, 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. Stada 98. (2 Vide Saptat., Sthana 44. (3) Vide Abhidh. I, st. 72-73. (4) Digambara tradition deviates slightly in all these points : cp. J. Jaini, "Outlines of Jainism", Cambridge, 1916, App. IV. (5) Vide Tritagt. 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. Jobnson, G. O. S. No. 51. (6) Vide s. v. "Samavasarapa" in the "Abhidhaparajendra-kota". 23

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REMARKS ON THE TEXTS. 1. THE MUNISUVRATA-STAVANA. As its name indicates, this hymn is addressed to Jiunisuvrata, the 20th of the 24 Tirthaikaras who appeared in this Bharataksetra of Jambu-dvipa during the previous two "aras" of the present Avasarpini. 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 Supratistha-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 Paurana-nagara. (6) A god in the fifth heaven. (7) King Srivarma of Campa. (8) A god in "Aparajita" (one of the five "vimanas" 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 Raja glha, of the Harivamsa dynasty, and Queen Padma, 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 Tirthaikara, enter Moksa. While dwelling on this last existence, the poet alludes to some of the stereotyped features common to all Tirthankaras, 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 Tirthaikara's appearance (as specified above). Then follows, in st. 15, the list of Munisuvrata's five "Kalyanakas", viz. : (1) entering his mother's womb on Sravana Purnima, (2) birth on the dark Astami of Jyestha, (3) initiation as a monk on the bright Dvadasi of Phalguna, (4) attainment of omniscience on the dark Dvadasi of Phalguna, (5) "nirvana" on the dark Navami of Jyestha. With regard to all the above data of Munisuvrata's life, our poet agrees with a tradition represented by Somatilaka Suri's "Saptatisata-sthana-frakarana'', as (1) Loc. cit. Stbana 1, st. 26.

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REMARKS ON THE TEXTS well as Dharmaghosa Suri's "Munisuvrata-stotra"), except that the latter has "Sirikeu" instead of "Sivakeu" as the name of Munisuvrata's first incarnation. A poetical passage in Prabhacandra's "Prabhavaka-carita" said to be quoted from the "Agama" in illustration of Munisuvrata's nine last existences", likewise agrees regarding that subject, except that here, "Pranata" (the tenth heaven) stands for "Aparajita". Another tradition, represented by Vimalasuri's "Paumacaria''3, Hemacandracarya's "Trisasti-salakapurusa-carita", and Jinaprabha Suri's "Vividha-tirtha-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 "Siridhainmo" according to Vimalasuri, "Surasresthin" according to Hemacandra, and "Surasiddha" according to Jinaprabha (he is King of Campa in Aparavideha according to all three unanimously), wbile the second is that as a god in "Pranata" (only Vimalasuri has "Pupphottara" instead), and the last as Munisuvrata. Hemacandra further deviates in giving the Dasaini instead of the Dvadasi as the "Diksa-kalyanaka". 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 ("Varasammi" must be corrected there to "varaiammi"). (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 Jaida-dharma-prasaraka-sabha, Bhavnagar; 1914 (the work is believed to be composed at the beginning of the Christian era), (4) Parvan VI, Sarga 7, st. 1 f. (edited by the J. D. P. S., Bhavnagar, 1903-13). (5) Singhi Jaina Series 10, p. 20, line 12. 3

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ANCIENT JAINA HYMNS 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 Samavayanga-sutra in including, in the list of pre-existence names, that of "Sihagiri", the only pre-existence name of Munisuvrata which that Sutra, and for the natter oi 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 "Asvavabodha-tartha" and "Sakunika-vihara" (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 Svetambaras contains a reference to it in the much recited passage : "Jayau..........Bharuacchahim Muoisuvvaya !", i, e., "At Broach, Munisuvrata ('s image) be victorious !" These are words of the "Jagacintamani-caityavandana"3, which is believed to go back to the Lord Gautama Indrabhuti, Mahavira's direct disciple, and (1) A modern "Munisuvratasvami 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) Sutra 157, st. 13 (p. 151 a): in the case of other Tirtbankaras too, the generally followed tradition does not agree with this Sutra regarding the pre-existence names. (3) "Panca-Pratikramana-Sutra", Jaina Atmananda Sabha, Bhavnagar, V.S. 1992, p. 26 ff. 4

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REMARKS ON THE TEXTS 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-Samitittha"!, i. 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-Tirthamala, 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. Vadideva Sari, Syadvadaratnakara, I. 1, st. 2 (ed. by Motilal Ladhaji, Poona, Vira Samvat 2:53, composed V. S. 1181. 2. Hemacandra Suri, Trisasti-salakapurusa-carita, IV, 7, st. 1 ff., composed V. S. 1216-29. 3. Somaprabha Suri, Kumarapala-pratibodha, Prastava V, Prakarana 10, and (translated into Gujarati : Jaina Atmananda Sabha, Bhavnagar, p. 436), composed V. S. 1241. 4. Mahendra Suri, Astottari-Tirthamala-Caityavandana (ed. in Vidhi. paksagacchasya Pancapratikramana Sutrani, V. S. 1984, 56 ff.), composed V. S. ca. 1290. 5. Prabhacandra Suri, Prabhavaka-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. 121, Sri-Vijaya-Dharma-Stiri Jaina Granthamala), dated V. S. 1335. 7. Merutunga Suri, Prabandha-cintamani (Singhi Jaina Series , para. 146 and 187, pp. 87 and 100 f., composed V. S. 1361. 8. Jinaprabha Suri, Vividha-tirtha-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 Pratisthana, 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 Samavasarana 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. Puratarapratandha-sangraha (Singhi Jaina Series), pp. 40 and 76. 10. Jinamandana Gani, Kumarapala-prabandhi, p. 74; composed V. S. 1.92. 11. Somadharma Gani, Upadesa-saptati (Ahmedabad, V. S. 1998). Adhikara II, Upadesa 2, p. 26 a, composed V. S. 1503. 12. Jinaharga Gani, Vastopala-caritra (Translation into Gujarati, Jaina Dharma Prasaraka Sabha, V. S. 1974), Prastava IV, p. 136 f., composed V. S. 1793. 13. Laksmivijaya Suri, Upadesa-prasada, Sthambha V, Vyakhyana 70, p. 148 ff., composed V. S. 1843. Besides, most works dealing with Ambada and with Te apala 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 Prabhavaka-carita has "200) yojana". (4) Hemacandra omits the Abvamedha, relating that the stallion was the mount of King Jita satru of Broach, and mere chance took it into the Samavasarana, and the Lord to Broach.

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REMARKS ON THE TEXTS quisite observances, including the vow of fasting unto 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 Asvavabodha Temple, a female bird, according to our hymn a "vata-sabalika" ("sabalika"= Prakrit "savaliya"=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 "Namaskara-mantra''3 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 Sudarsana. Once, a Jaina merchant from Broach, who attended the Durbar of her father, was seized by a fit of sneezing, and spontaneously exclaimed "Namo Arihamtanam"! 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 Upadeea-prasada, 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 Arihamtanam, namo Siddhanam, namo Ayariyanam, namo Uvajjhayanam, namo loe Savva-sabunam ! Eso panca-Damnkkaro savvappavappanasano, mamgalanam ca savvesimin padhamam havai mamgalam".

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ANCIENT JAINA HYMNS 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 Asvavabodha. In commemoration of her experience, the place became known as "Sakunika-vihara" or "Samalika-vihara", the "Bird's Temple". After a virtuous life, she died and became re-incarnated as a goddess in Isana (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 "Svayambhuramana-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 Gaai's Upadesa-saptati", (1) According to the Prabhavaka-carita 18. (2) This belief is particularly dwelt upon in the Prabhavaka-carita. (3) Loc. cit. Adhikara I, Upadesa 24, p. 23: "vinApi bhAvaM vihitaH praNAmo jineSu na syAdaphala: kadApi / sa duHsutaH zreSThivarasya mIno'pyApat prabodhaM yata uddhato'pi // 1 // " as well as the following stanza quoted there : " tAtAdezavazAdapIha nRbhave na tvaM mayArAdhitas tenAhaM bhavasAgare nipatito'mbhodhau mahApAtakI / tat trAyasva jinendra mAmazaraNaM sarvajJabimbAkRtemIno mInavarAnnamaskRtiparo jAtismRteH svaryayau // "

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REMARKS ON THE TEXTS 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 Tirthankara 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, "Asvavabodha" as the general name of the Tirtha, and "Sakunika-vihara" 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 Asvavabodha) applied to the temple, and "guru-parivsdhadhisthita-supratistha", i. 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 Prabhavakacarita (p. 42, st. 39; p. 43, st. 65) and the Vividha-tirtha-kalpa (p. 20, 1.31). 9

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ANCIENT JAINA HYMNS when Sakunika-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-vihara after its restoration by Sudarsana ? 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-carita", Asvavabodha had twice been restored previous to Sudarsana, viz., by the pre-historical emperors Padma (i. e., Sri-Rama) and Harisena. After the restoration effected by Sudarsana, it is related to have been renewed by the Sravaka King Samprati, Asoka's grandson, who, according to Jaina belief, never tired of building and restoring temples of the Tirthaikaras, 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 "Sasvatsara-pravartaka" of 56 A. D., though in reality, Siddhasena was not contemporary with the latter, but with some Gupta-Vikramaditya'. (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. 10

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REMARKS ON THE TEXTS The sacred place fell then into the hands of the Bauddhas, from whom Acarya Khaputa wrangled it back 484 years after the Vira-Nirvana, i. e., 14 years previous to the Vikrama Samvat. In the Vira-Nirvana Samvat 845, 1. e., 375 V. S., the "Turuskas", having destroyed Valabhi, tried to take Broach, but were repulsed by the intervention of the divine incarnation of Sudarsana. In the Vira-Nirvana year 884, i. e., 414 V. S., the influence of the Bauddhas, who had again gained preponderence there, was paralysed by the Jaina ascetic Mallavadin, whose identity is not clearly established. The temple is also related to have been restored by King "Satavahana", and the subsequent consecration to have been performed by the well-known Jainacarya Padalipta Suri, who is credited with the authorship of several works preserved up till now. A monograph on Padalipta Sari contained in the same "Prabhavakacarita" 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 Padalipta as the author of "Taramgavai" in his Anuyogadvara-Sutra, makes it appear that Padalipta Suri 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 Vijayasimha Suri, who is known as the author of an ancient hymn, though his time is uncertains, Broach was destroyed by fire, (1) Loc. cit. V, p. 28 ff. (2) Vide M. Bh. Jhaveri on p. 179 of his "Comparative and Critical Study of Mantrasastra", Ahmedabad. (3) Vid. Jajnastotrasandoha, ed. by Muni Caturavijaya, I, Ahmedabad, 1932, p. 190 and Introduction, p. 9 f. 11

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ANCIENT JAINA HYMNS which consumed the wooden structure of Sakunikavihara. Vijayasimha Suri, who was the Acarya of the temple, caused the same to be re-erected in wood. According to our source, this structure, having been rendered uninflammable by the Suri's magic power, lasted till, in the time of the Solanki King Kumarapala 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 Sricandra Suri's "Munisuvrata-caritra", a work of nearly 11,000 Prakrit Gathas, which is assumed to have been composed in about V. S. 1200. It states that Maladharin Abhayadeva of the Harsapuriya Gaccha, one of the author's spiritual ancestors (otherwise known to have performed the consecration of Antariksa Parsvanatha, a famous Tirtha at Sirpur, near Akola, in V.S. 1142), caused golden pinnacles ("hemamaya-kalasa") to be fixed on "Savaliya-vihara", i. e., "Sakunika-vihara" by "Varanaga-suya Samtuya"?, i. e., Santu, or Sampatkara, the pious Jaina Minister of the Solanki kings Bhima (V. S. 1078-1120), Karna (1120-50) and Jayasimha (1150-99), a well-known figure of the Prabandha literature. The second reference occurs in the Prakrit Parsvanatha-carita of Devabhadra Suri (of the Kharatara Gaccha). who states that he composed this work in (1) Vide "Jinararatnakota", p. 311. (2) M. D. Desai, 1.1., paras. 312, 313, 300. () Prabandha-cintamani, paras. 89-93 and 124, and Puratana. prabandha sangraha, paras. 58, 65, 323, 326. (4) "Sri-Pasanaha-Cariyam", Samsodhaka Acarya Maharaja Srivijayakumuda-suri, Masivijayagaoi-granthamala, X, Ahmedabad, A. D. 1945; vida also M. D. Desai, 11., para. 3 4. (5) Loc. cit., p. 503, st. 8 (above). 12

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REMARKS ON THE TEXTS 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" ("Sovannimdaya-mamdiya-Munisuvvaya-Vira-bhavana-ramanie 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 Prabhavakacarita?. According to the latter, the old wooden building of Sakunika-vihara lasted till the time of Kumarapala", when it was in a state of utter decay, brought about by white ants and monsoon-moisture (according to Jinaharsa Gani, by the floods of the Narbada). In that condition, it was seen by Kumarapala's brave General, the "Ranaka Ambada", Governor of Lata and other parts of the kingdom, who had won the title of "Rajasamhara" by his victory over the Kadamba King Mallikarjuna of the Konkan. He was the son of the Sravaka Minister Udayana of the Srimala clan, and younger brother of Kumarapala's later Minister Bahada or Vagbhata, and a good Jaina himself. He undertook the next restoration (1) Strictly speaking, the word "imdaya" (=Skr. "andaka") denotes the central part of the pinnancle or "kalasa" (=Skr. "kalala") only, which latter expression, as we saw above, is used by Sricandra Sori. Vide "Vastusara-prakarana" by Thakkura Phero, 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. 13

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ANCIENT JAINA HYMNS of Sakunika-vihara 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 deathoccurred 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-cintamani". It took a year to complete it, according to the Puratana-prabandha-sangraha. The Prabhavaka carita states that it measured 18 "hasta" (''hastastadasakam caityam"), i. e., 8 square-yards, which measurement refers, of course, to the innermost sanctum, not counting the several entrance-halls ('rangamandapa", "dvara-mandapa", etc.), nor the surrounding chapels which the Prabhavaka-carita itself refers to ("'aneka-devavesmadhyam"), and which later literature mentions under the name of "deva-kulikas"s. According to Jinaharsa Gaai, the temple contained a "lepyamaya" (plaster) statue of Munisuvrata. All the sources concur in stating that the consecration-ceremony was performed by the Raja-guru Hemacandra Suri (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 Mahavira's Nirvana. (2) M. D. Desai, Short History, etc., para. 383. (3) Para. 146. (4) Para. 81. (1) Vide infra. (6) Srivastupala-caritra, Gujarati translation, Jaina-Dharma-prasarakasabha, V. S. 1974, IV, p. 136 ff. 14

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REMARKS ON THE TEXTS Ambada's father, the Minister Udayana). Some of the later sources add that King Kumarapala himself was present at the consecration of Ambada's temple, and performed the "Aratrika" rite (modern "arati''). The very much later Jinamandana states in his "Kumarapalacarita"? that the consecration took place in V. S. 1220. All those sources, including the Prabhavaka-carita, are chronologically considerably remote from the actual event, none by less than a century. The only source which stands closer, is Somaprabha Suri's Kumarapala-pratibodha, composed in V. S. 1241. This source not only lacks in such features of glamour as Hemacandra's and Kumarapala's presence at the consecration, but just plainly states that when Hemacandra once visited Broach, accompanying his Guru, he worshipped Munisuvrata at Sakunika-vihara and advised the Kotavala 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 Suri, in whose company he is stated to have been then, is known to have died shortly after Hemacandra's initiation as an Acarya in V. S. 1166*. Hemacandra Suri, moreover, would at that time have been composing his Trisasti-salakapurusa-carita (1216-1229), the later portion of which contains (1.1.) an account of the legends of the origin of Sakunika-vihara. As, according to the above later sources, he deemed it proper to praise Ambada's restoration in panegyrical (1) Vid. Buhler, Life of Hemacandra, translated, Singhi Jaina Series, p. 6. (2) Vide Buhler, 1.1., p. 90, note 67. (3) Translation into Gujarati, p. 436. (4) Vide Buhler, 1.1., p. 11. 15

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ANCIENT JAINA HYMNS 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 Sadhu 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 Kumarapala 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 "Amrabhata", "Amabhata", ". mradeva", "Ambaka", "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 Suri's "Satrunjaya-kalpa" (composed (1) "Satranjaya-Yatra-Vicara", Bhavnagar, V. S. 1985, p. 204. 16

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REMARKS ON THE TEXTS prior to V. S. 1357, when the poet died) and in st. 35 of Jinaprabha Suri's poem of the same name' (V. S. 1389), in both of which works this name occurs along with the names of Samprati, Vikramaditya, Satavahana, Padalipta, and Vagbhata, all mentioned as restorers of Satrunjaya. Jinaprabha Suri gives the name "Amadatta" combined with "Padalipta" 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 Nagavaloka of Kanyakubja (who died in V. S. 890 and is known as a devout Jaina and Bappabhatti Suri's patron) plus that of "Datta", a future Patriarch, whose existence the Agamas predict (Samavayanga-sutra 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 Satrunjaya. That our Ambada is, that very person, seems likely from the fact that the name "Amadatta" stands side by side with that of Vagbhata, Ambada'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 Satrunjaya too, besides restoring Sakunika-vihara, which latter enterprise would have been completed prior to V. S. 1168. This would go well with Somaprabha Suri's account, (1) "Vividha-tirtha-kalpa", p. 2. 17

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ANCIENT JAINA HYMNS and would also explain Hemacandra's silence re the restoration. It is thus probuble that it was the Sakunika-vihara after its restoration through Ambada, which Santu decorated with golden pinnacles, which are again mentioned at the occasion of the presentation of golden flag-staffs by Tejapala about a century later. From Ambada's restoration onward, Prabhavakacarita, Vividha-tirtha-kalpa, and Prabandha-cintamani have nothing further to say re Sakunika-vihara. The next reference to the sacred place, this time under the name of "Asvavabodha", is found in the Upadesamalavrtti "Doghatti", which its author Ratnaprabha Suri (Bshad Gaccha) states to have been composed in V. S. 1238? in that very temple. Then, Mahendra Suri (Vidhipaksiya Gaccha) mentions the Tirtha in his "A stottari-tirthamala-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 "Samaliyavihara" with references to the legends. With Mahendra Suri, we have approached the period of the brothers Vastupala and Tejapala, the Sravaka Ministers of the Vaghela Raja 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 Porvad 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 Bhavnagar, V. S. 1991, Introduction, p. 10 f. Vijaya, 18

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REMARKS ON THE TEXTS of the bulky contemporaneous literature in praise of their achievements, it is particularly the "VastupalaTejapala-Prasasti" that interests us here. Its author is Jayasimha Suri, pupil of Virasuri?, and Acarya of the Munisuvrata Temple of Broach. The Prasasti is believed to have originally been incised on a stone slab in the Sakunika-vihara Temple which Ambada had reerected, but is now only preserved in a MS. In this Prasasti, Jayasimha Suri relates how he once requested Tejpala on a visit of the latter to Broach, to replace the bamboo staffs on the 25 chapels ("devakulika", st. 67) of the Munisuvrata Temple of the "Mandalesvara Ambada" by golden ones, so as to match their golden pinnacles ("kalyana-kumbha", st. 67) obviously those which Santu had donated, and Devabhadra Suri mentioned. With the consent and assistance of his elder brother Vastupala, Tejapala had complied with this request of the Acarya (st. 64-69). The Prasasti also extolls Vastupala for having installed images of Parsvanatha and Mahavira in Ambada's Sakunika-vihara 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 Vastupala's son Jaitrasimha'. It celebrates the victory of the two (1) Published in "Hammira-Mada-Mardana", Gaekwad's Oriental Series, X, p. 59 ff. vid. also M. D. Desai, 1.1., paras. 528 and 552 and Winternitz, 1. 1., II, p. 547. (2) Hammira-Mada-Mardana, 1. 1., p. 2, st. 5. (3) Vide supra. (4) M. D. Desai, para, 552. 19

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ANCIENT JAINA HYMNS brothers over Amir Shikar or Sultan Samsud-dunya, who had tried to invade Gujarat. As Vastupala 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 Vastupala'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 Sakunika-vihara must, therefore, have happened between V. S. 1276 and 1286. The Puratana-prabandha-sangraha', one of the versions of which proclaims to have been written in V. S. 1290 by Udayaprabha's pupil Jinabhadra of the Nagendra Gaccha for Vastupala's son, the Minister Jayatasimha (=Jaitrasimha), likewise contains an account of the donation of those flag-staffs by Tejapala, but states them to have been 72 instead of 25 in number, and the name of the Acarya who inspired the same, Rasilla Suri instead of Jayasimha Suri?. As this reference is chronologically not far remote from the event, it has a certain weight. From the fact that the uncommon name "Rasilla" is characteristic of the Vayada Gaccha', it may, therefore, be assumed that the former is another name of Jayasimha Suri, and that this Acarya belonged to the Vayada Gaccha, just like the poet Jinadatta (author of the "Viveka-vilasa"), and his two famous disciples Amarasimha and Arisimha, all of whom were likwise proteges of Vastupala and Tejapala. The Puratana-prabandha-sangraha also mentions a donation of 12 villages made to Sakunika-vihara by Vastupala at the time when Balahamsa Suri (not identi (1) (2) (3) L. 1., p. 136. L. 1., para. 127. M. D. Desai, 1.1., fara. 479 and note 393. 20

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REMARKS ON THE TEXTS fied so far) was the "adhisthayaka" of the "matha" of that temple, enjoying a "rajya" of 700 horses!! Jinaharsa Gani in his considerably later"Vastupalacarita" (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 Puratana-prabandha-sangraha, but omits the name of the dignitary to whom he simply refers as "Vayadaganadhipa", i. e., "head of the Vayada Gaccha" (VII, st. 99). This corroborates our assumption of Jayasimha Suri belonging to that Gaccha. Jinaharsa then adds that Tejapala also installed a metal "snatrapratima" (i.e., an image that can be used for the abhiseka rite at a Puja cremony) in front of Munisuvrata's plaster statue, donated a "snatra-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, Vastupala too donated to that temple a metal image, which he caused to be consecrated by Jagaccandra Suri (the celebrated founder of the Tapa Gaccha and revered Guru of Vastupala's family), and erected 4 temples at Broach. Besides, he extended the temple of "Samali-vihara" by two chapels dedicated to Ajitanatha and Santinatha, and set up portraits of himself and his consort in the sanctum. Shortly after these events, the Prabhavaka-carita was written (V. S. 1334). It contains the memorable words (as part of a prophecy of Lord Mahavira) : "Etat Simarthya-vasad Bhrgupuram etan na bhangam apnoti", 2. e., (1) (2) (3) L. 1., para 72. Vide extract in G.O.S. X, App. p. II. M. D. Desai, 1. 1., para. 565. 21

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ANCIENT JAINA HYMNS "Owing to her (i. e., Sudarsana'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 Sakunika-vihara was still a Jaina Tirtha. One year later, i. e., in V. S. 1335, the beautiful bas-relief representing Asvavabodha as a pavilion with the foot-prints of the Lord, and Sakunika-vihara 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 "Lunavasahi" of the Delwara Temples'. This would likewise show that at that time, Asvavabodha and Sakunika-vihara 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 "Karana Ghela's" kingdom (regnal years V. S. 1353-60) under Gyas-ud-din (regnal years A. H. 720-725=V. S. 1376-81), and destroyed many of those shrines which Ambada and Vagbhata, as well as Vastupala and Tejapala had so lovingly restored, embellished, and endowed. Asvavabodha-Sakunikavihara 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. 22

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REMARKS ON THE TEXTS 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 "Raiga-mandapa", "Navacauki", and "Gudhamandapa" 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 Kumarapala'. 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 ovrata Carti ", Lekhaka : Man aladasa Trikamadasa Jhaveri, Thana, V. S. 1998, p. 67 f. (2) Vide "Epigr. phica Indo-Moslemica" y Dr. M. Nazim, p. 26, Plate No. XIVb (for which reference I am indebted to the Qa iji). 23

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ANCIENT JAINA HYMNS verbal authority of the Koli-Raja Panchal Manbhav", and that it was also "in the Koli-Raja's Chopala". 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-Sakunika-vihara, 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 in 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 "Tapakupara" in its last stanza is correct, this would probably suggest that the poet belonged to the Tapa 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 "Jnanasagara Suri". 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 24

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REMARKS ON THE TEXTS Joanasagara Suri whom our present records mention, is the distinguished disciple of the 49th (or 50th) Tapa Gaccha pontiff Devasundara Suri, mentioned himself, by a certain tradition, as the next pontiff, and as succeeded, in his turn, by his brother-disciples Kulaman. dana and Somasundara, while another tradition does not count him as a pontiff'. This Jnanasagara Suri was born in V. S. 1405, ordained as a monk in 1417, as an Acarya in 1441, and died in 1460. He is known as the author of the following works :(1) Avacuri to the "Oghaniryukti" in V. S. 1439, (2) Avacurni to the "Avasyaka-sutra" in V. S. 1449. (3) Avacurni to the "Uttaradhyayana-sutra" in V. S. 1441. (4) "Munisuvrata-stava". (5) "Ghanaugha-Navakhanda-Parsvanatha-stava". (6) "Sasvata-caitya-stavana's. The profound erudition of this Acarya forms the object of the enthusiastic praises of the famous prodigy, the Sahasravadhanin Munisundara Suri, who, in his "Traividya-gosthi"4 (composed in V. S. 1455, when he was only 9 years old !), calls himself "Sri-Jnanasagara (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-Kosa. (3) This work is only mentioned in Muni Caturavijaya's Introduction to "Jaida-stotra-sandoba", II, p. 83. The same Muni, in his Introduction to Part II of the same publication, p. 74 wrongly ascribes to this Jbanasagara Suri a "Vimalanatha-caritra", which in reality is a work of Ratnasimha Suri's pupil of the same name, composed in V. S. 1517. (4) Published by Sha. Devakarana Mulaji, Bombay, V. S. 1966. 25

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ANCIENT JAINA HYMNS Guruttama-pathita" (p. 19 b), and again shows his indebtedness to him in the words (p. 1 a, st. 2)-- "zrIjJAnasAgarAhvasvagurUNAM jJAnavAridhim / upajIvyopadezaM ca kurve RvidyAgoSThikAm // " In his Gurvavall,' a basic and widely known, though extremely difficult work on Tapa Gaccha history, composed in V. S. .1466, the same Munisundara Suri (p. 35 ff., st. 325 ff.) extolls him in the strongest terms, saying towards the end of his long and flowery eulogy (st. 362)-- "tatkRtivelA jalpati pItatraivaidyavAdhiMgAmbhIryam / bhRgupuraghoghAtIrthastotramukhA vihitacittasukhA / " It is obviously this stanza with its reference to a "Bhrgupura-stotra" composed by Jnanasagara Suri, which has caused M. D. Desai and other scholars to mention a "Munisuvrata-stava" among the works of that Acarya, though no such work has been known to exist up till now.2 Is it to be assumed that it was this statement of the "Gurvavali'', which led the copyist of our present "Munisuvrata-stavana," published below, to imagine that he had the lost poem of that celebrated Acarya 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 Jnanasagara Suri's "GhanaughaNavakhanda-Parsvanatha-stava'', our hymn em (1) Published by the "Yabovijaya-Jaina-Granthathala", 4, Vira-Samvat 2437. (2) On being consulted by me re the whereabouts of that "Munisuvrataava", the learned Pandit of the Baroda Oriental Institute, Pt. Lalacandra 3. Gandhi, kindly intimated this as his opinion. (3) Printed under the name of "Ghogha-mandana-Parva-Jina-stava" on p. 47 of "Stotra-Samuccayah", edited by Muni Caturavajaya, 1928 A. D. (N. S. P.). 26

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REMARKS ON THE TEXTS phatically proclaims to be indeed the twin-creation of the former, as which Munisundara Suri represents: it in the phrase "Bhtgupura-Ghogha-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 Sardulavikridita in the former, Mandakranta and Vasantatilaka with concluding Sardulavikridita 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: "quereta ETAITEETTESTAUI" in the Ghogha-stotra, and "gai sfthepagadiacciateLETAO I" 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 Joanasagara's erudite Guru Devasundara Suri. It can thus be assumed as fairly certain that our "Munisuvrata-stavana" is indeed the lost creation of the great Jainacarya Jnanasagara Suri, 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 "Sakunika-vihara", 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 27

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ANCIENT JAINA HYMNS one or another of the remaining Jina Temples which Vastupala and Tejapala are stated to have built in that city. "Sakunika-vihara", in any case, must have been intact at the time when Jnanasagara Suri flourished, say at least 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-eastern direction, according to the above-quoted stanza of the Syadvada-ratnakara. Perhaps, it was located somewhere near Sukla-tirtha and that worldfamous Banyan-tree known as the " Kabira-vata" (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 shrines must have been destroyed or desecrated. This again would justify the apparent exultation with which the poet dwells on "caurah kraura api" as incapable of violating the time-honoured sanctity of Asvavabodha-Sakunika-vihara. 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 "Adhomatra" being carried through and "Padimatra'' mixed with "Urdhvamatra". 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 : "zrImunisuvratasAmistavanaM zrIjJAnasAgarasUrikRviracitaM ||shriiH // ||shubhN bhvtuH|| 117641414FT II llastui 11011 1103:11" ( sic ! !) The margin bears explanatory glosses in three places 28

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REMARKS ON THE TEXTS (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 Mandakranta(1; 2; 6-39), 3 in Vasantatilaka- (3-5), and 1 in Sardula vikrilita-metre (40). 2. THE DEVAKULIDINATHA-STAVANA This hymn is addressed to Adinatha or Rsabhadeva, the first of the last group of 24 Tirthaikaras of the Bharata-ksetra of Jambu-dvipa. It is, however, so entirely void of references to this Jina's life that it could be applied to any Tirthaikara. 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", "Tirthakst", "karman", "sat-kayah", some proper nouns like "Vlsabha", "Nabheya" (both synonyms of the Jina's name), etc., and the emphasis laid on the Tirtharkara'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 Tirthaikara as such (the "Bhava-Jina", to use a Jaina technical term) but the Tirthaikara image of a certain sacred place (the "Sthapana-Jina'), in the present case the Adinatha image of "Delauala", or, sanskritized, "Devakula", or "Devakula Pataka", modern Delwasa. This is a small place in Mewar, about 3-4 m. from Ekalingji, north of Udaipur, famous for its archaeological remains, 29

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ANCIENT JAINA HYMNS particularly such of Jaina temples, which confirm the tradition that some centuries ago, the bells from 300 Tirthankara temples would sound there simultaneously. Even now, three Jaina temples of the Bavana-Jinalaya type stand there, two of which are dedicated to Adinatha." Stanza 25 of this hymn bears a reference to Acarya Somasundara Suri, the 50th (according to others : 51st) pontiff of the Tapa Gaccha, whom we had occasion to mention as a brother-disciple of Jnanasagara Suri, the author of the Munisuvrata-stavana, as well as to Somasundara Suri's pupil, the Sahasra. vadhanin Munisundara Suri, who was likewise mentioned before, as a student of Jnanasagara Suri. The names of both these dignitaries are followed by the expression "tridasa-vinda", which, by way of a pun, allows of the interpretation of "belonging to the flock of Acarya Devasundara Suri", which latter, as already stated, was the common Guru of Joanasagara Suri and Somasundara Suri. The assertion of our poet that the feet of the Adinatha 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 Tirtha is bound up with the activity of these two Acaryas.? Somasundara Suri (born V. S. 1430, ordained 1437, became Vacaka 1450, Acarya 1457, died 1499) consecrated various temples and images there. After having (1) Vide Acarya Vijaya Dharma Suri, "Devakulapataka", Yabovijaya Jaina Granthamala, and Muni Vidyavijaya, Meri Mevadayatra, Vijay Dharma Suri Jaina Granthamala, p. 61. ff. (2) Vide Acarya Vijaya Dharma Suri, 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. 30

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REMARKS ON THE TEXTS become a Vacaka, 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 (O`prasisya") Ratnalekhara with the Vacaka title in V. S. 1493. There, his disciple Munisundara Suri, recipient of the proud title of of "Kalisarasvati", (born V. S. 1436, ordained 1443, became Vacaka 1466, Acarya 1478, died 1503), composed his well-known "Santikaram Stotra', which still forms part of the Tapa Gaccha liturgy. In his "Yugadideva-stava", the poet Subhasundara, obviously a "pra-pra sigya" of Munisundara Suri, calls the Adinatha of Devakula "Munisundara-stuta",? which reference clearly points at the "DeulavadaRsabha-stotra", a hymn in 26 Sanskrit stanzas composed by Munisundara.3 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 Gani" 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 Santicandra", that ascetic disciple of Somasundara, as the poet's Guru. The colophon moreover states that the hymn was composed at "Ardraja",5 (1) M. D. Desai, loc, cit., para. 674. (2) Jaina Stotra Sandoba, I, p. 368. 3) Edited in Part I of the Stotra-sangraha of the Ya dovijaya Jaina Granthamala (vide Appendix p. 18 of Jaina-stotra-sandoba, loc. cit.) (4) Vide Munisundara Sari, "Gurvivali", loc. cit., st. 449. (5) Probably modern "Adrej", a village in Gujarat with a Jaina Temple and Jaina population (between Bhoyani and Pansar, not far from Ahmedabad) : vide Muni Caritravijaya, "Viharadariana", V. S. 1988, p. 84 f 31

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ANCIENT JAINA HYMNS So far, a Sadhu bearing the name of "Sarodaya 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 Acaryas was remarkable by number and brilliancy, it is quite probable that a personality of the obvious erudition and poetic gift of this Sarodaya may have remained unnoticed and unknown, especially in case of a promising career shortened by an eventual untimely death. It is also possible that Sarodaya may be the unknown monk's name of some of the famous personsonalities, known only under their later, changed Acarya'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 Sikharins (2--12), 1 in Psthvi (25), 2 in Mandakranta (24 and 26), and 12 in Vamsastha metre, alternating with Indravamsa (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 Devanagari, with only the "ai" and "au" in Palimatra. In the centre of each side, a rhomb is left blank. The beginning is marked by the usual Jaina diagram and the words : "sitadatra 14:" The 32

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REMARKS ON THE TEXTS colophon runs as follows: "Efet stamon-sitaifaca fal 11911 kRtamAIjasthena sArodayagaNinA ||shubhN bhavatu ||shriiH|" In several places, the text has been corrected. by the same hand which wrote the original. Thus, the reading adopted for the present edition," para matt Haurofirat" (st. 7) is entered on the margin, while the original reading, "Haritat amaret" 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 "carala", 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. "prakasye", 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 "sahacaranasilah" 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 "Paiasaddamabannavo" by Pandit Hargovind Das T. Sheth, Calcutta, 1928, p. 400: "lutere ki eka jati". The Sanskrit word "carata" (only found with lexicographers) in the meaning of "wagtail", was of course not in the poet's mind. 33

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ANCIENT. JAINA HYMNS 3. THE VARAKANA PARAVANATHA-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-vamsavali' in Gujarati, a work which seems to be full of detailed information, but was accessible only in abstract;" (2) "Laghu-Posalika-patlavali", likewise avail. able only in abstract;2 (3) "Hemavimala-phaga" by Muni Hamsadhira, pupil of.Danavardhana, V. S. 1554, edited by Muni Jinavijaya;} (4) "Hemavimalasuri-sajjhaya". anonymous, obviously composed during the Acarya's life-time;* (5) "Hemavimalasuri-sajjhai" by Sundarahamsa, which was not available to me;" (6) "Gacchanayaka-pattavali-Sajjhai', composed by Somavimala in V. S. 1602, which Muni Jinavijaya quotes; (7) "Tapa-Gaccha-pattavali-sutra", composed by Upadhyaya Dharmasagara in V. S. 1646 in Prakrit and Sanskrit; me 5 (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 "Dayavardhana". (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) Paty. Sam. I, p. 68 ff. 34

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REMARKS ON THE TEXTS (8) "Mahavira-patta-parampara", composed by Devavimala Gani between V. S. 1639 and 1656, in Sanskrit;1 (9) "Suri-parampara", composed by Vinayavijaya in V. S. 1708, in Sanskrit;2 (10) "Pattavali-saroddhara", composed by Ravivardhana in V. S. 1739, in Sanskrit;3 (11) Guru-pattivali", anonymous.* In some points, these sources deviate from one another. Thus, according to some of them, Hemavimala Suri 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 Acarya) "Hemavimala", others, however, "Hadakumara" and Hemadharma" respectively. Yet in main points, they appear to be unanimous. He was ordained as a monk by Acarya Laksmisagara Suri, the 53rd Tapa Gaccha pontiff, who, in turn, was the third in succession from the famous Munisundara Suri mentioned above. Laksmisagara Suri's immediate successor, Acarya Sumatisadhu Suri, became our poet's teacher, and bestowed on him the title of Acarya in V. S. 1548, since when he has been known as "Hemavimala Suri". As such, he became the 54th Tapa Gaccha pontiff after Sumatisadhu Suri's death in V. S. 1551. Prior to Hemavimala Suri's investiture with the Acarya title, Sumatisadhu Suri 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. 35

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ANCIENT JAINA HYMNS 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 Tapa Gaccha, under the names of Kutubpura Gaccha and Kamalakalasa Gaccha respectively, while the main line, carried on by Hemavimala Suri's pupils, is designated as the Palhanapura Sakha or Hema Sakha. It is this line which represents the Tapa Gaccha now-a-days, and which has produced celebrities like Akbar's spiritual guide Hiravijaya Suri, the great logician and poet Yasovijaya, the popular poet Viravijaya, and the far-sighted reformer and scholar Vijaya Dharma Suri 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 Kapadvanj, said to have been fit for an emperor. Its report reached the Emperor Muzaffar Shah, and aroused his jealousy to such an extent that he sent emissaries to 36

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REMARKS ON THE TEXTS seize the Suri 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 "tanka." The Suri's influence can further be judged from the statement contained in the above mentioned "Laghuposalika-pattava!", that he ordained 500 persons as monks and nuns, and in Devavimala Gaai'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 Suri's retinue prepared by him.' As his successor as head of the Tapa Gaccha, the Suri 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 Suri died in that very year, Anandavimala was generally accepted as the 56th pontiff, while from Saubhagyaharsa, 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" Parsva(1) J. St. Sand., II, Introduction, p. 113 ff. and table facing p. 122. 37

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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 "carana" in various shades of meaning.' The newly discovered "Varakana-Parsvanatha-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 "Mrgaputra-sajjhai", which is a creation from his hand, and is also known under the name of "Mrgaputra-copai", 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 Kathiyan Sajjhai" and is preserved on fol. 8 of MS, No. 5097,3 from which I published it in the 'Jaina Satya Prakasa' of 15-12--1946.* Besides the above four poems, no further creation from the hand of Hemavimala Suri has been traced so far. The Varakana-Parsvanatha-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 Devanagari, with a few instances of "ai" and "au" rendered in Padimatra 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): ". Pr vada 9 zanIvAre sAkathalI nagare sAMtInAthajI prasAdAt paM. mojIjI vAMcanArthaM zrI kAMThaladese zrI zrI zrI liSataM paM. harivijaya zrI zrI zrI. (4) XII. 3, p. 73 pp. : " zrI hemabimalasUrikRta 'tera kAThIyAnI sajjhAya ". 38

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REMARKS ON THE TEXTS iti zrIvarakAraNastotraM pArzvanAthasya stotra saMpUrNaH laSataM muMnI vavekavijayayenaH" 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 "samasya-purana," or rather double "samasya-purana". It is carried through in such a way that, except for the first and last stanzas, the first and last "caranas" of each stanza are taken from the corresponding stanzas of what are considered to be the two model Jaina hymns by both Svetambaras and Digambars, viz., Siddhasena Divakara's "Kalyana-mandira-stotra" and Merutunga Suri's "Bhaktamara-stotra". Only the second and third "carana" 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 "samasya", viz., in st. 45, where the pertinent "carana" of the Kalyana-mandirastotra" (st.44) was required to be re-shaped so as to fit into the metrical scheme. In Jaina literature, "samasya-purana", 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 "Bhaktamarastotra-padapurti-stotras" have been edited in two 39

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ANCIENT JAINA HYMNS 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. Our hymn is addressed to Parsvanatha, 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 "pratiharyas", 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 Tirthaikara (st. 35-42). Like the "Devakuladinatha-stavana", this hymn too is addressed to a "sthapana-Jina", in this case the ancient Parsvanatha image of Varakana. 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 "Panca-tirthi' of Marwar (i. e. Nadol, Nadulai, Ghaneray, Ranakpur, and Varkana). It possesses a huge temple of the "Bavana-Jinalaya" type, dedicated to Parsvanatha, 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) "Sri-Bhaktamarastotra-padaparti-rupasya Kavyasangrahasya Prathamo Vibhagah (Agamodaya-Samiti), 1926," and "Dvitiyo Vibhagah 1927". (2) Muni Caritravijaya, "Vihara-darsana", p. 234. (3) Muni Santivijaya, Jaina Tirtha Guide, p. 135 ff. 40

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REMARKS ON THE TEXTS "Vimaladharma", if at all meant as a "Slesa", 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 "Vi. malavabodha". 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 "Jiraula Parsvanatha Vinati", and his "Mahavira Vinati", the latter composed in V. S. 1520, in the following words: "pota afacer fifT FERGETA, te jANai Agama veda mrm|" and: "rAya rANA bhUpa ati ghaNAe, jiNa raMjiya desa nayara taNAe, vimaladharma paMDita taNaie upadesii jIrNa udhAra karaie // 13" The colophon of an ancient MS. of the "Gautama Rasa" too mentions the name of Vimaladharma in the following way:2 "YFTITIET gisa fatta for j. fafa tfur ziSya paM. jinazIla gaNi paM. zrIvimala gaNi ziSya paM. mANikyavimala gaNi." This record is undated. It is, however, supple. mented by another, dated one, viz., the colophon of a MS. of "Sri Gurunam Svadhyaya", of V.S. 1569, in which the same Manikyavimala, who wrote the above MS. of the "Gautama Rasa", states his Guru "Srivimala" to be a pupil of the "Laghu-Saliya Gacchanayaka SriHemavimala Suri". Since, as we saw above, the "Laghu (1) J. G. K., III, p. 552. (2) J. G. K. III, p. 553 f. 41

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ANCIENT JAINA HYMNS Pausalika", or "Laghu-saliya" Gaccha branched off from the Tapa Gaccha after Hemavimala Suri's death, these two records clearly indicate that "Vimaladharma Gani" belonged to the the same order as Hemavimala Suri. 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 SANKHESVARA-PARSVANATHA-STAVANA. Hemavimala Suri, 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 sakha". In a minor line branching off from the latter, the Sadhus Harsavimala, Jayavimala, Kirttivimala, Vinayavimala, and Dhiravimala Gani succeeded one another in this order. The latter's disciple Jnanavimala Suri made himself a name as a poet and scholar during the pontificate of Vijayaprabha Suri, 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. D. 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 f. 42

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REMARKS ON THE TEXTS re both need not be reiterated here. For the present purpose, it will be sufficient to know that he was born inV. S. 1694, ordained by his Guru Dhiravimala Gaai in 1702 under adoption of the monk's name of "Nayavia mala", invested with the title of "Acarya" under adoption of the name of "Jnanavimala Suri" 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 Rasas, Stutis, Sta. vanas, Sajjhayas, and Balavabodhas in Gujarati, while his Sanskrit works are commentaries on texts like the Prasnavyakarana-sutra and the Davanala-stuti, as well as an orginal "Sripala-caritra" in prose, and a "Prasna-dvatrimsika-stotra. The "Sarkhesvara-Parsvanatha-stavana", publi. shed 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 poet 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-bija" of Sarasvati, 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-Sastra, is an equivalent of "mati", "buddhi", 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 ff). (2) Vide J. St. Sand., I, Introduction, p. 4. (3) Vide "Tantrabbid.apa", ed. A. Avalon, p. 60. 43

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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 aisplayed 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 Jnanavimala Suri. Since he gives his name as "Nayavimala", the hymn must have been composed before this name was changed to "Joanavimala Suri" at his investiture with the Acarya title in V. S. 1748-9; and since he mentions, in the same stanza, Vijayaprabha Suri as pontiff, it must have been after the death of the preceding pontiff Vijayadeva Suri in V. S. 1713 (or anyhow, after Vijayaprabha Suri'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 Naya vimalaJnanavimala wrote Balavabodhas on two of Yasovijaya's works, viz., (1) on his "Simandhara-stavania" (V.S. 1763) and (2) on his "Atha-yogadrsti-sajjhai" (undated).? Muni Caturavijaya: has inferred from Yasovijaya's "Astapadi'' and from the "Navapada-puja"4 going under the latter's name, that personal relations existed between Yasovijaya on one side and the three philosopher poets Joanavimala, 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) I. G. K., II, p. 5 ff.: p. 7; and III, p. 1312 and 1631. 1 J. G. K., II, p. 39; p. 336; and I I, p. 1637. (3) J. St. Sand., p. 01. (4) Vide "Srimad-Yalovi,ayaji Upadhyaya-kfti Sri Navapada i Pia", Jaioa Atmananda Sabha, Bhavnagar, V. S. 1931, Introd. p. 7 1. 44

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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-puja" contains, besides Yasovijaya's name, also the names of those poets: the passages composed in "Ula!alani Desi'' and the "kalasas" being marked as Devacandra's work, and the passages in "Bhujangaprayata" and in "Malini'' metre as Jnanavimala Suri'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 wnich this "paja" was compiled after Yasovijaya's death in execution of a joint resolution of the representatives of the three main Svetambara Gacchas, viz., our poet Jnanavimala Suri as representative of the "Vimala Gaccha", Devacandra Suri as representative of the "Kharatara Gaccha", and Uttamavijaya Suri as representative of the main line of the "Tapa Gaccha", decreeing that a puja text should be created which would be palatable to followers of the three Gacchas. To achieve this, certain portions of the extremely popular "Sripala-rasa" composed by Yasovijaya, representing the Tapa Gaccha, were approved as the basis of the puja text, while Joanavimala Suri 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) Venerable Upadhyaya Labdhimuniji, who commands my sincere admiration as a poet, a scholar, and before all as a true embodiment of the an. cient ideal of Jainasadhu-hood, has assured me that this tradition is handed down in his "Sampradaya" as a historical fact, which is sufficient guarantee for its reiliability. 45

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ANCIENT JAINA HYMNS now the most frequently used puja text of the Svetambara community. In any case, it is certain that Nayavimala Jnana. 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 "Pratima-sataka", which likewise begins with the words "Aindra-sreni. nata"! Not only thus much, but in this very way of expressing his veneration, our poet seems to follow the example of Yalovijaya, who opened his SankhesvaraParsvanatha-stotra with the words "Ananta-vijnanam apastadosam" in imitation of Hemacandra's "Anya-yogavyavaccheda-dvatrimsika" (which begins "Anantavijna. nam 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 Mathuranatha, who had been his teacher, and whom he greatly admired.? Like the preceding two hymns, Nayavimala's "Sankhesvara-Parsvanatha-stavana" addresses itself to the image of a particular place of pilgrimage, here the timehonoured and much worshipped statue of Parsvanatha at Sankhesvara, 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 "Sankhesvara Mahatirtha" (in Gujarati) by the (1) So does the (probably Svopajna) Tabi to Yasovijaya's "Dravya Guna Parya ya Rasa" (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, anl J. G. K. II, p.25. 46

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REMARKS ON THE TEXTS learned Muni Jayantavijaya (Vijaya-Dharma-SuriJaina-Granthamala 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 "757 ziara Hiru", "published in the "Jaina Satya Prakasa".? 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 "Visnu", "Sankara", "Dhatar", "Sata-dhsti", "Kalari", "Kltija", "Gauriguru", as has been in vogue with Jaina poets ever since the days of Siddhasena Divakara and Samantabhadra. The Jaina reader, familiar with this way of expression, does not find it difficult to grasp the "Slesas" and their intended implications, and duly to adapt them to Jaina ideas and idea!s. The Jina's life is not alluded to, except for an isolated reference to Kamatha, the Jina's enemy throughout his last pre-existences, in st. 3. In st. 9-12, the poet introduces ideas of Tantrasastra, sublimated by transcendental-mystic application. Taina Tantra-sastra with its direct implications was once a well developed science. It seems to have played a great part in Jaina culture in those early days when and even before the Agamas were collected, perhaps even previous to Mahavira, in the age of Parsvanatha. Throughout the centuries, it has inspired and influ (1) V. S. 1998. (2) Varsa 11, Anka 3, p. 73-80. 47

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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 Parsvanatha-mantras, which is generally known as the "Visahara-phulinga-" 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 Manatunga's famous "Bhayahara-stotra", composed during the reign of king Harsa of Thanesar, Dharmaghosa Suri's "Sri-Cintamani-kalpa", belonging to the 14th century or perhaps even to an earlier period, the Parsvanatha hymns by Tarunaprabha Suri, Kamalaprabha Suri, Ratnakirtti Suri, Jinapati Suri, etc. contain the mantra, (some with prescriptions re its use), and glorify its miraculous efficacy. The "mula-mantra' runs as follows: "Namiuna Pasa visahara vasaha Jina phulimga".4 Around this "mula-mantra", various "bijas" are generally arranged in varying number and order. Our poet mentions the following "bijas": "aim" (general, for "Sarasvati'), "om" (general, for "pranava"), "hrim" (general, for "Maya"), the latter twice, "arham" (especially Jaina, for "Tirthankara", "Siddhacakra", or "Asta-maha-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 Labdhi. muniji. 48

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REMARKS ON THE TEXTS of thought, for "jnana"), and "Sri (m)" (general, for "Laksmi"), without however giving any hint as to their intended arrangement. In the same way, st. 10 glorifies the efficacy of a mantra of Padmavati, Parsvanatha's much worshipped "Sasana-devi", whom Jaina Mantra-sastra believes to embody Sarasvati, Durga, Tara, Sakti, Aditi, Laksmi, Kali, Tripurasundari, Bhairavi, Ambika, Kundalini, etc. The "mula-mantra" is given in the following form: "Padmavatyai namo'stu sphuta hana daha raksa raksa". It is accompanied by the following "bijas": "om" (''pranava), "hrim" ("Maya"), "klim" ("Ananga"), "Sri ("'Laksmi"), "blim" ("akarsana"), "hsom" ("Sakti"), which are all well-known from general Tantric lore, except for "blim", which seems to be particularly Jaina. The poet winds the list up with "svadha", which, according to Jaina Tantrasastra, indicates "Santi", just as "namo" is said to stand for "moksa". If the third line of the pertinent stanza, an isolated Citralekha-pada between two Sragdhara-padas, and, for the matter of that, the only Citralekha-pada of the whole poem is to be corrected (1) Vide the list of "mantra-bijas" on p. 139 ff. of "Sri Jaina-KalpaMantra-Mahodadhi", I, by Muni Viravijaya, Multan, V. S. 1999. (2) The following arrangement is generally found : "Om hrim srim (arham) namiuna Pasa visabara vasaha Jiga phulimga hrim (srim) (svaha)". Vide J. St. Sand. II, p. 15, 27, 34, M. B. Jhaveri, loc. cit., Texts p. 43, 44, and "Pancapratikramana-sutra", Jaina Atmananda Sabha, Bhavnagar, V. S. 1982 p. 453. (3) Though "blim" is occasionally found in Jaina tests, still I have seen this explanation only in Upadhyaya Labdhimuni's list referred to above. (4) M. B. Jhaveri, loc. cit., Texts, p. 20, 1. 11. (5) Vide ri-Suri-mantra-trabatkalpavivaranai", Almedabad, Vira. S. 2458, p. 2 a. 49

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ANCIENT JAINA HYMNS into a Sragdhara-pada, it would most likely have contained also the bija "aim", the most important of the bijas applicable to Padmavati-Sarasvati from the stand-point of our poet. The line would then perhaps read as follows: "aim klim srim blim tatha hsom" etc. It is also possible that the well-known "slim" ("amsta") is a more correct reading than the rather doubtful "blim". 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 "uddhara", That a precise "uddhara" 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 (''kasaya"), the "bhava-ripu," i., e., the esential enemy of the atman, 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 "Samrajya-Laksmi" in st. 11. In the case of the "kavaca"-like "yasa" 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 Sardulavikridita metre, which occasionally, sometimes in the middle of a stanza, changes over to Sragdhara (8a,8b; 10b, 100, 11b-12d, and 20d), and once (st.10c) to Ci. tralekha, unless the latter is to be changed to Sragdhara, 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 1b and 2a are each filled with a rhomb of red lines, each rhomb being sub-divided by further red lines into 9 small rhombs, each of which contains one letter of the running text. The characters are ordinary Devanagari, "Adhomatra" being carried through, and "Padimatra'' 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 "Margalacarana" formula ("ittade att 74: 11", preceded by the usual diagram) are overpainted with red ink, darkened by age. The MS. has no colophon, except for the words "fa staradareenTE" ( sic ! ). After st. 20, the words "sisia za taq ui si 197" are clearly readable through the yellow pigment. This may be an indication that the MS. was written 51

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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 TIRTHAMALA-CAITYAVANDANA: According to Svetambara terminology, a "caityavandana" is a short ritual performed (either separately in the temple, or as part of the "Avasyaka"-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 ("khamasana") and the "kayotsarga" 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 a short poem in praise of the Tirthankara, the Tirthankara image, the Tirthaikara temple, the Jaina Tirtha, or any abstract idea connected with Tirthankara 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 "anjana-salaka"), is not merely holy by association, but is considered a concrete representative of the Tirthankara by "sthapana", 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 "Tithamalacaitya-vandana", the first part of which, "tirthamala" denotes, in ancient Gujarati, a poem describing a number of places of pilgrimage, or a pilgrimage undertaken to them." Our Tirthamala-caitya-vandana is anonymous. It consists of five Sardulavikiilita 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 tirthas 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) Satrunjaya (modern Shatrunjaya Hill), (2) Raivatari (modern Mt. Girnar), (3) Bhigoh Pattana (modern Broach), (1) Vide "Pracina Tirthamala-sangraha", Sambodhaka Sri-Vijayadharma Suri, I, Bhavnagar, V. S. 1978. 53

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ANCIENT JAINA HYMNS (4) Simhadvipa! (5) Dhanera (modern Dhanera in Palanpur State, 22 m. n. w. of Deesa Station), (6) Mangalapura (modern Mangrol on the south coast of Kathiawar), (7) Ajjahara (modern Ajara near Veraval on the south coast of Kathiawar), (8) Sripura (modern Sirpur in Berar, near Akola, with "Antariksa-Parsvanatha" Temple), (9) Kolinaraka (modern Kodinar, near Mt. Girnar), (10) (Mantri-) Dahadapura (modern Dahidro near Mt. Abu), (11) Mandapa (modern Fort Mandu), (12) Arbuda (modern Mt. Abu), (13) Jirapalli (modern Jiravla, with "Jiravla Parsvanatha" Temple, near Deesa), (14) Phalarddhi (modern Falodhi in Marwar, near Merta Station, with "Falodhi Pars vanatha" Temple), (15) Parakanaga; (1) Simbadvipa may stand for "Simhaladvipa", Ceylon, where an ancient place of Jaina worship is testified to have existed in the "Vividha. tirtha-kalpa" (loc. cit. p. 85), or for "Singbapora", 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 Moni Caritravijaya, "Viharadarkada", p. 229, and V. T. K., p. 107. (3) Perhaps "Parakaraga", for "Parakara", would be the correct reading. Jaina paces of worship situated in "Parakara-desa", i. e., the modern Thara-Parakara District of Sindh, are referred to in the V. T, K, P. 85 and the Astottari-Tirtbamala, st. 83 ff. 54

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REMARKS ON THE TEXTS (16) Sairisa (modern Seraiya,' near Kallol in Distr. Ahmedabad), (17) Sankhesvara (modern "Sankhesvara Parsvanatha" Tirtha, near Radhanpur, Gujarat); (18) Campaneraka (?) (modern Champaner at the foot of Pavagadh, Baroda State), (19) Dharmacakra (?) (modern Taxila) . (20) Mathura," (21) Ayodhya, (22) Pratisthanaka (modern Paithan), (23) Svarsagiri (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 "Serisayapara" (vide V. T. K, P. 24, 25, and 106). It seems to have once been an important town. Vide also Muni "Jna navijaya, Jain Tirthono Itihas", p. 40 ff. (2) About the history of this ancient place vide Pt. Lalacandra Gandhi, "Tejapalano Vijaya" and "Pavagadh thi Vadodars mam Prakata Thayeli Jiravala Parsvanatha", Bhavnagar, V. S. 1997 and 1991. (3) Vide V. T. K., P. 85 and Aotot, st. 41 and 56, and p. 66 f. ("'Dhammacakka-tittham"). According to "Puratana-prabandha-sangraha"1., p. 107, para. 232, Taksasila had once 105 "tirthas." (4) The importance of Mathura as an ancient Jaina centre has been revealed by excavations. Detailed references are found in the v. T. K. Vide also "Pracina Tirthamala-Sangraha", Introduction p. 40. (5) For ancient references vide the V. K. T.; for further information : "Pricina Tirthamala-sangraha", Introduction, p. 34. (6) Vide V. T. K. p. 61 ff., p. 86, etc. (7) Cp. Astot., st. 86 f. ("Jalaure...... Savannagiri-sihare"), etc. (8) The form "Devagiri" is better known : cp. V. T. K., p. 44. (9) Cp. the references given by M. D. Desai, "Short History". Index P. 994.

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ANCIENT JAINA HYMNS (26) Hastodipura', (27) Palalipura (modern Patna), (28) Dasapura (modern Mandasor in Gwalior State), (29) Carupa (modern Charup near Patan in Gujarat), (30) Pancasara (modern Panchasar near Wadhwan in Radhanpur State), (31) Karanavati (?) (modern Ahmedebad), (32) Sivapura (modern Ahichchhatta)," (33) Nagadraha (modern Nagda in Udaipus State), (34) Nanaka (modern Nana near Pindwara in Jodhpur State), (1) "Hastodipura" is, according to the well-known specialist in the history of Jaina tirthas, Muni Jayantavijaya, whom I consulted, identical with "Hastikandi", an ancient Jaina tirtha, the name of which occurs in inscriptions pertinent to a tirtha now known as "Rata 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 "Hathiudi" (Nahar, Jaina Inscriptions". I No. 897), which linguistically lends itself well as prototype for a demi, Sanskritic "Hastodipura". The "Hastikundiya-gachha" (Vijaya Dharma Suri, "Pracina-lekha-sangraha", No. 43) seems to have derived its name from that place. (2) Cp. "Padalipura" etc., in V. T. K., P. 34, and "Padaligama" in Astot., st. 82; vide also Prac 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 prac. 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. Moni Vidyavijaya, "Meri Mevaa-yatra", p. 59 ff. The place is situated about 13 m. north of Udaipur. (6) Cp. V. T. K. p. 86 Asgot., st. 89 ("Nnaya"). 56

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REMARKS ON IHE TEXTS (35) Meru (mythological),' (36) Kundala (myth.), (37) Manusa (myth.), (38) Rucaka (myth.).(39) Vaitadhya (myth.);" (40) Nandisvara (myth.), (41) Astapada (myth.;;' (42) Gundara, (43) Gajapada, (44) Sammetasaila (modern lit. Sametshikhar or "Shikharji" in Bihar), (1) Vide above, chapter on the "Tirthankaras." (2) Name of the 11th ring-continent, counted from Jambu-dvipa, also of the ring-mountain traversing it. Being outside the "Manusyaloka", its temples are built and attended only by divine and semi-divine beinys (Sthananga-Sutra. "Kundala". (3) "Manusa" is an abbreviation for "Manosottara" similar to the form "Janua" used in the Astot., st. 25. Re the Mannusottara Mountain ride chapter on the "Tirthaikaras". (4) Name of the 13th ring-continent as well as of the ring-mountain traversing it. Its temples are divine. (Sthananga-Sutra IX : "Ruyaga"). (5) Mountain-range which traverses the Bharata-ksetra from east to west, parallel to its northern boundary, the Himavat (Tattv. III, p. 256). (6) Xame of the 8th ring-world, famous for its splendid temples and the gorgeous religious festivals celebrated there by gods and genii. (SthanangaSutra IV, 3 : "Nandisara"). (7) According to V.T. K., p. 91, this much eulozized semi-mythological sacred mountain ("Atthavaya") is situated 12 yojana north of Ayodhya, and is identical with the Kailasa, 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. 83, as situated in "Parakara-desa", i. e., in Sindh, and a a being sacred to Edinatha. (9) Gajapada may be the same as "Gajagrapada" ("Gayaaggapaa"), a Taina Tirtha mentioned in Astot., st. 41 and 49 under this name and under the name of "Dasarnakuta" ("Dasanpakula"). According to V. T. K.. p. :8, a "Dasanna-pavvaya" was situated in Magadha dear the Tirtha Kotisila". There is matter for research. 57

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ANCIENT JAINA HYMNS (45) Vindhya (?) (modern Vindhya Mountains), (46) Sthambhana-nagara (modern Cambay), (47) Siktha-Mittha-nagara (modern Set Mahet), (48) Rajadraha (?) (modern Rajasagar Lake in Udaipur State),' (49) Srinaga (modern Parwattam on the Krishna River), (50) Kuntivihara (Modern Nasik), (51) Pallavihara (modern Palanpur in Gujarat). (52) Taranagadha (modern Taranga Hill in Mahikantha, Gujarat), (53) Soparaka (modern Soparo near RY. Station Nalasopara, north of Bombay)," (1) The V. T. K., p. 86 refers to a faina Tirtha in the VindhyaMountains. (2) Modern "Set-Mal:et", or "Sahet-Nahet", situated near the 0. B. Ry. Station Balrampur, represents the site of ancient "Sravasti", as the former part of the name suggests (vide Prac. 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 Sravasti ("Savatthi") was known as "Mahethi". (3) "Rajadraha" is an obvious equivalent of "Rajasagara", the name ce the famous lake in Udaipur State, at the shore of which the ancient Jaina place of "Rajanagara" wa situted. Even now, the ruins of the latter exist, with the remains of a grand Tirthaikara Temple, known as "Dayalshah ka Kila" : ride Muni Vidyavijaya, "Meri Merad-ratra", p. 64 ff. (1) "Srinaga" obviously stands for "3ri arvata", a name often mentioned in Jaina Literature, as, e. g., V. T. K., p. 86 and 106. M. D. Desai, Short History, para. 524 locates it "near Conjeeveram'. Nundo Lal De identifin ancient "S:isaila (r Sriparvata" with l'arwatam, 50 m. from the G. I. P. Ry. Station Krishna. (5) Vide V.T. K., p. 53. (6) Cp. Astot., st. 100, wliere this sacred slace is referred to as. "Ta anagiri". (7: Vide al:o V. T. K., p. 5. The modern plac: liis 40 m. from Iridher. It was once an important Jaina centre. 58

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REMARKS ON THE TEXTS (54) Arasana (modern Arasan near Mt. Abu),' (55) Dvaravati (modern Dvaraka), (56) Jirnavapra (modern Junagadh near Mt. Girnar), (57) Tharapadrapura (modern Thared rear Radhanpur in Gujarat), (58) Vavihapura (modern Vavipur near Radhan pur), (59) Kasadraha (modern Kasindra, 8 m. north of Abu Road Station), (60) Idara (modern Idar in Gujarat), (61) Tejalla vihara;" (62) Nimbatataka, (63) Candra (modern Chandur close to San. kheshvara, 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 ais) re erred to in Astot., si. 102. (2) Vide also V. T. K., p. !2, 85, 83, etc.: Dvaraka was once a Jaina tirtha, bound up with the History of the 22nd Jina Neminatha, contemporary and relative of Sri-Krspa. Cp. also M. D. Desai, loc. cit. para. 842. (3) This place is mentioned in the Astot., st. 102 as "Kasaddaha", and in V. T. K., P. 85 as "Kasahrada". (4) V. T. K., p. 7, st. 3 and p. 10 menticns a place "Tejalapura", built by Teja pala at the foot of Mt. Girnar. l'ide also. Pra. Tirth. Saugr., Introduction p. 57 f. "Tejallavihara" may refer to the temple erected there by him in honour of Paravanatha, and named "Asarayavihara" in honour of Tejapala's father. (5) This may be "Nimbuyada", a Jaina place mentioned in Meghavijaya's "Parevanatha-nama-mala", st. 20 (Prac. Tirth. Saugr., p. 151), or "Nibeda Kala", mentioned in the "Tirthavali-pravasa" (No. 383) as possessing an old Jaina temple. Perhaps both names denote one and the same place. 59

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ANCIENT JAINA HYMNS (65) Satyapura (modern Sachor, 80 m. from Deesa station), (66) Bahadapura (modern Bahadpur near Mt. Shatrunjaya), (67) Radadraha, (68) Vayana (modern Bayad near Kapadvanj in Gujarat), (69) Nandasama, (70) Sami (modern Sami near Radhanpur), (71) Dhavalaka (modern Dholka in Gujarat), (72) Marjjada (modern Jajadar near Patan in Gujarat), (73) Mundasthala (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 viry od place referred to already in the "Jagacintamani-caityavandana" (ascribed to Mahavira's direct disciple Gautama) as sacred to Mahavira. (2) Vide Muni Joanavijaya, "Jain Tirthono Itihas", p. 5.. The place was founded by Kumarap la s Minister Vagbhata, the elder brothe: of the above mentioned Ambada, who restored Sakunika-vihara. (3) This place is frequently mentioned in old works in varying form, as "Radadraha", "Radadaha", "Radadre", "Latahrada", "Radadhada", (etc.), one of the oldest references being in Astot., st. 84. From an ancient 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 Alhana Deva, a vassal of Kumara pala of Gujarat. The learned Jainacarya Sri Vijayendra Suriji refers me to Epigraphica Indica IX, p. 73-78 and XI, p. 44 f. and 74 f., which were not available to me. (4) Vide also V. T. K., p. 86 and Astot., st. 101, as well as M. D. Desai, Short History, para. 496. Re the modern place, vide Carija-vihara, p. 155 and Tirthavali-pravasa, No. 696. (5) From Astot., st. 90 ("Mevada-desa-game........Nandisama-name, Sagadala-manti-kariya-Jina-bhavane"), it appears that this place was situated in Mewar and contained a Jina Temple built by the Minister "Sagadala". Nothing further could be ascertained. (6) Vide V. T. K., p. 86 Astot., st. 97, and Muni Jayantavijaya, "Abu", II, p. 245, Inscription 10-11, according to which Ieferences, "Mundasthala" was an old Jaina place. 101 69

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REMARKS ON THE TEXTS (74) Modhera (modern Modhera near Baman vada in Baroda State), (75) Dadhipadra (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 familiar 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 dogmata regarding cosmography, he has thus mixed up genuine geographical names with purely mythological ones, such as Meru, Vaitadhya, Astapada, Kundala, Manusottara, Rucaka, and Nandisvara, 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, 01) Karakal has long since been "famous for the Jaina and Buddhist pilgrims", according to Nundoo Lal De, p. 93; vide also Tirthiva'i-pravasa, No. 416.. (2) Viz., (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) Vaimanika, in layers above the latter in movable "viminas". 61

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ANCIENT JAINA HYMNS Fort Mandu, Mt, Abu, Falodhi, Sankheshvara, Prabhas Patan, Mandasor, Charup, Ahmedabad under the ancient Hindu name of Karanavati, 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, Jajadra, Modhera, Dahod. Some places of both these types as, e. g., Fort Mandu, Arasan, Champaner, Ja!or, Panchasar, Dho!ka, 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, Sravasti, Rajanagara, Soparaka, Tejalapura, Mundasthala, Serisa, and the tirthas of Sindh. Entire oblivion seems to envelop those tirthas which our poem mentions as existing in the 62

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REMARKS ON THE TEXTS Vindhya Mountains, as well as places like Gundara, Gajapada, Radadraha, 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 Bahadpur and Tejalavihara, founded by Kumarapala's Minister, Vagbhata and Viradhavala's Minister, Tejapala, 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 Rajasagara Lake in Vewar, 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: "fa ft ATSIRACICH 911 : PP. 8660 a 19 het rret si 11", which is 63

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ANCIENT JAINA HYMNS followed by one more caityavadana with a colophon of its own, written by the same hand. 6. THE VIRA-STUII. In older Svetambara 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 literature, viz., hymns which are rather aggregates of four separate "stutis", and eulogize, strictiy 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 Sasana-devas, Sasana-devis, Vidya-devis, the "Sruta-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 dignitateni 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 "Pratikramanasutra", i.e., the text of the daily ritual, of all the Svetambara sects, since "Tirthankara-vandana" is one of the six "Avasyakas", or indispensable daily duties of a Jaina. The first quarter of a stuti of the (1) Vide the references quoted by Professor H. R. Kapadia, in his edition of "Sri-Bappabhattisuri-viracita Caturviti satika", Agamoda ya Samiti, No. 53, "Upodghata", p. 45 ff. 64

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REMARKS ON THE TEXTS 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 onomatopoeia 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 Tirthankara preaches in the "samavasarana", his voice is not only in itself distinguished by "upanita-ragatvam",' i. e., possession of melody in the technical sense (one of its 35 stereotyped supernatural qualities), but it is also harmoniously accompanied by celestial music, which devoted gods and genii continuously produce (another of the stereotyped atisayas of the Tirthankaras). The use of onomatopoeia in this way, though, is not unique. A famous Sanskrit stuti composed by the celebrated Saint and poet Jinakusala Suri of the Kharatara Gaccha, who died in V. S. 1389, is composed according to the very same principle. I refer to the Parsvanatha-stuti beginning with the words "Drem drem ki dhapa mapa", which, forming part of the Paksika Pratikramana of the Kharatara Gaccha, (1) Hemacandra Suri makes this expression clear by his explanation "Malava-Kaubikyadi-.ramaraga-yuktata" in the Svopajna-tika to his "Abhidhana-Cintamani-Kola", I, st. 66. (2) Vide Introduction. (3) Vide A. and Bh. Nahta, "Dada Sri Jinakusala Suri, Calcutta, V. S. 1996, p. 58. 65

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ANCIENT JAINA HYMNS is also known as the "Paksika-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 Suri's stuti is in honour of Parsvanatha, the present hymn celebrates Mahavira, the last Tirthankara, in its first quarter. The object of eulogy in the fourth quarter is likewise a different one. In Jinakusala. Suri's stuti, it is the "Sasana-devata" quite generally, while our poet addresses himself to the goddess "Vairotya", 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-devi of Vimalanatha, the 13th Tirthaikara, in Digambara literature. She is represented as "harivarna", mounted on a snake ("gonasa"), and holding snakes in her four hands. In Svetambara literature, Vimalanatha'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 "Vidita", or "Vijay?".4 The male (1) "Purna Ksema-Vallabha-Vilasa", 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) Nirvanakalika, edited by M. Bh. Jhaveri, Nirnaya Sagara Press, Bombay, A. D. 1926, p. 35. 66

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REMARKS ON THE TEXTS counterpart in attendence on Vimalanatha is, in both literatures, "Sanmukha", 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. 2. 'In the shape of "Vairotja' (Sanskrit), "Vairutti"; "Vairutta''4 or "Vairotas (Prakrit), the name further designates the Sasana-deva of Mallinatha, the 19th Tirtharkara, in Svetambara works. She is described as "krsnavarna", 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 "astapada" 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 Yaksa 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 Prakarana, Jaipur, A. D. 1936, p. 168-12 and p. 156-13. In some Digambara works, the name "Caturmukha" is found. (2) Nirvapakalik), p. 36; Saptatisatz.-sthina-prakarana, 1.1., Dvara 109; Tika; Pravacanasaroddhara, Pika, Dvara 27; Hemacandra, Abhidhanacintamani-kosa, I, 45, Tika. (3) Munisundara, Santikara-stavana, st. 10. (4) Saptatibata-sthana-prakarana, st. 228. (5) Pravacana-saroddhara, st. 376. (6) Pratistha-sangraha, as quoted by Bhattacharya, 1.1. pp. 139;/vide lso "Tiloya-pappatti", st. $39. (0) On what basis Bhattacharya, 1.1., mentions a "lion", is not clear. 67

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ANCIENT JAINA HYMNS Only from Hemacandra's "Abhidhana-cintamanikosa", I, st. 45, such an association might appear to exist. For, Hemacandra, instead of mentioning Mallinatha's Sasana-devi under her actual name, refers to her as "Dharana- priva", which he explains, in his "Svopajnatika", as "Dharanoragendras i priya Vairotya", i.e., "Vairotya, consort of Dharana, the Indra of the Snakes". Obviously, this Vairogya cannot be separated from the goddess whom Aryanandila invokes in his "VairotyaDevi-stava", as "Dharaninda-padhama-patti Vairutta nama Vagini" (st.4), and as "Dharanoraga-daza...... Vairutta" (st.12). The Prabhavaka-carita contains, in its "Aryanandila-carita",? an account of the origin of this stava, in the form of a legend, the motif of which recurs in Hindu folk-lore. According to this engend, Vairotya was the wife of a merchant's son named Padma, and the mother of Nagadatta, a disciple of Aryanandila (the second "a" of the latter name being short here). By some action of kindness, Vairotya gained the favour of the snake people, who adopted and treated her as a relative, overshowering her with divine favours. After her death, she became the queen of their ruler Dharana, the same divinity whom we mentioned previously as Parsvanatha's Sasana-deva ("Dharanendrasya devi Sri-Parsva-sevituh"), and has since then been assisting her mate in coming to the rescue of devotees of Parsvanatha, especially in danger threatening from poison or fire. Aryanandila, who had been Vairotva'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. 8. (2) L. 1., p. 19 ff.; vide also Muni Kalyanavijaya's lemarks in his Introduction to the Gujarati Translation of the Prabhavaka-carita (Jaina Atmananda Sabha, Bhavnagar, V. S. 1987), p. 22. 68

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REMARKS ON THE TEXTS of which is asserted to be particularly efficacious in securing her help. In the "Padalipta-carita" of the Prabhavakacarita' too, a "Vairotya Devi", obviously the very same goddess, is referred to, for she bears the epithet of "PhanIndra-kanta", and is described as an attendant of Pirsvanatha, the patron saint of the snake-king. Yet it is difficult to understand how this Vairotya, 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 Mallinatha's Sasana-devi. For, as all the Sasanadevas and -devis are believed to come into existence during the time of the "tirtha," i. e. the original community of the resp. Tirthankara, Malliratha's Sasana-devi would have been in existence since more than 65,86,000 years, Mallinatha's nirvana being assumed to have taken place 65,84,000 years before the Vira-nirvana. Did the great Hemacandra allow himself to be misled by the chance identity of the name of Mallinatha's Sasana-devi with that of Aryanandila's "Istadevata", and thus wrongly apportioned to the former goddess the epithet of "Dharana-priya", to which only her namesake was entitled ? This seems.likely in view of the already mentioned absence of all snake attributes in Mallinatha's Sasana-devi: for, a consort of Dharanendra would necessarily belong to the class of the (1) L. 1., p. 28 f. (2) Cp. Muni Kalyapavijaya, loc. cit. (3) Cp. Nirvanakalika, 1. c., p. 34 ff., particularly the regularly recurring attribute of the "Yaksipis" : "tasminneva tirthe samutpanna"). 69

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ANCIENT JAINA HYMNS "Nagakumaras", and as such, be bound to wear the snake emblem,' as Aryanandila's Vairotya ostentatiously does ("'nagini nagarudha naga-kara naga-bhusivasarira, nagehim siramala naga-muha sa", st. 3 of the pertinent stava). As the deity whom our poem eulogizes, is doubtiessly a snake-goddess, she would probably not be Mallinatha's Sasana-devi, but may be identical with the Dharana-priya Vairotya 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 Vairotya, viz., one of the 16 "Vidyadevis". The latter are common to Digambaras and Svetanbaras. Like the Sasana-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-sastra* and in hymnal literature. Though it is possible that some of their features, particularly their number (16), are connected with such of the 16 tantric Goddesses of the Hindu Agamas, viz., the ten forms (1) Cp. Tattv. IV, 11, Bhasya, p. 282 "eirassu phauicihna Nagaluma. rah"). (2) The word "Vidya-devi" does not mean "Goddess of Learning" at all, a, Bhattacharya (loc. cit., p. 163 ff.) translates it, but "divine per:onnification of magic lore''. The "Goddess of Learning" is the "Sruta-devi" Sarasvati. (3) The earliest references appear to be with the Svetambaras the "Nirvanakalika" of Padalipta Sari, and with the Digambaras the "Prati stha-sara" of Vasunandin. (4) Vide M. Bh. Jhaveri, "Comparative and Critical Study of Mantrasastra", p. 258. 70

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REMARKS ON THE TEXTS 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. According to that legend, Nami and Vinami, two princes, had been absent when Rsabhadeva, the first Cakravartin, and, subsequently the first Tirtharkara of this avasarpini, 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. Dharana, the ruler of the Nagakumaras, 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. Vaitadhya, that mythological mountain range which traverses Bharataksetra 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 "uidyas", enabling them to walk through the air and on water and to perform other miraculous feats. Thus outfitted, they settled on Nit. Vaitalhya with their kith and kin, and founded eachi (1) Vide Daksinamurti, "Uddharakosa", ed. by Raghuvira, Introduce tion p. 9 f. (2) Vide M. Bh. Jhaveri, loc. cit., p. 147 ff., and 271 ff. (3) Representative are: Sanghadasa Gani, "Vasudevahindi", IV, p. 163 f.; Jinadasa Gani Mahattara, "Avasyaka-Curni", p. 161 f.; Haribhadra Suri, "Avasyaka-Tika", p. 143 ff.; Hemacandra Suri, "Trisasti-ealakapurugacarita", III st. 124-233; Vinayavijaya, Kalpasutra-tika "Subodhika", I, 212 (p. 152);--Cp. also M. Bh. Jhaveri, I. c., p. 175 f. and 260 ff. 71

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ANCIENT JAINA HYMNS 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-nikayas", to each of which a particular group of "vidyas" was apportioned. The 16 "Vidyadharanikayas" 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 "vidyas" are given in Prakrit in the "Vasudevahindi'' and the "Avasyaka-curni", and in Sanskrit in the "Trisastisalakapurusa-carita", all three deviating from one another in several items. According to the lastnamed text, these "vidya''-groups were : 1. Gauri-, 2. Vanu-, 3. Gandhari-, 4. Manavi., 5. Kausiki-, 6. Bhu-, mitunda-, 7. Mulavirya-, 8. Sankuka-, 9. Panduki-, 10. Kali-, 11. Svapaki-, 12. Matangi-, 13. Parvati, 14. Vamsalava-, 15. Pamsumula-, and 16. Veksamula-vidyas. 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 "Avasyakacurni" and the "Subodhika" mention four individual "mahavidyas", viz., 1. Gauri, 2. Gandhari,' 3. Rohini, and 4. Prajnapti. Haribhadra Suri, obviously following (1) These two vidyas are also mentioned in the Satrakrtanya-Sutra (II, 2, Sutra 30, p. 318). 72

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REMARKS ON THE TEXTS the former text, mentions them with the exclusion of any other name. Traces of the "Vidyadhara"-legend can be found in the Jainagama itself, where the two rows of "Vidyadhara-cities" are repeatedly mentioned as adorning the slopes of the Vaitalhya', 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-devis" and of their relationship with the ancient "vidyas'', as raised by Dr. Miss Helen Johnson', still thus much can be inferred from a comparison of the respective names that the first, second, ninth and tenth "Vidyadevis" are identical with the four "mahavidyas" 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 "Vidya-devis", 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"vidya-nikayas" 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 "Vidyadevis" find themselves again, without exception, in (1) Jambudvipa-prajoapti IV; Sthanarga-satra X, 3. (2) In her English Translation of the "Trisasti-salakapurusa-carita", Vol. I, p. 176. 73

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ANCIENT JAINA HYMNS the list of the names of the "Sasana-devis", some in that of Svetambara, others in that of Digambara tradition, and some in both simultaneously, in such a way that 11 of the Svetambara, and 13 of the Digambara Sasana-devis, 8 of them being common to both, appear to be in fact nothing but "Vidya-devis", though some of the names slightly vary. The following synoptic table will make this clear: Vidya-devi. Vidyadhara-vidya. Svetam bara Sasanadevi. Digam ara Sa sanadevi. 1. Rohiai .. | Mahavidya No. 3. No. 2. 2. Prajaapati. Mahavidya No. 4. No. 15. No. 3. 3. Vajragra khala. No. 4. 4. Vajran kusa. No. 14. (Ankusa). No. 1. 5. Apraticakral or Cakresvari. No. 1 (only Cakresvari). 6. Purusadat ta or Naradatta. No. 20 (only No. 5 (only Naradatta). Purusadatta) 7. Kali .. Vidya-nikaya 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 Sasana-devis denote the resp. Tirthankara to whom the goddess concerned is attached. 74

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REMARKS ON THE TEXTS Vidya-devi. Vidyadhara-vidya. Sveta mbara Sasapadevi. Digambara S sanadevi 8. Mahakali. No. 5. No. 9. 9. Gauri No. 11. .. | Mahavidya No. 1 and Vidya-nikaya No. 1. 10. Gandhari. Mahavidya No. 21. No. 12. No. 2 and Vidya-nika ya No. 3. 11. Sarvastra No. 8 (JvaMahajva la). la. 12. Manavi .. Vidya-nikayal No. 11. | No. 7 or 10. No. 4. 13. Vairotya. No. 13. 14. Acchupta. 15. Manasi .. No. 15. 16. Mahama No. 16. nasi, B.C. Bhattacharya (1. c. p. 164), who also noticed that there are "clear points of identity between Vidyadevis and Sasanadevis, not only regarding names, but also attributes, etc.", has come to the conclusion that "the Vidya-devis in conception were modelled after the Yaksinis", and this "on the ground of the priority of the 75

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ANCIENT JAINA HYMNS Yaksinis as connected in mythology and ritual with the Tirthaa karas". 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 Svetambaras (vide "Nirvanakalika") exactly agrees with that of the Digambaras (vide "Pratistha-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 Svetambaras 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 Sasana-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 Sve. tambaras, and the 13 taken over by the Digambaras as Sasana-devi-names, have been apportioned to different Tirthaikaras. 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 Svetambara theology. 76

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REMARKS ON THE TEXTS The name of the Vidya-devi Vairotya occurs in the forms of "Vairotya'' in Sanskrit, and "Vairoti'' as well as "Vairutta''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 "Nirvanakalika" further describes her as "Syama-varna, and mounted on a Boa constrictor ("ajagara-vahana"), Sagaracandra Suri in his "Sri. Mantradhiraja-kalpa" (st. 15) as "payodharabha" and mounted on a "vihanga-raja", and the likewise Svetambara "Acaradinakara" as "abja-muda-tara-tusaragaura''s and seated on a lion ("simhavahana"), while according to the Digambara "Pratistha-saroddhara", she is "abhra-nila" or "harita' and seated on a lion ("simhaga"). It appears that Bappabhatti Suri and Sobhana Muni refer to this Vidya-devi when they eulogize a goddess "Vairotya" each in the fourth stanza of one of the stutis of their famous,"Caturvimsatikas" (Nos. 18 and 23 resp.), the former describing her as "syama" and "nagastrapatra" (i. e. "having snakes as weapon and vehicle'), and the latter as "syama-deha", as "avisama-visabhrdbhusana'' (i.e. "having harmless snakes as ornaments), and as "yata.... parindra-rajam" (i. e. "mounted on a king of pythons"). (1) Hemacandra, Abhidhinacintamani, II, st. 154; Nirvanakalika, p. 38 Acaradinakara, as quoted by Bhattacharya. (2) Pratistha-siroddhara, as quoted by Bhattacharya , p. 175. (3) Santikara-stava, loc. cit. (4) J. St. Sand., II, p. 241. (5) Here in the sense of "shining" as in the expression "gauranga" as an epithet of Kispa. (6) Here in the sense of "dark-blue". (7) Edited by Professor H. R. Kapadia, Agamodaya-Samiti Nos. 53 and 52. 77

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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 "parindra", which may mean a snake as well as a lion, or like "vyala", which may denote any vicious animal and could refer to a snake as well as to some dangerous quadruped. "Vihanga-raja", the Garuda, may simply be a misread "bhujanga-raja". Since Vairotya 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 supplementary stroke of the brush to complete her picture as that of a doubtless snake-deity. In this way, the similarity of this Vidya-devi with the Digambara Sasana-devi of Vimalanatha of identica! name, emblem, and mount, is even more perfect than Bhattacharya assumes. As moreover, in the invocation quoted by that scholar, Vimalanatha's Sasana-devi is actually addressed as a Vidya-devi ("Vairoti haritarcyate, om hrim Vidya-devi?"'), no doubts can obviously be raised regarding their original identity. While thus the Digambaras apportioned this Vidya-devi to Vimalanatha, without changing her original character, the Svetambaras, when associating her with Mallinatha, allowed her snake attributes to fall into oblivion. The only link that still connects this Svetambara goddess with her original home, the snake-world, is apparently the above-mentioned name of "Dharana-priya" under which Hemacan (1) Loc. cit., p. 140. (2) Loc. cit., p. 175, note. 78

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REMARKS ON THE TEXTS dra refers to her. Thus, this "kalikala-sarvajna" 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-devi Vairotya 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 "Ahinagryapatni. Sagaracandra Suri calls her "Bhujagendra-patni". Both these epithets exactly correspond to the expression "Phanindra-kanta" of the hymn of Aryanandila, who moreover refers to her as "Dharanoraga-daia", and, even more explicitly, as "Dharanimda-padhama-patti Vairutta nama nagini vijja", which latter phrase, besides, clearly defines her as a "vidya", i.e. "Vidya-devi". Yet since the honour of being Dharanendra's favourite queen, in generally known to go to Padma. vati, the Sasana-devs of Parsvanatha, and actual female counterpart of Dharanendra, the Sasana-deva of that same Jina, the above epithets obviously bring Vairotya into collision with Padmavati. The question may be raised as to whether both these names, Vairotyz 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-vija vijjasahaga-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. 79

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ANCIENT JAINA HYMNS old "Padmavati-stotra", she is the equivalent of the Sakti of Hindu tantric lore, the Gaurs of the Saivas, the Gayatri of the Vedantins, the Praksti of the Samkhyavadins, the Tara of the Buddhists, the Vajra of the Kaulikas. From the name "Vajra" in its Prakrit form "Vaira", and eventual derivatives, it seems to be but a small step to "Vairotya". The Padalipta-carita of the Prabhavaka-carita moreover clearly states that the "Phanindra-kanta Vairotya" was worshipped in a temple of Parsvanatha at Kosala as the "Sasana-devi", and "Aryanandila's" hymn as well as the "Aryanandila-carita" of the Prabhavaka-carita agree in asserting that this Vairotya favours the devotees of Parsvanatha 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 Dharanendra is described as accompanied by both the goddesses ("Vairotya Padmavati-devi-yuta"),and 2. the second stanza of Aryanandila's hymn, where both are clearly referred to as separate individuals ("'Dharasoraga-daia devi Pau mavai ya Vairutta"). If the Svetambara poets eulogize Vairogya as Dharana's "agrya-patns" and "padhama-patti", this may be due to the idea that since Vairotya is the (1) "Comparative and Critical Study of Mantrasastra," Appendix v (p. 28), st. 20. (2) Edition of Sobhana's "Caturvim satika", 1. 1. p., 279, note 3. 80

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REMARKS ON THE TEXTS Sasanadevi 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 "Agramahisi" of the Indra Dharana of the Naga-kumaras. 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 "Agramahisis" given in the Sacred Books. Besides the Bhagavati (Vihayapannatti), which he quotes (X,5, Sutra 406), the Jnatadharmakathanga (Nayadhammakahao) likewise (II,1) contains that list, which runs as under: (1) Ala or Ila, (2) Sakka or Sukka, (3) Sakra or Sadara, (4) Sodamini, (5) Imda, (6) Ghanavijjuya.. To solve this difficulty, it might be assumed that either the names Vairoty, and Padmarati 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) Senapraena II, Prasna 112, p. 31. (2) Edition of Sobhana's Caturvim satika, 1. 1., p. 278 f. (3) Thus, the "Dharanendra" who presented Nami and Vinami with 48,000 Vidyas, during the life-time of the first Tirthankara, is of course as. sumed to be a different individual from the casana-deva of the 23rd Tirthankara, for the latter "Dharanendra"''s soul was still incarnated in a snake when Parovana tha was Prince of Kasi, and became incarnated as god only subsequently. 81

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ANCIENT JAINA HYMNS 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 Tantrasastra, and, as such, subject to the moods and whims of the "aradhaka", 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, Ambika, Tripurasundari, Kali, Cakresvari, Sarasvati, or even Kundalini. Besides, "Padmavati" may in fact originally have been a "Vidyadevi", ;. e., one of the original Vidyadhara-vidyas. On what basis the Prabhavaka-carita (V, st. 11) mentions Vairotya as the "Sasana-devata" in Parsvanatha's temple, is not clear. The poet may have done so, thinking of her as one of the consorts of Dharana, the Sasanadeva, or he may have used the word "Sasanadevata" 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 "Vidyadevi". 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 Sri Nyayasagaraji (disciple of Panyasa Sri Candras igara Gani), with whose permission the (1) J. Bh. Jhaveri, 1. c. p. 63 and 315. 82

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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 "fer sit aircrafa: 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 MAHAVIRA-STUTI. This poem belongs to the same category of hymns as the preceding one. It proclaims to be a creation of Acarya Jinapati Suri, 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, Acarya Jinacandra Suri, is likewise alluded to, in the third stanza. Jinapati Suri? was born in V. S. 1210, ordained in 1218, invested with the Acarya title in 1223, and died in 1277. He is known not only as an influential pontiff and the Guru of celebrities like Acarya Jinesvara Suri (his successor), Upadhyaya Jinapala, Vacaka Suraprabha, Purnabhadra Gani, 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-Parsvanatha-stotra and the Caturvim sati-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, Prastavana p. 35, and II, Prastavana p. 31. (3) J. St. S. I., p. 206-209. 83

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ANCIENT JAINA HYMNS (2) Cintamaai-Parsvanatha-stava, likewise publish ed, (3) Antariksa-Parsva-stava, not found as yet, (4) Tirthamala, likewise not found as yet, (5) Vidhiprabodha-vadasthala (Prabodhodaya vadasthala), available in MSS.,? (6) Bphat-tika to Jinavallabha's Sanghapattaka prakarana, published, (7) Vivarana to Jinesvara Suri's Pancalingi, published, and (8) Mahavira-stuti, published and mentioned for the first time in this volume. The Mahavira-stuti consists of four Malini stanzas, the first of which eulogizes Mahavira, while the fourth invokes the "Yaksa Sarvanu". The name "Sarvanu" looks like a sanskritization of Prakrit "Savvana", which occurs in the "Vihayapannatti", the "Bhagavati" of the Jainas (Sataka III, Udde:a 7, Sutra 168, p. 200), in the description of the retinue of Vesamana (Sanskrit "Vaisramana" or "Kubera"), one of the four Lokapalas' or frontier-guard officers of Sakra, the Indra of the southern part of the first Heaven "Saudharma". There, "Savvana" is mentioned along with a number of other godlings, such as Manibhadra and Puroabhadra, known to belong to the "Yaksa" sub-class of the "Vyantaras",one of the four categories of gods. According to that Sutra, all those deities were favoured by Vesamana as if they were his own offspring ("ahavaccabhinnaya", i. e., (1) (2) (3) (4) (5) J. St. S. II, p. 44-47. Vide Jinaratnakosa. 1.1. 1. 1. Tattv. IV, 4 and commentaries. 84

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REMARKS ON THE TEXTS ("yathapatyabhijnatath"): a relationship which seems in order, the Yak3as being genii of treasure, just as Vesamana is the god of wealth. This "Sarvanu" may be identical with the "Yaksa Sarvanubhuti" whom Acarya Balacandra, Hemcandra's notorious rather than famous, disciple, glorifies in the fourth stanza of his sparklingly beautiful stuti "Snatasya", which forms part of the Paksika Pratikramana-sutra of the Tapa 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 "Mahavira-stuti" is preserved in the same MS. as the previous one, forming the second text, marked by the legend : "fa HET Tafa: 11" 8. THE SIMANDHARA-SVAMI-STAVANA. This hymn is addressed to the Tirthankara Simandhara, one of the twenty "Viharamana" (vide Introduction), who is believed to be wandering about at present in the portion "Puskaravara-Vijaya" of Purvavideha, the eastern half of the distant world Mahavideha, 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 Pundarikisi, during the interval between Kunthu, the 17th, and Ara, the 18th Tirthaikaras of the last Caturvimsatika of Bharata-ksetra, i. e., 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 85

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ANCIENT JAINA HYMNS Salvation after a long activity as a Tirthaikara, in a far remote future, viz., at the time when Udaya, the 7th Jina of the coming Utsarpini of Bharata-ksetra, 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, vinda, vaidiya, payam, kitti, lakkhana, viharndano, sattame, Jina, jhana, dhanuha, jamma, micchatta, harisa, damsana, rajja, mahappa, khittammi, hinassa, disassa, kunai, phiriuna, tiriyattane. Forms like nihi, mahura, savvaha, 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 divasau, lagau, jugau, phaliyau, miliyau; with -aha in the Gen. sg., as bijaha; 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 sami, 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.; Kelavarima Ka firama Sastri, pana Kavio, Ahmedabad, 1942 (Gujarat Vernacular Society), I. (2) Vide Bhandarkar, 1.1., p. 108 ff. and Keiavarama Sastri, 1.1., p. 78 ff. 86

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REMARKS ON THE TEXTS a- and i-declensions with -a, -I, and -i in the Acc. sg., as karuna, vani, siri; pronominal forms like haun, mum, and mu in the First Person sg., and tushaji in the Second Person sg. (with suffix of emphasis); verbal forms like vinavaun, namaun, lagaun, in the First Person sg. Ind. Pres.; thunaha do. in pl.,; rasi, kari, tari in the Second Person sg. Imp.; nisuniso, panamiso, gayaso, pamiso, in the First Person sg. Fut.; hoisii in the Third Person sg. Fut.; Absolutiva like older karavi, pariharavi, and more recent jodi, kari, suni; as well as numerous endingless case forms like hina, nayara, jasa, vayana, nama, ruva, poa.' Some forms can even be recognized as bearing the stamp of rather a late stage of Gaurjara Apabhramsa, if not of Gujarati. To this category belong the above-mentioned bijaha for older bijahu,? thunaha for thunahu, and i-absolutiva like kari, jodi, besides chauri for acchaur (Modern Gujarati chum), the Nom. sg. neutre te, hiva* (Sanskrit adhuna, Modern Gujarati have), eha pari (corresponding to Sanskrit etad+prakare, Modern Gujarati e+per), forms with final i changed to e as sampajjae, 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 lagi, Prakrit laggi, Sanskrit lagna), tajiu (Prakrit tajjiya, Sanskrit tarjita), vinavaus (1) Kesavarama p. 175, 181, 265. (2) 1.1., p. 279. (3) Divatia I, p. 368; II, p. 55 ff. (4) L. 1., p. 30; Kesaavarama p. 264. (5) Divatia, I, p. 333 and 378; Kesvarama p. 159. (6) Divatia, I, p. 129 ff.; II, p. 28. (7) Divatia, II, p. 77. (8) Divatia I, p. 385 and 396 ff.; Kelavarama p. 158, 221, 232, 236, 244. 87

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ANCIENT JAINA HYMNS (Prakrit vinnaveri, Sanskrit vijnapayami), at the side of lagaun, jugaui. Forms like the latter ones are rare in, if not alien to, even later Apabhramsa, such as represented by the Apabhramsa portions of Somaprabha Suri's Kumarapala-pratibodha' (not to speak of the earlier Bhaviyasattakaha' and the Harivamsa-purana by Dhanapala, or of the Vasudevahindi), 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, tata, sampuraka, durita, taraka, nayaka, papa, tapapaha, sadara, cddhikara, kathina, hatha, ghata, lobha, raga, bhoga, indra, pada, gati, mati, abhinava, mada, bodha, dayaka," the frequent ignoring of Sandhi-rules,' even in compounds, such as in namira-sura-asura, sara-upayara, visaya-visama-amiya-bhara, Nami-ahntaram, 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) Kesavarima, p. 158, 181, 189, 221, 232, 236, and 265. (5) General tendency of Middle Gujarati, stabilised in the modern anguage. 88

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REMARKS ON THE TEXTS 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 alijaham, meaning "august", and being here an attribute of the Jina.? Tadbhava-like, hybrid formations, such as padiyau, cadiyau , sahaga, moaga, jagi, jaga-jantu, vana-raji, kammani, sainsiddhae, upayara, jagaramana, haratara, along with genuine Prakrit forms such as mentioned above, as well as Sanskritisms, like mama, karavani (for karavani, First Person sg. Imp.), dehi, gami, 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. The language of the interlinear commentary ("?abba") is far more developed, and can be defined as Modern Gujarati of rather an early type, to judge from formations like eni parim, dihadau (Modern Gujarati dahado), mu and muhanai (Modern Gujarati mane), atibhagu (modern atibhamngyo), lagau (modern lagyo), ladhi (modern ladhi), hum gayasur (modern hun gais), hui joyusu (modern hur joie). Out of the 21 stanzas of the present hymn, the first 20 are in a metre of twenty matras in each of its (1) Kesavarama, p. 232. (2) The commentator takes the word as an equivalent of Prakrit alajja, "shameless", and connects it as an apposation with maj apposation with majha, "me" (Dat. sg.), which however does not seem satisfactory, (3) Kesavarima, p. 265 and 278, Divatia II, p. 69 ff. 89

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ANCIENT JAINA HYMNS four lines with caesura after the tenth matra and paired end-rhyme: the metre which Hemacandra in his "Chando'nusasana" (IV, 8; Vrtti p. 32 a) designates as "Avali" (matras 6+4+4+4+2). The last stanza is in Harigita, likewise with paired end-rhyme. As regards his own identity, the poet says in st. 20: "541976 faurent wifs fara", which passage the commentator explains in the following way: " TIETO ar fanya gas T 15T tacit #3 ". According to this interpretation, the poet would have remained anonymous. The interpretation is, in itself, unobjectionable, especially since the expression "vinaya paru" (here sg.) is reflected by the similar "sadarapara" (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 Apabhrama). Vinaya paha, generally known by his sanskritized name Vinayaprabha Suri, was a famous Jainacarya 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 "Dada" Jinakusala Suri of the Kharatara Gaccha, was ordained as a monk in V. S. 1382 and raised to the rank of an Upadhyaya between V. S. 1394 and 1412. His famous "Gautama-Rasa", 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) 3. H. HIECT, "ETCT sft foragaros ofe", posao ut fa. #.8888; 1. g. du, "* To afaat', TT TT, $. 7. 887EUR, 9. 84, T m 4. 88&; meracru ARKA TI, q. 203. 90

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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 Gautamarasa either. It is, therefore, quite possible that our hymn may represent another creation of this poet, whose authorship of the Gautama-rasa 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 "37498....tifs age", 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 Upadhyayaji Sri 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) FTECT a. fo. 91

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ANCIENT JAINA HYMNS of bold "padimatra" Devanagari 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-sajjhai'' (part of the Tapa 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 sterFalfificari IV 11 3 11" The interlinear commentary has the colophon: "fa sitter fanftiana HIIT lI". 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 soulfa fawurs enfa i TA TEET fargetot 47 118311 fa AFETCH Herent des FAIL 11811" 92

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THE TEXTS (1) zrImunisuvrata-svAmi-stavanam zrIjJAnasAgaramari-kRtam zrIkaivalyAvagamaviditAzeSavastusvabhAva bhAvadveSipramathanapaTuM doSanirmuktavAcam / bhaktipratribhuvananataM sutrata zrIjinAhaM deva stoSye bhUgupuramahImaulimaule bhavantam // 1 // prajJotkarSAdhigatasakaladvAdazAGgArthasAthai - rozAMcakre na kavivRSabhaiyA~ stutiM te vidhAtum / mAdRkSaH kiM nibiDajaDimA tadvidhau syAtsamarthoM ___ bAlaH kiM vA kalayati nijAzaktizaktyovibhAgam // 2 // Aye bhave tvamabhavaH zivaketubhUmI zaH supratiSThanagare sumanA dvitiiye| saudharmago; 'varapure'tha kuberadatta stasmAttRtIyadivi daivatapuMgavo'bhUH // 3 // zrIvajrakuNDalanRpo nagare'janiSTa rANanAmnyatha ca paJcamakalpavAsI / daprabalastu campA. svAmI; vimAnamaparAjitamAgamastvam // 4 // 93

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ANCIENT JAINA HYMNS cyutvA tato harikule vipule'vatIrNaH zrImatsumitranapavaMzavizeSakastvam / padmAtmajaH pravararAjagRhe; garIyaH puNyAspadaM janimahaM tava tenurindrAH // 5 // AyustriMzatribhuvanavibho vatsarANAM sahasrA dehoccattvaM tava jinapate viMzatiH kArmukANi / AdyajJAnatrayaparigataH zyAmavarNAbhirAmo rAjatvaM te magadhaviSayaM kUrmalakSmA vyadhAstvam // 6 // utsRjyAtaH puradhanamahArAjyarASTrAdi sarva pravajya srAgadhigatamanaHparyayajJAnazAlI / hatvA mohAdyarikulabalaM sArakhAdaistapobhi rlokAlokAkalanakuzalaM kaivalaM lebhiSe tvam // 7 // dehaH svedAmamalavikalo'tulyarUpaH sugandhaH zvAsaH paGkeruhaparimalaH projjvale mAMsarakte / carmAkSANAmaviSayamihAhAranIhArakRtyaM catvAro'mI lasadatizayA jAmanaste sahotthAH // 8 / / .devAdInAM samavasaraNe saMsthitiH koTikoTe rvANI tiryagnarasurasadobodhidAnapravINA / arkajyotirvijayi vimalaM deva bhAmaNDalaM te mauleH pRSThe sphurati jagato bADhamAzcaryakAri // 9 // ekaikasyAM dizi zatamitakozamadhye janAnAM __ na syurmAri vanabhayadA svasya cakrotthabhItiH / durbhikSogrAmayabharamahAvRSTayavRSTItivairaM svAmin karmakSayasamuditA evamekAdazaite // 10 // 94

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THE TEXTS AkAze te ruciracamarazreNayo dharmacakraM bhAsvatsiMhAsanamanupamaM pAdapIThena yuktaM / prauDhacchatratrayamurutarazrIkaratnadhvajo'nhi nyAse cAmIkaranavapayojAni dIpratrivapI // 11 // cAtUrUpyaM taruvaranatiya'GmukhA kaNTakAlI vRkSo'zokaH samavasRtibhUvyApakastApahartA / uccai do dhvanati gagane sarvato dundubhInA miSTo vAtaH sakalazakunA dakSiNAvartacArAH // 12 // varSa gandhapravarapayasAmindriyArthAnukUlya jAnUtsedhaH kusumanicayaH kezaromAdyavRddhiH / pAveM sevAvihitahRdayA devakoTirjaghanyA dete vizvezvara surakRtA. viMzatirkhekahInA // 13 // pancatrizadvarataraguNA vAci saMskAravRttau dAttyAdyAste manasi paramaH ko'pyudAsInabhAvaH / svAminnaSTottaradazazatI bAhyasallakSaNAnAM sattvAdInAM vapuSi tu tathAnantyamAbhyantarANAm // 14 // dIkSAjJAne hyasitasitayoH pakSayoH phAlgunasya dvAdazyoste; cyavanamatha ca zrAvaNe pUrNimasyAm / jyeSThe'STamyAM janurina zito; muktilAbho navamyA mAsanvizvapramadavidhaye'mUni kalyANakAni // 15 // AsAtha jina tanumatAmatra saMstho vyapAsyan saMkhyAtItAnapi ca yugapatsaMzayAnekavAcA / dharma smAttha tribhuvanaguro parSadAM dvAdazAnA maglAnyA dviH pratidinamaho viSTapAnugrahaste // 16 // 95

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ANCIENT JAINA HYMNS madhye koriNTakavanavane tvaM pratiSThAnato'trA gatyaikasyAM sapadi rajanau yojanAnAM tu SaSTim / yAge johUyitaharivaraM bodhayitvA svamitraM svAmin dharme'nazanavidhinA'jIgamaH svargalokam // 17 // tadgandharvAmaraviracite zrImadazvAvabodhe tIrthe'smiMstvaccaraNayugalIpAvite sAdhudattam / zuzrAvaikA vaTazabalikA mlecchabANena viddhA niHzeSAMhoharaNanipuNaM zrInamaskAramantram // 18 // mRtvA sA'bhUtsukRtavazataH siMhalezasya putrI buddhA bhUyo'pi ca bhagupure'bhyoktatanmantramAvya / bhItA pApAtkugatijanitAtsaptazatyA taraNDai. retyobhre jinagRhamiha tvatpadadvandvapUtam // 19 // tvatpUjAyAM bhRzamavahitA brahmacaryAdipuNyA nyAtanvAnA tridazaramaNIzAnakalpe babhUva / samyagbhAvAtizayavihitA paryupAstistvadIyA kiM kiM datte na sukhamatulaM kalpavallIva puMsAm // 20 // yabudhyante pravaravacanAkarNanAtpANivargA Azcarya tattava na hi jagadbodhadAyi jinendra / brAmyanmInazcaramajaladhau ko'pi karmAnubhAvA jjainAkAraM jhapamapi samAlokya buddhastu citram // 21 // (1) Marginal gloss: pUrvamiyamabhidhA vabhUva / (2) Marginal gloss: zrAvakatve / 96

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THE TEXTS yadvatpUrNa pRthutaranade saMcarannindubimba kUrmo'pazyatpavanadalitodAmasevAlabandhe / karmo'tkRSTasthitivighaTane'nantakAlAttathAhaM tvAmadrAkSaM jina punarayaM bhAgyalabhyo hi yogaH // 22 // AjJAyAM te vimukhamanasAM bharikarmAvRtAnAM bhUyo'pi tvaM bhavasi bhavinAM nAtha dRSTo'pyadRSTaH / AyurvedI vyapanayati kiM rogamugraM janAnAM nirbuddhInAmavagaNayatAmuktabhaiSajyajAtam // 23 // duHkhAnantyaM trijagati mayA yonilakSeSu sehe bhrAmaM bhrAmaM pratipadamavizrAnti dharma vinA te / kiM pAtheya dRDhataramRte dIrvamadhvAnamAptaH syAdadhvanyaH kvacidapi sukhI kSutpipAsAbhibhUtaH // 24 // mithyAtvAdyairbahubhavabhavAbhyAsapuSTaiH pramAdaiH saMsArAntana sukhakaNikAH kAzcanApaM kadApi / saJjAyante na khalu nihitaiH kodravaiH kSetramadhye zAlistambA rucirakaNizazreNisampattimantaH // 25 // mokSopAyaM bhagavaduditaM bhAvato ye prapannAH pratyAsannIbhavati bhavinAM nivRti tha teSAm / pAre pAthonidhigurutarAcchidrabohitthamadhyA sInA kecijigamiSujanAH syuna gantuM samarthAH // 26 // devAnAdinikhilabhavinAM karmarAzistvaduktA 'nuSThAnasyAbhyasanavidhinA drAgadanIdhvasyate'sau / svarNAnnAnA bhavati na hi kiM vahiyogena sadyo 'lolIbhAvasthitirapi malo mArtikaH sarva eva // 27 // 97

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ANCIENT JAINA HYMNS labdhe dhameM navazivagati prApurantarmuhUrtAt klezairmuktA bhavikanivahAH sAmyapIyUSatuSTAH / gehasyAntarbhavati timirAkIrNavastUpalambhaH ki no puMsAM vilasati sukhAtsarvato dIpradIpe // 28 // anye'dhvanyAH svamataniratA varSakoTItapobhiH klizyatkAyAH zivapadamagurna tvadAjJAvihInAH / kiM jAtyandhA abhimatapuraprApaNe'laM bhaveyu samyanto'pi prasabhamabhito deva javAbalena // 29 // saMsRtyantamibhavamahAtApanirvApahetoH zizrAyAsau janasamudayaH zAsana tAvakInam / no lIyante kimu pathagataM zAivala pAnthasArthA no ke 'zokAbhidhavarataruM grISmabhISmArkataptAH // 30 // tvatsyAdvAde'khilanayamaye vizvalabdhapratiSThe sphUrjatyuccaiH paramatagaNA bhAnti no lezato'pi / tejaHpuje prasarati divA bhAnavIye 'thavA kiM dyotante 'ntardharaNivalayaM kSudrakhadyotapotAH // 31 // rAgadveSau virujata ito hanti kAmaH prakAmaM moho'tyarthaM tudati satataM caikataH zatruvanmAm / trAyasvAtastribhuvanapate bhItabhIto'hamadya tvatpAdAbjaM zaraNamagama saMzritAnAM zaraNyam // 32 // pArAvArottaraNamanaso mAnavA yAnapAtraM mArgabhraSTA abhirucitabhUprApakaM sArthavAham / nAnAvyAdhivyathitavapuSaH prApya vaidyAdhirAja momudyante jinavara yathA pepriye'haM tathA tvAm // 33 // 98

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THE TEXTS svAmindantAbalaghanaghaTA utkaTA vAjighaTTAH sthAmaprauDhA vikaTasubhaTAH syndnaashcaabhiraamaaH| bhavyaM dravyaM kanakarajataM bhUrimANikyamuktA rAzirna syustava matamRte durgatitrANahetoH // 34 // kAmAdhmAtaH pravaNamanasA vizvavandhAna pAdAM zcakre vAcA vividhavikathA na stutiste guNAnAm / pApaM karma vyaraci vapuSA paryupAmiyA no hI janmodagviphalamagamaM deva durdaivayogAt // 35 // puSpairgandhairbahuparimalairakSatedhUpadIpaiH / / satrairvAdyaiH zubhaphalagaNairvArisampUrNapAtraiH / kurvANAste jagadadhipaterarcanAmaSTabhedAM sarvAzaMsArahitamatayo vizvavandyA bhavanti // 36 // etattIrtha pravaramahima zrImadazvAvabodha tvatpAdAmbhoruhaparicayaprAptapAvitryabhAvam / tRSNAcchedaM malavizaraNaM sarvadAhopazAnti kuryAtkeSAM na hi munipate deva bhavyAGgabhAjAm // 37 // nazyatyaMho jina zakunikAzrovihArAbhidhAna prAsAdenAzritatanumatAmatra saMsthena dUre / prAkAre'ntarguruparivRDhAdhiSThite supratiSThe caurAH kraurA api vidadhate moSamAvAsinAM no // 38 // dhanyo loko bhRgupuragataH kasya puNyAtmano'pi zlAghAsthAnaM na bhavati vibho pratyahaM yaH prabhAte / utthAya tvaccaraNayugalopAstimastAnyakRtya zcakrANaH svaM sajati saphalaM mAnuSaM janma labdham // 39 // 99

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ANCIENT JAINA HYMNS evaM zrIbharukacchavaryanagarAlakAracUDAmaNe nUto mugdhajanocitena mayakA bhaktistavenAmunA / saMsArAmbunidhau vibho niravadhau majjantamatrANakaM deva zrImunisuvratoddhara tapAkUpAra mAmAnatam // 40 // (2) zrIdevakulAdinAtha-stavanam zrIsArodayagaNi-kRtam zrImantamAdIzvaramAdareNa taM stuve parAtmAnamanantasaMvidam / yaH sAmprataM devakulAzrame satAM hitArpaNairdarzayati svamaMzataH // 1 // na kIrtI samprItina hi viduratAyAH prakaTanaM na cAtucchA vAJchA viSayajasukhe na vyasanitA / prayukte mAM stotre jagadadhipatereva bhavataH paraM savAbhISTaprathananipuNaM nAtha sahajam // 2 // vibho dAyaM dAyaM bhavasukhamabhISTaM zivasukhaM pradatse vAtsalyAjjina nijapadopAstisajuSAm / prasiddho nIrAgastadapi vijayethAstvamathavA na mAdRkSalakSaM vilasitamaho daivatamidam // 3 // tathA yaugaM yogaM nirupamatapojApavidhibhi stvamabhyAsAsIttvayi sa hi yathA karmamalahRt / dharAdyAH SaTkAyAH SaDapi RtavaH paJcaviSayA. stavaitanmAhAtmyAjina yadanukUlatvamagaman // 4 // 100

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THE TEXTS praNinan vipnaughAn prabalaripubhUtAdidamanaiH prayacchannAnandAbhyudayamabhito'bhISTaghaTanaiH / apasmArasmerasmaragaDDavikArajvaramukhA rujo'jaryasthairyAt pramathasi saparyApraNayinAm // 5 // imau rAgadveSau prasabhamanivAryoM bhavavane prabAdhete vyAdhAviva bahu mano me mRgamiva / kRpAlustvaM nAthastrijagadavanopAyajanaka stadAbhyAM no kasmAdavasi bhavadekAzritamidam // 6 // sphuran rAgazcauro bhavajalanidhau' dveSamakaro mahAmohagrAho janimRticaladvIcinicayAH / bhRzaM sarva duHkhapradamidamabhUnme paramato na ca trAtaryasmAttava padayugalyApyata tarI // 7 // svayaM nirmApyAmI bhRzamazubhamarmANyasumatAM tudanto vidveSyAH sahacaraNazIlAH pratipadam / yathA syuste cintyA iha na hi bahiHsthAstadiva te tatastvaM madUrIbhavanamubhayeSAmapi kuru // 8 // trilokyantastAvacciraparicitaM rAjyamajita janasvAntAsthAnyAM nanu vidadhatA mohamahimA / na yAvatsarvAntA ripukulatarormUlavibhujo haThAttAmAkrAmatyadhipa tava nissImamahimA // 9 // the original reading (1) Thus corrected on margin, substitating "bhavAMbhoSau rAgaprabalacaraTo". 101

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ANCIENT JAINA HYMNS sukhApekSaH zrIman vRSama nikhilo duHkhavimukho vimokSo duHkhebhyaH prabhavati sudharmAnuparamAt / susAmagrIyogAtsa ca bhavati tasmAdapi sa ta cchUitAnAmanyonyAzrayamanayamenaM vyapanaya // 10 // pavitratvadgotrasmaraNavidhibhiH saMsRtibhavai dhanApAyaiH kAmaiH prasRmaratarANyAntaratanau / avazya nazyanti prathamajinapainAMsi bhavinAM viSAvegA vegAdiva paTutarjAdgulijapaiH // 11 // jagaccakSuH sAkSAttvamasi kamalollAsajananA dalakSyo'pyadhyakSo bhavabhavatiraskAracaturaH / yataste'dhyakSatve' prazamaguNabhAjAmasukhadA na hi projayante'bhyuditumavanau tAmasagaNAH // 12 // tavAnukampyeSu bhavanti savadA samRddhayaH sarvahitArthasiddhidAH / yato'nukUle jalade'khilaM bhave dilAtalaM maJjulazAdvalaM na kim // 13 // zanaiH zanainIradadRSTibhiH kSitau prajAyate zAkhigaNaH phalegrahiH / prasannatAyAH padapaGkajasya te phalodaya(stat )kSaName(va) na() dhruvaH // 14 // (1) Thus corrected on margin for original "19124" and its first correction "dRzyatve" entered above the line. 102

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THE TEXTS bhavadvayIzarmadadharma (- - - ~ - - - -) hitayImadIdRzaH / tavopakartuH sudhRtInatIH stutI rato na kaskovidadhIta tattvadhIH // 15 // dhanyAsta eva stavanairnavairnavai bhavantamA (- - - - - - - ~ - - -) nalpavikalpakalpanA nirasya vazyAtmatayA sumedhasA // 16 // na ruSyasi tvaM na ca tuSyasi svata stadapyaniSTeSTaramAsamarpaNaiH / (- - - -) dehabhRtAM taveza ta llokottaraM prAbhavamatra citrakRt // 10 // phalanti vAcAM manasAM ca gocarai vi'vaM phalairdaivatapAdapAdapAH / bhavAMzca vizvezitarapyagocarai rjagatyataste samatAdaridratA // 18 // tava kramau vanditumutsukAyitaH / kRtI svabhAvAnna hi nIcakaiHzirAH / garIyasA kiM tu tadA samarjita svadharmasambhArabhareNa manmahe // 19 // uccaiH kramAdunnatatAM tava kramau svasminnudAraprakRtI darIghRtaH / svabhAktikAnAmapi tAM carIkRtaH sa.deva dIyeta dayAlunApi yat // 20 // 103

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ANCIENT JAINA HYMNS praNemuSAM kausumazekharanti di gvilAsinInAM vilasadyazAMsi yat / sphuran guNauSo hRdaye ca hArati pramustavaivAtra padaprasannatA // 21 // vyapAsya saMsAravikAraviplavA mandamAnandapadaM dadhAsyataH / bhavodbhavopaplavaviplutAtmano manaH samAdhAnAvadhiM vidhehi me // 22 // ta eva vA bhagavan vikalpanA nirasya sAmyAmRtanityazItalAH / nAsAgravinyastadRzaH smaranti te padAmbujaM ye hRdayAmbuje nije // 23 // no zAstrArthe prasarati matirno tapassu prayatno nAtmadhyAne dhRtiranubhavo naiva yogaprayoge / nApyutsAhaH prathamajina me dharmakRtye'parasmi __ nohe muktiM tadapi tava yattatra bhaktiH prayoktrI // 24 // kRtArthitamanorathaH sakalavarNasaNanaH sa somamunisundaratridazavRndavandyakramaH / sa daivakuliko mama prathamatIrthanAthaH pRthU karotvavitathAH prathAH pramathitApadAM sampadAm // 25 // itthaGkAraM stutipathamahaM tvAmanaiSaM kRtArtha dharmArthAdIn svahitajanakAnAptukAmaH pumarthAn / nAthaH prArthyaprathananipuNaH prAthyase tvatprAsAdAnchInAmeya prazamamadhurA me'stu sArodayazrIH // 26 // 104

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THE TEXTS (3) zrovarakANa-pArzvanAtha-stotram zrI-hemavimalasari-kRtam / zreyomahodayalatAvanayauvanazrI ___ samprAptimAdhavamagAdhataraM mahimnA / pArzvaprabhuM stavayugaikapadaiH samasyA bandhAnavImi varakANapurIgirIzam // 1 // kalyANamandiramudAramavadyabhedi' pAdAmbujaM trijagatIza tava stavImi / ambhastaraGganikaraiH snapitaM miSeNa bhaktAmarapraNatamaulimaNiprabhANAm // 2 // yasya svayaM suragurugarimAmburAzeH' prajJAnidhina hi vibhurgadituM guNaugham / arNavAyitaguNaM parameSThivarge stoSye kilAhamapi taM prathamaM jinendram // 3 // sAmAnyato'pi tava varNayituM svarUpa-' ___ majJaH kathaM stutividhau prabhaveyamIza / saGkrAntamapsu zazinaM nizi vA vinA ___ manyaH ka icchati janaH sahasA grahItum // 4 // mohakSayAdanubhavannapi nAtha mayoM mAnAtigAMstava guNAnna hi caGkramISTa / prAjyaprabhutvaparamezvaramapragAhya ko vA tarItumalamambunidhiM bhujAbhyAm // 5 // Kalvinamandira stotra" st. la. K.2a. (4) B.2d. (5) K. 3a. (6) (2) "Bhaktamara-stotra" st. 12. B. 3d. (7). K.4a. 18) B.4a. (3) 105

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ANCIENT JAINA HYMNS abhyudyato'smi tava nAtha jaDAzayo'pi bhaktyeritaH stutividhAvupahAsade'pi / rAgAtsvazaktimavicintya hariM kuraGgI nAbhyeti kiM nijazizoH paripAlanArtham // 6 // ye yoginAmapi na yAnti guNAstaveza' stotuM kathaM caturatA mama tAn sametu / yadvA ta eva khalu yAntu cidAzrayaM mA malpazrutaM zrutavatAM parihAsadhAma // 7 // AstAmacintyamahimA jina saMstavaste' dUre'stu darzanamapi prazamaprazasyam / nAmnA'pi te duritasantatirantameti sUryAMzubhinnamiva zArvaramandhakAram // 8 // hRvartini tvayi vibho zithilIbhavanti bhavyAGginAM bhavazatAjirtakarmapAzAH / AtmA zrayedvimalatAmiva zuktisaGgA nmuktAphaladyutimupaiti nanUdabinduH // 9 // mucyanta eva manujAH sahasA jinendra tvatsevanAdazubhakarmabhareNa bhavyAH / teSAM ca dhAma zuciraM vilasatyapAsya padmAkareSu jalajAni vikAzabhAji // 10 // (7) (1) K. a. (2) B. 5d. (3) K. 6a. (4) B. 6a. (5) K. Ta. (6) B. 70. K. Sa. (8) B.8d. (9) K. 9a. (10) B. 9d. 106

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THE TEXTS tvaM tArako jina kathaM bhavinAM ta eva' yattvAM hRdA parivahantyathavAntarastham / tvaM tArayasyatha na cenmahato'yatA kA bhUtyAzritaM ya iha nAtmasamaM karoti // 11 // yasmin haraprabhRtayo'pi hataprabhAvA-' staM manmathaM kSapayato bhavato'nyadevam / kaH sevate?sasitagavyapayaH prapIya kSAraM jalaM jalanidherazituM ka icchet // 12 // svAminnanalpagarimANamapi prapannA stvacchAsanaM laghu taranti bhavAmburAzim / vizvatraye'pyanupamAH khalu te prajAto yaiH zAntarAgarucibhiH paramAnubhistvam // 13 // krodhastvayA yadi vibho prathamaM nirastaH' zeSadviSo vimahasaH svayameva nezuH / bhAnurvibhAM kimu harecchazimaNDalasya yadvAsare bhavati pANDupalAzakalpam // 14 // tvAM yogino jina sadA paramAtmarUpa-' ___ mAropya hRtkamalakozapade bhajeyuH / teSAM guNAH zazirucaH zavate trilokI ___ kastAnnivArayati sancarato yatheSTam // 15 // (6) (1) K. 10a. (2) B. 10d. (3) K. 11a. (4) B. 11d. B. 12a. (7) K. 13a. (8) B. 13d. (9) K. 14a. (10) 107 (5) K. 12a. B. 14d.

Page #144
ANCIENT JAINA HYMNS dhyAnAjineza bhavato bhavinaH kSaNena' karmAvalikSayakarAna manAk caleyuH / durgopasarganivahena; yugAntavAtaiH kiM mandarAdizikharaM calitaM kadAcit // 16 // antaH sadaiva jina yasya vibhAvyase tvaM' manye tadeva hRdayaM nilayaM zivasya / yasmistamaH prazamayannapadhUmavarti rdIpo'parastvamasi nAtha jagatpakAzaH // 17 // AtmA. manISibhirayaM tvadabhedabuddhayA-' ropeNa saMsmRta iha praguNaprabhAvaH / tvadvadbhavedbhavikapadmavanAvabodhaH sUryAtizAyimahimA'si munIndra loke // 18 // tvAmeva vItatamasaM paravAdino'pi prApya prabho laghu taranti bhavAmburAziM / vAkyaM taveza jayatAdvimalAvabodha nityodayaM dalitamohamahAndhakAram // 19 // dharmopadezasamaye savidhAnubhAvAH svAnte samakSasamudo; bhavazarma bhavyAH / necchanti vA; phalitazasyavatIha vizve kArya kiyajaladharairjalamAranatraiH // 20 // (6) (1) K. 15a. (2) B. 15d. (3) K. 16a. (4) B. 16d. (5) K. 170 B. 17d. (7) K. 18a. (8) B. 18a. (9) K. 19a. (10) B. 19d. 108

Page #145
THE TEXTS citraM vibho kathamavAGamukhavantameva ___ sUnotkaraM tava kiranti yathA surAste / naivaM parasya; mahimA sumaNestu yAdRG naivaM tu kAcazakale kiraNAkule'pi // 2 // sthAne gabhIrahRdayodadhisambhavA yA' vAcastavAmRtatulA vibudhAstvadIyAH / yabhejuSAM sumanasAM na paro bhavattaH kazcinmano harati nAtha bhavAntare'pi // 22 // svAminsudUramavanamya samutpatantaH saMsUcayanti bhavikAniti cAmarAH kim / yannetarA sutamasUta vibho samaM te strINAM zatAni zatazo janayanti putrAn // 23 // zyAmaM gabhIragiramujjvalahemaratna siMhAsane'maragiristhanavAmbudAbham' / tvAmIkSate bhavikakekigaNo yatastvaM nAnyaH zivaH zivapadasya munIndra panthAH // 24 // mAyA udgacchatA tava zitidyutimaNDalena' bhAtyA vapuH parivRtaM suSamAM bibharti / lumpatyazokakisalAnsalatAnatastvAM jJAnasvarUpamamalaM pravadanti santaH // 25 // (1) K. 20a. B. 22a. (7) (2) B. 20d. (3) K. 21a. (4) B.21d. (5) K 22a K. 23a. (8) B. 23d. (9) K. 24a. (10) B. 24d. (6) 109

Page #146
ANCIENT JAINA HYMNS bho bhoH pramAdamavadhUya bhajadhvamena' karmacchide vibhumiti trijagajanaughAnaM / Amantrayatyamaradundubhirunnadaste vyaktaM tvameva bhagavan puruSottamo'si // 26 // udyotiteSu bhavatA bhuvaneSu nAtha' bhraSTAdhikAra iva tArakavacchazAGakaH / zvetAtapatramiSatastritanurvidhatte tubhyaM namo jina bhavodadhizoSaNAya // 27 // svena prapUritajagattrayapiNDitena' candrAMzusAndrayazasA guNarAzipUrNaH / doSairalabdhanilayairgamitairvidUraiH svapnAntare'pi na kadAcidapIkSito'si // 28 // divyasrajo jina namatridazAdhipAnAM mU! mahAmaNimayAnapahAya maulIn / zezrayyati kramayugaM tava tatpatikSi muccairazokatarusaMzritamunmayUkham // 29 // tvaM nAtha janmajaladheviparAGmukho'pi tIrNazca tArayasi saMzritabhavyalokam / dhAmasthitaM bhavikahRtsu tamopahaM te tuGgodayAdizirasIva sahasrarazmeH // 30 // (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

Page #147
THE TEXTS vizvezvaro'pi janapAlaka durgatastvaM' kaSTavrajAdvitanuSe'bhimataM zritAnAm / siMhAsanaM dyutirucA bhavateza rAja tyuccaistaTaM'suragireriva zAtakaumbham // 31 // prAgbhArasaMmbhRtanabhAMsi rajAMsi roSA tsArAdyathA jalamucA pragalanti tadvat / Amastava smRtivazena bhavedasaGgaH prakhyApayatrijagataH paramezvaratvam // 32 // yadgajadUrjitaghanaughamadabhrabhIma' ___ bhIticchido jayati gIstava yuktamevam / vizvatraye'pi gurutAM bhajatastavAMhI unnidrahemanavapaGakajapuJjakAntI // 33 // dhvastordhvakezavikRtAkRtimatyamuNDa-' bhUSAdhaneSu girizAdiSu sA na hi zrIH / yA te'janiSTa savituH kilAyaH prakAza stAhakkuto grahagaNasya vikAzino'pi // 34 // dhanyAsta eva bhuvanAdhipa ye trisandhyaM' ___ tvAmarcayanti; vigalanmadabhinnagalam / vyAlaM balotkaTamatIvaruSantikAptaM dRSTvA bhayaM bhavati no bhavadAzritAnAm // 35 // (6) (1) K. 30a. (2) B. 30d. (3) K. 31a. (4) B. 31d. (5) K. 32a B. 32a. (7) K. 33a. (8) B. 33b. (9) K. 34a. (10) B. 34d. 111

Page #148
ANCIENT JAINA HYMNS asminnapArabhavavArinidhau munIza' caNDAniloddhatajale viSayormirAziH / niryAmakojjhitanijakriyayAnasaMsthaM nAkAmati kramayugAcalasaMsthitaM te // 36 // janmAntare'pi tava pAdayuga na deva neme; vayAzmapatanaprasRtaM davAgnim / / jvAlAlidagdhavipinaM bhayadaM sametaM tvanAmakIrtanajalaM zamayatyazeSam // 37 // nUnaM na mohatimirAvRtalocanena' dRzya prabho bhavadupAstivazAjano'yam / bhImadvijihvamaNuvanmanute bhujaGgaM raktakSaNaM samadakokilakaNThanIlam // 38 // AkarNito'pi mahito'pi nirIkSito'pi trAtA jina tvamasi yatsamare ripUNAm / senA gajAdhasubhaTadhvanibhISaNApi tvatkIrtanAttama ivAzu bhidAmupaiti // 39 // tvaM nAtha duHkhijanavatsala he zaraNya' rakSeti saMsmatiparA vicaratkabandhe / yuddhe'straviddhagajabhImarave jayazrIM tvatpAdapaGkajavanAyiNo labhante // 40 // (1) K. 35a. (2) B. 35d. (3) K. 36a. (4) B. 36d. (5) K. 370. (6) B. 37a. (7) K. 38a. (8) B. 38d. (9) K. 39a. (10) B. 39d. 112

Page #149
THE TEXTS niHsaMkhyasArazaraNaM zaraNaM zaraNya-' . mIzaM prapadya magapasya zaranakhasya / helAvinirdalitakumbhighaTasya sattvA strAsaM vihAya bhavataH smaraNAvrajanti // 41 // devendravandha viditAkhilavastusAra ___ tvadbhaktitaH jhagiti jIvitasaMzayAptAH / kAsakSayajvarajalodararukprataptA mAM bhavanti makaradhvajatulyarUpAH // 42 // yadyasti nAtha bhavadaMnhisaroruhANA-' mantaH SaDaMnhitulita sudhiyAM tadAzu / mokSaM bhajanti nibiDaM nigaDainibaddhA ApAdakaNThamuruzRGkhalaveSTitAGgAH // 43 // itthaM samAhitadhiyo vidhivajinendra' mattebhavAyanalanAgaraNAGgaNotthAH / haryAmavedhanabhiyazca galanti tasya / yastAvakaM stavamimaM matimAnadhIte // 44 // bhavyAGgidRkkumudacandranibhaprabhAva bhogIndrabhogilalanAJcita pArzvadeva / yastvAM navIti varakANapurAdhipaivaMDa taM mAnatuGgamavazA samupaiti lakSmIH // 45 // (1) K. 40a. (2) B. 40d. (3) K. 41a. (4) B. 41d. (5) K. 42a. (6) B. 42a. (7) K. 43a. (8) B. 43d. (9) Purport only of K. 44a (wording changed) "jananayanakumudacandra". (10) B. 44d. 113

Page #150
ANCIENT JAINA HYMNS evaM jineza munisundaravaMzajAlI saMsevya hemavimalastutasadguNauSa / AzAlatAH saphalayervarakANanAtha zrIpAzce me vimaladharmazubhaprabhAvAt // 46 // (4) zrIzaGkhazvara-pArzvaprabhu-stotram __ zrI-nayavimala-kRtam aindra zreNinatAvataMsanikarabhrAjiSNumuktAphala jyotirjAlasadAlavAlalaharIlIlAyitaM pAvitam / yatpAdAdbhutapArijAtayugalaM bhAti prabhAmrAjitaM zrIzaGkezvarapArzvanAthajinapaM zreyaskaraM saMstuve // 1 // yannAmAbhinavaprabhUtasumahodhArAdharAsArataH kalyANAvalivallarI kalayati prasphUrjataH sAndratAm / bhavyAnAM bhavadIyapAdayugalopAstiprasakterjuSAM zrIzalezvarapArzvanAtha0 // 2 // yaddhayAnotkaTacitrabhAnuranizaM nIrotkarardidyate muktairduSTazaThena tena kamaThenAniSTakRtkarmaNA / spaSTaM juSTaphaNisphaTAmaNigaNAzliSTakramAmbhoruhaM taM zavezvarapArzvanAtha0 // 3 // durdhyAnAdhikavAtakampitaparaproDhaprabhAve maha tyasmin kAlakarAlite kaliyuge kalpAntakAlopame / jAgraccAruyazobhirAmamalayodbhUtAbhitaH saurabhaM na zarkhezvarapArzvanAtha0 // 4 // 114

Page #151
THE TEXTS zrImaddhayAnavidhAnatAnamanasA bhavyAtmanAM bhAvinAM yannAmApi piparti puNyajanitAn kAmAnmanobhISTakAn / vizvAzAparipUraNAya kimimaM vizvAgataM svastaraM ____taM zavezvarapArzvanAtha0 // 5 // traimatkAsyavilokanAnmama kare sphUjanmahAsiddhayaH samprAptA dyusadAmadhIzavinutaprAjyapratiSThAH punaH / sajAtA paramA ramA sahacarI saukhyaM sadAliGgitaM __zrImacchaGkhapurAdhinAtha jinapa prauDhaprabhAvAdbhuta // 6 // kSINAjJAnabharo natAmaranarazreNiprayuktAdaro dhvastAzeSadarastamobhayaharaH kamadrume mudgaraH / lokodyotakaraH smarajvaraharaH saukhyadrudhArAdharo dadyAdbharitarapramodanivahaM tvannAmamantrAkSaraH // 7 // naSTa duSTograkarmASTakakaraTigaNairnirgataM krodhamAna prodyatpancapramAdAdikacaTulatarotkaraiH krUrarUpaiH / bhagnaM pAtakajAtazAkhinivahairApacchivAbhirgata dRSTe'smin bhavadIyadarzanamahAnAde dayAyuk prabho // 8 // aiMkArAdimasiddhasAdhyamahimA oMkArahIMkArayuG mAyAbIjasamanvito visaharasphauliMGgatAzleSitaH / ahaMzrIMnamiUNapAsakalitastrailokyasaukhyAkaro bhUyAcchrIdharaNendrase vatapadaH pArzvaprabhubhUtaye // 9 // oMkAraprathitAvadAtatarayug hIMkArasArAzritaH padmAvatyai namo'stu-sphuTahanadahatA-rakSa-rakSeti yuktaH / klIM zrIM blI htoM pratiyatisamayaM sasvadhAmantrabIja prodyaddhAmapratApAnvitavizadatarasphAravIryapracAraH // 10 // 115

Page #152
kA ANCIENT JAINA HYMNS ye jAnanti japanti santatamabhidhyAyanti mantradvikaM. teSAM sAmrAjyalakSmIH kRtakalanilayA jAyate saMmukhInA / saptAGgA; gAGganIrAkRtivizadayazorAzirujjambhate;'smi loke sampUrNakAmo'mitaguNanikarasthairyamAlambate te // 11 // kRtvAlIke ca vAmetarabhujayugale nAbhideze ca vaktre zaste hastadvaye vA hyabhimataphaladaM mUni saMsthApayitvA / pArzva zarkhezvarAkhyaM suratarukaraNiM ye japantIha zazva te bhavyA yAnti sidi tanutaraduritA dvitrakaiH sadbhavaizca // 12 // durdhyAnadrumakhaNDakhaNDanakhaTo durdamyadantAbalaH __ zrIdhIrAdvimalaprabodhakamalaprItipradAnojjvalaH / sayAnaprabalapratApabahulajvAlAvalIdhUmalo dhvastAzeSakhalaH khalIkRtamalaH siddhayaGganAkAmalaH // 13 // mUdina mphAraphaNIndrajAlajaTilo'kSudrakSamAkandalaH samyagajJAnajalapravAhapayasA prakSAlitakSmAtalaH / dhairyasvargyacalaH susAdhitakalo daurgatyavArArgalo dattAbhISTaphalaH punAtu bhuvanaM pAvoM ghanazyAmalaH // 14 // pArzva tvatpadapadmapUjanakRte satketakInAM vane tIkSNairutkaTakaNTakaizca satataM vidhyanti yeSAM karAH / teSAM cArupativareva bhavinAM cakritvazakrazriyaH svairasthairyatayA calatvarahitA bhavyaM bhajante prabho // 15 // sAphalyaM januSo mamAdya sutarAM jAtaM prazasyo dinaH zlAghyaM jIvitamadya hRdyasaphalazreyAnayaM sa kSaNaH / jAtA kRtyakRtArthinI bahuphalA sA dhArikA kArikA saukhyasyaiva yadIza zarmakRdidaM tvadarzanaM prApitam // 16 // 116

Page #153
THE TEXTS lolA tvanutilolupA tava guNagrAmAyate me zruti nityaM tvadvadanAvalokanajuSI svAmin punazcakSuSI / zIrSa tvatpadamaNDanaM tava vibho dhyAnaikatAnaM mano jAtaM tanmama sarvameva zubhakRdAtmApyayaM tvanmayaH // 17 // zasya tvadguNacakravAlajaladheH pAraM na yAmi prabho / AtmIyotkaTaduSTaduSkRtatate! yAmi pAraM punaH / tasmAddeva tathA vidhehi bhagavan prApnomi pAraM tayoH samyaktvena vidhAya bhavyakaruNAM kAruNyapAtre mayi // 18 // zrIkhaNDAgurughUpavAsanivahaiH karpUrapUraistathA kAzmIradravasAndracAndravihitaiH sadvandanaizcAndanaiH / svAmistvatpadayAmalaM gatamalaM ye'rcanti carcAcaNA loke lokitatattvasattvasahitAste'pyarcanIyAH sadA // 19 // viSNustvaM bhuvane'si bhUpatirasi zreyaskaraH zaGkaro / dhAtA satyamahAvratI zatadhatiH kAlAriruprastathA / RddhyA siddhiyutaH kRtIjajanako gaurIgurustvaM sadA jainairjenetaraizcAdbhutataravibhavairgIyase'syAM jagatyAM // 20 // sUrizrIvijayapramAdisugurau rAjyasthitiM kurvati prItyevaM nayapUrvatAvimalayuGnAmnA prabhuH saMstutaH / bhUyAstvaM bhavabhItibhedabhidurAkAropamAnaH sadA sva'madrumasAnabho mama punaH sarvArthasampattaye // 21 // 117

Page #154
ANCIENT JAINA HYMNS (5) zrI-tIrthamAlA-caityavaMdanam zrIzatruJjayaraivatAdizikhare dvIpe bhRgoH pattane siMhadvIpadhaneramaGgalapure cAjjAhare zrIpure / koDInArakamantridAhaDapure zrImaNDape cArbude jIrApalliphalarddhipArakanage zairIsazaGakhezvare // 1 // campAnerakadharmacakramathurAyodhyApratiSThAnake vande svarNagirau tathA suragirau zrIdevakIpattane / hastoDIpurapADalAdazapure cArUpapaJcAsare vande zrI karaNAvatIzivapure nAgadrahe nANake // 2 // merau kuNDalamAnuSe ca rucake vaitAbyanandIzvare vande'STApadaguNDare gajapade sammetazailAbhidhe / vindhyasthambhanazITThamITThanagare rAjadrahe zrInage kuntIpallavihAratAraNagaDhe sopArakArAsaNe // 3 // dvArAvatyapare gaDhe maDhagirau zrIjIrNavapre tathA __ thArApadrapure ca vAvihapure kAsadhe ceDare / zrItejallavihAraniMbataTake caMdre ca davite vande satyapure ca bAhaDapure rADavhe vAyaDe // 4 // vande nandasame samIdhavalake marjAdamuMDasthale moDhere dadhipadrakarkarapure grAmAdicaityAlaye / jyotiya'ntarakalpavAsinilaye bhaumeSu vA bhUtale te sarve'pi hi zAzvatetarajinAH kurvantu vo maMgalam // 5 // 118

Page #155
THE TEXTS (6) vIra-stutiH pApAdhAdhAnidhAdhA dhama dhama dhagasA sAgasA sArigApA sAsAgAgAridhApA nigarama sarigA pApagA sAridhAdhA / itthaM SaDjAdiramyaM karaNalayayataM satkalAbhiH sametaM saMgIta yasya devairvihitamatizubhaM pAtvasau varddhamAnaH // 1 // dhuMdA puMdA SuvRMdAM DiSi DiSi DiSimA TAghumATAM ghumATAM dukmAM dukmAM dudukmAM duli duli dulimA bhIbhamAM bhabhabhAMbham / talmAM chalmAM chachalmAM TikariTikarimAM bhAMbhruvAM bhaMbhruvAM yeSAmAtodyavAdyaM vidadhati vibudhAH pAntu vastIrthapAste // 2 // koTeMTa rAvaNeMTa tribhuvanakariTaM karpaNaMTa raNaMTaM DAvyaM DAvyaM DaDAvyaM Daha Daha Dahavat trAMgulaM trAMgunetram // jhaMpraM jhapaM jhajhamaM triSi maSi SuSumAM bhAMkSubhiH kSudramAsai remistUralezaM jinapativacasaH pAtu pUjyopacAraH // 3 // tretAbhistroTayantI truTitakaTitaTa kaNTakaM loTayantI koTAnduHkoTayantI kapaTamatimaTaMkApadaM zATayantI / uttAlAlaphAlaiH sphuTajaTilajaTAjUTakaM joTayantI vairoThyA'vyAjjayantI ghanamadamavazA chandasA varddhamAnam // 4 // most likely stands for "kha" (1) In the onomatopoetic passages,"Sa" at least in st. 2. 119

Page #156
ANCIENT JAINA HYMNS (7) mahAvIra-stutiH zrI-jinapatisUri-kRtA madanadahananIraM krodhanoddhaikadhIraM madajaladasamIraM dambhabhUbhedasIram / jaladhigurugabhIraM labdhalobhAbdhitIraM __ kanakarucizarIraM zrIjina naumi vIram // 1 // hataviSayavikArAH karmavallIkuThArAH natasuravaravArAH prAptasaMsArapArAH / sukhamatulamudArAstIrthapA lokasArA dadatu zivavadhUromaNDane tArahArAH // 2 // praNatasurasurendraM dhvastasammohanidraM suguNamaNisamudraM yatkaSAyAriraudram / namata vihitabhadraM sattvapIDAdaridraM kumatakamalacandraM zAsanaM jainacandram // 3 // jinapatinatadakSaH pluSTamithyAtvavRkSaH praNatavihitakakSaH smerapadmopamAkSaH / niyatakuzalapakSaH sadyazobhAvalakSaH pravacanakRtarakSaH so'stu sarvAnuyakSaH // 4 // (8) zrI-sImandhara-svAmi-stavanam namira-sura-asura-nara-viMda-vaMdiya-payaM rayaNikara-kara-nikara-kittibhara-pUriyaM / paMcasaya-dhaNuha-parimANa-parimaMDiyaM thuNaha bhattIi sImaMdharaM ssAmiyaM // 1 // 120

Page #157
THE TEXTS merugiri-sihari dhaya-baMdhaNaM jo kuNai gayaNi tArA gaNai, veluA-kaNa miNai / carama-sAyara-jale lahari-mAlA muNai __ sovi nahu, sAmi, tuha savvahA guNa thuNai // 2 // tahavi, jiNa-nAha, niya-jamma saphalI-kae - vimala-suha-jhANa-saMdhANa-saMsiddhae / asuha-dala-kamma-mala-paDala-ninnAsaNaM tAta, karavANi tuha saMthavaM bahu-guNaM // 3 // moha-bhara-bahula-jala-pUra-saMpUrie viSaya-ghaNa-kamma-vaNarAji-saMrAjie / bhava-jalahi-majjhi nivaDaMta-jaMtU-kae ... sAmi somaMdharo poa jima sohae // 4 // tea-bhara-bharia-disi-vidisi-gayaNaMgaNo pabala-micchatta-tama-timira-viddhasaNo / bhavia-jaNa-kamala-vaNasaMDa-bohaMkaro sAmi sImaMdharo dippae. diNayaro // 5 // sujaNa-maNa-nayaNa-ANaMda-saMpUrakaM durita-haratAra, tAraka, muNI-nAyakaM / sayala-jaga-jaMtu-bhava-pApa-tApApahaM namauM sImaMdhara, caMda-sohAvahaM // 6 // sura-bhavaNi, gayaNi, pAyAli, bhUmaMDale nayari, puri, nIranihi, meru-panvaya-kule / deva-devI-gaNA, nAri-nara-kinarA ___ tuhya jasa, nAha, gAyaMti sAdara-parA // 7 // 121

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ANCIENT JAINA HYMNS nANa-guNi,jhANa-guNi, caraNa-guNi mohiyA sAra-uvayAra-saMbhAra-saMsohiA / rayaNi diNi harisa-vasi, sutta jAgaramaNA tAta, tuha nAma jhAyaMti tihuyaNa-jaNA // 8 // siddhikara, Rddhikara, buddhikara, saMkarA viSaya-viSa-amiya-bhara, sAmi sImaMdharA / putva-bhava-vihia-vara-puna-vaya-pAmiA rASi hiva bhUri-bhava-bhamaNa mU, sAmiA // 9 // ka kamma-bhara-bhAra-saMsAra-aibhaggau ghaNauM phiriUNa, jiNa, pAya tuha laggau / majjha hINassa, dINassa, siva-gAmiyA karavi karuNA-rasaM, sAra kari sAmiA // 10 // kaThiNa haTha ghAya tiriyattaNe tAjiu naraya-gai karuNa vilavaMta nahu lAjiu / maNua-gai hINa, para-kamma-vasi paDiyau lAgi tuha caraNi ANadi hava caDiyau // 11 // kevi tuha dasaNe, deva, siva-sAhagA kevi vANI suNI caraNi bhava-moagA / bharaha-khittami haDaM jhANi chauM laggau dehi AlaMbaNaM, nAha, jai juggau // 12 // dhanna te nayara jahiM sAmi sImaMdharo viharae, bhavia-jaNa-savva-saMsayaharo / kAma-ghaTa, deva-maNi, deva-taru phaliyau tIha pari jIha rahiM, sAmi, tauM miliyau // 13 // 122

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THE TEXTS kara-juala joDi kari, vayaNa tU nisuNiso bAla jima hela dei, pAya tuha pnnmiso| mahura sari tumha guNa-gahaNa hauM gAyaso niya-nayaNi rUva romaMciu joiso // 14 // tumha pAsi chiu, caraNa paripAliso haNia kammANi, kevala-siriM pAmiso / tumha, jiNu niaya-karu sirasi saMThavisau sovi kaIAvi y hoisii divasau // 15 // bharaha-khitami siri-kuMtha-ara-aMtare jamma puMDariMgaNI, vijaya pukkhalavare / muNisuvaya-tittha-nami-aMtaraM iha jayA raja-siri pariharavi, gahiya saMjama tayA // 16 // haNiya kammANi, lahu laddha kevala-sirI dehi me dasaNaM, nAha, karuNA karI / bhAvie udaya jiNi sattame siva-gae bahUa-kAleNa sidvi gamI, sAmie // 17 // moha-bhara, mAna-bhara, lobha-bhara bhariyau rAga-bhara, daMbha-bhara, kAma-bhara pUriu / eha pari bharaha-khitami mUM, sAmia ___sAra kari, sAra kari, sAra kari (tAri) gosAmia // 18 // bhoga-pada, rAja-pada, nANa-pada, saMpadaM cakki-pada, iMdra-pada, jAva paramaM padaM / tujjha bhattIi savvaM pi saMpajjae eha mAhappa tuha sayala jagi gajjae // 19 // 123

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ANCIENT JAINA HYMNS tuhaji gati, tuhaji mati, tuhaji mama jIvana tAta, taraM parama guru, kamma-mala-pAvanaM / kammakaru viNaya-paru joDi kara vInavauM dehi me dasaNaM alajayA abhinavaM // 20 // iya, bhuvana-bhUSaNa, daliya-DUSaNa, savva-lakkhaNa-maMDaNo, mada-mAna-gaMjaNa, moha-bhaMjaNa, vAma-kAma-vihaMDaNo / surarAya-raMjaNa, nANa-dasaNa-caraNa-guNa-jaya-nAyako jiNa-nAha, bhavi bhavi, tAta, bhava me bodhi-bIjaha'dAyako // 21 // 124

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CRITICAL APPARATUS? 1. MUNISUVRATA-STAVANA 2a sakala on gamb. over sakale; 2d bhAga; 3b supratiSTa; 4d HTIA; 6d at I or at stands above the line; 7b SIT; 8b stra; 1la sfaat; 146 cm (tot above line); 14d Hrat; 18a Graa; 22b afer; 27b Toet; 27C Fan; 29a 199 with illegible gloss on margin; 30b alati 1; 30d nitt; 3la unaoa; 31c fp; 32a ateuturn; 33b74:; 34b Fer; 35a Emat:; qet; d afan; 36a magaga; 36b atel:; 37a #fen; ata; 38c uffice; 39d coat; 40b Hferent. 2. DEVAKULADINATHA-STAVANA ___1c delaulA; 6d 7; 7a bhavAMbhodhau rAgaprabalacaraTo (the adopted variant stands on the margin; the in izatat not being visible); 6; 8b valta on margin (in text far above two deleted letters in line); 8; 9d fo; 10a great neutet; 10d Pe and sign indicating st. 11 (numbered as "8?" and written after 12d and 13) to be inserted here; ilb letter after a 97 not readable owing to hole in paper; 11d P8 with sign indicating the place of the stanza to be after 10; 120 unfiteer with you above line, deleted, and overwritten by zura, likewise deleted, with sign referring to (1) The following changes are not recorded : Anusvara to class nasal, a to a and v. v., addition of Avagraha and Visarga, removal of redundant Anusvara. 125

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ANCIENT JAINA HYMNS margin with the final reading sdhyakSatve; 12d projAyate; 13; 13d P8; 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. VARAKANA-PARSVANATHA-STAVANA ___la gaghata; 2d praNitamo; bhANA; 3a gurU; 3b prAjJAnidhirnihi; 3c meSTiba; 3d pitamipra; 4d ichati; 5b cakramoSTa; 5c prAzya ; maMbagAhya; 5d laMmAMbu; 6a DAsayApi; 6d harikurIMgI; 7b catumAmama; 7c taevayaMtu; 7d vatAMri; 8a stAmi; 8c nAm mite; 8d sArva; 9a vibho; 9b bhavyAMga; tAjita; 9d nuvi; 10b dazrubha; 10c suciraMvilasazvapAsya; 10d vikAsa; 11a yana; bhavanaM; 11b yatvAM; parivahatya; 11c bhArayasyagha; 11d jiyinAtma; 12a haraH prapTatiyopihataH prabhAvastaM; 12b bhavanya; 12d situMkaichet; 13a natulya; panAstva; 13b rAzi; 13d ye; rUcabhiH; bhiste; 14b Sovi; 14c bibhAMkimahachasi; 14d palAsa; 15b hatka; 15c zazIrucozuvate; 15d kastvAMni; saMciratodhatISTaM; 16a nAji; bhavanaH; 16b manAga; 16d maMdi; ziSaraM; 17b tadehI; 17c yasmistamaMprasamayannaya; vattiH; 17d parasta; jaga; 18b bhAH vaH; 18c nAcavodhA; 18d suryA; yamahimAsamuniMdra; 19b rAze; 19c vodha; 20 zasaye; bhAva; 20b sAMte; 20c nichaMti; 20d nAnaiH; 21a kathaMvAGama; 21b yathAsustana; 21c mahImAsumaNostra; 21d tru; lepi3 22a. gaMbhIrahU; 22b vibudhAtvadAyAH; 22c nayare; 23b cAmaraM; 23c yatretaro; mamata; bhoH; 23d zataso; 24a gaMbhIragI; jvala; 2Ac gaNozreyatasva; 25c lupatyazaukakizalAsalatAH matastrAM; 26b chide; nAghA; 26d bhagavaMnnapuraSottamozi: 27b Iva; 27c nuvi; 27d soSa; 28b caMdrAMzru; 28c pairaladhva; gamitabidUrai; 28d pikSitosi; 29a zrajo; trida; 29c tikSI; 29d zauka; yUSaM; 30d drosiziva; rasmaH; 31a dUragatastaM; 31c tiruNA; 31d tmaccasTaMka; 32b mucapra; 32c AmAsta; vaze; bhavAnasaMga; 32d maizva; 33b chivo; 33c yapi; 33d kAMti; 34a. jhukezabi; 34b sAnahI; 34c yAtaja; 34d zano; 35a. nAdiSu; 35b bhinnagasmaM; 36b viSarmemirA; 37b nAtarbayosyapadana; 37d samaya; 38b vazajja; 39d tkottinA; vAsu; 40a tvannA; saraNya; 40d labhyate; saMkhyasAraNaMsaraNaM; 41c kaMbhi; 42b tvadbhaktayo; 42c ruprata; 42d bhivaMti; 43a dahIza; hAnAM; 43b tadAzru; 43c bhajaMtI; nigavaM; 126

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CRITICAL APPARATUS 43d maru; khalu; 44a ircha; samAhI; 44b NocchA; 44d vamama; bite; 45a. dRkumava; prabhovI; 45c carakANa; 45d sumaya; 46a. suMdavAsavAlI; 45b sadaguNogha; 45c AsA; 45d bhAva.. 4. SANKHEZVARA-PARSVANATHA-STAVANA 2b sphajatA; 2c prazakte; 3c phaNIphaNA; 4a. duryavanA; 6b pratiSTAH; 9a yuk; 10c bIjaM; 11c ruja; 12a vastre; 13a. khaTA; 13b nojvalaH; 13c dhUmala; 14b samyakjJA; 16b jIvitame; 17a zrutI. 5. TIRTHAMALA-CAITYAVANDANA la ze; zIkha, bhRgu; 1b siMhe; ajjAhare zrIpUre; 1c koDInAhaDamaMta (koDI on margin); abuMde; 1d pallI; phaladdhI; zaraMsI; 2a caMpArAjacacakramathurAjodvvApratiSTAnage; 2b svarNagIrau; suragIrau; devake; 2c pADalAdazapUre; 2d karNATake zIvapUre; 3a meru; 3b vandezrApada; bhIdhe; 3c viNA; rAjanagare; 3d kuMtipallavI; 4a tyapUre; gaDhamaDhagI; 4b vAvohapUre; IDare; 4c vohAra; 4d zatyapUre; bAhaDapUre; 5a naMdavaMdasamausami; maMDa; 5b karkarapUre; catyA; 5c jotirvitarakalpavAzInI; bhomeSuca; 5d stesarvepIhIsAMsvatetijinanAMku. 6. VIRA-STUTIN 1c ithaM; SaTjAti; jataMsakalAtiH; 1d vidita; pAtasau; 2a puSadAM; 2d yeSAMvAto; bughApAtu; 3c bhAMkSudrabhiH; 3d stuyaMloSa, pAMtu; 4a viTAmistrATayaMti; karitaTaM; 4b koTAduH; maTimaTaM; sATayaMtI; 4c utA; 4d vyAdyAlayaMtI; vasA; chaMdasauvarddhamAnaH. 7. MAHAVIRA-STUTI la krodha; 2c suSama; 2d dadhatu; maMDanamaMDane; 3a madanasuraH; 3b raudra, 3d sAsanaM; 4b vihitapakSaH; 4c sobhAvalaSyaH; 4d sarvANu. 8. SIMANDHARA-STAVANA 1d svAmiya; 2b velua; 6d namauM; 10b lagau; 12c lagau; 12d nAhajai, jugau; 13a panna; 13d rahi; 14b deha; 14c tumhI 14d rUva; 15a ThiucaraNa; 17d bahUma 18d karitArigo; 20a tuMhaji (3 times); 20b ta; 20c vInava.-- unchanged, (1) In the onomatopoetic passages, v has been left as it does not seem possible to decide when it stands for there. 127

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NOTES 1. MUNISUVRATA-STAVANA (1) "bhava-dvesi"="enemy by nature". Here, "bhava" is the last of the four "nikgepa" or principles of definition of Jaina dialectic, which are : (a) naman=denomination, (6) sthapana=assumption, (c) dravya= substance, and (d) bhava=nature or attributes, cp. Tattv. I, 5. Thus, a person of the name of "Jina" may be called a "Nama-Jina", a Tirthankara statue a "Sth pana-Jina", a being whose soul is predestined to become incarnated as a Tirthankara in a later life, a "Dravya-Jina", and a saint possessing all the characteristics of a Tirthaikara, would be a "Bhava-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 yodliness of the atman. (2) "Dvadasanga"=the twelve original Sacred Writings of the Jainas, out of which the Svetambaras believe the first 11 to be represented by those 11 works now known as "Angas", while the 12th, the bulky "Destivada", 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 "Vaimanikas". These gods are known as "Kalpopapanna", while the other sub-section of the Vaimanikas is designated as "Kalpatita", 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 8 lower strata of Heaven. The lowest layer consists of the first and second "Kalpas", viz., Saudharma in the south, and Ifana in the north. The second layer contains the third and fourth "Kalpas", viz., Sanatkumira in the south, and Mahendra in the north. The 3rd, 4th, 5th, and 6th layers are each occupied by an independent "Kalpa", viz., Brahmaloka the 5th Kalpa, Lantaka the 6th Kalpa, Sukra the 7th Kalpa, and Sahasrara the 8th Kalpa, respectively. The 9th and 10th Kalpas, 129

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ANCIENT JAINA HYMNS viz., Anata in the south, and Pranata in the north, form the 7th layer, and the 11th and 12th Kalpas, viz., Arana 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-vimanas, and the higher one, or the tenth Heaven, the 5 Anuttara-vim nas, 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, vis., the second in the first Kalpa Saudharma, the fourth in the third Kalpa Sanatkumara, the sixth in the fifth Kalpa Brahmaloka, and the eighth in the Anuttara-vimana Aparajita, each being preceded and followed by a human each representing a higher level of refinement than the preceding one. (5) "Hari-kula"-"Hari-vamsa", the Kgatriya dynasty to which the two Tirthankaras Munisuvrata and Neminatha belonged, while the remaining 22 were all scions of the "Iksvako" dynasty. (6) "jani-maham"= "janma-mahotsavam", alluding to the belief that the gods celebrate the birth of each Tirthankara with great taking the new-born babe to the fairy-island of Nandisvara-dvipa, outside the world of men. "adya-jaana-traya"=the first three out of the five categories of knowledge, viz., (a) mati-j6a na or knowledge obtained through the senses and the process of thinking, (6) sruta-jnana or knowledge acquired by instruction, (c) avadhi-jo na or transcendental knowledge of material things, (d) manahparyaya-joana or thought-reading, and (e) kevala-jfana or omniscience. Cp. Tattv. I, 9ff. 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) "caturapyam"=the fourfold appearance of the Tirthaikara, 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. 130

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NOTES (15) "sita" and "asita" = "cukla" and "kissa" with reference to the two halves of the month, the order of the two words being dictated here by Kaumudi, Sutra 904 (2/2/33). In fact, the "dikga" took place in the bright half, and the "kevala-joana-kalyapaka" in the dark (cp. Saptatigata 59 and 87, Dharmaghoga's Munisuvrata-stava, 1. 1., and Trisaat. IV, 7, st. 154 and 159). "fiti" means "dark" here, as both "janman" and "moksa" took place in the dark halves of the resp. months according to the available sources (vide above). (20) "Isana"=the 2nd Kalpa (vide above). (21) "carama-jaladhi" refers to the Svayambhuramana-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 Svayambhuramana 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 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. "Sri-Ratnasascaya-grantha, published by Seth Chaturbhuj Tejpal, Hubli, V. S. 1984, p. 53, st. 119). (27) "marttika" adj. "alolibhava-sthiti"="of long standing". (28) "antarmuhurtta"=somewhat less than a muhurtta (=two gbatika, =48 minutes). "vilasati" Loc. sg. of the Part. pres. (31) "naya"="logical stand-points", the adoption of a single one of viewing a problem leads to error, due to onesidedness 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) "vikatha" (sanskritized "vigaha")="undesirable, idle talk" such as is forbidden from the stand-point of monastic discipline. The Sthanangasutra (IV. 2, Sutra 282) discerns four types, viz., (a) "itthi-kabi" or talk about women, (6) "bhatta-kaha" or talk about food, (c) "desa-kaha" or talk about countries, and (d) "raya-kahi" or talk about princes. 131

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ANCIENT JAINA HYMNS (36) "astabhedi-puja"=pujs by 1. water, 2. sandal-paste, 3. flowers, 4. frank-incense, 5. light, 6. rice-grains, 7. sweetmeats, and 8. fruit, as is usually performed to this day by Wurti-pujaka Svetambaras. 2. DEVAKULADINATHA-STAVANA (2) "sahajam"=disposition. (4) "gat-kayah"=the six categories of living beings, viz., earth-, water-, fire-, air-, plant-bodies, and animals (cp. Pravac., Dvara 152, st. 989). The pleasantness of everything in his surroundings, as described in this stanza, is one of the "atisayas" of a "Tirthankara: cp. general chapter. (78) "the boat consisting in the pair of your two feet, was not obtainable". (10) "Vrsabha"=Rsabha, or Adinatha. (18) "In this world, there is a scarcity of your likeness", i. l., your equals 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 you, spreads so far that (reaching the ends of the world) it forms, as it were, flower-chaplets for the Dikkumaris". The latter are goddesses belonging to the Dikkumara sub-class of the first main category of gods of the Jaina Pantheon, the Bhavanavasins, and are the guardians of the heavenly quarters (Tattv. IV, 11). (23) "vikalpanih" Acc. plur. (26) "Nabheya"=''son of Nabhi", i, e., Rsabha or Adinatha. 3. VARAKANA-PARSVANATHA STAVANA (3) "prathama" refers, in the original context of the Bhaktamarastotra (st. 2d), to the first Jina Adin 1 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) "savate"=3rd Person plur. Pres. Tense of "lu" "to go". (20) "samud"="joyful", a synonymon of "ajoka", meant here as an allusion to the Agoka-tree, the first of the eight "pratibaryas", which are referred to, in their conventional order, in st. 20-27, each in one stanza. 132

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NOTES (22) "yad bhejusam sumanasam ......manah"="ya vicah (yam vaaim) pibatam sajjananam.........manah"; in this context. "vibudha" must be taken as an adjective. (340) The first sentence ends after "ya te". (356) "bhinna"="puffed up". (37) "na neme"="I never bowed" (here the sentence ends). "vaya"="fakha" : "a forest conflagration caused by the falling of lightning on branches (of forest trees)". (41) "Saran"=Part. Pres. of "ri" "to tear". (45) "Bhogindra"="the Indra of the Snake(-demon)s", i. e., Dharanendra, the Indra of the Nagakumiras, Parsvanatha's Sasanadeva: "Bhogi-lalana"=the Sasanadevi of Parsvanatha, Padmavati, consort of the former. "Laksmih" is, of course, meant in the metaphorical sense of "Highest Bliss", i. e., "Moksa". 4. SANKHESVARA-PARSVANATHA-STAVANA (3) "Kamatha"=the name of Parsvanatha's hostile brother in his pre-existence as the Minister's son Marubhuti. This Kamatha was, in Parsvanatha's last existence, re-incarnated as the Asura Meghamalin, 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) "asta-karma-karati"="the (hostile) elephants, consisting in the eight (well-known) karma-prakstis" : vide general chapter. "pancapramadah"="the five intoxicants", viz., alcohol, sexual lust, passion, sleep, and undesirable talk ("vigaha"), cp. Uttaradh, IV. 5. TIRTHAMALA-CAITYAVANDANA (4c) The Locative "Darbhavate" presupposes a rather unusual "Darbhavata"! (50) This passage refers to the four main categories of gods, viz., Bhavanavasin, Vyantara, Jyotiska, and Vaimanika, and to their abodes in the various strata of the universe, all of which are supposed to contain temples of the Tirthankaras. 133

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ANCIENT JAINA HYMNS 6. VIRA-STUTI (2) "Tithapa"="Tirthaikara". (4) "treta"="taurya-trika", the triad of song, dance, and music. "atanka"="void of pride": cp. "amadehs" (i, e. ''amada" + "iha"), an attribute of similar meaning, bestowed on this goddess by Sobhana Mupi in his 23rd Stuti (loc. cit. p. 276, st. 92). 134

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BIBLIOGRAPHY aryaraksita, Anuyogadvara-sutra, Agamodaya Samiti, Bombay, 1924 Astottari-tirthamala-stavana= Astottari-tirthamala-caityavandana, vide Mahendrasuri Bappabhattisuri-viracita Caturvis satika, Agamodaya Samiti, Bombay, 1926 Bhagavali-sutra, Agamodaya Samiti, Bombay, 1918-21 Bhakta marastotra-padaparti-rupasya kavyasangrahasya prathamo vibhagah, dvitiyo vibhagah, Agamodaya Samiti, Bombay, 1926-27 Bhandarkar, B. G., Wilson Philological Lectures on Sanskrit and the Derived Languages, Bombay, 1914 Bhattacharya, B. C., The Jaina Iconography, Punjab Oriental Series, Lahore, 1939 Bloomfield, M., The Life and Stories of the Jaina Saviour Parsvanatha, Baltimore, 1919 Caritravijaya Muni, Viharadarsana, Viramgam, V. S. 1988. Cunningham, A.; Ancient Geography of India, ed. Mazumdar, Calcutta, 1924 Daksinamarti, Uddbarakosa, ed. Shodo Taki, Sarasvati Vihara Series 4, ed. Dr. Raghuvira, International Academy of Indian Culture, Lahore, 1938 Desai, M. D., A Short History of Jaina Literature, Jain Shvetambara Conference Office, Bombay, 1933 Devabhadrasuri, Pasanaha-Cariyam, ed. Acharya Shri Vijayakumudasuri, Manivijayagani-granthamala, Ahmedabad, 1945 Devendraslava-prakirnaka, Agamodaya Samiti, Bombay, 1927 Divalia, N. B., Gujarati Language and Literature, Bombay, 1921;1932. Dey, Nundo Lal, The Geographical Dictionary of Ancient and Mediaeval India, London, 1927 Hargovind Das T. Seth, Paja-sadda-mabannavo, Calcutta, 1928 Haribhadrasuri, Avasyaka-niryuktitika, Agamodaya Samiti, Bombay. 1916-17 135

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ANCIENT JAINA HYMNS Hemacandrasuri, Abhidhana-cintamani, ed. Sri Vijayadharmasuri, Yalovijaya Jaina Granthamali, Bhavnagar, Vira S. 2446 Hemacandrasuri, Anya-yoga-vyavaccheda-dvatrimsika, ed. A. B. Dhruva, Bombay, Sanskrit Series, 1933 Hemacandrasuri, Trisasti-salaka-puruga-caritra, Jaina Dharma Prasaraka Sabha, Bhavnagar, 1906-13 Hemacandrasuri, Trisasti-ealaki-purusa-caritra, Parvan I, Parts I and II, translated into English by H. Johnson, GOS, 1931-37 Hindi-Panca-pratikramana, Indore, 1927 Jaina Aitiha sika Gurjara Kavya Sancaya, 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-stotya-san loha, ed. Muni Caturavijaya, Part I, Ahmedabad, 1932 Jaina-vani-sangraha, Calcutta, V. S. 1982 Jaini, J., Outlines of Jainism, Cambridge, 1916 Jaina Satya Prakasa (Magazine), ed. C. G. Shah, Ahmedabad Jayantavijaya Muni, Abu, Vijayadharmasuri Jaina Granthamala, Ujjain, 1933 Jayantavijaya Muni, Sankhesvara Mahatirtha, Vijayadharmasuri 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 Svami Caritra, Thana, V. S. 1998 Jinadasa Gani Mahattara, Avasyaka-curni : Avasyaka-niryukti, ed Rsabhadevaji Kesarimalaji Svetambara Samsthi, Ratlam, 1928 Jinaharsa Gani, Vastupala-caritra, Gujarati Translation, Jaina Dharm Prasaraka Sabha, Bhavnagar, V. S. 1974 Jinamandana Gani, Kumarapala-prabandha, Jaina Atmananda Sabha, Bhavnagar, 1971 Jinaprabhasuri, Vividha-tirthakalpa, Singhi Jain Series 10, Santiniketana, 1934 Jinaratna-kosa, vide Velankar Jnanavijaya Muni, Jaina Tirthono Itihasa, Palitana, V. S. 1981 Jnatadharmakatha-sutra, Agamodaya Samiti, Bombay, 1916 136

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BIBLIOGRAPHY Kesavarama K. Sastri, Apana Kavio 1, Ahmedabad, 1942, Gujarat Verna. cular Society Krause, C., Kiika Sankhesvara Sahitya, Jaina Satya Prakasa, Varsa 11, Amka 3, pp. 73-50 Krause, C., Siddhasena Divakara and Vikramaditya, Vikrama Volume, Scindia Oriental Institute, Ujjain, 1948, pp. 213-280 Krause, C., Sri-Hemavimalasuri-keta Tera Kathiyani Sajjhiya, Jaina Satya Prakasa, Varsa 12, Am ka 3, pp. 74-76 Lakshmivijayasuri, Upadesa-prasada, Jaina Dharma Prasaraka Sabha, Bhavnagar, 1914-23 Lalacandra, Pt. Bhagavandisa, Pavagadha thi Vadodra mi Prakata Thayela Jiravala Paravanitha, Bhavnagar, V. S. 1992 Lalacandra, Pt. Bhagavandasa, Teja palano Vijaya, Bhavnagar, V. S. 1991 Mahendrasuri, Astottari-tirthamila-caityavandana, Vidhipaksa-gacchasya Panca-pratikramana-sutrani, V. S. 1984 Mangaladasa Trikamdasa Jhaveri, vide Jhaveri, M. Merutungasari, Prabandha-cintamani, Singhi Jaina Series I, Santiniketana, 1933 Munisundarasuri, Gurva vali, Yasovijaya Jaina Granthamala, 9, Benares V. S. 1961 Munisundarasuri, Traividya-gosthi, 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., Dida Sri Jinakusalasuri, Calcutta, V. S. 1996 Nazim, Dr. M., Epigraphia Indo-Moslemica Neinicandra, Pravacanasiroidhara, Devchand Lalbhai Pustakoddhar Fund Series, Bombay, 1922 Nundo Lal, vide Dey Padaliptasuri, Nirvana-kalika, Nirnayasagara Press, 1926 Panca-pratikramana-sutra, Jaina Atmananda Sabha, Bhavnagar, v. s. 1982 Pattavali-sangraha, ed. Muni Jinavijaya, Calcutta, 1932 Pheru, Vastu-sara-prakarana, Jaipur, 1936 Prabhacandra, Prabhavaka-caritra, Singhi Jaina Series 13, Ahmedabad. Calcutta, 1940 137

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ANCIENT JAINA HYMNS Prabhacandra, Prabhavaka-caritra, Gujarati Translation by Muni Kalyana vijaya, Jaina Atinananda Sabha, Bhavnagar, V. S. 1987 Prabhavaka-caritra, vide Prabhacandra Pracina-lekha-saigraha, ed. Sri Vijayadharmasuri, Part I, Yasovijay? Jaina Granthamala, Bhavnagar, 1929 Pracina-lirthamali-sangraha, ed. Sri Vijayadharmasuri, Part I, Yagovijaya Jaina Granthamala, Bhavnagar, V. S. 1978 Prajna pana-sutra, Agamodaya Samiti, 19-20, Bombay, 1918-19 Pravacanasaroddhara, vide Nemicandra Puratana-prabandha-sangraha, Singhi Jaina Series 2, Calcutta, 1936 Purna-Ksema-Vallabha-vilasa, ed. Sri Vallabhasagara Gani, Neemuch, V. S. 1990 Ratna-samuccaya-gyantha, ed. Seth Manekchand Pitambaradas, Hubli, V. S. 1985 Samavayariga-sutra, Agamodaya Samiti, 15, Surat, 1919 Sanghadasa Gani, Vasudevahindi, Jaina Atmananda Sabha, Bhavnagar, 1930 Santivijaya Muni, Jaina Tirtha Guide, Ahmedabad, V. S. 1967 Satrunjaya-yatra-vicara, Bhavnagar, V. S. 1985 Savani, L. N., Jaina Tirthavali Pravasa, Teravala, V. S. 1963 Senaprasna, vide subhavijaya Sobhana Muni, Caturvim sati-Jina-stuti, ed. H. R. Kapadia, Agamodaya Samiti, 52-53, Bombay, 1926 Somadharma Gani, Upadesa-saptati, Ahmedabad, V. S. 1998 Somaprabhasuri, Kumarapala-pratibodha, GOS 14, Baroda, 1920 Somaprabhasuri, Kumarapala-pratibodha, Gujarati Translation, Jaina Atmananda Sabha, Bhavnagar Somatilakasuri, Saptatieata-sthina-prakarana, Atmananda Jaina Sabha, Bhavnagar, V. S. 1975 Sthananga-sutra, Agamodaya Samiti 21-22, Bombay, 1918-20 Stotra-sangraha, Yasovijaya Jaina Granthamala Stotra-samuccaya, ed. Muni Caturavijaya, Nirnayasagara Press, 1928 Subhavijaya Gani, Senaprasna or Prasnottara-ratnakara, Devchand Lalbhai Pustakoddhar Fund Series No. 51, Bombay, 1919 Surimantra-brhat-kalpa-vivaranan, Ahmedabad, Vira S. 2458 Sutrak;tanga-sutra, Agamodaya Samiti 18, Bombay, 1947 138

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BIBLIOGRAPHY Syadvada-ratnakara, vide Vadidevasuri Tantrabhidhana, ed. Panchanana Bhattacharya, Tantrik Texts, ed. A. Avalon, Calcutta and London, 1937 Tattvarthadhigama-sutra, vide Umasvati Tiloya-pannatti, vide Yativrgabha Tirthavali-pravasa, vide Savani Umasvati, Tattvarthadhigama-sutrini Bhagya-sahitani, ed. M. L. Ladhaji, Poon't, Vira S. 2453 U masvati, Tattvarthadhigama-sutra, with Vritti and Bhagya, ed. H. R. Kapadia, Devchand Lalbhai Pustakoddhar Fund Series 67 and 76, 1926-30 Uttaradhyayana-sutra, Yasovijaya Jaina Granthamala 46, Bhavnagar, 1927 Vadidevasuri, Pramina-naya-tattvalokalao kara with Syadvada-ratna kara, Yasovijaya Jaina Granthamala, Benares, Vira S. 243-37 Velankar, H. D., Jinaratna-kosa, Bhandarkar Oriental Research Institute, Poona, 1944 Vidyavijaya Muni, Meri Mevad-yatra, Vijayadharmasuri Jaina Grantha. mala, Bhavnagar Vijayadharmasri, Devakulapitaka, Yasovijaya Jaina Granthamala, Bhavnagar Vimalasuri, Pauma-caria, Jaina-Dharma Prasaraka Sabha, Bhavnagar, 1914 Vinayavijaya, Kalpasutra-tika Subodhika, Jaina Atmananda Sabha, Bhavnagar, V. S. 1975 Viravijaya Muni, Sri Jaina-Kalpa-Mantra-Mahodadhi, I, Multan, V. S. 1999 Vividha-tirtha-kalpa, vide Jinaprabhasuri Winternitz, M. A., History of Indian Literature, published by the University of Calcutta, 1927-33 Yasovijaya Upadhyaya, Sri Navapadaji Puja, Jaina Atmananda Sabha, Bhavnagar, V. S. 1984 Yativrsabha, Tiloya-pappatti, Jaina Samskrti-samraksaka-sangh Sholapur, I. 1943 139

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CORRIGENDA Page + line, note or stanza Incorrect Correct Con Introduction p. 1 , Sri 3 n. 2 "cylindrical a cylindrical 6 1. 31 all in all in all 7 2 Hairanyakas Hairanya vatas 8 23 eviating deviating 12 n. 4 Vastusara Vastusara 12 ... 4 1036 1936 2 l. 24 Astami Astami 5 n. 1 Suri Suri, 5 4.5 Prabhacandra Prabhacandra 5 ,, 4.6 Sri 1. 7 Asvavabodha Asvavabodha n. 3 havai havai 10 ,, 3 Vid Vide 11 ,, 2 Vid Vide 11 ,, 3 Vid , 1 pinnancle pinnacle , 6 Sri Sri , 7 Amadatta Amadatta , 23 Amadatta Amadatta 18 ,, 17 A stottari Astottari 141 >> >> ,, Vide ,,

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ANCIENT JAINA HYMNS Page+line, note or stanza Incorrect Correct Text p. ,, , 23 n. 1 Muni uvrata Munisuvrata 25 ,, 4 Sha. Sha 26 ,, 2 ava stava 1. 6 Sirdila Sardula, 1 starcament zrIvarakANa , 1 aaafacerda: vavekavijayenaH 41 , 27 Svadhyaya Svadhyayah n. 1 reiliability reliability 49 l. 16 blim blim n. 5 boahat brhat , 1 Jnana Jnana , 3 Astot, Astot., 57 , 2 Sutra. Sutra, 57 , 3 "Manusot- "Manusot tara" tara" 57 3 Mannusottara Manusottara 58 1. 13 Ry Ry. 61 n 2 ayer layer , 1 ravaraga grimariga , 1 Purna - Purna, 1 Daksina Daksina 1. 19 in 85 , l. ("yatha "yatha 87 . 20 prakare prakure 142 NW .,

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CORRIGENDA Page+line, note or stanza Incorrect Correct Kesava Kesava vinnavemi vide language apposition Vrtti 87 n. 4 Kesaava , 5 Kesva 1 vinnavemi 3 xide , 5 anguage , 2 apposation 1. 3 Vrtti , 29 Labhimuniji st. 16d jamanaste _95, 14a triza 95, 14b dAtyAddhayAste 26b nivRti 30c zADvalaM 34a balaghaTA , 99 , 37a vabodha 2c prayuGakate , 100 , 2d savA , 104 , 22d samAdhAnAvadhi 104 26d cchInA , 107 , 13d paramAnu , 109 , 2a. vAGa ,, 24d munImna ,, 26b trijagajjanaughAnaM , 110 , 30a nAtha Labdhimuniji janmanaste triMza dAtyAdyAste nivRti zAdvalaM valaghaTA vadodhaM prayukate sarvA samAdhAnavidhi cTrInA paramANu vAGmu munIndra trijagajjanaughAn 109 110 nAtha 143

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ANCIENT JAINA HYMNS Page+line, note or stanza Incorrect Correct ___p. yA te 5 janiSTa; kila yaH tulitaM yastAvakaM nIrotkarardiyute prauDha 114 naSTaM vAbhirgataM 115 sevita 111 st. 34c yAte; 'janiSTa ,, 111 , 34c kilAyaH , 113 ,, 43b tulita 113 ,, 44d yantAvakaM ,, 3a nIrotkarardidhate , 114 , 4a proDha ,, 114 ,, 4d naM , 115 , 8a naSTa , 115 , 8c vAbhirgata ,, 9d sevata , 115 , 10c itoM ,, 116 , 11c jjambhate ,, 20b zatadhAtiH , 117 , 21d sAnnabho ,, 118 ,, 1d zaGakhezvare ,, 119 , 1c SaDU , 119 , 3d leza ,, 120 , 1a krodhanoddha ,, 4c tiyata ,, 121 ,, 6d somaMdhara ,, 124 ,, 21a DUSaNa 1. 11 bhava-ripu ,, 130_n. 23 adya ,, 131 , 28 muhurtta 11 hUsoM jjUmbhate zatadhutiH sannibho zakhezvare 120 lezaM krodharodha niyata sImaMgharaM dUSaNa bhava-ripu adya muhurtta 129 144

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PUBLICATIONS OF THE SCINDIA ORIENTAL INSTITUTE UJJAIN AranTT (Marathi)--composed in 1312 A. C. by Cangadeva Vatesvara, a contemporary of the celebrated Marathi poet and saint Joanesvara. This unique work was discovered and published by the Institute in 1936. Editor : Dr. H. R. DIWEKAR, M. A., D. LITT., Sahityacarya. Crown 8vo, 106 pages with 2 photo-prints. Re. 113MSATHva (Scindia Oriental Series No. 1)--a Sanskrit treatise on poetic figures by Devasankara Purohita (c. 1765 A. C.). The illustrative verses eulogise some Peshwas of Poona. Editor : SADASHIVA L. KATRE, M. A. Demy 8vo, 384pagts. Rs. 41 Ancient Jaina Hymns (Scindia Oriental Series No. 2)--containing seven so far unpublished stotras in Sanskrit and one in Apabhramsa composed by renowned Jaina authors. Editor : Dr. CHARLOTTE KRAUSE. Demy 8vo, 176 pages. Rs. 5/RTF Fara aftufa: (Scindia Oriental Series No. 3)-- a Sanskrit rejoinder to John Muir's Matapariksa by Nilakantha (Father Nehemiah Goreh). This work refuting the doctrines of Christianity and defending those of Hinduism was composed by the author c. 1844 A. C., i. e. four years before his conversion. Editor: SADASHIVA L. KATRE, M. A. Demy 8vo, 136 pages. Rs. 5,

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5. adhimuktatasvam-A Sanskrit compendium on the philosophy of the holy city of Banaras, ascribed to Bhavani, the step-mother of the renowned author Balambhatta Payagunde (c. 1780 A. C.) In progress. 1. Catalogue of Manuscripts in the Institute's Library:-- Part I (1936) -147 Part II (1941) -/4/Further parts in preparation. 2. Descriptive Catalogue of Manuscripts in the Institute's Library -10,000 entries. --In progress Vikrama Volumes in commemoration of the completion of the 2nd millennium of the Vikrama Era published under the auspices of the Institute: 1. Vikrama Volume (English) Rs. 15/2. fafarafa-type (Hindi) 3. fami-FHFT (Marathi) ... >> 10/ ... , 20) Postage etc. extra in all cases. The three Vikrama Volumes are obtainable from the Director of Archaeology, M. B., Gwalior Fort. For the rest, apply to: THE CURATOR, Scindia Oriental Institute, Ujjain (M. B.--India).

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nI yazon (TalePlu kenara po