Anusandhan 2000 00 SrNo 17

Author(s): Shilchandrasuri
Publisher: Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smruti Sanskar Shikshannidhi Ahmedabad
Catalog link: https://jainqq.org/explore/520517/1

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roo 10. moharite saccavayaNassa palimaMthU ( ThANaMgasatta, 529) 'mukharatA satyavacananI vighAtaka che' anusaMdhAna zrIhemacandrAcArya prAkRtabhASA ane jainasAhitya viSayaka saMpAdana, saMzodhana, mAhitI vagerenI patrikA paM. dalasukhabhAI mAlavaNiyA 17 smRti vizeSAMka PR sled ineKNO LOOD 'OGONDA GOOG "00 - saMpAdako: vijayazIlacandrasUri harivallabha bhAyANI kalikAlasarvajJazrIhemacandrAcArya navama janmazatAbdI _ smRti saMskArazikSaNanidhi - ahamadAbAda 1700102012 238 6 600

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moharite saccavayaNassa palimaMthU (ThANaMgasutta, 529) 'mukharatA satyavacananI vighAtaka che' anusaMdhAna prAkRtabhASA ane jainasAhitya viSayaka saMpAdana, saMzodhana, mAhitI vagairenI patrikA 17 paM. dalasukhabhAI mAlavaNiyA smRti vizeSAMka saMpAdako : vijayazIlacandrasUri harivallabha bhAyANI - - zrI hemacamacArya kalikAlasarvajJa zrIhemacandrAcArya navama janmazatAbdI smRti saMskAra zikSaNanidhi ahamadAbAda 2000

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anusaMdhAna 17 saMparka : harivallabha bhAyANI 25/2, vimAnagara, seTelAITa roDa, ahamadAbAda-380 015 patra-vyavahAra : atula eca. kApaDiyA A-9, jAgRti phleTa, mahAvIra TAvara pAchaLa, pAlaDI, amadAvAda-380007 phona : 6588879 prakAzaka : kalikAlasarvajJa zrIhemacandrAcArya navama janmazatAbdI smRti saMskAra zikSaNanidhi, ahamadAbAda, 2000 kiMmata : rU. 100-00 prAptisthAna : sarasvatI pustaka bhaMDAra 112, hAthIkhAnA, ratanapola, ahamadAbAda - 380 001 lesara-TAIpa seTiMga : mayaMka zAha, ramaNIya grAphIksa 44/451, grInapArka epArTamenTsa, solA roDa, nAraNapurA, ahamadAbAda-13 (phona : 7451603) mudraka : kriSnA grAphiksa, kirITa harajIbhAI paTela 966, nAraNapurA jUnA gAma, ahamadAbAda-380 013 (phona : 7494393)

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sva. paM. dalasukhabhAI mAlavaNiyA

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nivedana sadgata paM. dalasukha mAlavaNiyA e bhAratIya darzanonA eka adhikArI paMDita jana hatA. bauddhika pratibhAmAM jeTalI UMcAI temaNe prApta karelI, te karatAM anekagaNI adhika UMcAI temaNe sajjanatAmAM hAMsala karelI. sadAcAra, sAdAI, sAttvikatA, prAmANikatA ane niSThA - paM. mAlavaNiyAnI UMcAInA A pAMca adbhuta zikharo hatA. tA. 28-3-1999nA roja, lagabhaga 92 varSanI jaipha vaye temanuM avasAna thayu. gujarAtanA, bhAratanA tathA vizvanA vidyAvizvane jabarI khoDa paDI. ___ temanI vidyAsAdhanAne tathA sajjanatAne aMjali ApavA mATe 'anusandhAna'no A aMka 'paM. dalasukhabhAI mAlavaNiyA smRti vizeSAMka' tarIke prasiddha thAya che. A aMka mATe , potAnA vidvattApUrNa lekho pAThavavA badala, amo sarva lekhaka vidvAnonA AbhArI chIe. li. vijayazIlacandrasUri DaoN. harivallabha bhAyANI

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. -Ashok Aklujkar 1 w lh -H.C. Bhayani 32 sh - H. C. Bhayani 43 - K. R. Chandra 47 >> - Rashesh Jamindar 52 anukrama Love or Leave ? Bhartr-Hari's (?) Dilemma Alliteration of the Word-initial consonant in Modern Gujarati Compounds Some folk-etymologies in the Anuyogadvara-sutra Comparative Study of the Language of the Acaranga and the Isibhasiyaim both edited by Prof. Schubring Historio-Cultural Data as Available from Samaraicca Kaha Srimad Rajacandra on the Necessity of a Direct Living Sad-guru Some Aspects of the Kaumudi- mitrananda On Sthatus ca ratham in the Rgveda 1.70.7 : Jaina Concept of Memory The Jaina Universe in a Profile of Cosmic Man Sankaracarya and the Taittiriyo- panisad (with reference to his bhasvus) Jaina Biology w -N. M. Kansara 66 - V. M. Kulkarni 75 j - M. A. Mehendale 89 - 8. 20. - Mohan Lal Mehta 94 - Suzuko Ohira 101 88. - Vijay Pandya 110 87. - J. C. Sikdar 122

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13. jayavaMtasUrikRta bAra bhAvanA sajjhAya 14. siMhAvalokano- 1 15. jaina sandhyAvidhi 16. vihaMgAvalokana 17. zubhatilakopAdhyAyaracita gAyatrI adhyayana 19. jaina paraMparAmAM paricAraNAbhedavicAraeka tulanAtmaka noMdha 20. kauzika : eka aprasiddha vaiyAkaraNa 21. patracarcA 22. ' samAroha - samAcAra ' 23. maiM kabhI bhUlUMgA nahIM 24. bhAratIya tattvavidyAnA ajoDa vidvAnane smaraNAMjali 25. (sva.) paMDitapravara dalasukhabhAI mAlavaNiyAnI sAhityopAsanA * saMpA. jayaMta koThArI -- mantravRtti 18. lokatattvanirNaya : eka samIkSAtmaka - jitendra zAha nagIna jI. zAha nIlAJjanA su. zAha madhUsudana DhAMkI 142 madhusUdana DhAMkI 160 * saMpA. muni jinasenavijaya 166 * muni bhuvanacandra 168 saMpA. muni ratnakIrtivijaya 173 rAjArAma jaina - vijayazIlacandrasUri jitendra zAha 190 200 201 217 219 222 226 233

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LOVE OR LEAVE ? BHARTR-HARI'S (?) DILEMMA* * Ashok Aklujkar 81.1 The first question mark in the title of this paper signals that I intend to discuss a situation in which a difficult decision is to be made --- a situation in which there are disadvantages and losses, no matter how one decides. What I wish to indicate with the second question mark is that the question I am raising about loving and leaving is not Bhartr-hari's (abbreviated to "BH" hereinafter, except in citations) dilemma alone -- that there is a universality to Another clarification I should offer at the outset is that I assume that the following observation is valid: We set up dichotomies and then we find them too constraining, distorting of misleading. After entertaining them for a while - not without profit -- we feel the need to transcend them. In the spirit of this observation, I wish to ask : what happens when an author well-known for his depiction of srngara shows an undercurrent of vairagya and when the same author, equally well-known for leading a march of tanks of vairagya, finds that the ground under his tanks is mined by the fifthcolumnists of songara ?! I am grateful to Professors Albrecht Wezler (University of Hamburg) and Gregory M. Bailey (La Trobe University) for helping me in catching typographical errors in an earlier version of the present contribution, origanally written for the "Seminar on Shanagara and Sringara" organised by Dr. Harsha V. Dehejia at Mumbai on 21-23 December 1998. The Gujarati word shanagara (which would be sanagara/sangar in scholarly transliteration and which is cognate with Marathi singara Hindi singara etc.) used in the title of the seminar is historically the same as Sanskrit srngaru. However, it has acquired the distinctive sense of physical embellishment. hody decoration, ornamentation, make-up.' This fact should be kept in mind while reading the following text.

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37THE7-89 * 2 $1.2 The question just elucidated can be asked in terms of the theory of srngara rasa or santa rasa. Is the development of either rasa precluded or hampered by the intrusion of the signs of the other ? What exactly is the aesthetic process - assuming there is one - in compostions that refer to physical beauty or points of attraction but use them to urge renunciation ?? What would be the ultimate effect of a poem that, when read one way, depicted sungara and, when read another way, spoke of vairagya?? However, I am not going to ask my question at such a theoretical and generalized level, because the insightful discussions of rasa-vighnas in the Sanskrit tradition address it to a significant extent, because in the examples I have seen (note 2) the ultimate impact is cleary one (that of vairagva or a feeling conducive to vairagya), and not mixed or intertwined, and because in the examples I can thing of (note 3) I cannot see how the development of syngara and vairagya can be anything but parallel, that is, again not intertwined. I will rather ask my question at a more concrete and paricular level - that of considering srngara("physical love', 'feeling or sentiment of love', 'aesthetic, especially literary, experience of love') and sanagara('ornaments, decoration, make-up'; see note*) together. $ 2.1 Given the realities of the present philological research, any talk about BH as an author must start with an acknowledgement of three personae: two almost exclusively from written literature and one largely from oral literature. The latter is not confined to Sanskrit, but is best preserved in Sanskrit sources deriving their material from legends and folktales that seem to have been current in many languages and dialects of Rajasthan, Madhya Pradesh, Gujarat and Maharastra, if not of other parts of India. This is predominantly the 'leaving B' persona. He is either disillusioned by the unfaithfullness of his wife or is cured of his illusion by

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anusaMdhAna - 17* 3 Goraksa-nathat after an unparalleled demonstration of devotion by his wife. As a consequence, he gives up the life of gilded royal luxury and embraces the naturally adorned existence of a mendicant's life. Whether this BH is identical with either of the two Bs known to us from the literary remains generally titled (a) Sataka-trya and (b) the Vakyapadiya and the Mahabhasya-tika is a question that has so far defied a convincing solution. Those who, rightly, notice a recurrent pessimism and disillusionment in the Satakatraya naturally feel that the third renouncing BH is at least more likely to be the author of the Sataka-traya stanzas (cf. Kale 1971:iv; Jinavijaya 1959:8). On the other hand, the scholars who are aware of the mention by I-ching," a Chinese scholar who travelled through many parts of India in the late seventh century, that the author of the Trikandi or Vakyapadiya and Mahabhasya-tika was a Buddhist monk (at least for a singnificant length of time) are more likely to accept that the 'monk-disciple-of-Gorakhnath' persona could have developed out of an earlier 'Buddhist monk' persona. SS 2.2 The situation is made more complicated by the fact that the name of the Sataka-traya author could have been "Bhartr-hara" instead of "Bhartr-hari" (Kosambi 1948: Introduction, pp. 20, 22, 23; Jinavijaya 1959: 9-10) and that there is a remarkable similarity of attitude and a remarkable nearness in time and space between the Satakatraya author and the Vaiyakarana or Grammarian BH. The difference of name would suggest that the poet BH and the Vaiyakarana BH were two different historical persons, albeit in a weak way, for a corruption of "hari" to "hara" can easily and independently occur in manuscripts.' On the other hand, the similarity of attitude is at such a fundamental level that it seems improbable that there could

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37 79-860 * 4 have been two authors with the same attitude and capable of giving forceful expression to that attutude in easy-flowing verses in just about the same area of India in the early centuries of the Christian Era. The research on BH, the Vaiyakarana, has established beyond any reasonable doubt that some important details in I-ching's account cannot be correct. The Vaiyakarana BH is unlikely to be a Buddhist and is unlikely to have died forty years before I-ching's visit to India (691-692 A.D.). Rather, he cannot be later than 450 A.D. Also, while he was sympathetic toward and accommodative of Buddism, he was not a follower of Buddhism in the usual or 'strong sense of the word. His place of residence is more likely to be those parts of western India in which the adherents of the Maitrayaniya branch of Krsna Yajurveda were found in significant numbers. Now, through a systematic investigation of an impressive number of Sataka-traya manuscripts, D.D. Kosambi (1948:56-57, 59, 78-79, 81) has independently suggested that the stanzas constituting the oldest core of the Satakatraya could have been composed in the early centuries of the Christian Era (although they were collected as an anthology some centuries later), that there could be one author persona behind them, and that this persona is likely to have hailed from western India. SS 2. 3 The similarity in fundamental attitude to which I have referred can be described thus: a relentless pursuit of the meaning of life, devastating honesty, ability to rise above conventional boundaries and antinomies, repeated return to perspectivism and a never-ending engagement with the manifestations of language. BH, the poet, is very probably the most translated author next to the author(s) of the Gita (Bailey 1994:1) Modern Europe's interest in Sanskrit literature (as distinct from Sanskrit language) began

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3TTHET-810 * 5 with a Latin translation published in 1651 and based on what the Dutch Missionary Abraham Roger heard of the Sataka-traya stanzas from a south Indian Brahmin named Padmanabha. BH's poems are the only extensive body of classical Sanskrit literature that have a more than reasonable chance of antedating the works of Kalidasa. ''In reading him, one is reminded of Omar Khayyam more than once by the poignant and novel expression that the unavoidable questions regarding 'life : death,' 'permanence : inpermanence' etc. receive. However, at the same time one feels that he has more varied capabilities than Khayyam. BH could have enriched the poetic conventions and techniques that the tradition made available to him, as well as set the pattern for the conventions and techniques that we find in later authors. All these considerations establish that he has a universal appeal that very few literary personalities can command. Practically, the same thing, with differend detains, will probably have to be said about BH, the Grammarian, in the next one hundred years or so (depending on how much interest the philosophy departments at Western universities take in non-Western philosophers.) He has anticipated the linguistic turn taken by Westetn philosophy in the 20th century in such a basic and comprehensive way, although his major aim was not to give such a turn to philosophy, that he will, if properly presented, force a rewriting of the global history of philosophy. Thus, taking some risk, I will speak of a single revolutionary and legendary linguistico-literary as well as religio-philosophical persona called BH, born a few decades or centuries before or after the beginning of the Christian Era and ask what we learn from his Sataka-traya about sanagara. 3.1 In the legends about BH, we have a mirroring of most of the qualities I have ascribed to him so far. He loves the day-to-day world but leaves it suddenly. He epitomizes

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31JHELT-89.6 the ordinary man's (frequently unarticulated) bond with the beautiful in this life and also with the fear that one day this beauty will no longer be his. After he leaves the runof-the-mill world, he has moments of spiritual delight and self-assurance but he also realises how strong the pull toward the beauty spots, visayas, of this life is. Now, there is not much that could be said to be unique or unusual in this tension. Spiritual leaders are constantly telling us to think of what comes after the pleasant sensual experiences, as well as of what a razor's edge the path one takes to transcend them is. Of the great literatures of the world, Sanskrit literature is particularly rich in this respect (which fact, in turn, explains its perennial appeal to some extent). What sets BH apart is the clarity with which he faces the dilemma of loving and leaving, the varied expression he gives to it, the tradition he has obviously created or strengthened unlike anyone else, and the heart-rending honesty with which he gives expression to his trials and tribulations. l-ching tells us that BH became a monk seven times and that each time he separated himself from the monks as soon as he realised that improper thoughts had begun to dominate his mind." This uncompromising nature of his pursuit is seen also in his description of sensual pleasures and of worldly systematic (sastra) knowledge. He wants the real, unalloyed, full 'stuff' and he makes no effort to conceal or qualify his failures and limitations. I am not aware of any other Sanskrit poet in whose case we come so close to believing that a personal experience is finding expression in his compositions (cf. Miller 1967:xvii-xviii; 1990:6.)14 $ 3.2 At least 5 stanzas of the 200 that Kosambi collects first as found in all versions of the Sataka-traya (nos. 81, 84, 85, 88, 135) speak of what I have called the basic dilemma of life' as one would speak of a dilemma -- that

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anusaMdhAna - 17*7 is, with the requisite explicitness of antithesis. At least 4 stanzas out of the 152 that Kosambi collects next (nos. 222, 223, 224, 257) do the same.15 I do not think we need any additional proof to ascertain that BH recognized the dilemma for what it is and that the dilemma weighed heavily with him. 16 We come across lines such as the following, for example: satyam jana vacmi, na paksa-patat, lokesu saptasv api tathyam etat / nanyam manohari nitambinibhyo duhkhaika-hetur na ca kascid anyah //81//7 "I do indeed speak without bias, this is acknowledged as truth among men: Nothing enthralls us like an ample-hipped woman; nothing else causes such pain." (Miller 1967:63 = 1990:60). kim iha bahubhir uktair yukti-sunyaih pralapair dvayam iha purusanam sarvada sevaniyam / abhinava-mada-lila-lalasam sundarinam stana-bhara-parikhinnam yauvanam va vanam va 1/85/1 "Why all these words and empty prattle ? Only two worlds are worth a man's devotion: the youth of beautiful women wearied by heavy breasts and full of fresh wine's excitement, or the forest." (Miller 1990:61.)18 avasah kriyatam gange papa-varini varini / stana-madhye tarunya va mano-harini harini // 135 // "Rest yourself on a shore of the Ganges whose waters ward off sin, or between the breasts of a maid

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3TKIT-plo.8 whose necklace snares the mind." (Miller 1967:99 = 1990:78) Similar in vein is the following poem which finds itself on the outskirts of the 200 having the best chance to be BH's genuine compositions but which has a vary strong chance of being authentic in terms of the versions in which it is - attested as well as the way it expresses a disturbingly poignant thought: eko ragisu rajate priyatama-dehardha-hari haro niragesu jino vimukta-lalana-sango na yasmat parah / durvara-smara-bana-pannaga-visa-vyasanga-mugdho janah sesah kama-vidambito hi visayan bhoktum na moktum ksamah //2241/ Here, the poet in effect tells us this: If it is to be love or srigara, it should be so absolute as in the Ardha-narisvara Siva, leaving no room for the duality of the lover and the loved. It it is to be detachment, it should be so firm as to rival that of Siva. Unfortunately, neither seems to be within the reach of human beings. They seem to be condemned to an in between state of poison-filled delirium." $ 3.3 The varied and forceful expression of the dilemma, regarding which I just gave evidence, is accompnied by a very straightforward, no-holds-barred, expression of personal frustrations and failures in overcoming desire or craving (stanza nos. 102, 147, 149, 155, 158, 160, 176, 185), on the one hand, and an honest expression of (at least moments or degrees of) success (stanza nos. 6, 187, and possibl stanza nos. 291, 301, 308, 344), on the other. Thus, for example: bhoga na bhukta, vayum eva bhuktas. tapo na taptam, vavam eva taptah / kalo na vato, vuyam eva yatas.

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37THET-819.9 tlsna na jirna, vayam eva jirnah // 155 l/ I did not consume. I was consumed. 20 I did not scorch the pleasure-seeker. I was scorched. 21 Time did not go away. I went away.22 Craving did not wither. I withered.23 bhiksasanam, tad api nirasam eka-varam, sayya ca bhuh, parijano nija-deha-matram / vastram ca jirna-sata-khandamayi ca kantha, ha ha tathapi visaya na parityajanti //158 // "Begging for food, I eat one tasteless meal a day. The earth is my bed. These four limbs are my only companions. I wear a tattered old cloak patched together from hundreds of rags. Ah ! Ah ! Still this thirst for pleasure won's abandon me ! (Cort 1983:24) yadasid ajnanam smara-timira-samskara-janita tada drstam narimayam idam asesam jagad api. idanim asmakam patutara-vivekanjanajusam : samibhuta destis tri-bhuvanam api brahma manute?4 116 // "When I was ignorant. under the influence of passion's darkness, I saw everything in the entire world as woman. Now that I have the salve of superior discernment, my vision, restored, 25

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3TTHET-810 * 10 sees all the three worlds as nothing but brahman."26 $34 On the other side of the intensity seen here is an uncompromising expectation regarding what an ideal sensual experience should be like : agre gitam, sarasa-kavayah parsvato daksinatyah, prsthe lila-valaya-ranitam camara-grahininam / yady asty evam kuru bhava-rasasvadane lampatatvam, no cec, cetah, pravisa sahasa nirvikalpe samadhau // 183 // "A song is going on in the front. On the sides are seated southern poets, masters of literary effect. At the back are heard the jingling bracelets of the fanning maids. If it is a set-up like this, go ahead and enjoy the delights of the world ! But if not, o my mind, plunge at once into a uniform state of meditation."27 $3.5 Now, what could be the nature of the psychological association with sanagara of a man who is so clearly conscious of the two diametrically opposite forces working on his mind and who is so honest, open, articulate, and intense in speaking about them ? I think we could learn something valuable about him and his society if we catch him unawares -- while he is struglling with something so fundamental to his existence and is unaware that we are observing him not for his message but what the carriers of his message are. The process would be similar to what good researchers de in determining authorship on the basis of stylistic-statisucal considerations. In such studies, what really matter are not

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31 THEA-86 * 11 the denotative or referential words, especially the common vocabulary or the technical jargon of the field (important though they are), but the particles etc. A clever person can imitate the common vocabulary and technical jargon, but while he is busy doing that his 'slip? in terms of particles and syntax is likely to show. Now, if with this methodological detective consideration in mind, we study BH's poems, we find that the references to ornaments are surprisingly far and few in between. Also, they are restricted to mukta "pearls,' mukta jala "pearl strings', mostly 'necklaces,' divyambara or pratanu vasana 'fine garment', kundala 'earring,' kankana or lila-valaya "bracelet,' keyura 'arm ornament,'hara 'necklace,' mekhala or kanci 'girdle, waistband,' and nupura 'anklet' (stanzas 7, 21, 76, 80, 97, 117, 139, 147, 183, 326, 326, 349). Further, a preference for natural ornaments is seen (e.g., stanzas 54, 134, 349, 144, 297, indirectly also 141) as in Kalidasa. For example, in a poem reminiscent of Omar Khayyam's most well-known rubai, "Here with a loaf of bread beneath the bough, a flask of wine, a book of verse---- and thou beside me singing in the wilderness - and wilderness is paradise now." 28 BH says: malati sirasi jrmbhanonmukhi, candanam vapusi kunkumavilam / . vaksasi priyatama mudalasa, svarga esa parisista agatah //116/1 "White Jasmine about to bloom in her hair; sandal paste mixed with saffron on her body; my dearest one, languorous in her intoxicating youth,

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3TTHET-89 * 12 resting on my chest! This is nothing but heaven paying me a visit. "29 These highly selective references to ornaments, in turn, agree with the predilection the author shows for certain parts of the female body; e.g., breasts and hips, as in: vacasi bhavati sanga-tyagam uddisya vartta sruta-mukhara-mukhanam kevalam panditanam / jaghanam aruna-ratna-granthi-kanci-kalapam kuvalaya-nayananam ko vihatum samarthah //147/1 "Talk about renunciation of attachments only occurs in the speech of learned men whose mouths are eloquent with learning. Who can forake the hip, girdled with knots of rubies, of lotus-eyed women ?" (Bailey 1994:17) A well-integrated poetic personality thus emerges - one that has its definite preference points or eye-catchers, which are common and easy to notice but which imply that the living and the moving are more important than the artificial and the unresponsive. $3.6 When the preceding observation is conveyed to him a historian with an interest in material culture may conclude that the references to artificial physical ornaments are sparse and general - there are not many' specific words denoting variety in the categories of necklaces, anklets etc.-- probably because not many ornaments of the artificial physical type were known. A sholar specialising in the sociolinguistics of ancient India may conclude that the references tend to be general because Sanskrit in BH's time was a literary language not frequently employed to speak of objects of the everyday

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375FT-810 * 13 give-and-take. However, I think a conclusion of another kind is more justified in the present situation. BH makes it a point in several stanzas (nos. 41, 54, 72, 76, 90) to play down the value of physical ornamentation. This is accomplished sometimes by simply suggesting that the physical ornaments have no role to play, sometimes by contrasting a physical ornament with an abstract quality and sometimes by juxtaposing one abstract quality with another abstract quality, as the following three poems will show : vaktram candra-vidambi, pankaja-parihasa-ksame locane, varnah svarnam apakarisnur, alini-jisnuh kacayam cayah / vaksojav ibha-kumbha-vibhramaharau, gurvi nitamba-sthali vacam hari ca mardavam, yuvatisu svabhavikam - mandanam //90/1 "A face to rival the moon, eyes that make mockery of lotuses, complexion eclipsing gold's luster. thick tresses that shame the black bee, breasts like elephant's swelling temples, heavy hips, a voice enchanting and softThe adornment in maidens is natural." (Miller 1990:63)31 srotram srutenaiva, na kundalena, danena panir, na tu kankanena / vibhati kayah karuna-paranam paropakarena, na candanena //5411 "The ear of a compassionate man is graced by the scroptures, not by pendants:

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anusaMdhAna - 17 * 14 his hand by bounty, not by bracelets; his body by benevolence, not by sandal paste." (Miller 1990:51)32 aisvaryasya vibhusanam sujanata, sauryasya vak-samyamo jnanasyopasamah, samasya vinayo, vittasya patre vyayah/ akrodhas tapasah, ksama prabhavitur, dharmasya nirvyajata sarvesam api sarva-karanam idam silam param bhusanam //41// "Kindness is an ornament for power, restrained speech for valor, dispassion for wisdom, discipline for tranquility, munificence for wealth, forebearance for austerity, patience for majesty, and candor for duty but moral conduct, the cause of all, is a gem that crowns the rest." (Miller 1990:45) Also, when BH describes a situation that he obviously values in the area of sensual experiences, relatively abstract achievements of culture almost always enter the scene in a very natural way. Without poetry, music or display of sharp erudition, nothing is really enjoyable to him. In another stanza reminding us of Omar Khayyam's rubai quoted in SS3.5, he says: -------- avasah kilakimcitasya dayita parsve vilasalasa, karne kokila-kamini-kala-ravah, smero lata-mandapuh /

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TIHET-89 * 15 gosthi sat-kavibhih samam katipayair, mugdhah sitamsoh karah kesamcit sukhayanti catra hrdayam caitre vicitrah srajah //138/1 "By the side is the beloved, an abode of love's articulations, relaxing after the fun. The sweetly indistinct cooing of the cuckoo is approaching the ear. The bower of creepers is coming to life. Ralaxed talk with select masters of poetry is going on. The bright rays of the moon are hanging around, as if mesmerized. And, in such a Spring, garlands of many a sort are gladdening the hearts of the few fortunate ones. "33 Similar to the preceding in integrating culture with nature is : ramayas candra-maricayas trnavati ramya vananta-sthali ramyam sadhu-samagamagama-sukham, kavyesu rumyah kathah / . kopopahita-baspa-bindu-taralam ramyam priyaya mukham, sarvam ramyam, anityatam upagate citte na kimcit punah //193/1 "Attractive are the rays of the moon. Attractive is the grassy ground in the woods. Attractive is the pleasure of good company. Attractive are the stories told in poetry. Attractive is the beloved's face

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anusaMdhAna - 17* 16 with its shimmering of tears of anger. Yes, everything is attractive. But once the mind has sensed impermanence, nothing, nothing is the same. Further, it is noteworthy that in the rare instances in which BH refers to physical ornaments the ornament itself never acts as his direct stimulant.35 It is either the body parts (stanza 97, 102, 119, 131, 146) or the glance which functions in this capacity (stanza nos. 79, 80, 92, 262, 282).36 Now, glance in such contexts implies convention, the ability to grasp much on the basis of a momentary movement of a small part of the body in short, unarticulated but subtle and cultured communication. That is the level at which the attractive things of the world ensnare our poet : smitena bhavena ca lajjaya dhiya paran-mukhair ardha-kataksa-viksitaih / vacobhir irsya-kalahena lilaya, samasta-bhavaih khalu bandhanam striyah //79/1 "With smiles, affection, modesty, and art; hostile looks and ardent glances; eloquence, jealous quarrels, and play37 with all her emotions woman enchains us." (Miller 1990:59) 34 bhru-caturyakuncitaksah kataksah Snigdha vaco lajjitantas ca hasah / lila-mandam prasthitam ca sthitam ca strinam etad bhusanam cayudham ca //92// "Side glances with eyes curved by the dexterity of brows, affectionate words, laughs ending in coyness, playful languor, whether moving or still

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37THET-89 * 17 this is both ornament and weapon of woman."38 Obviously, BH presupposes a society in which the language of the eyes is pretty and is pretty well-developed. Thus, I do not think that one can simply opt for a materialistic or sociolinguistic explanation and put aside the possibility of a philosophy of high culture or aesthetics. On the contrary, the way the poet presupposes the participation of his readers in the individual instances or examples of his way of looking at things leaves no doubt that such aesthetics was not just ideosyncretic or personal. It must have been a dominant way of thinking in the circles in which he was brought up and moved." $3.7 There is another aspect of ornamentation in the Satakatraya that belongs to a different sphere and could even be considered paradoxical or contrary. While the author is grappling with very fundamental problems of human existence and is forthright and original, his stanzas frequently come out like well-chiselled idols.40 If a statement approaching the force of a slogan or a manifesto is to be made, the metres chosen remind us of cascades, as in matsaryam utsarya vicarya karyam aryah samaryadam idam vadantu / . sevya nitambah kimu bhudharanam uta smara-smera-vilasininam //84/1 "Cut off all envy, examine the matter, tell us decisively, you noble men. which we ought to attend upon: the sloping sides of wilderness mountains or the buttocks of women abounding in passin?" (Miller 1967:65 = Miller 1990:61)"

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BITHENT-810 * 18 Compare with this the leisurely and sonorous movement of : urasi nipatitanam srasta-dhammilakanam mukulita-nayananam kimcid-unmilitanam / upari-surata-kheda-svinna-ganda-sthalinam adhara-madhu vadhunam bhagyavantah pibanti //123/1 "She is lying on the chest. The braid of her hair has come loose. Her eyes are buds, half-closed half-open. She has relaxed, just a little. Her young cheeks are wet with the sweat brought by the fatigue of making love like a man. The honey of the lips of such a woman, only the blessed ones get to drink. ""42 As the same stanzas illustrate, alliteration and symmetrical phrasing are also found. Rarely indeed does a meaning unit step beyond a pada unit or a cesura. The effect created is frequently that of a highly proportionate Ardha-narisvara statue. Does this not introduce artificiality in the composition and indicate that the poet is not as spontaneous as we would expect him to be if we wish admire his honesty of sentiment and forthrightness of expression ? Besides, are there not stanzas in the Sataka-traya that appear to be the poet's experiments with the same theme (e.g, compare no. 79 with nos. 89, 92, 93)?. Due weight must be attached to these questions. However, we should also bear in mind that what seems artificial or forced to one person can be very easy and natural to another. Most of the alliteration and symmetry in the Sataka-traya

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37THETF-869 * 19 is morphology-based (cf. stanza nos. 210, 236, 264, 324, etc.). If the author was a grammarian who spent years and years exploring relationships between forms, he could easily utilize his knowledge to create the features we have identified - as if no deliberate effort was involved. In fact, he does not even have to be a grammarian. The pre-modern Indian educational system usually gave such a strong foundation in grammar even to those who later specialized in fields other than grammar that toying with the morphology of the language became their second nature. Furthermore, we should entertain the possibility that BH might not have edited his compositions to ensure that they contained no repetition or that only the best of stanzas with similar content were retained. This is especially likely to be the case if worldly recognition carried little value for him. He could have composed spontaneously on his favourite themes at different places and just left the compositions for posterity to collect and edit if it wished to do so. Thirdly, exploring the possibilities of language could have been some kind of Yoga for him. Just as a superior Brahmin did not perform the Agni-hotra simply to ensure safe passage for the Sun43 but also as a mental discipline for himself - to cultivate restraint and patience (to keep his blood-pressure down, if you will) or to nourish the spirit of karma-yoga in him, our poet might have worked steadily at thought, language, metres etc. to develop his concentration and to practice a silpa-yoga in the relatively ethereal medium of language. Foot-notes 1. Even a non-specialist of the field huis telt this to be a feature of the poems of BH. Wm. Theodore de Bary. in his Foreword to Miller 1967, writed : "The poetry attributed to Bhartrihari does so conceive of [the Indian people that is, as very worldly and very worldrenouncing), but reveals also the conflict they experience between

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anusaMdhAna - 17*20 a profound attraction to sensual beauty and the yearning for liberation from it. In a classic style and refined language, Bhartrihari shows how creative the tension between these opposing lives could be. And not in these lives alone for they help us to understand how most great Indian art could be at once so sensuous and so spiritual." Cf. also Kosambi 1948 Editor's Preface: "Bhartr-hari's poetry..." Miller 1967:xvi:"...a tone of irony, skepticism, and discontent..." 2.The implicit reference here is to works such as srngara vairagyatarangini. At least two compositions go by this name: (a) Somaprabhacarya's, printed in Kavya-mala, gucchaka 5, pp. 142-165, with Sukha-bodhika vrtti, Bombay: Nirnaya-sagara Press, 1888. (b) Divakaramuni's, published by Abhaya-candra Bhagavana-dasa, probably in Ahmedabad, and distributed by Sri-Yaso-vijaya-Jaina-gratha-mala Office, Khara-geta [=Khargate], Bhava-nagara, Kathiyavada, 1916. 3.I do not know if such a poem actually exists, but I am sure the Sanskrit poets were capable of writing one, given the success they have registered in narrating two of more stories simultaneously with the same sequence of syllables. If paranomasia could enable them to cover the stories of the Ramayana and the Mahabharata with a common phonetic continum in compositions like the Raghava-pandaviya, I do not see why, if they put their mind to it, they could not write texts that served as a locus for both the ecotic and the ascetic content. 4. Alternative spellings: Gorakha-natha, Gorakh-nath. 5. The stories alluded to here can be found in Gopinath 1896:4-8, 1923, 43-39; Kosambi 1948: Introduction pp. 79-80, Cort 1983:7-9, Miller 1967:xvi-xvii and Miller 1990:3. It should, however, be noted that in providing these references I am confining myself to the publications referred to elsewhere in this article. The actual body of literature collecting BH stories and discussing them is much larger. 6. Older spelling: I-tsing. 7. In my experience, loss of writing strokes occurs much more commonly in manuscripts than the addition of strokes. Both "hari" and "hara" being very common words, a scribe can easily write one under the influence of the other. Seeing a predilection toward Hara in the Satakatraya stanzas (1, 317, 325, 338, 339, 344, 347 etc.), a scribe could have changed "hari" to "hara", but a similar explanation cannot be given for the attestation of "hari". 8. (a) This article is not the occasion to enter into a full discussion of BH as a historical personality or of the identity of the various BHs that our

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anusaMdhAna - 17*21 sources present to us. I have referred to only a few philological details and concentrated on those considerations which are ligically closer to the observations I make below. An allied discussion is available in Miller 1990:23 24. (b) I am not claiming that conclusive proofs are available for the position for which I have indicated preference. My intention is only to point out that possibility which seems stronger. (c) When Kosambi (1948: Introduction p. 79) expressed the following view he was obviously thinking on a background of research which has since become outdated: "There is nothing common to the two [namely, BH associated with the Sataka-traya and BH, the author of the Vakyapadiya] except the name, and as the Vakyapadiya is the last work in the great tradition of classical Sanskrit grammar, the solecisms we have noted earlier would seem to exclude the possibility of identification.... that Bhartr-hari [=The Vakyapadiya author], on reading 1-tsing closely, is seen to be an ardent Buddhist... but there is nothing in our collection [=Sataka-trayadi] that could be traced to such an author." Kosambi was apparently not aware that Kunhan Raja had pointed out in 1936 that the year of BH's death mentioned by I-ching cannot be correct. Most of the research locating the grammarian BH in western India is a product of the last three decades. Kosambi cannot be expected to have known it. Since Kosambi's own research indicates (a) that BH did not put together any collection of stanzas that later led to the formation of the Sataka-traya and (b) that the relevant stanzas were later collected under the belief that they were BH's, the solecisms noticed in a couple of stanzas cannot, with certainty, be attributed specifically to BH. They can be attributed to the earliest reconstructible form of the collection but that form itself not in its entirety attributable to a single author well-versed in grammar. As for Kosambi's last point, hardly any scholar accepts I-ching's description of BH as a Buddhist in a literal sense. All that I-ching's statement really proves is that by his time BH had become a legend and the Buddhists too claimed him as one of their own. 9. Kosambi (1948: Introduction pp. 80-81) determines the tone that gives the stanzas their unity in a very different way: the discontent of a Brahmin who could not get to live a materially comfortable life despite his learning and mastery of Sanskrit. In my view, such a determination is based on the fallacy of taking recurrence of themes as a reflection of the true state of affairs in the author's personal life. In the present case it is all the more fallacious to depend on the frequency of voicing of

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3TTHET4-869 * 22 discontent to derive very specific inferences about the author's personal life. If a certain type of stanza came to be attracted to the collection from a very distant past and if this process had gone on for several centuries as Kosambi himself has rightly concluded, the unity we feel in the collection must be of a deeper and general kind. It must be a philosophical or temperamental unity, not one arising out of a specific personal circumstances of a single individual. In identifying the unifying element of the collection Kosambi, an impressively versatile and imaginative practitioner of textual criticism, has allowed his own social and political philosophy to read what the available evidence does not warrant. 10.I am as yet not convinced that Asva-ghosa wrote before Kalidasa, that the surviving versions of Svapna-vasava-datta and Pratijna-yaugandharayana come from a period extending beyond Kalidasa or that the other plays attributed to Bhasa were in fact composed by the predecessor carrying that name who is mentioned by Kalidasa in his Malavikagni-mitra. 11.Miller (1967:xxvi, 1990:7, 12-13) and Bailey (1994:2, 1996:203) seem to assume that all the poetic images, conventions and techniques witnessed in BH's poetry were inherited. I do not think we should rule out the other possibility that BH made some original contributions in all these areas and thus influenced the course of Sanskrit poetry in the following centuries. We need to entertain such a possibility especially in view of the likelihood that the earliest poems assignable to BH may predate Kalidasa's Sakuntala and the earliest reconstructible version of the Panca-tantra (Kosambi 1948: Introduction p.78). 12. Takakusu's (1896:179-180) translation : "Having desired to embrace (emphasis in the origina] the excellent Law he bacame a homeless priest, but overcome by worldly desires he returned again to the laity. In the same manner he became seven times a priest, and seven times returned to the laity. Unless one believes well in the truth of cause and effect, one cannot act strenuously like him. He wrote the following verses full of self-approach: Through the enticement of the world I returned to the laity. Being free from secular pleasures again I wear the priestly cloak. How do these two impulses Play with me as if a child ? ... Once when a priest in the monastery, being harassed by worldly desires, he was disposed to return to the laity. He remained, however, firm and asked a student to get a carriage outside the monastery. On being

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anusaMdhAna - 17*23 asked the cause, he replied: 'It is the place where one performs meritorious actions, and it is designed for the dwelling of those who keep the moral precepts (sila). Now passion already predominates within me, and I am incapable of adhering to the excellent Law. Such a man as myself should not intrude into an assembly of priests come here from every quarter.' Then he returned to the position of a lay devotee (Upasaka), and wearing a white garment continued to exalt and promote the true religion, being still in the monastery." 13. Noteworthy in this context are the verses appearing at the end of the Vakyapadiya, the second book of the Trikandi: Prajna vivekam labhate bhinnair agama-darsanaih/ kiyad va sakyam unnetum svatarkam anudhavata // tat tad utpreksamananam puranar agamair vina / anupasita-vrddhanam vidya natiprasidati // "One's intellect acquires discernment through the diverse views found in the inherited branches of knowledge. (After all) how much can one figure out if one follows (only) one's own reasoning! The knowledge of those who conceive of this or that without (recourse to) the inherited branches of knowledge that have come down from antiquity and who do not sit neat the elders (to learn) does not gain much perspicuity." The verses might have been composed by BH or by a student of his. In either case, the thoughts expressed in them are borne out by the Trikandi and can be accepted as a statement of BH's philosophy of life. 14. This statement should be confused with statements like the following which are sometimes made in speaking of BH, the poet: (a) The Niti, Srngara and Vairagya collections of stanzas reflect, in that order, the stages through which BH's own life passed. (b) Although BH speaks of worldly wisdom and amorous life, the message he really wishes to convey as something he learned from life is that of renunciation. Of course, (a) amounts to simplistic historiography. Kosambi's textcritical work precludes it, as well as (b). It was not BH himself who collected the stanzas known as Sataka-traya in the form of three groups. The Vairagya-sataka constitutes the textually least stable group of stanzas. Furthermore, the stanzas cited in this essay will bear out that the attraction to the sensuous infiltrates even many of the renunciation stanzas. 15. It should be noted that Kosambi (1948:Introducton pp.1,66,78-79) does not view these stanzas as definitely inauthentic. His textual investigation leads him to label these stanzas as samsayita, not as praksipta

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anusaMdhAna - 17* 24 16. Cf. Miller 1967:xvii: "Compelled by his strong sense of personal irony, Bhartihari sees man's paradixical position in a transient, seductive world." This is changed to read as follows in Miller 1990:4: "Compelled by a strong sense of personal irony, Bhartrihari sees man's position as paradoxical in a transient, seductive world." Miller (1967:xviiixxiv) provides further details which support the reading of BH as an author caught in a dilemma. Particularly to be noted is the need she feels to employ the following phrases: "lurking attachment... as well as a revulsion," "undercurrent of turmoil," "painful, perplexing position," "confusion, longing, pain," "enigma which defies... solution,' "inescapable bondage and suffering," "Bhartihari's unrest," "He feels the distressing necessity... But he is weak "In tems of Bhartihari's collected verses man's life is an intricate web of conflicting moments and attractions," "he cannot understand the real meaning of time and his own absurd position in existence. Bhartrihari shows a keen awareness for the paradox involved in enjoining a deluded man to abandon the world of his delusion," "Bhartrihari does not simply vacillate between worldly indulgence and asceticism; his confusion is more profound..." and "His ironic sense that none of life's possibilities are what they seem to be..." Cf. further Miller 1990:3-4, 14-19, in particular, the remark: "The poet cannot choose between asceticism and worldly indulgence because he finds them equally attractive, and equally deficient." Also, Bailey 1994:1, 15: *...an irrestible pessimism about the human condition. ... Bhartr-hari wrestled with his own incapacity realistically to influence the fragility he perceived as the defining characteristic of existence. ... Bhartr-hari uses also [-all] sorts of devices to fracture any kind of absolute vision of received truth which might have been regarded as axiomatic and not in need of defence. ...radical undermining of the available options..." 46 17. In the following pages, I will utilize existing readable translations if they do not obscure the main idea of a stanza, although they may occasionally not do full justice to the syntax of the original. The objective of this essay does not depend on a literal understanding of the poems. Citing of other's translations will give some idea, incidentally, of the variety of strategies one can employ to make old poetry easily accessible to the contemporary reader. 18. In Miller 1967:65, the second and fourth lines of the translation read: "Two worlds alone are worth a man's devotion" and "And full of fresh wine's heady ardor for sport." Actually, the mada mentioned here may not have anything to do with wine. As in stanza 116 quoted ... wr 99

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anusaMdhAna - 17*25 in SS3.5, it may refer to the sense 'I am someone special; I can attract this man if I wish' felt to exist in young women. Miller (1967:87 = 1990:72) introduces it with the word "seduction" in her translation of 116. 19. In addition to the select examples given here, there are stanzas in which the dilemma finds a somewhat indirect expression; e.g. in stanzas 147 and 183 quoted in SS3.5 and SS3.4, respectively. 20. The pronoun vayam here may also be rendered in the plural. 21. What the idiom tapas tap makes possible in Sanskrit ('build up ascetic heat by refraining from objects of comfort, to accumulate spiritual energy by staying away from sensual pleasures') seems impossible to render in English in such a literal or semi-literal way that the contrast with the following use of tap ('be heated, be subjected to suffering') can be brought out. Hence, I have offred a translation concentrating on what tapas, the austerities, are supposed to accomplish, namely the eradication of the ordinary worldly pleasure-seeking self. 22. This probably means 'I did not win the immortality or victory over death that I was seeking. I had to give up the effort.' The latter half could also be speaking of impending death with a past tense in view of the certainty of death: 'Consider it certain that I will go away. I am as good as dead." 23. Miller's (1967:113 1990:85) translation puzzles me. It runs thus: "We savored no pleasure, so we are consumed. We practiced no penance, so we are afflicted. We did not elude time, so we are pursued. We did not wither craving, so we are the wizened." Gopinath (1896:228) is much closer to the original in syntax, as well as in bringing out the intended contrasts, but his is not a readiable translation. Somewhere between my rendering and Miller's rendering falls the following translation by Cort (1983:21): "Thinking I enjoyed the pleasures of life, I myself was enjoyed by life. Thinking I didn't need to burn off my sins, I myself was burnt up. Thinking that I passed the time,

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37THETTA-949 * 26 I myself was passing on. Greed didn't grow old and leave my body, I myself grew old." 24. Kosambi reads tanute at this point. However, he also indicates that the objective support for the reading is not as in the case of the other words to the stanza and that manute can also lay a claim for being the authentic reading. An idiom of the form drstih tri-bhuvanam brahma tanute seems less than probable in Sanskrit. Furthermore, in most Indian scripts ta is more likely to result from ma (through some parts of the written syllable becoming faint) than the other way round." 25. I am not certain about the sense of sami-bhuta intended by the poet. Normally, an anjana cures the eyes or makes them stronger (for the latter, recall references in literature to ointments that enable a hero etc. to see in the dark or to see a hidden treasure.) In view of these associations and the context, sami-bhuta should mean 'one which has come to its normal state' or, much less likely, 'one which has become equal to the task to be performed -- to the challenge to be faced.' 26. The readable translations by Ingalls (1965:423), Miller (1967:7, 1990:31) and Bailey (1996:203) have helped me in my choice of words, but I found them all to be unnecessarily diffusing the dramatic contrast in the original. 27 (a) The translatins by Ingalls (1965:421-422), Miller (1967:135, 1990:96) and cort (1983:36) deviate too much from the original. (b) Kosambi's (1948: introducton p. 81) comment on the stanza ("No king who had renounced would have advised his soul to renounce if it could not taste the pleasures of royalty.") misses the point. 28. Translation as in Fitzgerald 1859 (first edition), rubai 11. 29. I have taken some help from Miller (1967:87 = 1990:72) in offering this translation. I had to set aside her translation because she misconstrues the original here to an extent that cannot be overlooked. 30. Alos, partially or indirectly in stanzas 27 (manina bhusitah sarpah kim asau na bhayamkarah "Does a serpent cease to be dangerous because it has a diadem hood ?"), 37 (sva-mahima yady asti kim mandanaih "If one has a majestic personality, what need is there of embellishments ?"), and 68 (vibhusanam maunam apanditanam "Refraining from speech is the ornament of fools"). 31. (a) Miller 1967:69 has "swelling bosses" instead of "swelling temples." In other respects her earlier translation is identical with the one reproduced

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TTFT-860 * 27 here. (b) Baile: 1996:208-209 offers a translation that is very similar to Miller's, except for "breasts which remove fascination with the elephant's bosses." 32. Miller 1967:45 has "Is graced by the Vedas" as the second line. Like some other translators of Sanskrit texts, she has connected sruta with sruti. However, sruta is quite commonly secular learning. Unless the context indicates a clear association with religious or canonical learning, it need not be translated so restrictively as she has. A simple translation like 'knowledge, erudition' would have been more appropriate in the present context. 33. In this stanza, one needs to understand kesamcit in the last quarter as kesamcid eva 'only of some,' which then implies that only a few lucky ones -- only those who have sufficient good karma to their credit - get to enjoy the varied garlands (or perhaps the Spring nights of the described kind); cf. Ramarsi p. 73: kesamcit punyavatam. Dhara-sara-ganin p. 73: bhagyavatam pumsam. Thus, Miller (1967:101, 1990:79), whose translation I could not use here, should not have opted for a translation employing the singulars "he" and "anyone". A precious explanation of the rare word kilakimcita is preserved in the commentaries of Dhana-sara-ganin (p. 73 kilakimcitasya suratasabda-visesasya) and Ramarsi (p. 73, smita-rudita-muditanam saskarah kilakimcitam ucyute. kilakimcitasya vilasa-visesasya). Miller rightly corrects her 1967 translation, "A lover's bed beside his mistress," to "Beside him his mistress embodying love" in 1990, but while the latter translation can be thought if as agreeing in spirit with the explanations of Dhana-sara and Ramarsi, it does not have the specificity of those explanations. She also passes over the word katipayaih ("some, a few, select') which is significant as an adjective suggesting insistence on maintaining high standards. Alos, Miller's rendering 'stray? of mugdhah would be difficult to justify, both in terms of what mugdhu usually means, as well as the context. One expects the poet to speak of a prominent presence of moonlight, given his intention to create an enchanting scene 34. I found the blunt contrast in the original muffled in the translations of Miller (1967:141 = 1990:99) and Cort (1983:41). 35. It is possible that my use of "never" may be challanged on the basis of an instance or two in the large corpus of stanzas Kosambi has collected. I have read through the probably authentic 200 stanzas and the possibly authentic 152 stanzas as carefully as I could to

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3TLHET1-89 * 28 find out if any of them mention an ornament as a thing stimulating the poet directly. 36. The almost exclusive engagement with the beauty of eyes in stanzas 100 (vamaksi, bhru-lata), 280 (msgaksi), 287 (kuvalaya-drs), 336 (vamanayana) and 341(atrasta-kuranga-sava-nayana) should also be noted in this context. 37. The only difference in Miller 1967:61 is at this point and it is minor. Her translation there reads "and sport." 38. I have adopted the following translation by Bailey (1996:206) with changes necessitated by the grammar of the original: "Eyes curved by her dextrous brows, side glances, affectionate words, laughs ending in coyness, playfully languorous whether moving or still. This is both ornament and weapon of woman." 39. This naturally makes me wonder about what India of our times has done to herself with a rather vulgar interest in ostentatious jewellry seen even is the educated middle class and with the rejection of natural ornaments such as flowers in many parts of north India. How did the transformation come about if indeed there was a transformation on a large scale ? 40. Cf. Miller 1967:XXV-xxix, 1990: 12-13, particularly the remark in the former essay: "... the sententious, reflective epigrams (of Bhartrihari] are not folksy bits of wisdom in verse form. They too are dominated by strict aesthetic controls and a self-conscious idea of art." Bailey (1994:15-25, 1996:202-218) offers several sensitive and insightful analyses of the art present in BH's poems, occasional overreading apart. 41. Miller happily exploits the ambiguity of "attend upon" to connect the items connected in the original with nitamba. Cort (1983:19) provides a pun similar to that of nitamba but translates the rest more freely (albeit appropriately): "Dispel my doubts, pandit. Which is better? Which is proper? Should I frequent the flanks of a far mountain or the flanks of a woman smiling in the embrace of passion?'' 42. I find Miller's (1967:91 = 1990:74) translation of this stanza a little too free.

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anusaMdhAna - 17* 29 43. According to more than one Vedist, such was the thinking behind the performance of the Agnihotra in the earliest period to which our extant sources can take us. It could be an adequate if not the whole explanation for the specified period. For the later periods, however, it will be only partially true and superficial. BIBLIOGRAPHY Bailey, Gregory M. 1994. Bhartr-hari's critique of culture. Bundoora, Victoria, Asutalia: La Trobe University, School of Asian Studies. La Trobe Asian Studies Papers Research Series no.2. Bailey, Gregory M. 1996. "Bhartr-hari's manipulation of the feminine." Indo-Iranian Journal 39:201-221. Bhartr-hari. (a) Bhartr-hari's Sataka-tryayam. Ed., tr. Gopinath, P. First edition 1896. Revised edition [actually a reprint only, as far as I could ascertain] by Naga-sarana Simha. Delhi: Nag Publishers. Bhartr-hari. (b) The Niti and Vairagya Satakas of Bhartr-hari. Ed. with a commentary in Sanskrit, an English translation and Notes by M.R. Kale. Year of the first edition not known. Second edition in 1902, third in 1910, fourth in 1918. What I have used is a reprint of 1971 (Delhi etc.: Motilal Banarsidass), made photographically, probably of the seventh edition. Bhartr-hari. (c) Mahakavi-Bhatr-hari-viracita Satakatrayadi-subhasita-samgraha. The Epigrams Attributed to Bhartr-hari Including the Three Centuries. Ed. D.D. Kosambi. Bombay: Bharatiya Vidya Bhavan. 1948. Singhi Jain Series 23. Bhartr-hari. (d) Bhartr-hari's Satakatrayam ... with the Oldest Commentary of Jain Scholar Dhanasara-gani. Ed. Kosambi, D.D. 1959. Bombay. Singhi Jain Series no. 29. ... Bhartr-hari. (e) Sri-Ramarsi-pranita-vivrti-namaka-tikopetam sri-Bhartr-hari-pranitam sataka-trayam. Eds. Krsna-murti-sastri, Rama-krsna: Kosambi, Damodara Dharmananda. Pune:

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anusaMdhAna - 17 * 30 Anandasrama. 1977. Anandasrama-samskrta-granthavali 127. Cort, John (tr.). 1983. An Old Tree Living by the River: Poems of Bhartr-hari Translated from Sanskrit. Calcutta: Writers Workshop. Dhana-sara-ganin: see "Bhartr-hari." Fitzgerald, Edward. 1859, first edn. Rubaiyat of Omay Khayyam. Glasgow and London: Collins. New edition 1947. Latest revised edition known to me 1954. Latest reprint known to me 1974. Khorasan edition rendered into English verse by Fitzgerald. His rendering edited by George F. Maine. Illustrated by Robert Stewart Sherriffs. Gopinath: see "Bhartr-hari." I-ching: see "I-tsing." I-tsing. A Record of the Buddhist Religion as practised in India and the Malay Archipelago (A. D. 671-695). (tr.) Takakusu, J. 1896. London: Clarendon Press. Reprint 1966. Delhi: Munshiram Manoharlal. Contains a letter from the Right Hon. Professor F. Max Muller that overviews and supplements the information gleaned from Takakusu's translation. Ingalls, Daniel H.H. (tr.) 1965. An Anthology of Sanskrit Poetry. Vidyakara's Subhasita-ratna-kosa. Cambridge, Mazssachusetts: Harvard University Press. Harvard Oriental Series 44. Jina-vijaya, Muni. 1959: "kincit prastavika" [=preface] to Kosambi 1959, pp. 3-10. See "Bhartr-hari." Kale, M.R. 1971 reprint: see "Bhartr-hari." Kosambi, D.D. 1948: see "Bhartr-hari." Kosambi, D.D. 1959: see 'Bhartr-hari." Kunhan Raja. c. 1936. "I-tsing and Bhartr-hari's Vakyapadiya." Dr. S. Krishnaswami Aiyangar Commemoration Volume, pp. 285-298. Madras.

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31THENT7-89* 31 Miller, Barbara Stoler (tr.) 1990. Bhartrihari and Bilhana. The Hermit and the Love Thief. Penguin Classics. Penguin Books. First published as The Hermit and the Love Thief: Sanskrit poems of Bhartrihari and Bilhana by Columbia University Press, 1978. Miller, Barbara Stoler (tr.). 1967. Bhartrihari: Poems. New York and London: Columbia University Press. Ramarsi: see "Bhartr-hari." Takakusu: see "I-tsing."

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Alliteration of the Word-initial consonant in Modern Gujarati Compounds - H. C. Bhayani Like other NIA. languages, in Gujarati also alliteration, rhyme, jingle-formation, sound-symbolism, syllable rhythm and onomatopoeia play quite a significant role in the formation of compounds and phrases. Here I would like to draw attention to those compounds which have alliteration of the initial consonant of their constituents. Gujarati has a large class of dvandva ('copulative') compounds'. The compounds described here form its sub-class. Besides the dvandva compounds that can be dissolved with ane ('and') or ke (or') (i.g. nAnumoTuM-nAnuM ane moTuM, or alternatively nAnuM ke moTuM), there is a large class of these compounds which can not be so dissolved. They have got certain notable characteristics. Formally, many of them are marked by various types of rhyhms. Many are reduplicative with vowel-variation of the initial syllable of their first meaningful contituent or are echoic/jingle formations based on the second, meaningful constituent. Secondly many of them are such that the order of their constituents cannot be reversed. They are irreversible binominals. The order of the two constituents is determined either by their syllabic structure or by the importance of their individual meanings from socio-cultural view-point in the discourse situation. - As to the meaning, there is a large clan of synonymous compounds, the meaning of many of these compounds is not just the same of the individual meaning of the constituents, but denote 'these and similar things of actions', 'these and so on and so forth', 'these etc'.

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anusaMdhAna-17* 33 In numerous cases the meaning of one or both of the constituents is obscure. Besides the alliterative compounds, there are numerous phrases or word-groups which have the alliteration of the initial consonant of their constituents. i.g. kamara kasavI, karamanI kaThaNAI, kaMjUsano kAko, kALAM karama, kALo kera, khamI khAvaM, core ne cauTe, juvAna jodha, jUno jogI, DhaLakatI Dhela, tIkhu. tamatamatuM, navo nizALiyo, pArakI paMcAta, phajetIno phALako, boDIbAmaNInu khetara, bhagarI bheMsa, mUMDu bhUkha, matharAvaTI melI, mIThu madha, moM mIThaM karavU, rAmanA rakhopA-rakhavALAM, rAtuM rANa, rAvaLe rAva, rAMka- ratana, rojanI rAmAyaNa. . These are only a few instances from a large class, which requires a separate treatment. The following list of instances is illustrative. With some effort it can be considerably extended. The meaning equivallents given are approximate. As to the sources, some words are loans from Urdu or Hindi. Some are from Sanskrit. Some are from literary discource. Some are dialectal. In the case of a compound which is used now in its secondary or metaphorical meaning, the literal meanings also of the constituents is given where necessary. Where the meaning of one or both of the constituents is obscure, the meaning of the compound only is given. aDI-opaTI difficulty and calamity ADu-avaLu crosswise and reverse, topry-turby karavU-kAravayU~ to done, to get done etc. kalama-kitAba pen and book kAcuM-koruM uncooked and dry kATa-kasara cuts and commission kATha-kavADa wood and timber

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anusaMdhAna-17. 34 kA[-kUbaDu kAthA-kUTa pounding one-eyed or hunch-back useless labour (lit. catechu) . mud etc. quarrling like mainas work etc. kAdava-kIcaDa kAbara-kalaha kAma-kAja family etc. kuTuMba-kabIlo kola-karAra khaNa-khoda khasa-khUjalI khAnA-kharAbI khAru-khATuM khAMDa-khIra khUna-khAra khoDa-khAMpaNa gaNyu-gAMThyu promise and agreement digging and so-forth ringworm and itch utter ruin salty and sour sugar and milk blood-spilling blemish or blot so few as can be easily counted (lit. countable as knots on a string) abusing common chat of the town (going) to one or another village village or land a nosegary of rose dirty like cowdung terrific due to clouds gALI-galoca gAma-gapAya gAma-gAmataruM (kara) gAma-garAsa gulAba-goTo govara-gaMdu ghanaghora

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cADI-cugalI cAla-calagata cena-cALA chAkama-choLa chAnu-chaparnu chAla-chotarAM chokarAM-chaiyAM jara-jhaverAta jAI jorAvara jANI-joIne anusaMdhAna-17. 35 back-biting etc. movement, conduct etc. signs and gestures in huge quantity, unbounded such that there are splashes upon splashes hidden or concealed skin and chips children, issues money and jewellary fat and strong knowingly (lit. having known and seen) worms, insects etc. life verbal duspute (lit. joining of tongues') young and strong like a soldier force and tyrrany rhyhms and alliteration to dust and strike with a cloth jIva-jaMtu jIva-jAta jIbhA-joDI juvAnajodha jora-julama jhaDa-jhamaka jhaDavU-jhApaTa, jhAkama-jhoLa jhADI-jhAMkharAM jhADa-jhUDa thicket and thorny shrubs to dust and strike

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anusaMdhAna-17* 36 jhAMkharAM-jharaDAM TADha-taDako TAMgA-ToLI or TIMgA-ToLI ToLa-TappA ThAma-ThIkarAM ThAma-ThekAj ThoMTha-thApalI DALya-DAMkhaLAM DosA-DagarA DhaMga-dhaDo DhAMko-DhUMbo Dhora-DhAMkhara taLyuM-tAvyu tANI-tUsIne tAbaDatoba tithi-tahevAra 'tI-tUruM thira-thAvara dama-dATI dariyAva-dila thorny shrubs and dried up branches cold and sun lifting by two or four persons of somebody by taking hold of his legs and hands and carry him joking and chating utensils of metal or earthern ones place or address slap or smack branches and trigs aged, dicrepit persons manner and/or balance to cover with a lid cattle and such like fried and baked pulling strongly swiftly holiday and festive day pungent or astrigent firm and stable threat of liberal heart (lit. having sealike heart)

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davA-dAru dahI-dUdha duHkha-darda deza-dAjha deza-dezAvara dora - damAma dhaNI-dhorI dharamanI dhajA dharamano dhorI dharama- dhakko dhaMdho-dhApo dhAbaDa - dhIM - dhUmathI dhAma dhIra-dhAra dhUma-dhaDAkA dhULa- dhANI dhoyuM-dhakoyuM nAma - nizAna paga- pesAro paDya pAtharyaM palaMga - poza -pIMDI pATha-pUjA pATA anusaMdhAna - 17*37 medicine ourds and milk grief and pain patriotic feeling various countries show of rule and power owner and/or master banner of religion highly religious fruitless visit ( dharama = dharamano charitable or with no return) business and such like fat and hefty with fanfare and flourish lending loud reports/explosions utter ruin washed and clean vigorously name and mark entering by pushing in the feet staying or remaining habitualy mattress cover bandage recitation of a religious text and worship

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pANI-paMtho (ghor3o) pANI-pocu pAlaNa-poSaNa pALaq-poSa pAMca-paMdara pAMca-pacIza putra-parivAra peTa-pUjA anusaMdhAna-17. 38 (a horse) running on the road like flowing water soft due to excessive water (in "cooking) protecting and nourishing to protect and nourish five or fifteen five or twenty-five sons and family filling the belly i.e. eating (lit. paying worship to the belly) small and large boxes fruits and flowers tear and break to put on flowers and fruits whirling round and round visiting now and then underling (lit. like the young of a bird that can be kept under one's armpit) talking frankly one-eyed or stammering-speaking indistinctly peTI-paTArA phaLa-phUla phATa-phUTa phUlaq-phAlavU phera-phUdaraDI phero-phAMTo bagala-bacco baTaka-boluM bADu-bobaDu

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bArI-bAraNAM bAla-baccAM bUma-barADA bhaluM - bholuM bhAI - bhAMDu bhAI - bhojAI bhADabhUMjo bhAI- bhaththuM bhUla-bhulAmaNI bhUMDA - bhaccA magaramaccha maNimotI manamAnItuM marI - masAlo mAna- marajAdA mAna-martabo mAmaNa- mUMDo mAmA - mAzInAM mAyA-mamatA mAyA-mahobata anusaMdhAna - 17* 39 windows and doors children shouting and uproars good and simple brothers and sisters-children of 4 the same parents brother and brother's wife baker using a stove dug in the ground allowance for travelling, boarding and lodging vulgar words crocodile gem and pearl favourite pipper and spices related as mother's brother's or mother's sister's children love and sense of being one's own love and affction

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mAla-matA mAla- malIdo mAla- milakata mAMsa-macchI maThu- maracuM moja-majA moM- mAdhuM rAkha-rakhAvaTa rAjaramata rAjA-rANI rIDiyA - ramaNa rIta-rivAja rUpa-raMga lakha - lUTa (kharca) lUluM-laMgaDuM vaga- vasIlo vana-vagaDo varata - varatolA vahero - vaMco vaheMcaj - vATavaM vA-vaMToLa vA- vAjhoDu anusaMdhAna - 17 * 40 movable and immovable property rich sweets goods and property meat and fish salt and chili merrymaking and enjoying face/mouth and head preservation and care-taking royal game kind and queen loud shouting and uproar custom form and colour spending profusely (lit. so as lacs are looted) lame and limping forest and wilderness religious yowes difference observances and to distribute gusty and circular wind gale and hurricane

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anusaMdhAna-17.41 vAMka-vaLoTa vAMdho-vacako vepAra-vaNaja vera-vikhera vyAja-vaTAva samuM-sAjUM samuM-sUtarUM sAja-zaNagAra sAna-sUjha sAra-saMbhALa sAMcavyu-saMgharyu sukha-sagavaDa hAla-havAla curvature and bent objection or disagreement trade and commerce scattered and dispursed interest and commission in good shape and health straight and easy adornment and ornament understanding and insight caring and serving stored and preserved happiness and comfort sorry state References * P. R. Teraiya : gujarAtI bhASAnA dvirukta prayogo (1970) and the bibliography given in it. * H. C. Bhayani : gujarAtI bhASAnA itihAsanI keTalIka samasyAo (1976) and the references given in it on p. 31. * The present paper is a revised, expanded version of a few sections of the first chapter (pp. 1-32). entitled 'on the structure of Gujarati Words (with Respect to the Description and Origin of Their Echoic, Jingling, Sound-symbolic and Rhythmic Aspects)

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31789-89.42 Notes 1. For their description see Bhayani, p. 2-4. For a systematic classification see Ibid, the table following p. 16. 2. See Teraiya's book.

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Some folk-etymologies in the Anuyogadvara-sutra* - H. C. Bhayani 1. Among the ten types of nouns described in the Anuyogadvara-sutra*, two are called goNNa and nogoNNa. goNNa is quifq0you 'appropriate to the meaning and prou is 'contrary to the meaning.' The illustrations of the former type are: G4017 (=wulfa), aqui (=a9cfa), UT (Eufetailfa), yquil (=vanifa). The illustrations of the latter type are : Vos a 'bird', which s akuMta 'not having a lance'. samugga box' (Sk. samudga), which is without the mugga (Sk. mudga) grain'. samudda 'sea' (Sk. samudra) which is without get 'seal' (Sk. 961). dry grass' (divided as 9-, Sk. 9-'having abundant saliva'), which is 34617 'not having saliva'. Asfere 'kite' (divided as -3fm, Sk. Hoferont 'having a family'), which is for 'having no family'. palAsa 'the palAza tree' (Sk. palAza, understood as pala+aza 'eating meat'), which is 374TH 'not eating meat'. scula 'a rainy insect' (Sk. 55'14), which is not a 'protector of Indra'. 2. Another type is that which is designated by a word having a contrary meaning. The illustrations are : fra 'vixen' (meaning also 'auspicious'), although it is 37fyral 'inauspicious'. agni 'fire' is called zItala 'cold'. viSa 'poison' is called madhura 'sweet'. In the house of liquor-distiller liquor is called Fary 'sweet' eventhough it is 3459 'acidic'. 3761714 (but understood * arattaya i. e. Sk. araktaka 'not red'), eventhough it is rakta 'red'. alAu 'gourd' (Sk. alAbu, understood as a-lAvu 'not a container') eventhough it is als 'container". For 49 'Indian Maddar' (divided as -1719 'that which appears unbeauteous') is used eventhough it is beautiful. 3. One type of names are given according to their etymology. * 3 nigra by Muni Punyavijaya & Pt. Dalsukh Malvania, Published in the Jaina-Agama-Series No.1

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anusaMdhAna - 17*44 The illustrations are: f 'buffalow' is so called because he sleeps on the ground ( mahyAM zete) bhramara honey-bee' is so called because it wanders and drones (bhramati rauti ca) musala 'pestle' is so called becuase it rises up frequently (getufa). f 'the wood-apple fruit' is so called because it hangs like a monkey (kapi+stha) cikkhalla 'liquid mud' is so called because it makes sound like fag and it is low in the middle ( khalla) ulUka 'owl' is so called because its ears are high (urdhvakarNa). mekhalA ' girdle' is so called because it is a row of mekha ( ? ). 4. Even if Arya Raksita may not be author of the Anuyogadvara, there is no doubt about the fact that its author was highly learned and well-versed in Sanskrit. Hence we are intrigued with the structural division or etymologies of the words like sakuMta, samugga, samudda, palAla, sauliyA, palAsa, iMdagova that he has given just like a common man, who being ignorant of grammar or etymology gives a fanciful etymology to match the meaning-what is known as 'folk etymology'. In every language such fanciful etymologies are current. For example in Modern Gujarati 'mother's sister' is explained by some as - 'like the mother'. Actually it is derived as Sk. mAtu: svasRkA, Pk. mAuMssiyA, Old Guj mAusI mAzI. bhatrIjo 'nephew' is explained as the third danger', while actually it is derived as Sk. bhrAtrIyaH, Pk bhatrijjao, and then through bhatrIjau, bhatrIjo. TapAlI postman' is facetiously explained as Tapa daIne AlI jAya te 'He who delivers speedily', when etymologically it is connected with 'halts at intervals in the path'. In Hindi the following doggerel is well-known-raMgI ko nAraMgI kahe, calatI ko kahe gADI / gaMde ko sAphI kahe, aise loka anAr3I // (Variants khAre ko mIThA kahe; vADhI ko kahe pAlI pAlI ko vADhI kahe). In this nAraMgI 'orange' is divided as nA-raMgI 'not coloured ' when in fact it is coloured. is 'cart, car' taken as a homonym for 'buried'. The piece of cloth used to cover

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37THEN4-819.45 the end of 1979 of a hookah is dirty, but it is called 9747 meaning also 'clean'. khArA 'salty' is called mIThA 'sweet'. vADhI 'knife' is also called YC which also means that which has increased'. 5. In the non-standard Sanskrit of Jain Prabandha works many fanciful etymologies are advanced. Pk. Yf6377 'shoe' derived form Sk. 341.466 is re-Sanskritised as mufen beneficial for the life' ! Guj. 31 old man is Sanskritised as STATEkaraH 'he whose hands dangle'. doharo (dohaDa) 'a meter of that name' is Sanskritised as greza 'a pot of milk' (probably based on the wrong alternative name 1975, which is a different metre). 376154, 374T3, as etymologized in the Anuyogadvara are in line with the above given back-formations. 6. We however know that the tradition of giving fanciful, artificial or imaginary etymologies goes back to Yaska's fits to (about fifth century B.C.), and it continues later in the explanations given in the literature on the guifgha and still later in the one-letter dictionaries (&rit Toa 731)Among the illustrations cited above from the Anuyogadvara the etymologies of the words Sk. 3trg (Pk. 374183), 36, 47197, Pk facCM, Sk TCUT, Pk YAICI, Sk. Hers, #CMI, Pk Hoa (related Sk. words $157, 57, 7 ), Pk. 9ften (Sk. Foral, Guj. samaLI), Sk. samudga are unknown. bhramara is connected with 44 to wander' (with-372-derivative). Het is based on Sk. mahat 'great' and samudra derives from sam+udra (the same root as that of 36 'water'). is in the same class as the popular names given to some insects etc. (e.g. fungus is called in Guj. farisha the hat of a cat'). In the case of the use of ferai (auspicious' for that which is really considered feral 'inauspicious') and Farg'sweet' (which is actually 3769 'acid'), the verbal taboo has prevailed, under the belief that if an unauspicious word is spoken the harmful thing may possibly materialize. The terrible Vedic god se

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317419-819.46 came to be called ziva, zaMbhu, zaMkara 'the benign one', to appease him. In Gujarati under the superstition that when somebody goes out to carry out a task, if any one enquires PII 57377 337 ? Where are you going ?', then the use of the word Pit would invite failure in the undertaking. So instead the word is used (pite 57377 37 ?), because that word is derived from Sk. fias, implying the undertaking will be successful.

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Comparative Study of the Language of the Acaranga and the Isibhasiyaim both edited by Prof. Schubring. - K. R. Chandra While going through the text of the Svetambara Jain canonical works one is unable to form a proper idea of the main linguistic features of the Ardhamagadhi language. In the edited texts there is a mixture of archaic and younger usages. In the absence of any authentic grammatical treatise on Ardharuagadhi and due to the oral tradition a number of phonetical and morphological changes entered the original Amg. from time to time and place to place. This historical truth is well-known to all of us. We are giving below a comparative list of usages from the ch. IX of the Acarangal and the Isibhasiyaim? both belonging to the earliest strata of the Amg. canonical works. When we compare linguistically the usages from these two works one is surprised to note that Acaranga (Erster Srutaskandha), the earliest Amg. text is full of Maharastri usages without any Amg. usage whereas the Isibhasiyaim has generally the archaic (Amg.) usages with some what Maharastri usages also. Comparative List of Usages Acaranga, I, Ch. 9 Isibhasiyaim Medial -k- (Hazanit --) tulah, , patratTahl, yailah, 497, HR-; gum, , Bruti, greu, gra, to, path, Yari; pasem, , 194, 154, loe, viyaDa (-k. = .g. and -a-, -y-) (no original -(-) ego (-k- = generally -k- and -g- also but no -a--y-)

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nAo (-g- -a-) ophAse (-j - 11 -a-) ahAkaDaM, ahAsuyaM jahA (-th (-dh Acaranga -h-only) vitticcheyaM, sayA (-d- -y-) mehAvI, vivihaM, vihI, ahiyAsae, duvihaM samAhi -y-) apu uniformly anusaMdhAna - 17 * 48 Medial -g- (madhyavartI -g--) NAgo (-g- -g-) Medial -j- (madhyavartI -j- ) tejasaM, tejasA (-j -j-) Medial - th - (madhyavartI - th- ) adhAsaccaM, jadhA; = = jahA (-thsometimes -h-) Medial -d- (madhyavartI -d) = Isibhasiyaim mostly -dh- and savvacchedaM, sadA; iyANi = (-d- mostly -d- and sometimes -y-) Medial -dh- (-dh-) medhAvI, vividhaM, samAdhi, adhiyAsejjA, duvidhA; duvihaM, mehAvI (-dh- mostly -dh- and sometimes -h-) Medial -n- (madhyavartI -n- ) aNu- mostly but sometimes anu- also; medial -n- also. anavadaggaM, anivvANaM, niccAniccaM

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Acaranga Isibhasiyaim (medial -n- = -n- uniformly) | (sometimes medial -n- also ) Medial - p- (madhyavartI -p-) atipAtaM aivAya-. (-p = ai- (uniformly ) aivAya arai iM sIyapiNDaM -v- uniformly) eyaM, eehiM (-t -t-) bhagavayA, maImayA, purao anusaMdhAna - 17 * 49 = Medial -- (madhyavartI --t-) Nominal aivAya, ahAsuyaM, abhinnAya, kappiyA, gae, ThiyaM, virae, samie - hayapuvvo, himavAe Nouns (nAma - zabda) Pronouns (sarvanAma) Termination of Present aivattaI, acchA, gacchai, jhAi, luppaI, sevai (sometimes - p- = -p- also ) arahatA, egato, purato Tense ( vartamAna kAla kA pratyaya) pavattatI, acchatI, gacchati, jhAti, luppatI, sevate; acchai kuNai, gacchai Past Passive Participle (bhUta kRdanta) atipAta, vissuta, paritrAta, kappitA, gate, ThitaM, virate, samite, pasihata, pAto; hayaNAyakaM | etaM, eyaM eteNa Suffixes ( nAma - vibhaktiyA~) ati- (mostly) - atipAtaM arati ratI sItAhato -y- and -a- but no (-t- = -t- mostly and sometimes -t -y-) =

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anusaMdhAna - 17 *50 is not a thorough list of all the usages but some examples are given here to form a tentative idea. The above comparative list of usages clearly indicates that the editor has adopted Maharastri usages only in the edition of the Acaranga whereas he has given proper place to the archaic usages in the Isibhasiyaim. Acaranga is the earliest canonical text and therefore how could it have younger usages (of Maharastri) when there are archaic usages in the Isibhasiyaim which is in no way a composition of earlier date than that of the Acaranga. While re-editing the first chapter of the Acaranga3 linguistically I had an opportunity to go through various Mss. of the text but there was no uniform elision of medial consonants as prescribed by the Prakrit grammarians.3 On this ground and considering the antiquity of the text as well as the liguistic form of the contemporary Pali language and additionally the form of the language of the Asokan inscriptions of the East of the 3rd century B. C. did it not occur to Prof. Schubring that his edition of the Acaranga needs to be re-edited linguistically in the light of the linguistic form of the Isibhasiyaim. I have no knowledge whether he has discussed this problem anywhere. If he has done so to clarify this odd situation I would like to have information about it from the indologists who are aware of it. Otherwise the language of the Acaranga edited by Prof. Schubring becomes unauthentic and unreliable and the same rule applies to his editions of other Jain Amg. texts. Further I would like to draw the attention of the indologists that his predecessor Prof. H. Jacobi had also edited the Acaranga in 1882 A.D. but he has preserved all the medial (non-aspirate and aspitate) consonants wherever they were not found elided in the Mss. He did not make any attempt to standardize the language of the whole text either into Maharastri or Ardhamagadhi when the latter of these two is said to be akin to Pali in the Preface to his edition of the Acaranga The question is why did Prof. Schubring prefer to distort the original Amg. into Maharastri Prakrit when the Jacobi's edition and the Mss. retaining the original medial consonants were before him. This situation

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anusaMdhAna - 17*51 is very odd and it requires a proper answer for the solution of the problem. Finally it would be worthwhile that Prof. W. Schubring's editions of Jain canonical works get re-edited linguistically, otherwise the form of the language of his editions does not seem to be correct and gives a distorted look. Foot-notes 1. See the glossary at the end of the Acaranga-Sutra, ed. W. Schubring, Leipzig, 1910. 2. See the isibhAsiyAI kA prAkRta saMskRta zabdakoza, ke. Ara. candra, prAkRta TeksTa sosAyaTI, ahamadAbAda, 1998. 3. See the AcArAGga, prathama zruta-skandha, prathama adhyayana, vibhAga- 2, pp. 32 to 46, comparative tables of usages in various Mss. (especially the usages from the Ms. from Poona which is consulted by Prof. Schubring but he has not adopted archaic usages from it.)

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Historio-Cultural Data as Available from Samaraicca Kaha . - Rasesh Jamindar Importance of Literature Though the archaeology, epigraphy, numismatics etc. are the most authentic and copious source-materials for writing our history; the equally important source of information is literature-both sacred and secular as well as folk-tales and folk-lores. These later were produced and preserved through the ages by different sects and religio-social communities. While such literature has more or less a religio-regional base or bias, it is certainly, no doubt, most useful material for reconstructing our history of the ages when archaeological sources are very meagre or none. Contribution of Jaina Community The Jaina Community has contributed its mite to the history and culture of our country. Though they have hardly produced any special book on history form historical perspective, there are some books written by Jaina Acharyas mostly after christ, no one would have any obvious reason to deny the presence of historical sense in their writings for they have to the extent developed the quality of historical understanding and exactness. For this reason the Jaina sources are also most remarkable for its vastness and variety. They do not only concern with earlier periods of our history but Jay its arms over the whole range of historical times and are hugged to almost every phase and part of our vast country giving an opportunity of being buried under the file of manuscripts in many languages. No doubt the early Jaina literature was mostly in Prakrut; for it is true that Jaina Munis were and are fascinated in preaching the religious principles in the language of the people. The fact is that

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31CHET-810 * 53 the Prakrut language stood closer to the popular languages of the day than did Sanskrut and a very large number of Prakrut works are composed by Jaina Acharyas. Prakrut literature is to be assessed by its value of humanity and its estimation is to be determined by the principles to what extent does it consribute to the progression of mankind and its importance to the society by conveying various aspects of our culture. Of these the Jaina Prakrut Jaina literature is a rich source of certainly highly unique material of a point of cardinal importance. Importance of Jnanabhandars The Jaina community, so to say, is very rich, wealthy and cohesive. It also believes in giving generous donations for the cause of its religious development and betterment of the community. This was partially due to the emphasis laid on Sastradana and the importance of scriptural knowledge for attaining Moksa. This has inspired this community for preserving and distributing literary works of religious merit and of secular importance. More so, the zeal of performing Shastradana enkindled their souls to evolve a system of printing & publishing the scattered literature for free distribution. Perhaps this may be the only religious community who has taken a special care of spreading knowledge. This objective has contributed much to the making of the national heritage to some extent. They have preserved with care MSS in Jnanabhandaras and these unaccessible Jnanabhandaras made available to scholars. They have also painstakingly. published those MSS; and established good libraries wherever possible alongwith the Jnanabhandaras, or wherever there is either a big or small Jaina community even without Jnanabhandaras. This means, where there is an Upasraya, there is generally a library, -- a worth mentioning contribution of Jainas to the cause of learning.

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anusaMdhAna - 17 * 54 Activities of Jaina Munis These multi-faceted facilities, say activities, did help and do help even now Jaina Munis to utilize their free time in reading those books in the libraries which enkindled their inquisitiveness. Secondly, the discipline of Vihara, i.e. moving one place to another on foot, also helped them to look into the things lying on the road-side or in the forest and the system of Caturmasa, i.e. compulsary staying at one place during rainy season, also gave them an opportunity to chew those things seen during Vihara-Yatra, and which in turn offered an opportunity to verify those material or help confirmed them using the books of the temple-libraries. These two systems encouraged those Jaina Munis to write something on what they had seen during their Vihar tenure. Many of these writings of Jaina Munis do throw some light on many buried as well as moot problems of our history. Historical Importance of Jaina Literature During their Vihar period they do come across many cities and villages, ger acquinted with different customs and cultures, observe and study monuments, sculpture as well note down the content of inscriptions and make necessary notice of historical places. They also make use of Jnanabhandaras on the way during their Vihara. Steady life during Caturmasa also give them timely opportunity to nourish their academic activities. These have offered students and researchers at their disposal description of many religious and historical places, minute narration of temples and images as well as reading of those inscriptions of Bhavana-Nirmana and Pratima-Sthapana. Main contribution of Jaina Munis lies in books on sacred places which do nor remain just limited to only general description of temples, idols and places concerned but do furnish with information regarding geography, toponymy, inscriptions, political activities, society et cetera.

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anusaMdhAna - 17*55 All these information do certain historicaly important material. Such travelogues, though written by religious Acaryas from religious perspective, are very useful in writing history of different part of our country. Some of these Jaina Munis, blessed with typical type of discipline and multitudious facilities, devoted most of their time to study and pursuing to write new treaties. Generations of Jaina monks have thus enriched the various branches of Bharatiya literature and in turn producing good material for reconstruction of our history according to their travelling capacities, training of learning, aptitude for research, instinct of tapping resources, test of seeing things and more so the temparament of acquiring knowledge and inquisitiveness to know. Jnanabhandaras a resource centre Special mention, may not be out of order, of the Jnana Bhandaras. These Bhandaras, of course of Jaina faith, whether big or small, deserve to be looked upon as centres of sourcematerial and all the more as national wealth; for they have treasured and preserved old, valuable and rare manuscripts belonging to Jaina faith especially and of other faiths in general. If the Bhandaras are older than there is a greater possibility of obtaining a few more old and rare manuscripts. For the study of palaeography, calligraphy, development of paintings and contemporary society these valuable material are, no doubt, very useful and significant. Keeping this background in view the purport here is to highlight the contribution made by Jaina Munis in making of our heritage by reviewing only one book i.e. Samaraicca Kaha (hence forth SK.) Purpose of Dharmakathas SK is a good Book on religious stories. Generally we

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anusaMdhAna - 17*56 find a beautiful description of the spirit of adventures of both heroes and heroins in such Dharmakathas; but in the end we find them renouncing the worldly pleasures and accepting the descipline of religious obedience. Such religious stories are normally interwoven on one side with adventure and on other side with religion. We can thus label such stories as having an objective of admoniting religion. Acarya Haribhadra Epoch-maker writer as he was Acarya Shree Haribhadra is the author of the book under discussion. He has extensively written both in Prakrut and Sanskrut. Most of these were written in the 8th century A.D. and they throw a good deal of light on different aspects of our culture then. From this one and other contemporary works it seems that Rajasthan in particular and Bharat in general had advanced towards religious prosperity and the credit of which goes to Acarya Shree Haribhadraji. Pivotal theme of SK The central theme of the Book, i.e. Samaraicca-Kaha, is that human life is full of miseries. Jealousy, enmity, rivalry et cetera are the vices which are quite visible in humanlife. To get rid of them every one should live pious and moral life. Negligence or idleness in observing a moral life leads one's to bad results. To convince this object to his readers, Haribhadraji has used the approach of telling stories within the main one. From this, one can surmise that many parts of our country then was engulfed and enclamped more by wickedness, immorality and injustice and to keep oneself away from such unrighteouness these stories have prophesed to live a life of non-violence and morality. The 2nd, 3rd and 4th Bhavas describe in detail the force of Maya, Lobha and Anruta. At the same time the remedy for this has also been narrated. Acarya Haribhadraji had very clearly pointed

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anusaMdhAna - 17*57 out that one has to born as an animal in the next birth for living sinful life and making offences. It is also possible to go to hale. We can thus surmise that during author's time the theory of rebirth was widely prevalent. Inspite of this notion and understanding people generally were indulging in doing unreligious affairs, for Haribhadra had oft-repeatedly pointed out this thing very clearly. Fiction or Dharmakatha In this manner SK is a Dharmakatha in one sense while it is fiction on the other hand. It is said that the propagation of writing fiction literature both in Sanskrut and Prakrut might be widely in vogue especially in Rajasthan and perhaps across the country in general during the time of Haribhadra. Even Jaina religious literature had adopted this form of writing as well. Different things have been knitted well in this work. Though the information detailed out in this work throw good deal of light to the national heritage, the purport here, it seems, is to highlight to what extent the information given here-in is useful to reconstruct the cultural history of Rajasthan. Administration We get interesting facts regarding administration of Rajasthan. From frequent mention of different kings it is possible to surmise the possibility of Monarchical system of government then. The monarchy was heriditory as can be seen from the Prince Gunasena as getting the throne from his father (Bhava one). State might have been known as Empire from the fact that it was divided into provinces and the responsibility of provinces were entrusted to Viceroys. Samarketu was the Viceroy of Ujjain (Bhava five). The tradition of Yuvaraja (heir-apparent) was also prevalent. Aparajit was Yuvaraja (Bhava six). During the tenure of Yuvaraja all sorts of

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3THLETI-81058 training was imparted, so that after becoming a king he has not to encounter more difficulty in the administration. A son of a king was entitled to be hing. But to get rid of from a wicked king it was necessary to dethrone him. The case of Samaraditya was a point in information (Bhava seven). Viewing through his own chain of rebirth he opted to spend more time to pious activities than to material happiness, and also lived a saintly life. But his father did not approve his son's indifferent attitudes. Hence he ordered three of his men (namely Ashoka, Kamankura and Lalitanga) to become Samaraditya's friend for briefing him the importance of worldiness (Bhava nine). Not contended with this, his father also explained him the necessity of Kamasastra as a means of attaining Moksa, but Samaraditya retorted his father by saying that it increses the sin (Bhava nine). Ministers as state-adviser The cabinet was formed to help king in running administration. Subuddhi (Bhava one), Matisagar (Bhava two), Indrasharma, Buddhisagar, Brahmadatta (Bhava three) were the ministers we come across, nevertheless their nature of work is not possible to know. But it seems that the ministers were very close to the king and had enjoyed the status of his advisers. The king, after returning from Jaipur, had first counselled with his ministers about his intention of retiring and that of renouncing (Bhava two). We can infer that the king might have been sought help from them and might have taken any steps after enjoying their confidance. We can also say from the narration of the SK that the feudal lords were also cooperating the king. While accepting the supremacy of the Yuvaraja Kumarsena, the victor; Vindhyaketu, the Saber leader, declares the people of his lord as Sambandhini (Bhava two). This shows that the political relation between

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31THET-810 * 59 the king and his feudal lords was very close. After accepting the supremacy even an enemy becomes a friend of the overlord as has been known from the SK. At one place (Bhava eight) even the victor Yuvaraja calls his mutineer feudal as elder brother and asks him not to appologise. Local Organisation SK throws some light on the local organisation of the state. Village or town was the smallest unit of the province. Nagarmahantaka and Karnika were the officers in charge of the town (Bhava, p. 409). This Nagarmahantaka of SK may be as equal as the Pancayat president or Nagarapati (i.e. Mayor) of today. Drangswami was the head of the village administration. Both Nagaramahantaka and Drangswami were free to give judicial decision. This means that they were enjoying legal powers too. They were also entitled to attend the cases of theft or adulteration. SK narrates that the position of Nagarmahantaka was higher than that of Karnika, for we see the usage of the term 'Taddhisthit'. Gramasabha had a positive say in trifling matters. The Gramasabha does send its four members to investigate into the dispute between the two waring groups of the village (Bhava six). These four members were welversed in religion and economics and were very seasoned for their old age. This shows that the experienced and practically wise people might have been elected at the Gramasabha. Both Karnika and Panckula constituted a joint committee to investigate the matters. Here Karnik was the name of an officer, while Panckula might be a people's representative. A conjecture can be made from this that there might be a system of arbitrator and its decision was acceptable. From all these information it becomes quite clear that though there was a monarchy, for many matters decentralisation was in force. This means that the king was hardly meddling

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31HET9-81960 into day to day affairs. Blind Faith in Superstition SK reveals that the Jainism had grown in Rajasthan during 8th century A.D. Other faiths also did exist at the time but SK does not throw much light on them, though we do see the mention of terms such as Pisacha, Raksasi, Vyantara, Candika. It can be infer that superstition and blind faith might have been prevalent there and then. Lower strata people of the then society might be taking to bad omens. Candravarma, Indra, Meghanada, Kinnera, Vidyutkumara are such names from which we can infer that the people of that age might be worshipping heavenly elements and objects of nature. Goddess worship was also in vogue as had been viewed from the prevalence of the names of Chandrika, Kinnari, Yaksini et cetera. Sabar and other tribals were also worshipping Goddess. It is believed that the importance of God Shiva alongwith Goddess is always there, but SK does not refer to this god directly. Importance of Upavasa No special discussion could be found in SK regarding religious rituals. The greatness of Upavasa (fast) was recognised then. To keep away miseries of this birth during next one Upavasa, which has been frequently refered to by Haribhadraji in SK, was most important. For this reason Agnisarman took vow of Upavasa taking only one meal every month and that too by visiting only one house. Not only this, but if he did not get any food from that house, he instead of going to another house waited till the next turn i.e. next month. From this incident, it seems, that the people then had a total faith in obseving severe vow if need be. Human sacrifice, of course occasionly, was also in vogue for getting the desired things. (p.530). Tribals such Sabar were also used to offer sacrifice for their desire. Vow was also kept

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37THET9-819. 61 for having a boy-baby. Both Vaisramana and his wife Sridevi took a vow of worshipping god Yaksa Dhandeva for their desire of having a son and to keep his name after that god (Bhava four). After the son was born the merchant couple went to the temple of Yaksa and after performing the Puja they named their son as Dhana (p. 192-193). Rebirth : a pivotal concept The concept of rebirth was considered the powerful character on the realm of the religion then and there. The very creation of this book (i.e.SK) had been built up around this concept. This particular concept was very much within the all living religions of our country as can be known from the study of SK. As this work certainly belongs to Jainism it can be said that the same concept might be very much in vogue in Jainism too. Essentially it was believed to perform Dharma, Dana, Tapa, Sadhana etc. in this birth as to have happiness and wealth in the next one. Role of saintly life The saints might be great devotees of Jnanakarma system as can be viewed from the reference of the term Kevleen. What emerges from this word is that the learned and educated people of the society were mostly taken to saintly life. Purnachandra once was a dead body carrier and had therefore decided to become a saint. (Bhava one). A king had also consulted his cabinet for becoming a sadhu (Bhava two). Four Cardinal Characters Connected with religion was astronomy. People were used to consult an astrologer for Muhurta for performing sacred things. A reference is to be found for observing Muhurta at the time of the marriage between Kusumavali and Kunvarsinh (Bhava two). The study of SK helps us to know that Dana, Sila, Tapa and Bhavana were the four major characters of

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31HET-8962 the religion (Bhava three). It seems that people then might be understanding these four elements of religion. Following were enjoying a great importance in religious context : SadhuDharma, & Yati-Dharama (Bhaya one), Bhavana-Dharma, Dana-Dharma, Sila-Dharma, Tapo-Dharma (Bhava three). Mantra, Namaskara, Karmas, Anuvrata et cetera were considered as part and parcel of the religion. Social Stratigraphy Drawing a picture of the then society SK does help by offering good data. Varied people constituted the society. King, Brahman and saints were enjoying high status in the society. Then comes in the rank were merchant class and government servants. People like Candal, fishermen, thieves etc. were cinsidered as the people of lower strata in the society. Even then we do not find a single reference regarding four-fold varna system in SK. Marriage System Though youths of both sex were free to choose their life-partner, the consent of the parents was formally essential. Prince Sinh and princess Kusumavali had decided to get married, but they did seek the permission of their parents (Bhava four). Dhana and Dhanasree fell in love. The father of Dhana asked for his son the hand of Dhanshree (Bhava four). Dowary system was prevalent. The tradition of firealter was also there. Exchange of things from lovers was also in vogue. Fruits, floweres, garlands and painting of swan were the objects of exchange between Kusumavali and Sinhal (Bhava two, p. 72-86). Parent's Approval a must Not only in marriage affairs but in other equally important matters the parents' approval was also considered necessary. Dharan, son of a a merchant Bandhudatta, after returning

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3TTHET-80 * 63 from abroad had sought the advise of his parents for his desire to live saintly life-even after earning from his experience a high respect from and a promising offer made by the king, which he very politely declined (Bhava six, p. 490). Miscellaneous Facets Dream had an important place in the society. Things seen in dreams were considered as true. Shreekanta, wife of Purushadatta, saw a lion in her dream (Bhava two) and in this context she named her new-born as Sinha. People used to hide wealth as there is a reference in SK of a buried golden-vessel with tunnel containing seven hundred thousand Dinar (Bhava two). It may be conjectured that people used to bury their precious belongings from the fear of stolen away. This means theft was known to the society. There are references to the thefts in the 2nd, 3rd, 4th and 6th Bhavas. Maurik was a thief as mentioned in the 6th Bhava. Death sentence was imposed for theft or robbery. (Bhava three). We also have an idea of what sorts of currency was in force then & there. Dinar was used as an official currency. Oft-repeated references to the word Dinar help us to consider this thesis. A compromise resulted into going abroad for merchandise after a waring dispute between Dharana and Devanandi. The agreement was made in this context wherein a goods worth five hundred thousand Dinar was to be given to both of them (Bhava six, pp.410-11). There is a reference to two hundred thousand Dinar when queen Kantimati sent two of her servants to hunt for a proper prince for her daughter (Bhava eight, p. 614). It becomes clear from these references that the Dinar was the currency of the treasury but there is not a single reference to its various denomination in SK.

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anusaMdhAna - 17* 64 A strange custom was prominently in vogue in the then society of Rajasthan in particular and elsewhere in general. It was none other than giving a poison whenever an occasion occurs either of dispute or disagreement or difference of opinion. There are such several references in SK. Because of distrust, Nandayanti gave a snake-poison to Purnabhadra (Bhava two, p. 109). Normally it was given by mixing in food. Shikhin was given poison by his mother Jalini (Bhava three). To keep away from sea-journey Dhanashree had given a poison to her husband Dhana (p. 202). To hold control over the buried wealth Gunachandra was given poison by Balachandra (Bhava three). There might be games of varied nature for entertainment but SK does not throw more light on it. There is a reference of gambling in the 4th and 9th Bhavas. Gunachandra was undergoing a training in Bow-learning (Bhava eight). It seems from this reference that Bowing might be one of the games in those days. Varied types of riddles (game) come up in the conversation between Gunachandra and the two votaries, namely Chitramati and Bhusana, sent there by queen Kantimati as mentioned earlier. In this sort of game a verse can be recited keeping the last alphabet in context which is very similar to present day Antaksari. There is also a reference to the game like asking questions and getting answers. Gudha Chaturtha is also refered to in this context (Bhava eight). Hence, people of those times might be enjoying their free time playing different games. Mine of Onomastics SK is full with numerous place-names and personal-names of varied test and nature. It is also true that many of those names are but fictitious. Even then those fictitious names do help us in framing and designing the patterns of naming things and persons, for the author of the work does reflect

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375CLT-869 * 65 the object, thought and action of the society in which he lived-irrespective of whether names are real or not. Most of the names occured in SK were emotional & qualitative. e.g. Aparajita, Amarsena, Kantimati, Gunachandra, Gunasena, Chitramati, Jayasundari, Manabhanga, Yashovarma, Vilasvati et cetera. The second category includes names such as Indradeva, Indrasarma, Agnisarma, Candra, Devanandin, Dharmaghosa, Dhanadeva, Dhanashree, Nandivardhan, Yajnadatta, Laksanasena, Laksmikanta, Shridevi, Somadeva et cetera. These names have been originated from personal names of Gods. Asokadatta, Kumudini, Kusumavali, Kalamegha, Candrasara, Samudradatta etc. were the names originated from flowers, counstellation & natural elements. Flora-Fauna We do get some information about the position of florafauna from SK, Horse, elephant, donkey, rat, frog, parrot, monkey, goat, peacock, swan, dog, lion, snake etc. were the animals refered to in SK. We also know some thing about trees such as magoes, coconut, jasmine etc. To sum up, it can be concluded, in the light of the facts cited above, that SK provides useful information on varieties of things and aspects of cultures and enhance our knowledge about the past of Rajasthan, for it was written there; but being a Jaina Muni, the author had an advantage of knowing things elsewhere while undertaking Vihara and hence about our country in general.

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Srimad Rajacandra on the Necessity of a Direct Living Sad-guru * N. M. Kansara Srimad Rajacandra (1968-1901. AD) was a very grand soul with prodigious prenatal memory, unusually spiritual poetic tendency, and direct experience of Self-realization. His master piece work, named Atma-siddhi-sastra (ASS) composed in Gujarati, is written with the sole purpose of saving the humanity from mere ritualism and pursuance of barren knowledge that leads them but to the hell, to save them from it and show them the entirely hidden secret path of Truth. Herein is emphasized the ideal of Self-pursuit, Self-realization and Self-absorption. In about twenty-eight doha verses of his ASS he has made various statement that emphasize the need of a direct living good preceptor on the spiritual path of Self-realization. At the outset he bows down to the feet of the Holy True Teacher, the Adored Jina, who explained the real nature of the Soul, without understanding which he suffered infinite misery.' Emphasizing that a true teacher is essential, he adds that he who gives up his individual theories, such as whims, delusion, etc., and serves the feet of the true Teacher, finds his ideal and attains Self-realization. However low, as compared with the Arhant, a living teacher be, he is necessary to guide the seeker after truth. To this effect Srimad Rajacandra says that even the obligation to Jina who is invisible is not comparable to that of a visible living true teacher. Without attending to this fact, self-contemplation does not arise." Referring to the True Teacher, he says that these are the admirable qualities of the True Teacher, viz., knowledge of the Self, equanimous feeling at the contradictory pairs of the world, such as pleasure or pain, praise or censure, gain or loss, etc., worldly life only due to the operation of the

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anusaMdhAna - 17* 67 past Karmas and not due to present attachment to good or hatred towards bad surroundings or circumstances, unique speech distiguished by sweetness, truth, inner conviction, beauty and authority, and knowledge of the supreme scriptures.* Without the teaching of a True Teacher, the character of the Jina is not understood. How can any good be done to a soul without such understanding? With such understanding alone, it is possible to comprehend and attain the full and true character of Jina. The scriptures which establish the existence of the soul and non-soul including matter, time, space, motion and rest, are the prop of the souls deserving liberation, when the facility of a visible living true teacher is not available. Or, if the true teacher had ordered the reading of such scriptures, then the pupil should always contempate such ones, after giving up the disputations and distinctions of different schools of thought. After giving up whimsical self-guidance and obstinacy of holding up one's own views, the soul follows the guidance of the True Teacher. Knowing this to be the visible cause of liberation, the Jina has called it Right Belief. The mighty foes in the form of the passions of anger, pride, deceit and greed, attachment and hatred, are not destroyed by whimsical self-guidance. By surrendeting unto the True Teacher, they go away with but slight effort." While discussing about a perverse bigot, Srimad says that even in the presence of the visible True Teacher a bigot asks a perverse view, and follows the untrue teacher with determination chiefly to gratify his own vanity.'True sainthood is there where there is Soul-Knowledge. Saints are the True Teachers. Else it is delusion to revere the teacher's of one's own family merely as such. The persons who are soul-seekers know this." The soul-seeker should reckon the attachment of a living visible True Teacher as a great blessing, and

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3TTHET-8968 act on his precept, with the united activity of the energies of mind, speech and body. 12 In the three ages of past, present and future, the path of the Highest Ideal is one and the same, and that life alone is worthy by which the Highest Ideal is attained. Keeping this in the mind one should acquire the proximity of a True Teacher, and one's mind should be rid of all other diseases, and have the desire for Selfrealization only.'3 When passions recede, and the only desire is for liberation, and there is sorrow for continuous rebirths, as also compassion for all beings, that is the abode of SelfIdeal.!4 Where this condition is attained the wise teaching of the True Teacher is palatable, and from it there arises bliss-giving Right Thinking.' . A soul-seeker that gives up his bias for one's particular school of thought and religion, and follows the precept of the True Teacher, gets pure Eight Beliefs, in which there is neither distinction nor partisanship.6 If such aspirants for Self-realization get wise guidance of a True Teacher, they acquire Right Belief, and lead a life of purification." By the teaching of the True Teacher new light dawns in a pupil, he gains self-knowledge and his ignorance disappears. To him his own nature appears to be pure and consciousness itself, undiminishable, immortal, indestructible and of a nature entirely independent of and separatre from the body. He come to see that he is the doer and enjoyer of Karmas, only where there is delusion about the identification of the soul and body. As soon as his life flows in his own nature, he at once becomes non-doer and non-enjoyer.is In conclusion, Srimad declares that there is no desease so bad as soul-delusion, and there is no doctor so skilled like True teacher; there is no prescription so good like the commands of the Teacher; and there is no medicine like contemplation of and concentration upon the true nature of

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BIGHET-8969 the soul.'' All souls are alike Siddha, i.e. perfect or liberated souls. He who understands this becomes Siddha. Of this the essential auxilary cause is the obedience to the percepts of the True Tracher, or the contemplation of the state of Jinahood.20 And, finally, he offers innumerable obeisance at the feet of the Self-realized one who, though living in a human body, nonetheless lives a life transcending all attachment for the body.21 Thus, in the light of his self experience, Srimad has composed his Atma-siddhi for the benefit of a true seeker of Self-knowledge, and therein he has expressed his recommendation with regard to the importance of a True Teacher (sadguru) in very clear terms. In view of the fact that Srimad was himself a Self-realized person, that the memories of his past lives dawned on him at the tender age of seven years, and that he had no need of a guru in his current life, his recommendations carry an authority and realibility. His motive in composing the work was just his help the true seekers for Self-realization. Although those thoughts of Srimad have Jainism in their background, they have an added value in that similar thoughts and recommendations have been made by some other Selfrealized saints in other non-Jaina traditions, too. Thus, the famous Saint Ranga Avadhuta of Naresvara (in South Gujarat), who was a devotee of Dattatreya, has specifically confessed, in one of his devotional songs (bhajan), that it was by the holy Word of Guru that he was awakened although he was sleeping since numerous lives." In another devotional song he declared that only the grace of a Guru is enough for the welfare of a disciple, and that the physical strength, backing of residential property, might of wealth, power of mind or intellect, are all helpless without it.23 Julian Johnson24 has listed, and discussed in detail, four cardinal precepts of the Sikh religion of India: (1) First of

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31THET-819.70 all, there is a necessity of living Guru, a genuine saint who has been appointed by the supreme Sat Purush to act as Guru. By living we mean one who is still in the physical body. After his death, or departure from his body, the Guru will still take care of all whom he has initiated; but he cannot accept new disciples. This is not because the Guru is limited, but because the disciple himself is so limited that he cannot receive instructions and initiation from a departed Guru. (2) The second fundamental of this system of the Masters, the pure Sant Mat, is the vital fact of the audible life stream. This stream is in fact nothing less than the Supreme One, projecting Himself on all planes of life in a constant stream of musical vibrations, through which flows the most incomprehensible power, life-giving and creative. This current is also the central factor in liberation and salvation from the endless rounds of births and deaths. This stream can be received from a living Guru only. (3) The third general truth emphasized by the saints is complete liberation and spiritual triumph while still living in the physical body. It is a central precept of the Sant Mat that nothing can be accompished after death in a way of spiritual liberation unless it is at least begun during this life. In every case, when the individual has not been initiated during the lifetime, he must return to earthly life for another chance to meet and follow a living Guru. (4) Unless a man is able to give initiation and lead his disciple upon the inner planes, he is not a Master and should not be accepted as such. And it must be remembered that initiation is of first importance. All these things are taught with great clarity and force repeatedly in the Adi Granth. The tradition of the Radha Soami Satsang Beas is very specific on the point of the necessity of a direct spititual Master on the path of Self-realization. Truth itself may be

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anusaMdhAna - 17* 71 universal, but a spiritual Master can function here as a Master only so long as he lives in a physical body. The Gita was spoken to Arjuna by the living Krsna. The very reason that impelled God to take a human body in the first place suggests that such work as he has to do can be done only in a human body. If it were otherwise, then he never had a need of coming in human form.25 Jesus Christ too said: "I am the light of the world; he that followeth me shall not walk in darkness, but shall have the light of life.26 Every Master is the light of the world. He brings with him the light of the Eternal One. If anyone centers his attention upon the Master and walks in his light, there can be no more darkness in him If the disciple opens the gates of light in himself, as the Masters urge him to do, he walks unobstructed into the kingdom of heaven. But he can do this only by the light of the living Master. It was this elementary truth which Jesus was trying to inculcate.27 Usually when people accept a book as the authoritative word of God, then they assert that all revelation is closed. The last word has been said. Believe it now or be condemned. This has been the supreme tragedy of history. The Vedas, the Sastras, the Puranas, the Gita, the Mahabharata and the Ramayana, the Zend-Avesta, the Bible and the Koran, and other religious scriptures - all these books are to be worshipped and obeyed. They are declared, ex cathedra, to be the inspired word of God. Ergo, it is the duty of all men to accept and believe them. And all of them are fetters to intelligence. No matter how good they may be in themselves, they become fetters because their followers insist that all revelation be closed. All spiritual instructions are finished. Instead of listening to a living Master in each age, their respective books are considered to be the infallible word. Crystallization of thought always goes before moral stagnation. Without a living Master

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31 FETT-810.72 spirituality wanes, as a lamp goes out when the oil is exhausted. As soon as a religion becomes fixed, static, crystallized, upon that foundation a corrupt priesthood is established, and at once the whole thing begins to decline into an insipid formalism. This is history. It is no theory.28 No one can possibly gain spiritual freedom except by and through the Shabd-dhun, and no one can possibly get that Shabd-dhun without first placing his life in the hands of a Satguru. On the other hand, if you get a Satgutu, you cannot fail to get jivanmukti, redemption from all ills of this or any other life. And this is because the Satguru never fails to connect his discipline with the Shaba-dhun. And so, having both Satguru and Shabd-dhun, one cannot fail to get spiritual freedom, which is called jivanmukti.29 In the Swaminarayan tradition, the founder of the sect, Sahajanand Swami known popularly as Bhagavan Svaminarayana became the object of worship and mediation as the perfect manifestation of God in human form. In its new tradition of the Akshar Purushottam Sanstha, the distinctive belief of its members is that contact with the manifestation of Aksara on earth is essential for one to reach Purusottama, God Almighty. Only after the devotee has reached Swami who is Aksara can he reach Narayana who is Purusottama. The Aksara, as one of the succession of 'God-realized' saints, is the representative of God on earth; he gives the perfect example, speaks with the authority of God, and receives reverence and worship of the devotees. All spiritual aspirants accept him as perfect ideal for emulation. Members of this new school believe that Bhagavan Svaminarayana has been keeping Himself primarily present in the person of the successive Gurus, viz., Svami Gunatitananda, Bhagatji Maharaja, Sastriji Maharaja, Yogiji Maharaja and Pramukha-svami Maharaja, as also in the images and sacred scriptures. The

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anusaMdhAna - 17* 73 Guru, i.e. the Aksara, is spoken of as 'the sacred texts personified' because he lives in harmony with all the percepts of the scriptures given by Bhagavan Svaminarayana. Without such a Guru, it is said, there can be no Satsanga. It is only through association with the Aksara who has come to earth in a personal form that one can get rid of one's vices, baser instincts, and the clutches of Maya and thereby gain release.30 Foot-notes 1. ASS.,1: Je svarupa samajya vina, pamyo duhkha anamita / Samajavyum te pada namum, sri sadguru bhagavamta / //; The author of this article acknowledges his gratefullness to the edition of the Atma-siddhi of Srimad Rajacandra by Rai Bahadur J. L. Jaini, with English translation and Introduction, of which I have made full use, of course with necessary modifications. NMK. 2. Ibid.,9: Seve sadguru-caran-ne, tyagi dai nija-paksa / 3. Ibid.,11: Pame te paramartha-ne nija-pada-no le laksa 1/9/1 Pratyaksa-sadguru sama nahim, paroksa-jina-upakara/ Evo laksa thaya vina, uge na atma-vicara //11// Atma-jnana sama-darsita, vicare udaya-prayoga / Apurva-vani parama-sruta, sadguru-laksana yogya //10/ Sadguru-na upadesa vana, samajaya na Jina-rupa / Samajya vana upakara so ? samajye Jina-svaripa //12// Atmadi astitva-na, jeha nirupaka sastra / 4. Ibid., 10: 5. Ibid., 12: 6. Ibid., 13: Pratyaksa sadguru-yoga nahim, tyan adhara supatra //13// Athava sadguru-e kahyam, je avagahana kaja/ Te te nitya vicaravam, kari matamtara tyaga //14 // Svacchamda, mata agraha taji, varte sadguru-laksa/ Samakita tene bhakhiyum, karana gani pratyaksa //17/ Manadika satru maha, nija-chamde na maraya / Jatam sadguru saranamam, alpa prayas jaya //18// 10.Ibid.,26: Pratyaksa sadguru-yoga-mam, varte drsti vimukha / A-sadgur-ne drdha kare, nija-manarthe mukhya //26// 11.Ibid.,34: Atma-jnana tyam munipanum, te saca guru hoya / Baki kula-guru kalpana, atmarthi nahi joya 1/34// 12.Ibid.,35: Pratyaksa sadguru prapti-no, gane parama upakara / Trane yoga ekatva-thi, vare ajnadhara //35 13.Ibid.,36-37: Eka hoya trana kala-mam, pararamaratha-no pamtha/ 7. Ibid., 14: 8. Ibid., 17: 9. Ibid., 18:

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31A -869 * 74 Prere te paramartha-ne, te vyavahara samamta // Ema vicari amtare, sodhe sadguru-yoga / Kaja da atmartha-num, bijo nahim mana roga //36-3711 14.Ibid.,38: Kasaya-ni upasantata, matra moksa abhilasa / Bhave kheda, prani-daya, tam atmartha-nivasi //38/1 15.Ibid.,40: Ave jyam evi dasa, sadguru-bodha suhaya / Te bodhe su-vicarana, tyam pragate sukha-daya /140/1 16.Ibid., 110: Mata darsana agraha taji, varte saduru-laksa/ Lahe suddha samakita te, jemam bheda na paksa //110/1 17.Ibid., 109: Te jijnasu jiva-ne, thaya sadguru-bodha / To pame samakita-ne, varte amtara-sodha //109/1 18.Ibid., 119-121: Sadguru-na upades-thi, avyum apurva bhana / Nija-pada nija-manhi lahyun, dura thayum ajnana /1191 Bhasyum nija-svarupa te, suddha cetana-rupa / Ajara amara avinasi ne, dehatita svarupa //120/1 Karta bhokta karma-no, vibhava varte jyamya / Vritti vahi nija-bhava-mar, thayo a-karta tyarnya/121/1 19.Ibid.,129: Atma-bhranti-sama roga nahim, sadguru vaidya sujana / Guru-ajna-sama pathya nahim, ausadha vicara dhyana ///2911 20.Ibid.,135: Sarva jiva che siddha-sama, je samaje te thaya / Sadguru-ajna jina-dasa, nimitta karana mamya //135/1 21.Ibid., 142: Deha chatam jeni dasa, varte dehatita / Te jnani-na sarana-mam, ho vamdana agaaita //142/1 22. Guru-carana prita mori lagi re Soti thi maim janamo-janama-se, guru-sadada-se jagi re ///// 23. Guru-krpa hi kevalam Sisya-praramamangalam / Deha-balam geha-balam vitta-balam citta-balam / Tad-vina tu sarva-balam viddhy-asara-nisphalam // 24. Johnson, Julian, The Path of the Masters, Radha Soami Sarsang Beas, Punjab, India, (15th revised ed.), 1993, pp. 136-138. 25. Ibid., p. 80. 26. Holy Bible, John 8.12. 27. Johnson, op. cit. p. 122. 28 Ibid., pp. 132-134. 29. Ibid., pp. 417-418. 30. Williams, Raymond B., A New Face of Hinduism: The Swaminarayan religion, Cambridge University Press Cambridge, 1984, pp. 80-81; Dave, Ramesh M. Ethics of the Shikshapatri, in Swaminarayan Magazine, 1978, pp. 9-10, Ahmedabad, Akshar Purushottam Sanstha.

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Some Aspects of the Kaumudimitrananda - V. M. Kulkarni Ramacandra, one of the celebrated desciples of Acarya Hemacandra, carried out this literary activities in the second half of the twelfth century A.D. He wrote, besides other plays, three prakarana type of plays : 1. Rohinimrganka 2 Kaumudimitrananda and 3. Mallikamakaranda. Of these, Rohinimrganka is all lost but for a small, single passage, cited by the author himself in the Natyadarpana (a work on Sanskrit Dramaturgy by Ramacandra himself and Gunacandra, another disciple of Hemacandra written jointly) with the introductory remark : yathA vA'smadupajJe rohiNImRgAGkAbhidhAne prakaraNe prathame'Gke - "mRgAGka prati ata: -- 54R ! | Bl: 1 . unmattapremasaMrambhAd, Arabhante yadaGganA / tatra pratyUhamAdhAtuM, brahmA'pi khalu kAtaraH // ' It is cited to illustrate the third Sandhyanga of the Mukhasandhi, called Parinyasa. Ramacandra has adopted this verse, without acknowledgement, from Bharthari's Srngarasataka (v. 75, N. S. ed) In translation it means : "When women through impetuosity (of flurry) of intoxicated love set about some task, even God Brahman is indeed unable (lit. afraid) to place an obstacle in their way. (Then what to talk of others ?)" 2 Mallikamakarandanataka : This play is available in full.2 It is published by L. D. Isnstitute of Indology, Ahmedabad. 3. Kaumudimitrananda. This play too is available in print. In this article it is proposed to draw the attention of readers to some striking aspects of this prakarana. Before proceeding with this topic, it would not be out of place to take note of Keith's observations regarding "The Decline of the Sanskrit

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37THET-81976 Drama"4 : "The audience for whose approval a poet looked was essentially one of men of learning who were intent on discerning poetic beauties or defects, and who had singularly little idea of what a drama really means." For the decline of the drama, he adds, "the ever widening breach between the languages of the drama and those of real life" has greatly contributed and furthur points out "the impossibility of the production of real poetry, not to mention drama, in dead languages." Now, the audience was essentially one of learning and that the Prakrit languages were no longer spoken languages is no doubt true but to say that they had singularly little idea of what a drama really means' and that Sanskrit too, like the Prakrits, was a dead language is rather unfair and unjust. Although Sanskrit was not the language of the masses, it certainly was the language of a class, though limited, of a highly educated and cultured men of learning and that like the poets they very well knew what a drama according to Bharata means. Bharata gave the highest importance to rasas in drama : 'na hi rasadrte kascid arthah pravartate.' (Everything in drama is oriented towards creating rasah.) Abhinavagupta and following him Ramacandra, hold that 'rasah natyapranah (Rasas are the very life, the very essence of drama.) His charge that 'Subordination of action to description, and the degeneration of the description into a mere exercise in style and in the use of sounds' is exaggerated. That way it may apply to some earlier poets as well. To tell the truth, Indian poets and dramatists and their poetic and dramatic works should be judged by norms and criteria laid down by Indian writers on poetics and dramatics and not by western standards or principles. It would certainly be unjust and unfair to evaluate the Indian authors and their works by applying western principles or standards. Kaumudimitrananda is a prakarana type of drama in ten Acts. It mainly deals with the love-story of Mitrananda, the son of a wealthy merchant by name Jinasena, a resident of Kautukanagara, and Kaumudi, the doughter of the Kulapati (head of a monastery). Mitrananda and Maitraya after the shipwreck come to the island of Varuna. There they free from imprisonment the Siddha King

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anusaMdhAna - 17 * 77 who was nailed to a tree by Varuna suspecting him to be desirous of his wives who are not seen even by the sun (asuryampasya). Kaumudi, the daughter of the Kulapati falls in love with Mitrananda at first sight and reveals to him the fact that the asceties in the monastery are pseudo-ascetics and that the fate of her husbands so far to fall and perish into the well hidden under the bed in the nuptial chamber. In his case smitten by love she proposes to run away with him carrying with them the treasure collected from her former 'husbands' to Lanka. In Lanka the plight of the pair would have been miserable since Mitrananda is taken for a robber by the city police if Mitrananda, had not saved the yuvaraja (crownprince), Laksmipati, from death by snakebite with the aid of the magical lore, called halahalahari vidya given to him to revive the dead by the goddess Janguli on the occasion of his (Mitrananda's) marriage with Kaumudi. The King in gratitute entrusts the pair to the minister Kamarati, who, however, is enamoured of Kaumudi and is very enxious to get rid of her husband. The opportunity is given him by a human sacrifice which a feudatory by name Vijayavarma of the king wishes to perform. Kamarati sends Mitrananda to him as upahara-purusa (victim) but Maitreya luckily recognises him. Maitreya was his companion. He had won the favour of Vijayavarma by curing him with the aid of a magical herb. Kaumudi in the meantime is ixpelled from the minister's house by his jealous wife and wanders untill she meets Sumitra, daughter of a merchant, and her family. Vajravarman, a chief of the abotigines, captures them all. One Makaranda, who turns out to be a friend of Mitrananda, is also broght to this Vajravarman. A letter from Laksmipati inquiring about the welfare of Mitrananda and Kaumudi is received; and Kaumudi takes advantage of this letter and includes Vajravarman to celebrare the marriage of Makaranda and Sumitra-who have fallen in love with each other at first sight. The three then have an adventure at Ekacakra town with a Kapalika who persuades the women to go into a 'patalabhavana' (subterranean apartment) while he asks Mitrananda's heep against a Vidyadhara, described as strengly desirous of women.

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TRT-90. 78 He (the Kapalika) breathes life into a corpse which takes a sword in its hand but Mitrananda by a magic formula induces it to strike the Kapalika who suddenly disappears. Next, Makaranda has to establish before yuvaraja Laksmipati his claim to his own carawan, which a certain Naradatta claims (wrongfully). The dispute is settled by the arrival of Vajrasvamin and Mitrananda. Finally husband and wife are united at the residence of the Siddha King. The story of Kaumudi and Mitrananda forms the main plot whereas that of Sumitra and Makaranda, the byplot. In the amukha (=prastavana, Introduction) to his KaumudiMitrananda we are told that he is a pupil of the great Hemacandra; he is proficient in writing a hundred prabandhas (literary compositions) he is always and ever diligent in writing poetical works, he has composed the prakarana type of drama, called Kaumudimitrananda; it is a treasure of a thousand Kutuhalas (curiocities; Kutuhalawhat excites curiocity, anything pleasing or interesting, Kutuhala); it excites-evokes-stimulates-enkindles all kinds of sentiments-rasasand feelings-bhavas; and adds that it is his (Ramacandra's) second rupaka (dvitiyam rupakam); [Satyahariscandra being his adirupakafirst rupaka).... there are episodes and incidents in plenty that would, one after another, excite the curiocities of the (trained) audience; of course, it is for the Stage-director (Sutradhara) to decide whether is overflowing with rasas and whether there are many situations and episodes that would excite feelings. In reply to the assistant's (nata) statement the Stage Director says: What to say (=there is no need to say anything) about the prakarana overflowing with rasas. Are there not many great poets, Murari and others like him, who are ever deligent in composing plays-dramatic poems-that are sweet on account of their skillfulness in new and novel (and striking) modes of speech ? But I doubt if there is any other poet than Ramacandra who is capable and skilled in creating various rasas to their highest-point, which are the very life and soul - the essence - of dramatic works. Moreover, "The dramatic compositions (of other poets), like sugarcane, progressively deminish in rasa (1 Sentiment 2 Juice); but Ramacandra's dramatic poem

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anusaMdhAna - 17* 79 grows progressively sweeter and sweeter still." The assistant (nata) contemptually says: "These days there are writers who borrow words and ideas (from earlier poets) and thereby attain fame. Consequently, how can the good people trust them ?" The Stage Director replies: "My (good) friend, this question does not arise in my case. In this matter the intelligent and wise contemporary men alone are the authority." This Introduction (amukha) reveals the boasting nature of Ramacandra and his rather low opinion of his predecessors like Murari, and his self-confidence that no critic can point an accusing finger at him for plagiarism or literary theft, and that his works, imbued as they are with rasas, make interesting reading and give delight to the readers. Again, in the Second Act we have the following remark of Maitreya : aho samRddhakutUhalAnubandhaH prabandha | Act II, V. 6, 1. 11 (p. 19) "O, how rich is his dramatic composition presenting curiosities, one after another ?" - This remark (and similar remarks in his other plays) reveal that the poet Ramacandra was intensely emotional and self-conscious and that it was difficult for him to escape his own shadow and maintain a purely objective attitude in his writings. In writing this prakarana Ramacandra had in mind Bhavabhuti's Malatimadhava. It is not surprising, therefore, if he consously or rather unconsiously follows this trait revealed in Bhavabhuti's writings. Ramacandra's References to his favourite deityLord Rsabha Ramacandra was a devout Jain. It is, therefore, natural that he should give expression to his deep reverence to Rsabhadeva, the adi-tirthankara of the Jains. In the Nandi verse he says: yaH prApa nivRti klezAnanubhUya bhavArNave / tasmai vizvaikamitrAya tridhA nAbhibhuve namaH ||

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anusaMdhAna - 17 * 80 (Tr. I pay homage in three ways to Lord Rsabha, that peerless of matchless friend of the whole world who, after having experienced sufferings in the ocean of wordly existence, attained emancipation-final beatitude.) In the course of the developement of the plot he respectfully refers to Lord Rsabha half a dozen times : tadataH paraM bhagavato nAbheyasya pAdAH zaraNam / nAbheyasya tadA padAni zaraNaM devasya duHkhacchidaH / kathamayaM sakaladevatAdhicakravartI nAbhisUnuzcaityAbhyantaramalaGkaroti / dRSTirnAbhisutasya naH prathayatu zreyAMsi tejAMsi ca / smarAmi niSThitaklezaM devaM nAbhisamudbhavam / (1) p. 25 : p. 51 : ( 2 ) (3) p. 90 : (4) p. 91 : (5) p. 123 : There is one reference to the very sacred mantra in which (five) paramesthins are paid homage to by the Jains. (The five dignitaries are: 1. Arhat 2. Siddha 3. acarya 4. upadhyaya and 5 sadhus): apinAma ko'pyapAyaH saMbhavet, tadahaM parameSThinAma pavitraM mantraM smarAmi / "If any calamity is likely to visit or befall, I remember the sacred mantra in which five dignitaries are paid homage to." At another place the temple of Katyayani is described in such a way as to produce disgust (p. 45, v. no. 12), and the Saivite School of Kapalikas who indulged in the offerings of animals and even human beings is targetted. Probably, the poet here betreys the influence of Bhavabhuti who in his Malati-Madhava mentions how Kapalakundala carries away Malati, the heroine of the play from her bed-chamber to be immolated and sacrificed before the goddess Karala Camunda by her teacher Aghoraghanta. Kaumudimitrananda: a Prakarana Bharata and after him many writers on Dramatics have defined the various types of Drama (rupaka) in their works. The Dasarupaka of Dhanamjaya is very popular with the commentators on Sanskrit dramas. Following their tradition we reproduce below the definition of a Prakarana given by Dhanamjaya : atha prakaraNe vRttamutpAdyaM lokasaMzrayam / amAtyavipravaNijAmekaM kuryAcca nAyakam 11

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anusaMdhAna - 17 * 81 sApAyaM dharmakAmArthatatparam dhIraprazAntaM zeSaM 11 nATaka vatsaMdhipravezaka rasAdikam nAyikA tu dvidhA netuH kulastrI gaNikA tathA kvacidaikeva kulajA vezyAvApi dvayaM kvacit // kulajAbhyantarA bAhyA vezyA nAtikramo'nayoH AbhiH prakaraNaM tredhA saMkIrNaM dhUrtasaMkulam // Now, in a prakarana the subject matter should be invented, and should be drawn from worldly life (lokasamsrayam); the playwright should make a minister, a Brahmana or a merchant the hero; he should be of the type called 'dhiraprasanta' (selfcontrolled and calm) undergoing some misfortune (Sapaya) and striving after (tatpara) dharma (virtue) kama (pleasure) and artha (wealth). The remaining features or characteristics-such as Sandhi (junctures) or pravesaka (introductory scenes) or rasas (sentiments) are as in the nataka). The heroine (nayika) is of two kinds, the high-born wife of the hero or a courtezan. In some plays there is only the high-born lady, in some the courtezan, and in some plays, both; the high-born lady is (always) indoors (abhyantara), the courtezan out of doors or without (bahya) and the two never meet (natikramo' nayoh). Owing to these three kinds (of the heroine) the prakarana is of three kinds or varieties. The mixed variety abounds in dhurtas (rogues). Thus the Kaumudimitrananda is a Suddha (Unmixed, not contaminates by another woman's contact) prakarana where the heroine is Kaumudi, the daughter of Kulapati-the head of a monastery. Incidentally, Maltimadhava, where there is the heroine, Malati, the high-born maiden. Tarangadatta (now lost) where a courtezan alone is the only heroine is equally a Suddha prakarana The Mrcchakatika, however, is a Samkirna (mixed) prakaranawhere we have both types of heroine, Dhuta, Carudatta's wife is a high-born nayika; Vasantasena, a courtezan is another and most noteworthy heroine. And further, this play is full of dhurtas (rogues) as well. In the play under our study, Kaumudi, the most-beautiful woman, daughter of Kulapati is the heroine; Mitrananda the son of a

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3TIKETT-810 * 82 devout Jain householder Jinadasa who is fabulously rich by birth and is a citizen of Kautukamangala nagara is the hero. Mitrananda is portrayed as self-controlled and calm (dhira-prasanta) and striving after dharma, artha (wealth) and Kama (pleasure). Kaumudi falls in love with the hero at first sight. Disregarding the interests of her own father who and his followers are pseudo-ascetics but, in fact, robbers. Her father apparrently marries her to rich Sarthavaha merchants whenever they visit him. Poor fellows fall into the well, covered under bed, in the nuptial chamber and perish. She elopes, with the treasure collected from the supposed husbund's, with the hero. Calamities after calamities visit both of them. They bravely face there calamities and are ultimately united and enjoy pleasures of love. This account forms the main story-main plot, and the story of Makaranda, the heroe's trusted and beloved friend and Sumitra who are destined to be married, by lucky accident come together. The story of Makaranda and Sumitra constitutes the byplot and furthers the cause of the main hero. The amukha (Introduction) claims that this rupaka (play) is Kutuhalsahasra-nidhanam' and 'nissesa-rasa-bhava-pradipakam.' When we go carefully through the whole play we notice that most of the incidents are Katha incidents. They excite our interest, curiosity and in that sense they are 'Kutuhala-Sahasra-nidhana' but one must admit that they hardly form dramatic incidents. The other claim made in the amukha on behalf of the poet that it is nissesa-rasa-bhava-pradipaka' is rather exaggerated. Every reader would agree with us when we say that there is a lack of humour throughout the play. May be, the poet is serious by nature and consequently he simply cannot create humour or humorous situations. Being a muni, possibly he felt it rather awkward and improper to portray vividly the erotic sentiment (Srangararasa). The hero is 'dhira-prasanta'. By his very nature he is against fighting a war. For example, towards the end of the sixth Act we are told of the impending war-night attack by the enemy on Vijayavarma's army. But the next Act informs us why the fight as such does not take place between the two warring groups. We have instead a scene which excites the sentiment of fear.

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anusaMdhAna - 17*83 It is rather easy for Ramanadra to depict the sentiments of fear (bhayanaka) bibhatsa (Disgust) of marvell or wonder (adbhuta), when occasion arises he depicts the sentiments of roudra (the furious) and the pathos (karuna). One very convincing illustration of the depiction of the bibhatsa sentiment may be cited here. The description of the temple of Katyayani (Act IV V V-123, pp 45-46) is very graphic and creates disgust in the mind of the readers or spectators when the play is enacted on the stage. Kaumudimitrananda: Appreciation Kaumudimitraanda is an extravagantly fanciful composition. The supernatural or magical element plays a dominent role througout the play. It presents so many marvallous incidents appealing to the audience and contributing to the sentiment of wonder or the marvellous (adbhuta-rasa) right from the beginning to the end. Thus the Siddha King nailed to a tree by Varuna, the regent of the ocean, is set free from imprisonment by means of a jem of mysterious power. Again, Maitreya has won the favour of the King's vassal by curing him by a magic herb. Kaumudi is attracted to Mitrananda, her prospective husband by the lovecharm he had received from Varuna. She and Mitrananda flee to Lanka. There the pair would have been in miserable plight. Since Mitrananda is taken for a thief by the city police. Mitrananda, however cures prince Laksmipati with the aid of the halahalahari vidya (lore) from death given to him to revive the dead by the goddess Janguli on the occasion of his marriage. In Act VIII Mitrananda by a magic formula induces the corpse in whom the Kapalika has breathed life and which takes a sword in its hand, to strike that wicked Kapalika, who, however, overcome with fear, disappears. Act X ends happily with husband and wife united in the residence of the Siddha King by the efforts of Maitreya. The various marvellous incidents mentioned above excite the sentiment of wonder (adbhutarasa) in the spectators/audience. According to Bharata, the sentiment of wonder should be introduced in the concluding nirvahana Sandhi, but our poet Ramacandra introduces it in almost each and every Sandhi. Kaumudi and

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31HET-84 * 84 Mitrananda, the hero and heroine of the main plot are somewhat impressive but Sumitra and Makaranda, the hero and heroine of the by plot are not effectively depicted. Kaumudi and Mitrananda, with rich treasure, flee to Lanka. They go through several ordeals but are ultimately united as husband and wife. Ramacandra's Style : Ramacandra is at his best in sperinkling his dramatic poem with witty and wise sayings-throwing light on the human nature. Excepting some long descriptive stanzas which are rather tough and difficult he may be said to be fond of Vaidarbhi style. His dialogues are, as a rule, lovely, brisk and crisp. His prose is lucid and easy to understand. It must, however, be admitted that a large number of words he, possibly, deliberately uses that are obscure or rarely used. By way of example a few of them are listed in the foor-note. Both of his claims that his play is 'Kutuhala-sahasra-pradhana' and 'nissesarasa-bhava-pradhana' are well qualified-with one single exception. He fails to create hasya-rasa (sentiment of laughter, or humour). It is very likely that Ramacandra by his very nature and temperament was serious and therefore did not see observe the lighter side of human life. We add at the end a number of his Subhasitas and Sudha-syandi suktas to give readers an idea of his observations of human nature, especially men, women, robbers, etc. Modern scholars like Keith, De, Raghavan judge the play by applying modern western, norms and standards and describe it as 'wholly undramatic.' To judge by Indian standards and criteria, we should first keep in mind, it is unfair and unjust to compare this late playwright of the 12th century with master poets like the unimitable Sudraka or the great Bhavabhuti. His drama does not certainly come up to the normal standard but at the same time does not fall far below the Indian standard. Following Bharata and Abhinavagupta, Ramacandra clearly says "Natyapranah rasah". He has portrayed all the rasas excepting the hasya rasa. But he failed to make either vira or srngara as the dominent (pradhana, angi rasa and other rasas supportive to it. Even then we feel that it would be fair to rank Ramacandra as a second rate poet. *

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3TTFET-86 * 85 Ramacandra's Thoughts Ramacandra sprinkles, now and then, his Kaumudimitrananda with Subhasitas. They embody his thoughts about the nature of women, about love, about fate, about men good and bad, and quite a few arthantaranyasas which are worth remembering; not to be forgotten. A list, not quite exhaustive, of such Subhasitas and Sudha-Syandi Suktas is added at the end. Here a few of his Subhasitas and Suktas embodying his thougts about the nature of women, about love, about fate and the habit of robbers (cauryavrtti) and Suktas are freely translated for the benefit of those who are not acquinted with Sanskrit : 1. The mind of women who for the sake of a man whom they have seen just for a moment (who fall in love with him at first sight) who desert their own Kingmen who are so very familiar, and who are so friendly and favourable (benefactors), if at all God Brahma alone knows. (3.3; p.97) 3.It is this god of love (or Love) itself that effects or brings about fortunateness (saubhagia - good fortune or luck) and beauty (cangima=soundarya) among lovers. It is the moon, and the moon alone, who produces (make ooze) water in the moon stones which are hard or compact by nature. (3.9, p. 30) 9. Those women, being blinded by love, consider their lives worthless - trivial like grass - deserve to be counted first among the heroes - heroic personages. (4.4, p. 49) 12.Even if one falls in the ocean, or thrown down on the earth from the sky again obtains possession - regains - wealth, provided he remains alive. (6.1, p. 63) * 26.If by an act of kindness you oblige a wicked or cruel person he is bound to do injury by.retatiation. A lion who is ensnared - Clit. for whom a snare is spread) and is soon to meet his end, kills that very person who tears asunder that share. (10.16, p.125) - Suktas i 2. Any dress (or apparel) suits a person who is naturally handsome.(I.18 Second half, p. 12)

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. anusaMdhAna-17.86 Note : this line reminds one of Kalidasa's beautiful arthantaranyasa; / kimiva madhurANAM maNDanaM nAkRtInAm / Sakuntala I.20.d 3. For embodied beings nothing is dearer than their own life. (6.5, Ist half) kaumudImitrANanda-prakaraNAntargatAni mahAkavirAmacandrasya subhASitAni khaNadiTThajaNanimittaM baMdhuaNaM pariciaM hiakaraM ca / millaMtINaM mahilANa muNaijai mANasaM baMbho // (kSaNadRSTajananimittaM bandhujanaM paricitaM hitakaraM ca / muJcatInAM mahilAnAM jAnAti yadi mAnasaM brahmA // ) -3.3, pR.27 kANaM pi aMgalaTThI bhUsijjai bhUsaNehi taruNINaM / bhUsijjai uNa kANaM pi bhUsaNaM aMgalaTThIe // (kAsAmapi aGgayaSTiH bhUSyate bhUSaNaiH taruNInAm / bhUSyate punaH kAsAmapi bhUSaNaM aGgayaSTinA // ) - 3.6, pR.28 3. eso so (pA.bhe.aNurAo)ccia daiesu ghaDai sohagga--caMgima-guNAI / caMdo ccia jaNai vANIsu(?maNIsu) kaDhiNabaMdhisu(?baMdhesu) salilAiM // (eSa sa (pA.bhe.anurAga) eva dayiteSu ghaTayati saubhAgya-caMgimaguNAn / candra eva janayati maNISu kaThinabandheSu salilAni // ) -3.9, pR.30 4. snuhIgavArkadugdhAnAM dRzyaM yadapi nAntaram / tathApyAsvAdapArthakyaM jihvA''khyAti paTIyasI // -3.12, pR.33 daiehi cea paraMmuhehiM mayaNaggibhiMbhalamaNAo / kArijaMte kulabAliAu gahilAi kajjAI // (dayitaiH caiva/eva parAGmukhairmadanAgnivihvalamanasaH / kAryante kulabAlikA grathilAni/grahilAni kAryANi // ) -3.15, pR.37 alpatvaM ca mahattvaM ca vastuno'rthitvamIkSate / kravye tarakSuH zraddhAlurna kavye tridazAM patiH // -3.18, pR.37 astAdrimAzrayantaM pradoSasaMhatasamastavasusAram / voDhAraM kulavaniteva mitramanusarati dinalakSmIH // -3.22, pR.29 khaNamittadiTThapiayaNapimmabharubhibhalAo mahilAo / ciraparicie vi millaMti baMdhave esa kira pagidi / (kSaNamAtradRSTapriyajanapremabharovihvalA mahilAH / ciraparicitAnapi muJcanti bAndhavAneSA kila prakRtiH // )-4.3, pR.42 ) 5

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anusaMdhAna - 17 * 87 vIreSu gaNanAM pUrvaM paramarhanti yoSitaH / yAstRNAyAbhimanyante prANAn premAndhacetasaH // -4.4, pR.42 10. desaM vayaMsi visamaM sahaMti NivvaM ( ? ) bhamaMti duhiAo / tahavi mahilANa pimmaM daiyammi na sayaNavaggami // (dezaM vrajanti viSamaM sahante duHkhaM ( ? ) bhrAmyanti duHkhitAH / tathApi mahilAnAM prema dayite na svajanavarge // ) - 4.5, pR. 42 mA viSIda kRtaM bASpaiH phalaM marSaya karmaNAm / satyaM viSAdazokAbhyAM na daivaM parivartate // - 4.17, pR. 50 12. samudre patitasyApi kSiptasyApi nabhastalAt / punaH saMpadyate lakSmIryadi prANairna mucyate // - 6.1, pR.63 13. abhimukhavartini vedhasi puNyaguNavarjitAni sarvANi / dvIpAntarasthitAnyapi puraH dhAvanti vastUni // - 6.4, pR. 65 saMpattirvA vipattirvA rohantI daivamIkSate / 11. 14. evamapyarthitAnyeSu puMsAM klaibyAya kevalam // -6.7, pR.67 15. niSkAMkSamupakAro'pi vizvottIrNA satAM kriyA / 16. ye smarantyupakArasya taistu vandhyA vasundharA // - 6.9, pR.67 17. daivAdupasthite mRtyau kSINasarvapratikriye / tathA kathaJcinmartavyaM na martavyaM yathA punaH // 6.16, pR.73 apatyajIvitasyArthe prANAnapi jahAti yA / 18. aprakArAstu yastasya tatra brahmApi mantharaH // - 6.8, pR.67 paJcaSAH sante te kecidupakartuM sphuranti ye / tyajanti tAmapi krUrA mAtaraM dArahetave // - 7.7, pR.83 19. visaMvadatu vA mA vA zakunaM phalakarmaNi / tathApi prathamaM ceto vaimanasyamupAznute // - 8.4, pR.90 20. parasya zarmaNaH satyaM pratyUho hariNIdRzaH / bhave'pi tadyadi kvApi tadA vA eva hetavaH // - 8.10, pR. 94 21. sarasijanavanamapabandhaM dizo vitamaso dRzaH prakaTabhAvAH / 22. 23. avatarati nabhomitre vasudhAyAM kasya nAnandaH // - 9.1, pR.99 januSAndhA na pazyanti bhAvAn kevalamaihikAn / aihikAmuSmikAnkAmakAmalAndhAH punarjanAH // -9.3, pR.100 viralavipadAM kathaJcidvipado hartuM samIhate lokaH /

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anusaMdhAna-17.88 pratipadanavavipadAM punarupaiti mAtApi nirvedam // -9.10, pR.108 24. parasmAdupakAro yaH so'pi vrIDAvahaH satAm / tasyApratyupakArastu dunotyantaH pazUnapi // -10.2, pR.113 25. sarvathA kaitavaM nindyaM pravadanti vipazcitaH / kevalaM na vinA tena duHsAdhyaM vastu sidhyati // -10.5, pR.116 26. krUraH kRtopakAraH pratyapakArAya kalpate bhUyaH / viracitapAzavinAzaH praNihanti vipAzakaM siMhaH // -10.16, pR.125 apakAraM kurvANairupakAraH ko'pi zakyate kartum / saMtApya phalasamRddhAH karoti dhAnyauSadhIstapanaH // -10.17, pR.125 28. naktaM dinaM na zayanaM prakaTA na caryA, svairaM na cAnajalavastrakalatrabhogaH / zaGkAnujAdapi sutAdapi dArato'pi, lokastathApi kurute nanu cauryavRttim // -7.3, pR. 79 29. aihikAmuSmikAn klezAnkukSisauhityakAmyayA / / . svIkurvanAsti durmedhAH ko'nyastaskarato janaH // -7.4, pR.79 sudhAsyandi-sUktAni 1. nijabhujadaNDAbhyAM hi vaNijAM draviNopArjanaM maNDanaM na tu khaNDanam |-pR. 9 2. prakRtisubhage pAtre veSo yadeva tadeva vA / - pR.12 3. purandhrINAM premagrahilamavicAraM khalu manaH / -pR.41 / / 4. satyaM viSAdazokAbhyAM na daivaM parivartate / -pR.50 5. sarvathApyapAravyasanakAntArapatitenApi prekSApUrvakAriNA prANinA na viSAdavaidhurya mAdheyam / pR. 64 6. prANebhyo nAparaM vastu premapAtraM vapuSmatAm / -pR.66 7. upanatA api hi vipadaH pratirudhyante devatAdarzanena / pR.90 8. avatarati nabhomitre vasudhAyAM kasya nAnandaH / -pR.99 9. parasmAdupakAro yaH so'pi vrIDAvahaH satAm / -pR.113 10. prasarati madhau dhAtryAM jAto na kasya guNodayaH / -pR.114 11. krUraH kRtopakAraH pratyapakAsaya kalpate bhUyaH / -pR.125

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On Sthatus ca ratham in the Rgveda 1.70.7 - M. A. Mehendale RV. 1.70 is a hymn of Parasara addressed to Agni. It consists of eleven, or according to another mode of counting (adhyayanatah), of six stanzas. The seventh (or the fourth) stanza reads as : vardhan yam purvi'h ksapo virupah sthatus ca ratham stapravitam. The first half of the line offers not much difficulty and can be rendered as "whom (Agni) many nights (and dawns), of different forms, may strengthen.' The diffuculty is presented by the second half. There we have ca after sthatus which apparently looks like the genitive sg. of sthatr-what is stationary (sthavara). But, after ca, there is no word in gen. sg. with which it could be coordinated. Scholars, therefore, felt that a mistake had occurred in the transmission of the text and that the text has to be read as sthatus caratham (i.e. caratham to be read as one word, and not two, ca ratham, as in the Pada text). Max Muller? defended this suggestion and Oldenberg (Noten) agreed with him. In support of the suggestion to read caratham occurs twice in the RV. viz. at 1.58.5 (sthatus caratham bhayate paratrinah) and at 1.68.1 (sthatus caratham aktu'n vyu'rnot?). As regards the form sthatur, Max Muller observes that it could be the old nom. acc. sg. of neuter noun in -tr. In later Sanskrit, however, we get the form sthatr'. Neither Max Muller nor Oldenberg tells us how they understood the line with the reading sthatus caratham. In the two RV. passages 1.58.5 and 1.68.1 referred to above, Sayana interprets the two relevant words as sthavaram... jangamam ca. In 1.58.5 the word sthatuh has to be nom. sg. Sayana treats it as a form derived from the stem sthatu'. But he does not tell us how sthatuh

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37TTENT-8990 can be acc. sg. in 1.68.1. Geldner accepts the suggestion of his predecessors to treat caratham as one word, but he interprets sthatuh differently. He takes it as gen. sg. of sthatr-. Hence, in his opinion, the original reading was not caratham, but caratham (gen. M.). For this emendation of the text he finds support in stanza 3 of this hymn (1.70) where we read garbhas ca sthata'm/garbhas caratham.? "(Agni) who is the embryo of those that stand still and of those that move", He borrows from this stanza also the word garbha for the interpretation of the stanza under consideration which he renders as : "Whom they strengthened during many dissimilar nights (and days), (him who is the embryo), conceived at proper time, of allo that moves and stands". 10 All western interpreters thus agree in treating caratham as one word. Not only that, Max Muller is quite confident that "there can be no clearer case of curruption in the traditional text of the Rig-veda than, for instance in I, 70, 4 (= 7)...".11 I do not share M. Muller's confidence. In my opinion, the author of the Padapatha has correctly interpreted, the Samhita text before him and separated ca ratham as two words. He certainly knew the phrase sthatus caratham which occurs twice before. In spite of that he chose to separate ca ratham since he interpreted rtapravitam as adjective of the word ratham which occurs immediately before it, and not of any other word like garbha borrowed from a different stanza. On the other hand, he apparently borrowed caratham for the understanding the present stanza. This borrowing is easily understandable as sthatus caratham is a set phrase. The passage is an example of ellipsis, the full text being sthatus (caratham'2) ca ratham rtapravitam. As ragards rtapravitam, Geldner takes it to be an adjective going with the noun garbha supplied by him" "den zur

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anusaMdhAna - 17 * 91 rechten Zeit empfangenen (Keim)". This is very unlikely. rtapravit m as an adjective ratham makes good sense. The chariot (in the form of Agni) was set in motion, was impelled, by rta (i.e.by the hymn14 recited by the seer while performing the sacrificial rite). The use of Pravita in the the context of driving a chariot is attested in the Mahabhasya. Patanjali while commenting on Panini 2.4.56 cites as an example pravito rathah.15 The line, therefore, may be translated as: "Whom (i.e. Agni) many nights of different forms (and many dawns), as well as what is stationary (and what moves), may strengthen, (Agni who is) the chariot' set in motion by the hymn". Agni is strengthened by the offerings of clarified butter (obtained from cowmilk) and of fire-wood. Hence he is said to be strenghthened by one that moves (cow) and one that is stationary (tree). This is specifically referred to in stanza 9 of the hymn (gosu prasartim vanesu dhise "you value the cows and the woods"17). Foot-notes 1. In the above translation, the words purvih ksapo virupah are treated as nom. pl. Oldenberg (Noten) considers the other possibility of treating them as acc. pl. possible. Geldner prefers this other possibility and translates "Whom they reared during many dissimilar nights (and daybreaks)". 2. SBE Vol. 32 (1891), pp. LXII-LXXIV. According to him, the suggestion was made by Benfey, Bollensen, Roth and others. He does not give references. It is difficult to know whom he refers to by 'and others'. Roth (BR dictionary s.v. caratha) gives reference to Benfey's Samaveda Glossar (1948). There Benfey shows his preference to consider caratham, instead of ca ratham, to be the original reading. Roth seems to favour this suggestion. Bollensen (Die Lieder des Parascara, ZDMG 22, 1868, p. 596) also considered ca ratham to be an error for the old reading caratham. I am thankful to Prof. H. P. Schmidt for conveying to me the information from Bollensen and to Mrs. Madhavi Kolhatkar for supplying to me the information contained in Benfey's Glossar.

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37 HET-86 . 92 3. Also slightly differently at 1.72.6 (sthats'n caratham ca pahi) and 1.70.2 (garbhas ca sthata'm garbhas caratham) 4. Though Max Muller translates all the other passages cited by him in this connection. 5. Alternatively Sayana looks upon sthatus as abl. sg. of the stem sthats'-, cf. yad va sthatur anantaram caratham bhayaate. 6. Or oven caratham although this involves change in accent. 7. In 1.70.3 also, Geldner prefers to read caratam. 8. As noted above, according to Goldner, purvih ksapo virupah are acc. pl. forms. 9. This translation would be all right for st.3 of the hymn where we have sthata'm and caratham both gen. pl. forms. But in our stanza sthatuh is gen. sg. and not pl. Geldner, in his translation of the present stanza, alos unnecessarily transposes the words sthatu's caratham "alles dessen, was geht and steht". In stanza 3 he has it right "dessen, was steht und .... was geht." 10. L. Ranou (Etudes Vediques at Panineenees, Vol. 12, pp. 16 and 39) also borrows the word garbha from st. 3 and, like Geldner, takes stapravita as adj. of this noun "(Agni, germe) concu de' Order sacre. But he considers sthatus caratham as nt. sg. forms. 11. SBE. Vol. 32 (1891) p. LXXII, Max Muller goes on : "But although I have no doubt that in I, 70, 4 the original poet said sthatus caratham. I should be loath to suppress the evidence of the mistake and alter the Pada text from ca ratham to caratham. The very mistake is instructive, as showing us the kind of misapprehensin to which the collectors of the Vedic text were liable..." "But, as shown in this paper, the author of the Padapatha has not misapprehended the text before him. Moreover, the author of the Pada text was not one of "the collectors of the Vedic text", 12. Also in the first half of the line ksapo stands for ksapa usrah. The author of this hymn seems to take delight in ellipsis since we have to assume it twice in this stanza as well as in st. 1 (as understood by the author of the Padapatha) cf. Geldner, Translation, f.n. on 1.70.1b). 10 and 11. 13. Luders (Varuna II, pp. 624-625) thinks stapravita qualifies Agni. 14. For this meaning of sta, see Luders, Varuna Vol. II, p. 421 ff. 15. Patanjali also cites formis such as pravita 'charioteer' pravetum 'in order to drive from the root vi- to drive'. 16. Cf. RV 3.115 agnir... tu'rni rathah sada navah Agni the over new quick chariot." Agni is compared to a chariot in 3.15.5 : ratho

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anusaMdhAna - 17 *93 na sasnih "victorius like a chariot" 10.176.3 ratho na yor abhi'vrtah "covered like the chariot of a traveller." 17. It seems from the following stanza (8) that the seer is addressing the hymn to the evening fire. (cf., Ait, Br. 8.28, and RV. 10.88.6). Hence, the use of the word ksapah 'nights' is stanza 7. In the evening the sun is established in the fire. This is achieved by the evening rites. Since, this has now been achieved, the seer in stanza 8 says that the Hotr has become successful. Hotr does not refer to Agni as assumed by Geldner. Since the evening rite was performed to establish the sun in the fire, and since it has been accomplished, the seer concludes the stanza by saying that the Hotr has made true all the sacrificial acts (krnvan visvany apamsi satya).

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JAINA CONCEPT OF MEMORY Modern psychology regards memory as a specific kind of revival or reproduction of past events. It includes the following factors: Retention, reproduction, recognition, and localisation. To remember an event, the event must have been experienced before and the experience must have been retained or preserved in the mind in the form of an unconscious trace. This is called retention. But the mere retention of a percept is not memory. It must be reproduced in the shape of an image. Thus, one may retain the multiplication-table in the mind, but he is not said to remember it until the table is actually revived in consciousness in the form of visual or verbal images. This stage is called reproduction. Again, any vague reproduction cannot be regarded as memory proper. The image reproduced must be recongised as the image of a former percept. The image must be known to be the image of the object which was experienced in the past. This state of cognition is called recognition. Further, in memory the percept reproduced is referred to a particular point of time. This stage of memory is called localisation. Thus, retention implies the process or power of preserving the unconscious traces or dispositions of past percepts. Reproduction is the revival of past percepts in the form of images and ideas that pre-supposes the retention of those percepts in the shape of mental traces. Recognition means the cognition of an object knowing it to be old and familiar or as something perceived before. Localisation is the recognition of the object having a temporal and spatial reference to it. In the light of this process, it will be easy to explain the Jaina concept of memory. Mohan Lal Mehta Retention follows in the wake of perception. At this stage the determination that took place at the stage of perception

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3TTHET-810 * 95 is retained. The Nandi-sutra defines retention as the act of retaining a perceptual judgement for a number of instants, numerable or innumerable.' According to the Tattvartha-bhasya, retention is the final determination of the object, retention of the cognition, and recognition of the object in the future.2 Thus, according to the opinion of Umasvati, retention develops through three stages. Firstly, the nature of the object is finally determined, secondly, the determination of the object is retained, and thirdly, the object is recognised on future occasions. Jinabhadra defines retention as the absence of the lapse of perceptual cognition.'? At this stage the judgement which has been acquired in perception, becomes so firm that it does not lapse. Like Umasvati he also admits three stages of retention. As he says: "The absense of lapse of the perceptual judgement of the object, the formation of mental trace, and the recollection of it again in the future constitute retention. All of them follow in the wake of perception." Pujyapada defines retention as 'the condition of the absence of forgetting in the future of what has been cognised in the state of perception. Akalanka defines it as 'the absence of forgetting the same of what has been cognised by perception.' Vidyananda defines it as 'the condition of recall'.? Vadideva gives a different definition. According to him, retention is the consolidation of perception. It is the gradual consolidation and the absence of the lapse of perceptual cognition for some time because of the mindfulness of the cogniser.' He criticises the view of those who regard retention as the condition of recall in the future. It has been observed by him that retention is nothing but the consolidation of perception for a certain length of time. It is not the condition of recall in the future, since it is a category of perceptual cognition and, hence, cannot last up to the time of recollection. Furthermore, if it were to last up to that time, it would be impossible to cognise anything else during that interval,

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BETHET-819.96 inasmuch as even the exponents of the said view are not prepared to admit the presence of two conscious activities at the same time. Thus, how can retention be defined as the condition of recall ? We recollect out past experience on account of the special capacity of the soul to remember past events. The faculty of retention cannot be regarded as the cause of recollection. Retention, however, can be admitted as a remote cause of recall, and not as the immediate one, since it is not an impossibility to admit so many remote causes of an event. According to Hemacandra, 'retention is the condition of recollection'." This condition is nothing but the causal stuff capable of change into the effect called recall that consists in the recollection of past events. To express the same idea in a different manner, retention is nothing but the latent mental trace left over as legacy by previous experience. It is, thus the continued existence of a particular perceptual judgment for a certain length of time. Hemacandra further remarks that this latent mental trace should be admitted as a species of cognition on the ground that it is a catagory of comprehension. It should not be supposed that it is defferent from conginition as such, because if it were not cognitive in character, it could not produce recall which is a category of cognition. One kind of existence is impossible to be transformed into another kind of existence which is opposite in nature. If retention in the form of hidden mental trace were not cognitive in nature, it could not be an attribute of the self, inasmuch as the attributes of a conscious entity cannot be non-conscious in nature. Recollection is the cognition that has the stimulus of a latent mental trace for its condition. It refers to its content by a form of the pronoun that'.!? The latent mental trace is nothing but the disposition retained by our past experience. Its emergence to the surface of consciousness constitutes the

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3TLETN-84 * 97 stimulation of recollection. The emergence of recollection is necessarily conditioned by this sort of stimulation. Unless and until this type of stimulation is present, recollection cannot emerge. But how does the latent mental impression serve as the stimulus for the emergence of recollection ? It required another stimulus. The disposition of past percepts, though it may have continued for a certain length of time, does not operate as the cause of recollection unless it is awakened by another stimulus. The stimulus to excite it is admitted to be two-fold by the Jaina. '4 First of all, the person reproducing his past experience must be competent to do so. Now, what is this competence ? It is nothing but the destruction-cumsubsidence of the obscuring karmic veils. The second factor is nothing but the external conditions that bring the disposition to maturation. It includes the observation of similar objects and the like. Now, mere observation of similar objects and such other conditions are not enough to arouse recollection, since sometimes it happens that such conditions as the observation of similar objects and the like being present recollection does not arise. All the external conditions may be there to arouse recolletion, and yet, recollection does not emerge because of internal incompetency. Unless the mental make-up is efficient enough to recollect what has been experienced in the past, no emergence of recollection is possible. Mere external causes cannot give rise to internal activities. In coopertion with internal states only external conditions can produce certain mental functions. For this very reason the Jaina thinkers admit both internal and external conditions as the cause of recollection. One without the other is incapable of giving rise to it. However, when the requisite conditions such as the destruction-cum-subsidence of the obstructive veils, observation of similar objects, and the like, are at work to bring the latent mental trace to maturation, the disposition produces recollection. The contents of rec

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31151819-89.98 ollection are expressed by a form of the pronoun that, inasmuch as it refers to our past percepts. Thus, all the cognitions that point to their contents as that jar, that cloth, that ear-ring, and the like, are the cases of recollection. The line that distinguishes recollection from perception is that perception always refers to its content as existing in the present, whereas recollection always has reference to its content as existed in the past. Recognition is a synthetic judgement born of perception, i.e., direct sensory observation and recollection. It is represented by such forms of deliverance as that necessarily is it', 'it is like that, this is dissimilar to that', 'this is different from that', and so on.15 Recognition is a complex mode of cognition. It includes both perception and recollection. Perception is the direct observation of the objects existing before our sense-organs. Recollection is reproduction of the latent mental trace. These two are the conditions of recognition. Thus, recognition is a kind of synthetic judgement. When perception and recollection are combined in a particular form, recognition emerges. As recollection refers to its content by a form of the pronoun 'that', recognition delivers its contents in forms like the following : 'That necessarily is it' is one of the forms. It is the judgement of identity. All such judgements as this is necessarily that jar', 'this is necessarily that cloth', 'this is necessarily that man' are the cases of this type. When the same object is cognised on different occasions, such judgements occur. 'This is like that is the judgement of similarity. When we happen to come across an object which is similar to another one that has already been experienced, such judgements as this is like that' emerges. All such judgements as "this book is like that one', 'my watch is like that of yours', are the cases of the judgement of similarity. There are certain judgements that are just reverse

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31 HETTA-84* 99 to the judgements of similarity. 'The buffalo is dissimilar to the cow', 'the horse is dissimilar to the ass', and the like can be mentioned as examples of this variety of judgement. This is called the judgement of dissimilarity. There is also the judgement of difference. All such judgements as 'ten is less than twenty', 'five is more than three', 'the elephant is heavier than the camel', are cases of the judgement of difference. Now, an objection may be raised against the very notion of recognition. We do not come across any phenomenon called recognition, which is given out as an independent category of cognition, as anything different from the two cognitive acts, viz., 'recollection' indicated by the form 'that' and 'perception' indicated by the word "this'. When both these mental processes are in fusion, we derive the notion of recognition. Thus, strictly speaking, recognition is not a separate factor of our cognition. This contention is not a sound one. Recognition is not merely a combination of recollection and perception but something more. The object of recognition is the entity that stands out as the identity in and through its precedent and subsequent states. 16 This identity cannot be the content of recollection, since recollection cognises only what has been perceived before. As has been stated : 'Recollection congises only what has been known before and refers to its content as 'that, whereas recognition establishes the identity of a past datum with a present one in the form that is this'. Therefore, the content of recognition is certainly different from the datum of recollection." Nor can this identity be the content of perception which is confined to the present state of an object only. In other words, the province of perceptual cognition is limited to what is actually present and given to the senses. "That which is in direct contact with the senses and actually present, is directly grasped

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3TTHET4-8* 100 by the senses of sight and the like'.18 Hence, the identity of a past object and a present datum cannot lie within the jurisdiction of sensory perception. Therefore, we are justified to cunclude that the province of recognition is different from that of recollection and perception. No doubt, recognition is a synthetic judgement born of perception and recollection, but it cannot be regarded as the mere combination of the two, inasmuch as it is a new state of the mind as a unitary cognition. Foot-notes 1.Nandi-sutra, 35. 2.Dharana pratipattiryathasvam matyavasthanamavadharanam ca. Tattvartha bhasya, I, 15. 3....... aviccui dharana tassa. Visesavasyaka-bhasya, 180. 4.Ibid, 291. 5.Avetasya kalantare avismaranakaranam dharana. Sarvarthasiddhi, I, 15. 6.Nirjnatarthavismrtirdharana. Tattvartha-raja-varttika, I, 15, 4. 7...... smrtihetuh sa dharana. Tattvartha-sloka-varttika, I, 15, 4. 8.Sa eva drdhatamavasthapanno dharana. Pramana-naya-tattvaloka, II, 10. 9.Syadvada-ratnakara, II, 10. 10.Ibid. 11.Smrtiheturdharana. Pramana-mimamsa, I, I, 29. 12.Commentary on Pramana-mimamsa, I, I, 29. 13.Vasanodbodhahetuka tadityakara smrtih, Pramana-mimamsa, 1, 2, 3. 14. Avaranaksayopasamasadrsadarsanadisamagrilabdhaprabodha tu smotim janayati, Commentary on Pramana-mimamsa, I, 2, 3. 15.Pramana-mimamsa, I, 2, 4. 16.Purvaparakaraikadhurinam hi dravyam pratyabhijnanasya visayah. Commentary of Pramana-mimamsa, I, 2, 4. 17.Purvapramitamatre hi jayate sa iti smrtih. Sa evayamitiyam tu pratyabhijnatirekini. Tattva-sangraha, 453. 18.Sambaddham vartamanam ca grhyate caksuradina. Slokavarttika, IV, 84.

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The Jaina Universe in a Profile of Cosmic Man - Suzuko Ohira This is a short artilce I sent to the Umasvati Seminar held in Delhi in January 1999 which I could not participate in. Very fortunately it has not been published yet, and I am indeed happy to dedicate it for the commemoration volume of my late dear teacher Pt. D. D. Malvania, who guided me in writing my Ph.D. thesis, "A study of the Tattavarthasutra with Bhasya, with Special Reference to Authorship and Date" (pub. by L. D. Institute of Indology, Ahmedabad, 1982) and "A Study of the Bhagavtisutra -- A Chronological Analysis" (pub. by Prakrit Text Society, Ahmedabad, 1994). In this brief paper, I would like to pose upon the Cosmic Manshaped Jaina loka in order to speculate when and why such a strange idea of the universe arose to the Jaina theoreticians, and if Umasvati was aware of its singificance. Umasvati's T.S., that was composed sometimes in the late middle of the 5th century A.D., is a compendium of the theoretical contents of massive Jaina canonical works. He organized it in terms of seven tattvas in some 350 sutras, and wrote its commentary or bhasya himself. Since then, it has become a common practice for the students of Jainology, to be introduced to the outline of Jainism through his Sabhasya T.S However, this prakarana, written in terse Sanskrit is extremely difficult to comprehend, even with the help of his own bhasya, and naturally numerous commentaries have been continuously written on it up to this day. Students of Jainism today have to thus take up the Sabhasya T.S., as a rule, along with some modern commentaries on it at the very beginning of their Jainological studies. It is in these modern commentaries on the T.S. that we find an exposition of the Jaina loka built in the form of

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3TTEET-810 * 102 World-Man or Cosmic Man, standing with his legs apart and resting his hand on his waist. The same exposition is, however, not found in the earlier ones. Umasvati describes the shape of loka in his bhasya to sutra III. 6 in the following way. The lower world stands in akasa like a down turned earthen bowl, the middle world is in the shape of a cymbal (jhalara), and the upper world is also like a drum (mrdanga). The whole universe is, then, said to resemble a vajra, which means, according to Monier William's Sanskrit Dictionary (p. 913), the form of two transverse bolts crossing each other like this. His description of the loka above as well as that of its structure and dimension made in the T.S. and its bhasya, Chs.III-IV, do not contradict those made in the modern works, except the unit of "rajju' in measuring the loka, which is the post-Umasvati usage. An illustration of this Jaina loka, for instance, shown in Figure 1, may naturally arouse our imagination that it resembles a human being, having his head on top and his hands at the part of waist that falls in the position of the middle world. But Umasvati does not compare it to Cosmic Man as modern commentators on the T.S. do. Neither do so the early commentators of the T.S., both Svetambara and Digambara, including Haribhadra, Pujyapada and Akalarka, whose works I hold. I shall be most happy if any scholar would be kind enough to inform me, of the earlier works on the T.S. or otherwise that refer to the Jiana loka expressed in human appearance. Schubring mentions in The Doctrine of the Jainas (p.206), "A third non-canonical conception refers to a world of human appearance (as loke purusa)". (1) He, then, makes a note that an expressly female figure appearing in Grunwedel's AltKutscha, I. 47, etc. is quite doubtful. True, an idea of the loka in a profile of Cosmic Woman can never be accepted

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anusaMdhAna - 17* 103 in the context of Jainism. However, as illustration of a femalefigured Jaina loka, dated the 18th century, Rajasthan, has been widely circulated in Japan also, as shown below.(2) Schubring also mentions that the name of the regions called 'Graiveyaka (neck)' in the loka and the expression of 'loka-mastaka (head of the universe)' made in the Dasavaikalikasutra IV. 25 make it clear that the Jaina loka is shaped in human appearance.) The Dasavaikalikasutra is one of the earliest canonical works, however, this part is obviously a later interpolation. Be that as it may, the loka was one of the earliest topics that the canonical authors had to work on, because without firmly establishing its shape, size and structure, etc., they could not advance and develop their theories of jivas and ajivas that abide therein. The Jainas are the natural philosophers, and they postulate that the aloka or non-universe exists by which the loka is supported. Arguments on this matter appear in quite early canonical stages. (4) The Bhagavatisutra (=Bh.) VI. 5. 240-241 refer to Tamaskaya or the black body which envelops the four lower kalpas rising from the Arunavara Ocean, and from its end begins Krsnaraji or the black field at Brahma loka. Since these regions are always bright due to the natural brightness of vimanas, and since the Jyotiskas brighten the middle worlds, it is difficult to fathom why the canonical authors had to postulate these dark regions in the Jaina cosmography. But a solution to this problem can be arrived at, only if we take the Jaina loka in a profile of Comic Man. For, then, we can suppose that Tamaskaya is situated in the postition of the womb with Krsnaraji on top, which assumes a symbolic form of the swastika. These dark regions, then, will signify the cosmic garbha, the innermost shrine of the Jainas, in which located is Mt. Meru in the form of lingam. A plausible

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BELIET-810 * 104 explanation of all this is that the then canonical authors adopted the popular lingam worship of Saiva School in order to represent Mt. Meru as a symbol of the eternal potency of Jainism. These regions are thus placed above the profane lower world.(5) These texts in the Bh. above belong to the final canonical stage, when the Jaina centered world view was thoroughly established. Their description of Tamaskaya and Krsnaraji presupposes that the Jaina loka was assumed in a profile of Cosmic Man. Then, the trasa nali or a tunnel running vertically through the center of the loka, must be suggesting itself to be the cosmic axis of the Jainas. The structures of the three worlds and the four types of beings residing therein are described in the T.S. III-IV. Umasvati must have used the so called Pannatti texts for his source materials in composing these chapters. From the data offered so far above, it is very clear that the shape, size and structure of the Jaina loka had been already established by Umasvati's time. Therefore, the Jaina theoreticians in the later canonical stages including Umasvati were fully aware that the shape of their universe was made to resemble Cosmic Man. But curiously enough, they didn't dare to refer to this fact. It is likewise strenge that the post-Umasvati authors like Haribhadra, Pujayapada and Akalanka maintained the same attitude of keeping silence about this matter. It just went on, as if handing down a secret inside to the succeeding Jaina theoreticians, untill the modern authors broke with its taboo. But, why? The Bh. XIII. 4.478-479 refer to the directions starting from the central point in the middle world, which is situated in the middle of two thin layers at the top of Ratnaprabha. This theory of directions must have evolved in the final canonical stage, in connectinon with locating the central point

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anusaMdhAna - 17* 105 of the loka, against which a kevali must fix the central point of his physical body, in order to perform kevali samudghata at his final moment of life.(6) The T.S. Ch.10 which is relevant to moksa, is silent about this method of kevali samudghata. Now, the T.S.V.15 and its bhasya state that a jiva can occupy one by asankhyata part of lokakasa up to the whole of it. The entire lokakasa has to be occupied by a kevali by spreading his soul in order to cut off his total karmas at the time of liberation. This process is known as kevali samudghata. This is the only time when a jiva can occupy the entire lokakasa. Umasvati, who keeps silence about kevali samudghata, is thus surely well acquinted with its concept. "You can attain liberation by way of ahimsa," said Mahavira. But as time went on Jainas developed their own doctrinal system, and their method of salvation had to be, then, theorized in view of their advanced dogmatical scheme. Jainism advocates dualism of the jiva (=atman) and the matter (=ajiva), and karma belongs to the category of matter. Since Jainas do not postulate Creators of God, they assume that jivas and matter have existed since times eternal, and that world phenomena have also been occuring by the mutual bondage of jivas and karmas since the beginning of eternal time. The Jaina thoreticians in the canonical age, then, had to solve the problem as to how to enable a kevali to eradicate his total karmas at the time of liberation, in the purview of their karma doctrine. Jivas and karmas, say the Jainas, have been inseparably bound since the beginningless time. Then, how can they ever be separated? It must have been a grave and pressing issue to be solved by the then canonical authors. Here, Jaina canonical authors got help from the traditional Brahmanical concept of 'Aham brahmasmi' in the

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anusaMdhAna - 17* 106 Brhadaranyaka Upanisad and 'Tattvam asi' in the Chandogya Upanisad. In other words, the unification of Atman with Brahman is the well known established method of freedom from samsara in the Brahmanical tradition. The Jaina authors resorted to the same method, and established 'kevali samudghata', the Jaina method of annihilating a kevali's entire karmas and attaining liberation, by allowing him to be unified or to become one with Cosmic Man, the Jaina loka. In order to deny one's total self and become free from it, there is no other way for him, but to transcend the level of his own self and becomes one with the Absolute One, Brahman or God, or with whatever name you may wish to call Him. Likewise, if a kevali wants to be absolutely free from his entire karmas that have been inseparably bound with his transmigrating self since the beginningless time, there is just no other way for him, but to transcend the level of such self and becomes one with the Absolute One, who stands outside the phenomena of samsara. The Jaina theoreticians had to thus build their loka in a profile of Cosmic Man. Buddha who was a historical person in Hinayana Buddhism, came to be also considered as pervading throughout the universe in Mahayana Buddhism. This idea was soon followed by the carollary that Buddha is no other than the cosmic world itself. This cosmic world is called Buddha's 'dharma kaya', that is often expressed by Cosmic Vairocana. This idea, of course, goes back to that of Purusa in the 'Purusa-sukta hymn' in the Rg-veda X. 90. Purusa or Original Man is here depicted as God of sacrifice as well as the object of sacrifice, by whose immolation the present world including all things, human beings, devas and all others including social systems are derived. The Jainas thus followed in the wake of Mahayanists.

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37THIETT7-819. 107 The adoption of the idea of Brahman to the Jaina system must have occured at some canonical stage, that was much earlier thin the time of Umasvati. However, the Jaina loka which resembles Cosmic Man, is ajiva or matter, thereby kevali samudghata is difficult to allow a kevali to attain his final perfection. Then, if the Jaina loka were assumed to be Cosmic Jina or God who enables a kevali's unification with Him, in as much as the case of Brahman and Mahayanists' Cosmic Buddha, it would be contradicted by their dual system of jiva-ajiva that excludes the existence of the Absolute One. A kevali thus falls into a dilemma in performing kevali samudghata, this being a method and a mechanical process of eradicating his entire karmic matter particles, that have been bound inseparably with his soul since times eternal, by way of spreading his entire soul space throughout the lokakasa in a profile of Cosmic Man, and exploding them, just as a fully blown baloon bursts at its maximum expansion to exclude its air inside. Due to some dissatisfactory factors hidden in this method of karmic destruction, Jaina theoreticians in the canonical age including Umasvati, could not openly say that the Jaina loka resembles Cosmic Man. Post canonical theoeticians, then, followed the same practice of their predecessors. However, as time went on, its grave significance came to be gradually forgotten, and the modern commentators of the T.S. must have started to elucidate that their loka is built in the appearance of Cosmic Man. Then, there also appeared an idea of the Jaina loka in a profile of Cosmic Woman, as mentioned already. This Jaina loka expressed in a figure of Cosmic Woman belongs, most probably, to a tantric line.

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3TTHET-810 * 108 Foot-notes 1. Schubring, W. : The Doctrine of the Jainas. Motilal Banarasidass, Delhi, 1962, p. 206, note 1. He also makes a reference to Kirfel's Bilderatlas. 2. Figure 2, from Akira Sadakata's Indo Uchushi (Indian Cosmography), p. 233. The same illustration is also found in Heibonsha's Sekai Daihyakka Jiten (World Encyclopaedia), v. 3 (1988), illus.p.63, under uchu (universe)'. 3. Schubring, op. cit. p. 206. 4. Refer to my Study of the Bhagavatisutra, SS 145-146. $ 157-160. SS 163 & 165. 0 0

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3THE-89* 109 11117 Figure 1 1 Figure 2

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Sankaracarya and the Taittiriyopanisad (with reference to his bhasyas) - Vijay Pandya The Taittiriyopanisad (T.U.) is one of those few Upanisads which have exercised a tremendous influence upon the course of Indian philosophy over the centuries. It is this Upanisad which has formed the core of the Brahmasutra available at present along with some other classical Upanisads. Some of the satras of the extant Brahmasutra have been based upon this upanisad. The very second sutra HTER 76: 1 (1-1-2) has the passage from this Upanisad i.e. an a ghi bhUtAni jAyante, yena jAtAni jIvanti, yatprayanti, abhisaMvizanti, tadvijijJAsasva, AGSEL for its visayavakya. The whole of the Anandamayadhikarana (1-1-12to 19) has the anandamimamsa of this upanisad as the basis. Then, there is one theory according to which there were various Brahmasutras belonging to the various Upanisads, the Taittiriyopanisad likely being one of them.' Sankaracarya was not to miss the enormous philosophic significance of this Upanisad, as is evidenced from the fact that he has quoted the T.U. in his Brahmasutrasankarabhasya (B.S.S.B.)142 times. He has also written a commentary on the T.U. Here, before we go deeper into the discussion, it should be made clear that, we assume both the bhasyas viz. B.S.S.B. and the Taittiriuopanisadbhasya to be authentic from the pen of Sarkaracarya, though occasionally the doubts have been raised about them. Scholars like Deussen think that the second interpretation of the Anandamayadhikarana is an interpolation. Similarly the T. U. bhasya is also authentic as Suresvaracarya has commented upon it and there are sub-commentaries upon the Vartika, a commentary by Suresvaracarya on the T. U.

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3TTHETN-869 * 111 Bhasya. It may also be noted that the second interpretation of the Anandamayadhikarana is quite in consonance with T. U. Bhasya. If we want to understand Sankaracarya's philosophical position towards the T.U., then, his bhasyas on Anandamayadhikarana (1-1-12 to 19) of the Brahmasutra and the relevant portion of the T.U. are indispensable. We know that Sankaracarya has given two interpretations of the Anandamayadhikarana. The relevant portion of the T. U. which has been taken up as a discussing point in the Brahmasutra begins. as follows: tasmAdvA etasmAdAtmana AkAza sambhUtaH / AkAzAdvAyuH / vAyoragniH / agnerApaH / adbhayaH pRthvI / pRthivyA oSadhayaH / oSadhIbhyo'nnam / annAtpuruSaH / sa vA eSa puruSo'nnarasamaya tasyedameva ziraH / ayaM dakSiNaH pakSaH / ayamuttaraH pakSaH / ayamAtmA / idaM pucchaM pratiSThA / From the Atman, the ether proceeded, from ether, the wind, from the wind the fire, from the fire the waters, from waters the earth, from earth the plants, from plants food, from food man, he is made up of food. And then in the similar fashion the T. U. proceeds further. In this self of food dwells inside another self of breath (Pranamaya), again in the self of breath, there is self of mind (manomaya). Further in the self of mind is the self of understanding (vijnanamaya) and in the self of understanding is the inner self which consists of bliss (anandamaya). Now the crucial point of discussion in the Brahmasutra and in the T.U.bhasya is this self consisting of bliss, Anandamaya. Who is this Anandamaya ? Sankaracarya puts forth two interpretations ih his commentary on the Anandamayadhikarana. According to the first interpretation put forth by Sankaracarya,

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BILHETA-919. 112 Anandamaya is Brahman. According to the second interpretation which some scholars like Deussen have dubbed as an interpolation, (but we believe it to be as authentic as the first one), Anandamaya is not Brahman. It is one of the five sheaths, as Sankaracarya says in his B.S.S.B., aff4f402019144844 3477644446m: Yo tem orice is the five sheaths extending from the sheath of food upto the sheath of bliss are merely introduced for the purpose of setting forth the knowledge of Brahman. Similar interpretation is offered in the T.U.bhasya, and in the T.U.bhasya by Sankaracarya the interpretation resembling that of the first interpretation in the B.S.S.B., is nowhere in sight. It is most interesting and edifying to see how Sankaracarya fortifies the thought that Anandamaya is not Brahman. The bhasya in the Upanisad runs as follows : annamayAdibhya AnandamayAntebhya Atmabhyo'bhyantaratamaM brahma vidyayA pratyagAtmatvena didarzayiSuH zAstraM avidyAkRtapaJcakozApanayanena anekatuSakodravavituSIkaraNeneva tadantargata taNDulAnprastauti / tasmAdvA etasmAdannarasamayAdityAdi / Brahman is the inmost of all selves beginning from the physical sheath and ending with the blissful one. The scripture starts with the text tasmAt vA etasmAt annarasamayAt etc. with a view to revealing through knowledge that Brahman as the indwelling self by following a process of eliminating the five sheaths just as rice is extracted from the grain called Kodrava that has many husks.? Thus Anandamaya is not Brahman and it is one of the sheaths which one has to transcend in order to realise Brahman. The T.U. bhasya is running close parallel to the second interpretation offered by the great acarya in his B.S.S.B. As Sankaracarya was writing an elaborate bhasya on the T.U., he makes some other subtler points which he did not mention in his bhasya on the Anandamayadhikarana in the

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anusaMdhAna-17. 113 Brahmasutra. We know that in the T.U., after Annamaya comes Pranamaya and so on. At this place, Sankaracarya in his T.U. bhasya observes evaM manomayAdibhiH pUrvapUrvavyApibhiruttarottaraiH sUkSmairAnandamayAntairAkAzAdibhUtArabdhairavidyAkRtairAtmavantaH sarve prANinaH / tathA svAbhAvikenApyAkAzAdikAraNena nityenAvikRtena sarvagatena satyajJAnAnantalakSaNena paJcakozAtigena sarvAtmanA AtmavantaH / Similarly all creatures are possesed of selves by virtue being provided with the bodies beginning with the mental and ending with the blissful which successively pervade the preceding ones and which are made up of the elements, beginning with akasa, that are the creations of ignorance. So also they are blessed with the self by the Self that is common to all, selfexistent, the source of ether etc., everlasting,unchanging, all-pervading, defined as truth, knowledge and infinite and beyond five sheaths. Further one more finer point Sankaracarya makes in the T.U.bhasya which he did not make in his bhasya on the Anandamayadhikarana. saMkramaNAcca 'AnandamayamAtmAnamupasaMkAmati' iti vakSyati / kAryAtmanAM ca saMkramaNamanAtmanAM dRSTam / saMkramaNakarmatvena cAnandamaya AtmA zrUyate / yathAnnamayamAtmAnamupasaMkrAmatIti / na ca Atmana evopasaMkramaNam / adhikAravirodhAdasaMbhavAcca / na hyAtmanaivAtmana upasaMkramaNaM saMbhavati / svAtmani bhedAbhAvAt / AtmabhUtaM ca brahma saMkramituH 110 This also follows from the fact of Samkramana (attaining). The text will say 'He attains the self made of bliss. (T.U.25) and things that are non-selves and effects are seen to be attained by others. Moreover the self made of bliss is mentioned in the text as the object of the act of attaining just as it is the annamayam atmanam upasamkramti, he attains the self made of food. Nor is the (unconditioned) Self attainable since such an attainment is repugnant to the trend of the passage and it is logically impossible. For the (unconditioned)

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31LHETA-89 * 114 Self cannot be attained by the Self in as much as there is no split within the self and Brahman is the Self, of the attainer." So this argument of attaining is a very subtle one, and additional too, to the points made in the BSSB by Sarkaracarya. The great acarya offered two interpretations of which he elaborated the second interpretation and the first one he altogether ignored in the T.U.bhasya. About the second interpretation it may be stated that the acarya was not wavering between ananda and anandi so to say as Belvalkar and Ranade seem to be averring. 12 We may, in fact, conjecture that, the first interpretation was handed down to Sankaracarya by the tradition and he felt bounden by the tradition to mention the interpretation of which he himself was little convinced. The second interpretation is consistent with his overall relentless pursuit of absolute, rigorous unflincing non-dualism and which gets reflected in the T.U.bhasya. In fact, as we could mark, in the T.U.bhasya, he is more original, vigorous and incisive unshackled by the tradition. Regarding Sankaracarya's Brhadaranyakopanisadbhasya, Daniel Ingalls has observed that Sarkaracarya breaks with traditional interpretations frequently whereas in the Brahmasutrabhasya, he is very careful not to depart from the tradition.13 This observation, I think, is applicable to T.U.bhasya by Sankaracarya. So from the forgoing discussion, it would be seen that Sankaracarya sets aside that interpretation which connects Brahman with Anandamaya. I may venture even further, that had it been in Sankaracarya's power, he would even have rejected the term Ananda, devoid of any suffix like mayat which obviously, under no circumstances, he could admit.

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STTHET-89 * 115 Tradition sanctified by usage and hallowed by time was too overwhelming for him to reject the term ananda. In support of this statement, it may be mentioned that, in the whole of literature by Sarkaracarya the most frequent phrase in the Indian philosophy, i.e. saccidananda taken as a whole does not occur. Individually sat, cit and even ananda did occur in the literature by the acarya, but as a definition of Brahman and even otherwise by way of inserting such phrases, this phrase saccidananda, is conspicuous by its absence. So, as with anandamaya, Sarkaracarya considered ananda epithet of Brahman as qualifying it. The epithet ananda goes against the tenor of his philosophical strain and despite Sankaracarya, in the Post-Sankara period the epithet and the phrase saccidananda have continued to reign unchallenged. Though there is no direct evidence to prove it but, according to Sarkaracarya, it appears ananda would bring the worldly content which would pollute, so to say, Sankaracarya's Brahman. And perhaps (not sure) the connotations of the word ananda contextually used in the classical Upanisadic literature, had strengthened his aversion to the word ananda being applied to Brahman. It is not very infrequently that in the Upanisads the word ananda has a sextual connotation. To point out a few : In the Brhadaranyakopanisad (2-4-11) it is statet that sa yathA sarvAsAmapAM samudra ekAyanam, evaM sarveSAM sparzAnAM tvagekAyanam, evaM sarveSAM gandhAnAM nAsike ekAyanam, evaM sarveSAM rasAnAM jihavaikAyanam, evaM sarveSAM rUNANAM cakSurekAyanama, evaM sarveSAM zabdAnAM zrotramekAyanama, evaM sarveSAM saGkalpAnAM mana ekAyanam, evaM sarvesAM vidyAnAM hRdayamekAyanam, evaM sarveSAM karmaNAM hastAvekAyanam, evaM sarveSAmAndAnAmupastha ekAyanam, evaM sarveSAM visargANAM pAyurekAyanam, voi o chi GTC141414 Tai pagi agri ara49 I (B.U.24-11)

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anusaMdhAna-17* 116 It is - as of all waters the uniting poing is the sea, so of all touches the uniting point is the skin, so of all tastes the uniting point is the tongue, of all smells the uniting point is the nostrils, so of all forms the uniting poing is eyes, so of all sounds the uniting point is the ear, so of all intention (sankalpa) the uniting point is the mind (manas), so of knowledge the uniting point is the heart, so of all acts (karma) the uniting point is the hand, so of all pleasures (ananda) the uniting point is the generative organ (evem sarvesamanandanam upustha ekayanam) so of all evacuations the uniting point is the anus, so of all journeys the uniting point is the feet, so of all Vedas, the uniting poing is speech.14 Similarly in the Prasnopanisad a question is asked : In whom, pray, are all things established ? (kasminnu sarve sampratiSThitA bhavantIti) And in the answer to this question are supplied couples having the cause-effect relationships. As birds resort to a tree for a resting place, even so, O friend (Pippalada addressing to Gargya, a questioner) it is to the Supreme Soul (atman) that everything here resorts. sa yathA somya vayAMsi vAsovRkSaM sampratiSThante / evaM ha vai tatsarvaM para Atmani sampratiSThate / pRthivI ca pRthivImAtrA cApazcApomAtrA ca tejazca tejomAtrA ca vAyuzca vAyumAtrA cAkAzazcAkAzamAtrA ca cakSuzca draSTavyaM ca zrotraM ca zrotavyaM ca ghrANaM ca ghrAtavyaM ca rasazca rasayitavyaM ca tvak ca sparzayitavyaM ca vAkca vaktavyaM ca hastau cAdAtavyaM copasthazcAnandayitavyaM ca pAyuzca visarjitavyaM ca pAdau ca gantavyaM ca manazca mantavyaM ca buddhizca boddhavyaM cAhaGkAracAhakartavyaM ca cittaM ca cetayitavyaM ca tejazca vidyotayitavyaM ca prANazca vidhArayitavyaM ca / (Prasnopanisad 4-87, 8) Earth and the elements of earth, water and the elements of water, heat (tejas) and the elements of heat, wind and the elements of wind, space and the elements of space, sight and what can be seen, hearing and what can be heard, smell and what can be smelled, taste and what can be tasted,

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BAKER-810 * 117 the skin and what can be touched, speech and what can be spoken, the hands and what can be taken, the organ and what can be enjoyed (upastjascanandayitavyamca), the anus and what can be excreted, the feet and what can be walked, mind (manas) and what can be perceived, intellect (buddhi) and what can be conceived, egoism (ahamkara) and what can be connected with 'me', thought (citta) and what can be thought, brilliance (tejas) and what can be illumined, life-breath (prana) and what can be supported. Similarly in the Kausitaki Upanisad ananda has been associated with upastha - a generative organ. The passage runs thus : He says to him 'Wherewith do you acquire (ap) my masculine names 'With the vital breath (Prana masc.)' he should answer. "Wherewith feminine names ?' 'With speech (vac, fem.)' 'Wherewith neuter ones ?' 'With the mind (manas, neut.)' 'Wherewith odors ? "With the breath. (Prana)' 'Wherewith forms ? "With the eye' 'Wherewith sounds ? "With the ear' 'Wherewith the flavors. of food ? With the tongue' 'Wherewith actions. ?' With the two hands.'

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anusaMdhAna - 17 * 118 'Wherewith pleasure and pain ?' 'With the body' 'Wherewith bliss, delight and procreation?' 'With the generative organ' ('Ken anandam, ratim, prajatimiti, upasthena') 'Wherewith goings?' 'With the two feet' 'Wherewith thoughts, what is understood and desired' 'With intelligence (prajna), he should say.16 Similarly in the same Kausitaki Upanisad, further, father says 'My bliss, delight and procreation in you I would place. The son replies: Your bliss, delight and procreation in me I take.' ( AnandaM ratiM prajAtiM te mayiM dadha iti putraH / (Kau. U. 2. 11) 18 It is noteworthy that in the Kau. U. therse three words viz. ananda, rati and prajati are being repeatedly used." Prajati may be connected with jan to generate, procreate. Rati may be dealing more with the aspect of sexual pleasure from ram verb, and ananda may mean a general over-all sexual gratification or satisfaction. 19 In the B.U., ananda, as if, has been defined and it is not difficult to see that context is associated with sexual pleasure. Yajnavalkya says manasA vai samrAT striyamabhihAryate, tasyAM pratirUpaH ga, (B.U. 4-1-6) Verily, your majesty, by the mind one betakes himself to a woman. A son like himself is born of her. He is bliss. In the TU. context also, the word prajati along with ananda occurs and there is a word amrta also alongwith prajatiramrtamananda ityupasthe (T.U.3-10-3). It can be seen that all these words prajati, amrta and

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3 THT-810 * 119 ananda are connected with upastham, a generative organ. In the Kau. U., it appears that a process of sextual intercourse is purported to be described. . 34rej TFT 34tante fa yfifa 1 (Kau. U. 36) With intelligence having mounted on the generative organ, with the generative organ, one obtains bliss, delight and procreation. So far, we have discussed that the wordananda is explicitely connected with the generative organ and has sexual connotations. And there are some places in the Upanisad where no direct connection can be perceived, but at the same time, there are sexual allusions. The celebrated passage from the B.U. gives an illustration of the erotic or amorous congruence in 4-3-21 Terent for rent PERMIT Tyfoot 7 ani fotoaan as HR24. As a man in the embrace of a beloved woman knows nothing, without, nothing within. In the C.U.(7-25-2) 4 ana gaya na ta fallachica ats 3147AYA 34C4H: Verily who sees thus, who thinks thus, who understands thus, who has pleasure in the soul, who has delight in the soul, who has intercourse with the soul, who has bliss in the soul. It can be seen that this passage endeavours to define anunda almost in erotic terms. Similarly in the Mundakopanisad, the same words are employed in the following context, viz prANo hyeSa yaH sarvabhUtai vibhAti vijAnanvidvAnbhavate / nAtivAdI AtmakrIDaH AtmaratiH kriyAvAneSa brahmavidyAM variSThaH // (M.U.3-1-4) Truly it is life that shines forth in all beings. Understanding this, one becomes a knower. There is no superior speaker. Having delight in the soul (atman), having pleasure in the

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anusaMdhAna - 17* 120 soul, doing rites, such a one is the best of Brahma-knowers. From this discussion, it is certain that the word ananda, originally used to have an erotic or sexual connotation and hence, might have been considered profane by the philosopher like Sankaracarya. Of course, it cannot be gainsaid that, in the Upanisads, the word ananda has been employed in the non-sexual and unerotic contexts also. But it did not remain a pure, unalloyed, non-contextualised and shorn of all undesirable association. Hence the word ananda was not suitable to Sankaracarya's steadfast, and unflinching pursuit of the absolute monism. Sankaracarya did not want to dilute his rigorous, absolute monism and so he shunned the phrase saccidananda along with ananda. That was also the reason, why he, having offered two interpretations in the anandamayadhikarana, left the first interpretation of anandamaya as Brahman, in the lurch, so to say, completely ignored it in the T.U.bhasya. This is how I have endeavoured to unravel the mystery of Sankaracarya's having two interpretations in the Anandamayadhikarana, having abandoned one in his T.U.bhasya and not mentioning ever the phrase saccidananda in his entire literature. References Belvalkar S.K, Shree Gopal Basu Mallik Lectures on Vedanta Philosophy, 1929, p. 140-146 2. Dr. Paul Deussen, The System of the Vedanta, Reprint 1972, p. 31. 3. Ibid, p. 139 3(1).Encyclopedia of Indian Philosophies, Advaita Vedanta, ed. by Karl H. Potter, 1981, pp. 116, 204. 4. Dr. Paul Deussen, The System of the Vedanta, p. 139 5. Brahmasutrasankarabhyasya NSP edition, 1938, p. 185. 6. Taittiriyopanisad with the commentary by Sankaracarya, in the Volume ftzufang:, g. Pub. Motilal Banarasidass, reprint 1978, p. 1. 294.

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7. anusaMdhAna - 17* 121 Here and hereafter, this edition is utilised for the T.U.bhasya by Sankaracarya. Translation by Swami Gambhirananda, Eight Upanisads, Vol I, Second Edn., 1948, p. 322. 291. 8. T.U.bhasya, p. 9. Translation by Swami Gambhirananda, p. 326. 10. T.U.bhasya, p. 294. 11. Translation p. 335-336. 12. Belvalkar and Ranade, History of Indian Philosophy, Vol II, The Creative Period, 1927, p. 252. 13. Daniel Ingalls, The Study of Sankaracarya, Annals of Bhandarkar Oriental Institute, 33, 1952, quoted by E. A. Soloman, in Sankaracarya's Bhasya on the Brhadaranyankopanisad, A Few Salient Points in the Volume Adi Sankaracarya (12th Centenary Connotation Volume 1992) ed. by Dr. Gautam Patel, Pub. by Directorate of Information, Government of Gujarat, Gandhinagar. 14. Translation by R. E. Hume, The Thirteen Principal Upansads, OUP, 1995, p. 131. 15. Ibid, pp. 386-387. 16. Ibid, pp. 306-307. 17. tamAha kena me pauMsyAni nAmAnyApnotIti prANeneti brUyAt / kena strInAmAnIti vAceti kena napuMsakAnIti manaseti kena gandhAnIti prANenetyeva brUyAt / kena rUpANIti cakSuSeti kena zabdAnIti zrotreNeti kenAnnarasAniti jihvayeti kena karmANIti hastAbhyAmiti kena sukhaduHkheti zarIreNeti kenAnandaM rati prajAtimityupastheneti, kenetyA iti pAdAbhyAmiti kena dhiyo vijJAtavyaM kAmAniti prajJayeti brUyAtamAha (Kausitaki U. 1-6, upaniSatsaMgraha: - p. 196, ed. by paNDita jagadIza zAstrI, pub. Motilal Banarasidass, Delhi, 1970.) 18. Further in the Kau. U., upastha evAsyA ekamaGgamadUhaLaM tasyAnando ratiH prajAti: parastAtprativihitA, 3-5, Again in 3-7, na hi prajJApeta upastha AnandaM ratiM prajAtiM kAJcana prajJApayedanyatra me mano'bhUdityAha / Ibid pp: 202-203 19. G. Glaspert Sauch S. J., Bliss in the Upanisads, pub. Oriental Publishers and Distributors, New Delhi, 1977, p. 134.

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JAINA BIOLOGY (1) - J. C. Sikdar 1. Jaina Biology and the Scientific Method Biology is the science of living substance (Jivadravya)' which is different from non-living substance (ajivadravya)?. It is a very old science of living substances for solving the fascinationg riddle of life. The survival of early men required a knowledge of such basic facts as which plants and which animals could be safely taken as food and medicine. In the Jaina Agamic literature the word 'Jivatthikaya'3 is used to refer to any living substance, plant or animal, from nigoda" (micro-organism) up to the pancendriya manusya' (five-sensed human beings), just as the word 'organism'. in modern age is used to denote any living thing, plant or animal, from amoeba to man. The study of Biology began with the Jainas on the basis of the doctrine of animism? and ahimsa (non-violence) in the hoary past, besides the requirement of food to sustain life with a sense of spiritual value of life of all beings. They kept in view the concepts of living substance as contained in the Vedic and post-Vedic literature, describing the external and internal parts of plants and animals with their nomenclature, classifications, etc. Biology as an organized science can be said to have begun with the Greeks" in the West on the basis of the knowledge of such basic facts as which plants and which animals were useful as food and medicine. "They and the Romans described the many kinds of plants and animals known at the time."12 Galen (131-200 A.D),'3 the first experimental physiologist, made experiments to study the functions of nerves and blood vessels. Biology expanded and underwent alteration greately

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anusaMdhAna - 17* 123 in the nineteenth century, and it has continued this trend at an accelerated pace in the twentieth century due to the discoveries and techniques of physics and chemistry. Sources of Scientific Information on Jaina Biology : The ultimate source of each fact of Jaina Biology contained in the Jaina Agamic and post-Agamic works is in some carefully controlled observation made by the Jainacaryas. They have made a discovery in the world of life, plants and animals, by their critical observation on them; they have described their methods in details so that their followers can repeat them, have given the result of their observations, discussed the conclusions to be drawn from them, perhaps formulated a theory to explain them, and indicated the place of these biological facts in the present body of scientific knowledge contained in the Jaina Agamas. The Scientific Method : The facts of Jaina Biology as embodied in the Jaina canons are gained by the application of the scientific method, yet it is difficult to reduce this method to a simple set of rules of modern Biology that can be applied to the Jaina biological science, because the sceptical scientists of modern age want confirmation of the statement by the independent observation of another in any scientific investigation. "The basis of the scientific method and the ultimate source of all facts of science is careful, close observation and experiment, free of bias, with suitable controls and done as quantitatively as possible.' "14 The observations made by the Jainacaryas on the world of life, plants and animals, may be analyzed, or simplified into their constituent parts in the light of modern Biology, so that some sort of order can be brought into the observed phenomena. Then the parts can be synthesized or reassembled and their interaction and interrelations discovered on the scientific basis. A method

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3TTHET-810 * 124 has been followed by the Jainas to see through a mass of biological data and they suggest a reason for their interrelations, as science advances only by scientific investigations : hypothesis, observation, revised hypothesis, further observation and so on. In the words of Einstein "In the whole history of science from Greek philosophy to modern physics, there has been constant attempts to reduce the apparent complexity of natural phenomena to some simple, fundamental ideas and relations.15 Some of the practical uses of a knowledge of Jaina Biology will become apparent in the fields of medicine and public health, in agriculture and conservation, its basic importance to the social studies, and its contribution to the formulation of a philosophy of life, together with aesthetic values, as it is impossible to describe the forms of life without reference to their habitats, the places in which they live, in a given region, being closely interrelated with each other and with the environment in the closely interwoven tapestry of life. 2. Some Generalizations of Jaina Biological Science The idea that living systems are distinguised from nonliving ones by some mysterious vital force (paryapti) has gained acceptance in Jaina Biology, while one of the basic tenets of modern Biology is that "the phenomena of life can be explained in terms of chemisyry and physics."\7 The idea that the living systems are not distinguised from nonliving ones by some mysterious vital force has only recently gained ground in Biology, only 40 years ago, when the German embryologist, Hans Driesch, postulated the theory of "the existence of transcendent regulative principles, entelechies, which control the phenomena of life and development.":18 There appear to be no exceptions to the generalization that all life comes only from living things. Like the experiments of Pasteur, Tyndal and others,'' just century ago finally, the Jainacaryas, provided convincing proof that micro-organism,

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3TTHET4-819 * 125 such as, nigodas, earth quadrates, etc., i.e. bacteria, are also incapable of originating from non-living material by spontaneous generation. It seems clear that nigodas require the presence of pre-existing nigodas,20 just as the virus of modern Biology does so. Nigodas (micro-organisms) do not arise de nove from non-nigodas, just as viruses do not do so from non-viral material.21 Elements of the idea that all of the many kinds of plants and animals existing at the present time were not created de novo and were eternally exsiting and have descended from previously existing organisms are clearly expressed in the jaina texts,22 but they have their gradations.23 The theory of organic evolution that all of the many kinds of plants and animals "have descended from previously existing simpler organisms by graduals modifications which have accumulated in successive generations has gained ground among the modern Biologists as one of the great unifying concepts of Biology. Elements of this were implicit in the writings of certain Greek philosophers before the Christian era, from Thales to Aristotle."24 The Jaina studies of the development of many kinds of animals and plants from ferilized egg25 or embryo26 to adult leads to the generalization that organisms tend to repeat in the course of their embryonic development, some of the corresponding stages of their evolutionary ancestors. According to the theory of recapitulation, embryos recapitulate some of this embryonic forms of their ancestors, 27 while modern Biology goes a step forward and states that "the human being, at successive stages in development resembles in certain respects a fish embryo, then an amphibian embryo, then a reptilian embryo and so on." 28 Inter-relations of Organism and Environment : A careful study of communities of plants and animals

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anusaMdhAna - 17* 126 in a given area as described in the Jaina Agamas leads to the generalization that all living beings in a given region are closely interrelated with one another and with the environment. It includes the idea that particular kinds of plants and animals are not found at random over the earth but occur in interdependent communities of producer, consumer and decomposer-organisms together with certain non-living components. These communities can be organized and characterized by certain dominant members of the group, usually plants, which provide both food29 and shelter for many other forms. This eco-system is one of the major unifying generalizations of Biology. These few biological principles given here are intended to emphasize the fundamental unity of Jaina biological science and the many ways in which living substances are interrelated and interdependent. Like all ancient people, the Jainas lived in close association with nature and made a scintific study of the world of life, plants and animals, by careful observations on their lives, activities and properties, etc., over a long period of time. The result of their discoveries as embodied in the Agamas is conducive to further studies of the problems and mysteries of the world of life on the basis of new information and further revisions of some of these principles. Foot-notes 1. Bhagavati Sutra, sataka 25, uddesaka 2. sutra 720; Sthananga Sutra. 2, 95, p.86; Pannavana Sutta 1.3, p, 4. 2. Bhagavati Sutra, 25.2.720.; Pannavana Sutta, 1.3. p.4.; Jivabhigama Sutta, P.5 4. Ibid., 25.5, 749. 5.Ibid, 33, 1. 844. 3. Bhagavati Sutra, 20,2, 665. 6. Biology, C. A. Valiee, p.16. 7. "Se bemi samtime tasa pana, tamjaha-amdaya poyaya jnraua rasaa samseyaya/sammucchima ubbiyaya esa samsaretti pavuccai" Acaranga Sutra, adhyayana 1, uddesaka 6, sutra 48, etc. "Se hu muni porinnayakamme" (54).. Ibid; See SBE Vol. XXII, Pt. I, p, 11, Book 1. Lecture 1. 6th lesson; Sutrakrtanga 1, Adhyayana 7.

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anusaMdhAna - 17* 127 Pudhavi ya au agani ya vau, tana rukkha biya ya tasa pana/Je amdvya je ya jarauipana, samseyaya je resayabhihana (1)" etc.... up to "Nidhuya kammam na pavamcuvei, akkhakkhae va sagadam ti bemi"-30. See SBE XLV, Pt. II, pp. 293, 302, Sutrakrtanga, Book 1, Lecture 7. 8. Bhagavati Sutra, 2.1.92, 95; 8.5.328; 11.9. 417; 11.22. 435. 9. See the Indian Journal of History of Science, Vol. 5, No.1, 1970, Biology in Ancient and Medieval Indian, Dr. R.N. Kapil, pp. 125-132. 10. Ibid. 11. Biology, p.1. Ibid, p.3. 12. Ibid. 13. 14. 15. Ibid, p.4. 16. Paryapti (Vital force), Navatattva prakaranam, V. 6, p. 12; 17. Lokapraksas, Vinayavijayaji, Pt. I, 3rd Sarga, VV. 15 ff. Biology, p.9. 18. Biology, p.9. 19. Ibid. 20. Bhagavati Sutra, 25.5. 749 Nigodas are of two kinds, viz. Nigodaka and Nigodajiva (fine and gross nigodas). They are the collections of infinite number of beings, making minute group, having common breathing-in and out (respiration), sensefeeling. They, longing for development, continue evolution of life through the successive Jivaparyayas (modes of beings of soul) and they provide the supply of beings in the place of those who have attained liberation. Thus the universe does not become and will not become empty of living beings (Bhagavati, 12. 2. 443). 21. Biology, p. 9. 22. Bhagavati Sutra, 12.2. 443; Tattvartha Sutra, 5.3. (Nityavasthitanyarupani ca) 23. Bhagavati Sutra, 12.2.443. 24. Biology, p. 10. See A History of Greek Philosophy, Vol.I, II and III, by W. K. C. Guthrie; Aristotle by Ross. 25. Bhagavati Sutra, 7. 5. 282. 26. Bhagavati Sutra, 7. 7. 283. 27. Ibid, 1. 7. 61.; Tandulaveyalya, 6. p.10. 28. Biology, p. 11. According to the Bhagavati Sutra (1. 7. 62), the foetus in the mother's womb remains like an umbrella or the side ribs of human body; the embryo appears to be like a humpbacked mango (ambakhujjae). 29. Bhagavati Sutra, 6. 7. 246; 6. 6. 330; 7. 3. 227; 8. 3. 324; 8. 5. 330; 21.2. 691. 22. 6. 692; 23. 1. 993; etc.; Sutrakrtanga II, 3.

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JAIN BIOLOGY (2) CELL STRUCTURES AND FUNCTIONS 1. The Fabric of Life As defined, Biology is the science of living substances (jivadravayas). The field of Jaina Biology deffentiates the living from the non-living by using the word 'Jivattikaya' (organism) to refer to any living things, plant or animal, just as modern Biology does. So it is relatively easy to see that a man,2 a Sala tree3, a creeper and an earthworm3 are living, whereas pieces of matter (pudgala), e.g. earth, stones, etc., are not so. But according to modern Biology, "it is more difficult to decide whether such things as viruses are alive." Jaina Biology, states that the fabric of life of all plants and animals is paryapti (Sakti-Vital force) or Prana (life force) in another way, i. e. paryapti appears to be the actual living material of all plants and animals. There are stated to be six kinds of paryapti1o, viz. aharaparyapti (vital force by which beings take, digest, absorb and transform molecules of food paricles into khala (waste producs) and rasa (chyle-molecules of nutrients or energy)', sariraparyapti (vital force) by which chyle or molecules of nutrients (=rasibhutamaharam) are utilized by beings for the release of energy, the building of blood, tissue, fat, bone, marrow, semen, etc., indriyaparyapti13 (vital force by which molecules of nutrients or chyles suitable for building senses are taken in and provided to the proper place so that beings can have the perceptual knowledge of the desired sense-objects by the sense-organs)14 acchvasaparyapti15 (Vital force by which particles of respitation are taken in, oxidized for energy and left out (as carbon dioxide and water), bhasaparyapti1 (vital force by which beings, having taken proper particles of speech, 12

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3TTHETF-869 * 129 emit them as speech) and manahparyapti (vital force by which beings, having taken particles (or dusts] of mind, transform them by the mental process and give vent to them as the mental force, i. e. thought). It appears that this paryapti (vital force) is not a single substance but varies considerably form organism to organism (i.e. one-sensed to five-sensed being), among the various parts of a single animal or plant, and from one time to another! within a single organ or part of an animal or plant. There are six paryaptis, but they share certain fundamental physical and chemical characteristics." It is stated that there are ten kinds of prana20 (living material or life force), viz. five indriyapranas (life force of five senses), ucshvasaprana (life force of respiration), ayuprana (life force of length of life), manovak-kayapranas (life forces of mind, speech and body). Actually speaking, these ten pranas are almost contained in six paryaptis, e. g. indriyaparyapti contains five indriyapranas, anapranaparyapti = ucshvasaprana, sariraparyapti = kayaprana, bhasaparyapti = Vakprana, manahaparyapti = manahaprana, only ayuprana appears to be an addition. Thus it is found that most of the paryaptis and the pranas have common names. So the question is whether there is any difference between them. The Gommatasara explains the diffrence in this way that paryapti is attainment of the capacity of developing body, mind, speech and five senses, while prana is the activity of those funtionaries. 21 It is further explained that one-sensed beings possess four pranas or balas (life-forces), viz. sense of tough, respiration, length of life and body; two-sensed beings have six pranas, viz. senses of touch and taste, respiration, length of life, body and speech, three-sensed being have seven pranas, viz.

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anusaMdhAna - 17 * 130 senses of touch, taste and smell, respiration length of life, body and speech; four-sensed beings have eight pranas viz. senses of touch, taste, smell and sight, respiration, length of life body and speech. In asamjni pancendriya jivas (fivesensed beings having no physical mind) but psychical mind there are nine pranas viz. sense of touch, taste, smell, sight and hearing, respiration, length of life body and speech, while there are ten pranas in Samjni pancendriya Jivas (five-sensed beings having physical mind and psychical mind) viz. senses of touch, taste, smell, sight and hearing, respiration, length of life, body, speech and mind.22 According to the Carvakas, life (as well as consciousness) is result of peculiar chemical combinations of non-living matter or the four elements, in organic forms as the intoxicating property of spirituous liquor is the result of the fermentation of unintoxicating rice and molasses.23 Similarly, the instintive movements and expression of new born babies (sucking, joy, grief, fear, etc.) take place mechanically a result of external stimuli as much as the opening and closing of the lotus and other flowers at different times of the day or night24, or the movement of iron under the influence of loadstone. 25 In the same way, the spontaneous reproduction of living organisms frequently occurs, e.g. animalcules develop "in moisture or infusions, especially under the influence of gentle warmth (Svedaja, Usnaja, damsamasakadayah)"26 or the maggots or other worms originate in the rainy season due to the atmospheric moisture in the constituent particles of curds and the like and begin to live and move in so short a time. 27 Acharya Haribhadra Suri has refuted Bhutacaitanyavada of the Materialists long before the Samkhya in the following manner. It is the doctrine of the Materialists that this world is formed of only five great elements (mahabhutas), viz.

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anusaMdhAna - 17* 131 earth, etc. and there is no existence of soul nor the unseen force anywhere in the world.28 The other Marerialists maintain the view on the contrary that elements are non-conscious (acetana). Consciousness is not the character of elements nor the result of elements, while soul is the name of that tattva (reality) with which (soul) consciousness is related (as character or result).29 If conciousness would have been the character (quality) of elements, then it should have been found in all elements at all times, just like that the existence (existentiality), etc. (general character) and hardness, etc. (particular character) are found in the elements at all times in which they are found.30 Now Haribhadra Suri refutes Bhutacaitanyavada in this way that consciousness exists in elements as force (sakti), for this reason it is not perceptible, but consciousness existing in elements as force cannot be said to be non-existing in elements.31 This force (sakti) and consciousness are either non-different by all means from each other or different by all means from each other. If they are non-different, then this force becomes consciousness and if they are different, consciousness should be related with something else.32 Again, the point of non-manifestation of cetana (consciousness) does not seem to be logical, because there is no other entity (Vastu), covering consciousness and it is for this reason that the number of realities will go against the doctrine of the Materialists on the admission of the existence of such an entity.33 Haribhadra Suri further advances the argument to refute the contention of the Materialists that this thing is directly proved that the element has got the nature of these two

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anusaMdhAna - 17* 132 qualities or characters-hardness and non-livingness and when consciousness is not of the nature of these two characters (i. e., cannot exist with these two), then how can it be accepted that it was born out of elements 934 If cousciousness does not exist in individual (i.e. uncombined elements, then it cannot exist in the combined elements just as (like that) oil cannot exist in sand particle. And if consciousness exists in the combined elements, then it should exist also in individual elements 35 and so on. In conclusion Haribhadra Suri maintains the view after refuting the doctrine of Bhutacaitanyavada of the Materialists with his cogent arguments that the existence of force (Sakti), etc. in soul and of the unseen force (adrsta), which makes the possibility of sakti etc. in soul, should be accepted and this unseen force (adrsta), which is different from soul, is real and of many kinds and comes into relation with soul.36 The Samkhya makes the reply to the materialists' view on caitanya in the following manner that "the intoxicating power in liquor is a force, i. e., a tendency to motion. This force is the resultant of the subtle motions present in the particles of the fermented rice, molasses, etc. A motion or a tendency to motion, can in this way be the resultant of several other motions and tendencies." 2937 "But caitanya (consciousness) is not a motion, and cannot be the resultant of (unconscious) natural forces or motions. Neither can the consciousness of the Self, or of the organism as a whole, be supposed to be the resultant of innumerable constituent particles of the body. One central abiding intelligence is simpler and therefore more legitimate hypothesis than an assemblage of consciousness latent in different bhutas or particles." The Samkhya philosophy maintains the view that Prana (life) is not Vayu (biomechanical force) nor it is mere mechanical motion generated from the impulsion of Vayu.38 938

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377HET-819, 133 The five vital forces, viz. Prana, apana, samana, udana, and vyana9 are stated to be Vayu in metaphorical way. Prana (life) is in reality a reflex activity, a resultant force of the various concurrent activities of the Antahkarana, i. e. "of the sensorimotor (Jnanedriya-Karmendriya), the emotive (manah) and the apperceptive reactions of the organism."40 According to Vijnanabhiksu, this explains the disturbing effect on the vitality of pleasurable or painful emotions (like love = kama) of mind (manas), one of the internal senses involved in the reactions of the living organism.41 Thus Prana of the Samkhya is not a Vayu nor is it evolved from the inorganic matters (Bhutas), "but is is only a complex reflex activity (Sambhuyaika vrtti) generated from the operations of the psycho-physical forces in the organism.":42 In agreement with the Samkhya the Vedantists hold the view that "Prana is neither a vayu nor the operation of a vayu."43 But they differ from the former's view that Prana is a more reflex or resultant of concurrent sensori-motor, emotive and apperceptive reactions of the organism. If eleven birds, put in a cage, concurrently and continually strike against the bars of it in the same direction, it may move on under the impact of concerted action. But the sensory and motor activities cannot in this way produce the vital activity of the organism, because the loss of one or more of the senses does not result in the loss of life. This is above all the radical distinction between them. There is the sameness of kind (Samajatiyatva) between the motions of the individual birds and the resultant motion of the cage, but Prana is not explained by sensations, but it is a separate principle (or force), just as the mind and antahkaranas generally are regarded in the Sarkhya. It is a sort of subtle "ether-principle" (adhyatmavayu) pervasive of the organism, not gross vayu, all the same subtilized matter like the mind itself, as everything

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37TH -810 * 134 other than the soul (atma), according to the Vedanta, is material (jada). Prana is prior to the senses, for it regulates the development of the fertilized egg, "which would purify, if it were not living, and the senses with their apparatus originate subsequently from the fertilized agg."44 Caraka"s explains vayu as the impelling force, the primemover, which sets in motion the organism, the organs (including the senses and the mind), arranges the cells and tissues, unfolds or develops the foetal structure out of the fertilized ovum. According to Caraka and Susruta 46, there are five chief vayus with different functions for the maintenance of the animal life, viz. prana, udana, samana, vyana and apana, as mentioned in the Samkhya Susruta47 describes prana as having its course in the mouth and function in deglutition, hiccough, respiration, etc., udana in articulation and singing, samana as digesting the food substance in the stomach in conjunction with the animal heat, vyana as causing the flow of blood and sweat, and apana with its seat in the intestinal region as throwing out the urinogenital secretions. 48 In the mediaeval philosophy 49 there is mention of forty nine vayus among which there are ten chief Vayus, viz. (1) Prana, (2) Apana, (3) Vyana, (4) Samana, (5) Udana, (6) Naga, (7) Kurma, (8) Krkara or Krakaro, (9) Devadatta and (10) Dhananjaya.50 Prana has the function in the ideo-motor verbal mechanism and vocal apparatus, the respiratory system, the muscles in coughing, singing, etc., apana in ejecting the excretions and wastes, the urine, the faeces, the sperm and germ-cells etc., vyana in extension, contraction, and felxion of the muscles, tendons, and lingaments, the stored up energy of the muscles, udana in maintaining the erect posture of the body, naga in involuntary retching and vomitting, kurma in the automatic movement of the eyelids, winking, etc., krkara in the appetites,

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. 37TA117-89 * 135 hunger and thirst, devadatta in bringing about yawning, dozing, etc. and dhananjaya in causing coma, swooning and trance.si The study of the different views on Prana or Vayu shows that Jaina paryapti or prana is neither a result of peculiar chemical combinations of non-living matter as advocated by the Carvakas nor a complex activity of the Samkhya but a sort of separate principle (adhyatma vayu) pervasive of the organism as defined by the Vedanta, an impelling force, the prime-mover of Caraka and Susruta. It appears to be the actual living material of all plants and animals like protoplasm of modern Biology. Jaina paryapti and prana, the two unique forces, not explainable in terms of Physics and Chemistry, are associated with and control life. The concept of these forces may be called vitalism which contains the view that living and non-living systems are basically different and obey different laws. Many of the phenomena of life that appear to be so mysterious in Jaina Biology may be explained by physical and chemical principles with the discovery of future research in this field. So it is reasonable to suppose that paryapti, a mysterious aspect of life, although not identifiable with protoplasm, comes nearer to the latter because of its unique functions in the organisms. According to modern Biology, "protoplasm is the actual living material of all plants and animals. This is not a single substance but varies considerably from organism to organism, among the various parts of a single animal or plant, and from one time to another with a single organ or part of an animal or plant. There are many kinds of protoplasm, but they share certain fundamental physical and chemical characteristics."52 "The protoplasm of the human body and of all plants and animals exists in discrete portions know as cells. These are the microscopic unit of structure of the body, each of

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31TEET-810 * 136 them is an independent, functional unit, and the processes of the body are the sum of the co-ordinated functions of its cells. These cellular units vary considerably in size, shape and function. Some of the smallest animals have bodies made of a single cell; others such as, a man or an Oak tree are made of countless billions of cells fitted together.53 "The major types of organic substances found in protoplasm are carbohydrates, proteins, lipids, nucleic acids and steroids."54 Some of these are required for the structural integrity of the cell, others to supply energy for its functioning and still others are of prime importance in regulating metabolism within the cell."55 "Carbohydrates and fats (lipids) have only a small role in the structure of protoplasm but are important as sources of fuel; Carbohydrates are readily available fuel, fats are more permanently stored supplies of energy. Nucleic acids have a primary role in storing and transmitting information. Proteins are structural and functional constituents of protoplasm, but may serve as fuel after deanimation. The body can convert each of these substances into others to some extent. Protoplasm in a colloidal system, with protein molecules and water forming the two phases, and many of the properties of protoplasm-muscle contraction, ameboid motion, and so on-depend on the repaid change from sol (liquid condition) to gel (solid or semi-solid) state and back."56 Foot-notes 1. Bhagavati Sutra, 20, 2. 665. 2. Bhagavati Sutra, 33. I. 844; Uttaradhyayana Sutra, 155; Tattvartha Sutra, II. 24. 3. Bhagavati Sutra, 22. 1. 692. 4. Ibid., 23. 4. 693. 5. Tattvartha Sutra, II. 24. 6. Bhagavati Sutra, 2.10.118 7. Biology, p. 16, Ville, c. 4.

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anusaMdhAna - 17* 137 8. Pajjatti Paryapti, Navtattva Prakarana, v. 6; Dharmavijay, p. 12.; Gommastasara Jivakanda, vv. 118-119; Lokaprakasa, Vinayavijaya, Pt. I, 3rd Sarga, vv. 15 ff. 9. Jivavicara, vv. 42. 43; Gommatasara, Jivakanda, v. 129. - 10. Navatattvaprakarana, v. 6 Ahara-sarira-imdiya, pajjati anapana bhas-amane / Cau-pamca-chappiya, iga-vigala asanni-sanninam //" 6, Navatattva Prakaranam, Dharmavijaya and also see Lokaprakasa, Vinayavijaya, Pt. 1, 3rd Sarga, vv. 15 ff; Gommatasara, Jivakanda, 119. 11. Tatraisaharaparyapiiryayadaya nijocitam nayet / Prthakkhalarasatvenaharam parinatim nayet // Lokaprakasa, 1. 3. 17. 12. Vaikriyahara....... yathocitam/ tam rasibhutamaharam yaya saktya punarbhavi / Rasasrgmamsamedosthimajjasukradidhatutam / nayedyathasambhayam sa dehaparyaptirucyate // (19) Lokaprakasa, p. 65; Pt. I, 3rd Sarga. 13. Dhatutvena parinatadaharadinidriyocitan/ Adaya pudgalamstani yathasthanam pravidhaya // (20) Iste tadvisayajnaptau yaya saktya sariravan paryaptih sendriyahvana darsita sarvadarsibhih (21) Ibid., pp. 65, 66. 14. According to the Prajnapana sutra (Indriyapada), Jivabhigama Sutra, Pravacanasaroddhara (Com.) etc., the power by which the molecules of nutrients or chyles which are ultilized for building of sense-organs are called indriyaparyapti, Vide, Ibid., p. 66. 15. Yayocchavasarhamadaya dalam parinamarya ca/ Tattayalambya muncet so 'accvasaparyaptirucyate // (22) Ibid., p. 66. 16. Bhasarham dalamadaya gistvam nitvavalambya ca/ yaya saktya tyajet prani bhasaparyaptiritpasau" // (29) Ibid., p.67. 17. Dalam latva manoyogyam tattam nitvavalambya ca/ yaya mananasaktah syanmanahparyaptiratra sa // (30) Ibid. 18., Pajjattipatthavanam jugavam tu kamen hodi nitthavanam / amtomuhuttakalenahiyakama tattiyalava // Gommatasara (Jivakanda), 120. The gaining of the capacities starts simultaniously, but the completion (of each of them) is effected gradually within the period of one antarmuhurta, which increases in the case of each succeeding one. Yet their total period does not exceed one antarmuhurta. 19. Ibid., 121. 20. Dasaha jivuna pana imdiusasaujogabalaruva / egimdiesu cauro, vigalesu cha satta attheva // (42) Asanni-sapni-pamclimcimdiesu nava dasa kamena boddhavva 43,

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anusaMdhAna - 17 * 138 Jivavicara, Pamca vi imdiyapana manavaeikayesu tiaai balapana / 21. Gommatasara, Jivakanda, p. 90. 22. Jivavicara, vv. 42-43. "Ekendriyesu-prthivyadisu catvarah, pranah sparsanendriyocchvasayuhkayabalrupah dvindriyesu catvarasta eva vagbalarasanendriyayutah sat prana bhavanti tatha trindriyesu sat pranasta eva ghranendriyanvitah sapta bhavanti tatha caturindriyesu saptaiva caksurindriyasahita astau prana bhavanti/tatha asam nipancendriyesu astau ta eva srotrendriyayuta nave prana bhavanti/tatha sam nipancendriyesu ngvata eva manoyukta dasa prana bhavnti/" Ibid., (Commentary), p. 2. 23. "Madasaktivat vijnanam/prthivyadini bhutani catvari tatvani/tebhya eva dehakaraparinatebhyah madasaktivat caitanyamupajayate /" Nyayamanjari, Jayanta, Ahnika, 7. p. 437 ff. 24. "Padmadisu prabodhasammilanavat tadvikarah /" Sutra 19, Ahnika I; Chapter III, Gautama's Nyaya Sutra, p. 169. 25. "Ayaso ayaskantabhigamanavat tadupasarpanam," Ibid., Sutra 22, p. 171. 26. Positive Sciences of the Ancient Hindus, Dr. B. N. Seal, p. 239. 27. "Varsasu ca svedadina anatidaviyasaiva kalena dadhyadyavayava eva calantah putanadikrmirupa upalabhyante/", Nyayamanjari, Ahnika 7, Bhuta-Caintanypaksa, p. 440; The positive Sciences of the Ancient Hindus, p. 240. 28. Prthivyadimahabhutakaryamatramidam jagat / Na catmadrstasadbhavam manyante Bhutavadinah // SastraVartasamuccaya, Haribhadrasuri, Ist stabaka, v. 30. 29. "Acetanani bhutani na taddharmo na tatphalam/ Cetana asti ca yasyeyam sa evatmeti capare //", Ibid., v. 31. 30. Yadiyam bhutadharmah syat pratyekam tesu sarvada / upalabhyeta sattvadikathinatvadayo yatha // Ibid., v. 32. 31. Sakrirupena sa tesu sada'to nopalabhyate / Na ca tenapi rupena satyasatyeva cenna tat // Ibid., v. 33. 32. Sakticetanayoraikyam nanatvam va'tha sarvatha/ Aikye sa cetanaiveti nanatve anyasya sa yutah // Ibid., v. 34. 33. Anabhivyaktirapyasya nyayato nopapadyate/ Abrtirna yadanyena tattvasamkhyavoridhatah / Ibid., v. 35. 34. Kathinyabodharupani bhutanyadhyaksasiddhitah / Cetana tu na tadrupa sa katham tatphalam bhavet // Ibid., v. 43. 35. Pratyekamasati tesu na syad renutailavat/ sati cedupalabhyeta bhinnarupesu sarvada // Ibid., v. 44. 36. Tasmat tadatmano bhinnam saccitram catmayogi ca/

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anusaMdhAna - 17* 139 Adrstamavagantavyam tasya saktyadisadhakam // Ibid., v. 106. 37. "Mada aktivat cet pratyekaparidrste samhatye tadudbhavah" Samkhya Sutra 22, Chapter III. "Nanu yatha madakatasaktih pratyekadravyavrttirapi militadravye varttate, evam caitanyamapi syaditi cenna pratyekaparidrste sati samhatye tadudbhavh sambhavet / Prakrte tu pratyekaparidrstatvam nasti / ...... nanu samuccite caitanyadarsanena pratyekabhute suksmacaitanyasaktiranumeya iti cenna anekabhutesu anekacaitanyasaktikalpanayam gauravena laghayadekasyaiva nityacitsvarupasya kalpanaucityat/" Samkhyapravacanabhasya, Vijnanabhiksu, p. 18. cf. also "Bhutagatavisesagunanam sajatiyakaranagunajanyataya karane caitanyam vina dehe caitanyasambhavat /" Ibid. Madye madasaktirna gunah madyarambhakanam pistagudamadhvadinam yat yasya karma tat karmabhirarabdham svasvakarmavirodhikarma yaducyate prabhava iti / Caitanyadikam na karma // Gangadhara's Jalpakalpataru, 1867, Calcutta, Vide Positive Sciences of the Ancient Hindus. Dr. B. N. Seal, p. 241. 38. Vayuvat sancarat vayavah prasiddhah / asmakam nayam niyamah yadindriyavrttih kramenaiva bhavati naikada jatisankaryasya asmakam adosatvat samagrisamavadhane sati anekairapindriyaih ekadaikavrttyutpadane badhakam nasti", Pravacanabhasya, Ch. II, sutra 31. 32, p. 88.; Manodharmasya kamadeh, pranaksobhataya samanadhikaranyenaiva aucityat", Ibid. 39. Samanyakaranavrttih pranadya vayavah panca / Samkhyadarsana, chapter II, Sutra 31; Samkhyakarika, 29. Prana, breath, the ordinary inspiration and expiration; apana, downward breath, the air or vital force acting in the lower parts of the body; samana, collective breath, so named from conducting equally the food, etc. through the body; udana ascending breath, the vital force that causes the pulsations of the arteries in the upper portions of the body from the naval to the head, and vyana separate breath, "by which internal division and diffusion through the body are effected" (Gaudapada, Wilson, p. 105). This is not very intelligible, but as vyana is connected in the SamkhyaTattva-Kaumudi with the skin, the subtle nerve-force by which sensibility is given to the skin or outer surface of the body is probably meant. It is also connected with the circulation of the blood along the surface, the great arteries being under the action of udana (71) (In the Atmabodha "Knowledge of the soul", a Vedic poem as asigned to the great commentator Sankaracharya, the soul is said to be enwrapped "in five investing sheaths or coverings" (Kosh cf. Fr. Cosse, Ir Gael Coch-al, a pod or husk). The third of these is called pranamaya, i. e. "the sheath composed of

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31GCEMT-89 * 140 breath, and the other vital airs associated with the organs of action" (Indian Wisdom, p. 123), Vide the Samkhyakarika of Isvara Krsna, ed. by John Davies, p. 46. 40. Positive Science of Ancient Hindus, p. 241. 41. "Mano dharmasya kamadeh / pranaksobhakataya samanyadhikaran yenaiva aucityat," Samkhya Pravacanabhasya, Chapter II, 31, p. 88. 42. "Karanani niyatavsttayah santah sambhuyaikam pranakhyam vittim pratipadyante (pratilapsynate), Sankarabhasya on Brahmasutra, Ch. II. Pada 4, Sutra 9. "Samanyakaranavrttih pranadya vayavah panca /" Samkhyakarika, Isvarakrsna, 29; see also Samkhyapravacanabhasya, chapter II, Sutras 31, 32. 43. "Na vayukriye prthagupadesat !" Brahmasutra, chapter II. pada 4, Sutra 9; see its Bhasya, 44. Also Vacaspati Misra, Bhamati Tika as follows: "Siddhantastu na samanendriyavrttih pranah // Sa hi militanam va vsttirbhavet pratyekam va/na tavat millitanam ekadvitricaturindriyabhave tadabhavaprasangat / na ca bahuvistisadhyam sibikodvahanam dvitrivistisadhyam bhavati / na ca tvagekasadhyam/ tatha sati samanyavrttitvanupapatteh / api ca yat sambhuya karakani nispadayanti tat pradhanavyaparanugunavantaravyaparenaiva/ yatha vayasam pratisviko vyaparah pinjaracalananugunah/iha tu sravanadyavantaravyaparopetah prana nasambhuya Pranyuriti yuktam pramanabhavadatyantavijatiyatvacca sravanadibhyah prananasya / ...... tasmadanyo vayukriyabham pranah/Vayurevayamadhyatmamapannah, mukhyo, api pranah//". Ibid (Sankarabhasya). cf. also Jyesthasca pranah sukranisekakala-darabhya tasya vittilabhat / na cet tasya tadanim vittilabhah syat yonau nisiktam sukram puyeta na sambhaved va/ stroadinantu karnasaskulyadisthanavibhaganispattau vittilabhanna jyesthatvam /". Sankarabhasya, Chapter II, pada 4, Sutra 9. 45. "Vayuh tantrayantradharah, pranapanodanasamanavyanatma pravartakah cestanam, praneta mahasah sarvendriyanam ydyotakah sarvasariradhatu vyuhakarah, sandhanakarah sarirasya, pravartako vacah, harsotsahayoryonih. ksepta bahirmalanam. karta garbhakrtinam pranapanodanasamanavyanatma!" Caraka. Sutrasthana, ch. XII. 46. Caraka, Sutrasthana, chapter XII and Susruta, Nidanasthana, chapter I. 47. Susruta-Nidanasthana, chapter I. "Tesam mukhyatamah pranah ... Isabdoccarasanihsvasocchvasakasadikaranamt apanah asya mutrapurisadivisargah karma kirttiam/vyanah... pranapanadhitityagagrahanadyasya karma ca/samano pi vyapya nikhilam

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31LHET-810 * 141 sariram vahnina saha / dvisaptati sahasresu nalirandhresu samcaran bhuktapitarasan samyaganayan dehapustrikrt / udanah karmasya dehonnayanotkramanadi prakirttitam // tvagadidhatunasruya pancanagadayah sthitah udgaradi nimesadi ksutpipasadikam kramat / tandraprabhsti mohadi (sophadi) tesam karma prakirttitam /" Sangitaratnakara, Sarangadava, vv. 60-67, chapter I. Vol. I. pp. 41-42. cf. the summary in Raja Sourindra Mohan Tagore's edition of the Sangitadarpana, See also Kalyanakara. 3. 3. p. 32. 48. Vide the Positive Sciences of the Ancient Hindus, p. 230. 49. Unapanacadasadvayurudite putrah / te sarve apajah indrena devatvam pranitah sarirantarbahyabhedena dasadha /" Bhagavatatikayas Sridharasvamin, Vide Sabdakalpadruma, 4th Kanda, p. 342. 50. Pranapanau tatha vyanasamanodanasamjnakan / Nagam Kurmam ca Krkaram Devadattam Dhananjayam // Sangitaratnakara, Ch. I. V. 59, p. 41, Vol. I. "Pranapanau tatha vyanasamanodanasamjnakah/Nagah Kurmaca Klkaro Devadattadhananjayau II" Sangitadarpanam of Catura Damodara, Ch. I, V. 50. 51. Sangitaratnakara. Vol. I, ch. I, vv. 60-67, pp. 41-42. "Sabdoccaranam (vannispattikaranam ninsvasah ucshvasah (antarmukhasvasah) tandradinam karanam (sadhanam) pranavayuh, Vinmatrasukradivahatvomapanasya karma, akuncanaprasaranadi vyanasya karma jneyam / asitapitadinam samatanayanadvata sarirasya posanam samanasya karma / udanavayuh urddhayanayanameva asya karma, nagadayah nagakurmakrkara-devadattadhananjayarupah pancavayavah/etesam karmani ca yathakramam udgaronmilanaksudhajananavijtmbhanamoharupani / Sangitadarpana, chapter I, sloka 43-48. cf. "Pranah pragvrttirucchvasadikarma/ Apanahavagvrttirutsargapikarma | Vyanah tayoh sandhau vartamanah viryavatkarmahetuh / Udanah urddhvavrttih atkrantyadi hetuh / samanah samah sarvesu angesu yah annarasan nayati/iti./". Sarkarabhasya, chapter II, pada 4, satra 2. Vide Positive Science of Ancient Hindus, p. 230-31. 52. Biology, p. 16. 53. Ibid. 54. Ibid. pp. 25-26. 55. Ibid. 56. Ibid., p. 33.

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jayavaMtasUrikRta bAra bhAvanA sajjhAya - kaviparicaya jayavaMtasUri (aparanAma guNasaubhAgyasUri ) e vaDatapagacchanI ratnAkara zAkhAnA upAdhyAya vinayamaMDananA ziSya hatA. emanI be rAsakRtio 'zRMgAramaMjarI' ane 'RSidattA rAsa' anukrame 1558 (vi.saM. 1614) ane 1587 (vi.saM. 1643) nAM racanAvarSo batAve che ane 1596 (vi.saM. 1652 ) mAM emaNe 'kAvyaprakAza'nI TIkAnI hastaprata lakhAvIne jJAnabhaMDAramAM mukAvyAnI mAhitI maLe che eTale kavino samaya soLamI sadIno gaNAya soLamI sadInA bIjA caraNathI kadAca sattaramI sadInAM thoDAM varSo sudhIno. saMpA. jayaMta koThArI jayavaMtasUrine nAme be rAsakRtio uparAMta stavana, lekha (patra), saMvAda, phAga, bAramAsA vagere prakAranI kRtio ane 80 jeTalAM gIto maLe che. anekavidha bhAvachaTAo ane abhivyaktitarAhothI opatI emanI kAvyasRSTi emanI vidagdhatA ane emanA ucca kavitvanI pratIti karAve che. (vizeSa mATe juo madhyakAlIna gujarAtI jaina sAhitya, saMpA. jayaMta koThArI, kAMtibhAI bI. zAha, 1993 tathA kavilokamAM jayaMta koThArI, 1994 'paMDita, rasajJa ane sarjaka kavi jayavaMtasUri e lekha.) kRtiparicaya 'bAra bhAvanA sajjhAya' DhALa ane troTakanA padyabaMdhamAM racAyelI 39 kaDInI racanA che. 39 kaDI kahevAthI samajAya enA karatAM enuM parimANa moTuM che kemake paMdareka kaDIo DhALa ane troTakanA vibhAgo dharAve che ane 6 thI 8 paMkti sudhI vistare che. beeka anya kaDIo paNa cAra paMkti sudhI vistare che. DhALa ane troTakanA vibhAgo vacce zabdasAMkaLI che. kRtino viziSTa padyabaMdha ane troTakanA prayogathI AvatI gAnachaTA dhyAnAha che. A kRti jayavaMtasUrinI ekamAtra evI kRti che je saMpUrNapaNe sAMpradAyika -

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anusaMdhAna-17* 143 viSayavastunI che ane jemA emanA kavitvane vilasavAno khAsa kazo avakAza maLyo nathI. (thoDAM gIto paNa AvAM maLe che kharAM.) kRtimAM jaina paraMparAmAM khUba jANItI, mokSamArganA sAdhanarUpa bAra bhAvanAo varNavAyelI che. bhAvanA eTale jenuM ciMtana-paryAlocana karavU joIe evA tAttvika padArtho - dehAdinI anityatA vagere. anityabhAvanAne saMdarbhe rAvaNanAM samRddhi ane pratApageM tathA saMsAranI - bhavabhramaNanI asAratAne saMdarbha narakanAM duHkhonuM vIgate varNana dAkhala thayuM che, paraMtu A varNano kevaLa paraMparAgata che. tattvavicAranA nirUpaNamAM abhivyaktinI kazI tAjagI ke nUtanatA ANavAnuM kavie icchyuM nathI. prataparicaya A kRtinI lA. da. bhAratIya saMskRti vidyAmaMdiranI kra. 6680nI ekamAtra prata maLI che. bIjI koI prata jANavA maLI nathI. pratanAM cAra patra che. patra- mApa 21x10 se. mi. che. patranI dareka bAjue 13 lITI che. chellA patranI bIjI bAjue cAra lITI che. dareka lITImAM Azare 37 akSara che. pratanA akSara moTA, cokhkhA ane sughaDa che. prata ghaNI zuddha rIte lakhAyelI che. paDimAtrAno upayoga thayo che ane 'kha'ne mATe 'Sa' vaparAyo che. lahiyAnuM nAma nathI, lekhanasaMvata paNa nathI, paNa prata saMvata sattaramI sadInI ja hovAnuM anumAna thaI zake che. bAra bhAvanA sajjhAya purIyAM manihiM vimAsai - e DhAla sarasati sarasa ti vANI, Apu amIa samANI, bhAvana bAra vakhANI, bUjhabuM bhavIaNa prANI. 1 durlabha mAnava-jaMvAru, bhavIaNa, e lahI sAru, bholimi, bholaDA, ma hAru, Apa-savAratha sAru. 2 mAyA mamatA UtAru, mana 'unamAragi vAru, vANI-amI avadhAru, bhAvana bAra saMbhAru. 3 bhAvana mugati-nidhAna, zrIjinazAsani pradhAna, te suNa thaI sAvadhAna, chaMDI kumata ajJAna. 4

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anusaMdhAna-17* 144 zAsanadevI-paya paNamevIa - e DhAla bhavIaNa prANIa, bhAvana ANIa, pahilIa anityatA bhAvivI e, jagi ji suhuNaDA samavaDi, sAjana, ghaDIa nava hiMDatAM jANivI e. cUTaka jANIvI mAyA mAyatAyA, athira kAyA e sahI, e mitra putra kalatra bhAI, thira sagAI ko nahIM, yauvanni mAtu viSayi rAtu, phoka mamatA vAhIi, je jIva pAhiM sujana vAhAlA, nehi chehu te dIi. 5 joaNa laMka zata adhika curAsIa, UMcami gAu sata gaDha rakhai e, traNi sahisa cupana poli sa-bArIa, zata duni koThaDA eka lakha e. . trUTaka eka lakSa tryAsI sahisa koThA, buruja chappana havi suNu, cu koDi lakha ugaNacyAlIsa koDI, sahisa cu koDi zata bhaNau, tripana koDI lakSa bAre sahisa paMcAsa kosIsa e, cu sahisa chaNuM subhaTa sUrA, kosIsai eka nivasae, ima sarva saMkhyA subhaTa kahIi, aDhAra koDAkoDi zatI, sovinna gaDha dRDha jaladhi khAI, laMkanagarI jasavatI. 6 rAvaNa bhUpati, laMkanu adhipati, surapati jasa suti jIpIu e, eka lakha paMcavIsa, sahisa suta batrIsa, joaNa pariSadi dIpatu e.

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anusaMdhAna - 17*145 trUTaka dIpatu tribhuvanamAMhi kaMTaka, khATi bAMdhyA nava grahe, vihi dalai kodrava, agni dhoi vastra, vAyu bAhArai grahe, yama vahai jasa ghari nIra niramala, chae ritu nitu vani vasaI, eka hAthi parvata jeNi tolyu, bhuvani bhujabala uhalasai, te nitya na rahiu bhUpa rAvaNa, muMja bhoja gayA sahI, tu athira kAyA mUDha mAyA, anitya bhAvana e kahI. 7 bAhubalinI velinI DhAla azaraNa bIjI bhAvanA, zaraNa nahIM jagi koi jI, mAtapitA bAMdhava valI, haya gaya pAvaka joya jI. trUTaka nahIM zaraNa maraNa janama rogiIM, sujana, rANima riMdhi chatAM, riSi anAthI thayu sanAthI, eha bhAvana bhAvatAM, eka dharma azaraNa-zaraNa parabhavi, sujana, saMbala Adaru, e dharu bhAvana citti pAvana, alavi bhavasAyara taru. 8 DhAla ekavIsAnI Aviu Aviu re saMsAriiM jIva ekalu, valI prANI re pApa karI ja[jA] sai ekalu, ko kahinu re nahIM saMghAtI jANIMi, kuNa vairI re baMdhava kavaNa vakhANIi. trUTaka vakhANIi kuNa svArthi vAhAlAM, milai sajjana atighaNAM, je vinA na sarai eka ghaDalI, janama jAi te vinA, kuTaMba kAraNi pApabhArai jIva vei ekalu, ekatvabhAvana bhAvatAM namirAya bUjhiu guNanilu. 9

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anusaMdhAna-17. 146 koI vAru re megharatha rAya - e DhAla cuthI bhAvana bhAvIi, anya sahU jagamAhiM re, tanu dhana sujana aneraDA, paralokaI re nahIM koI sahAya ki. 10 bhavIaNajI, ima bhAvu re, jima pAmu re mugatinivAsa, jiNi chUTa re bhavabhayapAsa. AMcalI janami janami pAmyAM ghaNAM, mAtapitA suta bhAI re, / tarUarathI jima jUjUAM, prahi UgaI re paMkhIDAM savi thAya ki. 11 bha0 eNaI saMsAri saMyogaDA, suhuNA sarisA jANi re, ati saMyogaviyoganaI mani mAyA re alIa ma ANi ki. 12 bha0 ghaDIa na lAgai vahiDatAM, jima kAtInA meha re, tanu dhana sujana aneraDAM, te sAthaI re maMDi ma ciMtasaneha ki. 13 bha0 anyatyabhAvana bhAvatAM, sanatakumAra vairAgI re, ghara pura aMteura tyajyAM, ima mehalu re mamatAnu tujhe bhAga ki. 14 bha0 eka dini sArathapati bhaNai - e DhAla bhAvana bhAvu paMcamI, e saMsAra asAra, cu gai mAMhiM bhamaMtaDAM, sukhadukha sahyAM apAra, re. 15 bhAvana bhAvIi, ANI ANI hi[ya]Dai virAgo re, sAdhu mugatinu mAgo re, chaMDI chaMDI bhava taNau rAgo re. bUjha bUjhau prANIA, pariharI mamatA nai moho reta, maMDu maMDu dharama-syuM neho re, jANI jANI athira sa deho re.bhA0

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9 bhA0 bhA0 0 bhA0 zrApa anusaMdhAna-17. 147 nirayA gati ati jIvaDu, vei dukha asAya, saMkaDa kuMbhI Upanu, tali zira Upari pAyo re. 16 pIDai pApa pacAratAM, paramAdhAmI apAra, sAMDasai troDai, teli talai, dii valI mogara-prahAro re. 17 pArAnI pari valI milii, kIdha sa khaMDokhaMDi, sukha eka meSonmeSa nahIM, navi mehalai TalavalatAM re. 18 bhA0 jhaDapai AmiSa piMDanaiM, samalIrUpa karevi, cAMca jisI hui bhAlaDI, tana vIMdhai tatakhevo re. vajramukharUpI kaMthUA, vedana karai zarIra, mAhomAMhiM Ayudhi haNai, mukhi muMkai ati rIro re. mAhA mAjhima nisi jala vaDai, chAMTI vIjai re vAya, anaMta guNI zIta-vedanA, tehathI naraki sahAyo re. tAvaDi tApiu Talavalai, vaMchi vanataru vAya, sAmali asivani rAkhIu, te dukha miiM na kahAyo re. 22 bhA0 karavatadhArA pAnaDAM, paDi paDi khaMDai deha, samalIrUpaI ThaNaka dii, te dukhanu nahIM cheho re. 23 bhA0 bhAra bharI UtArIi, vaitaraNInai mAhi, matsya bhakhai valI deha galai, pagi gokharU vIMdhAyo re. 24 bhA0 aganivarNa karI pUtalI, dii AliMgana dehi, tAtAM tarUAM pAIi, kahI na sakuM dukha eho re. 25 bhA0 dasavidha vedanadukha sahyAM, je miI naraka majhAri, koDi jIbha kahai kevalI, tuhi na Avai pAro re. 26 bhA0 ima tirIAM gati mAnavI, deTha taNI gati mAMhiM, pari pari je dukha miM sahyAM, te valI kahyAM na jAyo re. 27 bhA0 ima bhavabhAvana bhAvatAM, je viramai saMsAri, te puSphacUlAnI paraiM, pAmai pAmai bhava taNau pAro re. 28 bhA0

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anusaMdhAna-17 * 148 hAla ___29 asthira kAyA ho prANI e kharI, vahai nava dvAraI ho malamUtraI bharI. cUTaka malamUtri bhArI, atia sArI, rudhira vIrya thakI ghaDI, AhAra-jala mala-mUtra thAi, zuci na thAi dehaDI, vAdhI amA mukha azuci annaI, nuhi kimahiiM nirmalI, e azuci sAte dhAti bAMdhI, Upari caramaha kothalI. AbharaNi sohai sahu mohai, azucibhAvana bhAvatAM, zrIbharata bhUpati lahiuM kevala, ArIsai mukha joyatAM. siri saMti jiNesara - e DhAla havi sAtami bhAvana, lokasarUpa apAra, ___ sura nara pAtAlaI, tribhuvana taNau re vicAra. eka puNyasaMyogaI, sukha vei suraloki, eka mAnavanI gati, naraki sahai dukha eka. cUTaka eka thAi mAtA valI vanitA, tAta suta valI suta pitA, kuberadatta kuberadattA, kuberasenA ati matA, e lokabhAvana jIvabhAvana, jeha dhyAi ekamanAM, vairAgyaraMgaI citta caMgaI, nuhi bhavabhaya AsanA. jaya jagagurunI DhAla aTThami bhAvana bhAvatAM, mani Azrava rUMdhu, vairI viSayAdika sabala, te citti ma baMdhu. rAga rosa pariharu dUri, hiMsAdika TAlu,

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anusaMdhAna-17* 149 Azrava-paravasipaNai duHkha, mRgAputra saMbhAlu. eka mokalaDai chidri jima, pravahaNa bUDai toi, tima AzravathI prANIu, bhavasAyari bUDei. ___DhAla velinI numI bhAvana bhAvatAM, Azrava tijau sadaiva, mana vacane kAyA karI, saMvara kari re jIva. cUTaka saMvara kari re jIva saMsAri, viSayAdika valI vAri, krodha kSamAI mAna ji vinayaI, mAyA saralaI vAri, lobha saMtoSaI TAlI, cAritra pAlI jinavara-ANa, saMvara ANI prasannacaMdrAdika puhutA mugati nidAni. DhAla dazamIya dazamIya bhAvana bhAvIi e, . nirajarA nirajarA tapaha pramANi ki, bAhya abhyaMtara bi paraI e, aNasaNa UNodarIa vakhANi ki. cUTaka aNasaNa UNodarI jANI, vRttisaMkhepa saMlInatA, rasatyAga kAyAkleza bAhiri-bheda cha e guNavatA, prAyazcitta kAsaga dhyAna vinaiM, vaiyAvRtya sajhAya-syuM, e bheda AbhyaMtarika, nirjara bhAvi bhAvana bhAva-syuM. 33 ___ guru giruA guNasAgara - e DhAla * uttama bhAvana bhAvatAM, uttama guNa saMbhAri, cAritra niramala AdarI, puhutA mugati majhAri.

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anusaMdhAna - 17* 150 nArInai bUDA nahI, tArU hUA tArunni, iMdriya - haya jIpI karI, ANI nijavasi manna. jaMbUkumara taNI pari, chaMDI sovina nAri, Apa savAratha sAdhIa, je rahyA siddhiduAri uttama bhAvana bhAvatAM, prANI tarai saMsAri, janama-jarA- bhavabhaya thakI, pAmai te nara pAra girivara mAMhiM meru vaDDu re bodhibhAvana havi bhAvIi re, durlabha te jagi hoi, cakravarttipadavI sohilI re, sohilAM surasukha hoi. e DhAla ko laghukaramI hoi, parvatanI pari bhedavA re, bhedai apUravakaraNaDai re anivRtikaraNa sa joi. trUTaka sohilAM surasukha hoi, prANI, lakSa vAra sa pAmIi, eka dharma dohilu valI bhavi bhavi duHkha jehathI vAmI, saMsAramAMhiM anaMta pudgalaparAvarttinaM bhavi bhamai, mithyAtva mohiu, pApa vAhiu, dharma-akSara navi gamai 36 [ DhAla] jima nai - pAhANa taNI parihaM re, yathApravRtikaraNeNa, kAkoDi eka thAkatAM re, AThai karama taNeNa. trUTaka AThai karma taNI gati, koDAkoDi ekekI java rahai, e cauda aMtaragraMthi bhedaka samaya jinavara tava kahai, je rAgadoSapraNAma[pramANa ] sarUpI graMthi te aNabhedatai, navi lahai prANI zuddha samakita graMthi dRDha potai chatai 37 [ DhAla] 34 35

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anusaMdhAna-17* 151 cUTaka anivRtikaraNi sa joI prANI, sUjhatu khiNi khiNi ghaNauM, udIrNa micchatakSaI ghAtI, anudIrNa upazamAvI ghaNauM, ima lahai samakita paMca bhediI, kSAyikAdika ati bhalAM, dasa bheda valI nisarga Adika lahai prANI nirmalAM. 38 [DhAlA bodhibhAvana bAramI e, bhAvai jeha mahaMta, te nara niramala saMpajai re, pAmai sukkha anaMta. cUTaka pAmai sukkha anataM prANI, bhAvana bAra vakhANI, ekamanAM je bhAvana bhAvai, te sukha ANai tANI, vaDa tapachi ati mahimAmaMdira, zrIvinayamaMDana uvajhAya, tasa sIsa jayavaMta paMDita vInavai, sukhasaMpada thira thAi. 39 iti zrI 12 bhAvanA sajjhAya samAptaH. zrI. zrI. zrI. zrI.

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anusaMdhAna-17* 152 zabdArtha (madhyakAlIna ane keTalAka pAribhASika zabdono samAveza karyo che. kaDI ane paMktikramAMkano nirdeza che.) . aganivarNa 25.1 agninA varNanu, rAtuMcoLa, tapelu aTThami 31.1 AThamI (saM.aSTamI) athira 7.10 asthira anivRttikaraNa 38.2 apUrvakaraNarUpa pariNAma pArcha jAya nahIM tevI avasthA (saM.anivRttikaraNa) anudIrNa 38.4 udaya na pAmela athavA jeno udaya dUra che te (saM.) aneraDAM 13.2 juderAM (saM.anyatara) apUravakaraNaDau 38.2 pUrve kyAreya prApta na thayelA evA AtmAnA zubha pariNAmanI prApti (saM.apUrvakaraNa) amA 29.5 amApa, khUba (saM.) amIya 1.1 amRta alavi 8.6 sahejamAM, anAyAse alIya 12.2 mithyA, khoTu (saM.alIka) asAya 16.4 azAtAvedanIya karmano eka prakAra, zArIrika-mAnasika pIDA asivana 22.2 taravAranA AkAranAM pAMdaDAMvALAM vRkSonuM vana (saM.) aMteura 14.2 aMta:pura, rANIvAsa, rANIo Adara- 8.5 svIkAravU, Azraya levo (saM.A+dU) Apa 2.2 AtmA AmiSa 19.1 mAMsa (saM.) ArIsai 29.2 arIsAmAM (saM.Adarza) Azrava 31.1 je dvArA karmo Ave che te, karmabaMdhanAM kAraNa (saM.)

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anusaMdhAna-17. 153 AsanA 30.8 pAse rahelA (saM.Asanna) udIrNa 38.4 udaya pAmela (saM.) unmAraga 3.1 avaLo - khoTo mArga upazamAva- 38.4 zAMta kara uvajhAya 39.5 upAdhyAya, jaina sAdhunI eka padavI ulasa- 7.8 zobhaq, prakAzaq (saM.ullas) UMcama 6.2 UMcAI (saM.ucca parathI) ekamanAM 39.4 eka citte karaNeNa 31.1 karavAthI (saM.) kavaNa 9.4 koNa (saM.kaH punaH) kahi 9.3 koI kaMthUA 20.1 eka nAnakaDaM jIvaDu (saM.kuMthu) kAtI 13.1 kArataka mahino (saM.kArtika) kAsaga 33.7 kAusagga, dehathI para tharbu te, eka jaina dhyAnakriyA (saM.kAryotsarga) kimahiI 29.5 kemeya kuMbhI 16.6 ghaDAnA AkAranI nAnA koTaDI, jemAM narakanA jIvone pakavavAmAM Ave che (saM.) koDAkoDi 37.2 karoDane karoDathI guNavAthI thatI saMkhyA koDi, koDI 6.6, 8 karoDa (saM.koTi) kodrava 7.6 kodarA, eka halakuM dhAnya (saM.) kosIsa 6.7 kosIsAM, koTanAM kAMgarAM (saM.kapizIrSaka) kSaI 38.4 kSayathI, nAzathI kSAyika 38.5 karmanAzathI utpanna thayela, samyaktvano eka prakAra (saM.)

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anusaMdhAna-17* 154 khaMDa- 23.1 TukaDA karavA (saM.) khaMDokhaMDi 18.1 TukaDeTukaDA khiNa 38.3 kSaNa gai 15.2 gati, jIvayoni gaya 8.2 gaja, hAthI graha 7.6 gRha, ghara ghaDalI 9.6 ghaDI, covIsa miniTano samaya, alpa samaya (saM.ghaTikA) ghAtI 38.4 AtmAnA guNono nAza karanAra (saM.) ciMta 13.2 citta cu 6.6 cAra (saM.catuH) cumana 6.3 copana (saM.catuHpaMcAzat) chatai 37.6 hotAM chaMDa- 16.2 choDavU, choDavU (saM.charda) java 37.3 jyAre jaMvAru 2.1 janmAro (saM.janma+kAra ke vAra) jIpa- 7.2 jItaq (saM.ji-, prA.jitta, jippa) jUjUAM 11.2 judAM, aLagAM joaNa 7.4 jojana, tera kilomiTara jeTaluM aMtara (saM.yojana) ThaNaka 23.2 cAMcano prahAra, bhoMkavU te tatakheva(vo) 19.2 tatkSaNa, tarata ja (saM.tat+kSip) tarUAM 25.2 kalAI, TIna (saM.trapuka) tava 37.4 tyAre tasa 39.6 tenuM (saM.tasya) tAtAM 25.2 tapta, tapelAM

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anusaMdhAna - 17* 155 tAya 5.5 tAta. pitA tAvaDa 22.1 tApa tija - 32.1 tajavuM (saM. tyaj) tirIAM 27.1 tiryaMca, pazupaMkhI jIvajaMtu Adi prANIvarga tuhi 26 . 2 topaNa toi 31.5 pANImAM (saM.toya) tripanna 6.7 trepana (saM. tripaMcAzat) thAkatAM 37.3 bAkI rahetAM, bacatAM thira 39.6 sthira duniM 6.4 bamaNuM, be dUAra 35.2 dvAra deTha 27.1 ghRNita, nArakI ? (saM. dviSTa ? ) doSa 37.5 dveSa (prA.) dohilu 36.4 karavuM ke meLavavuM muzkela (saM.du:kha + illa) nai 24.1, 34.4, 37.1 nadI nirajarA 33.2 karmo kharI javAM te, karmono nAza thavo te (saM. nirjarA) nirayA 16.5 nArakI, narakanI (prA.niraya) nilu 9.8 nivAsa, vAsasthAna (saM. nilaya) nisarga 38.6 svAbhAvikapaNe thavuM te, samyaktvano eka prakAra (saM.) numI 32.1 navamI nuhi 29.5 na hoya neTi 5.8 nakkI, jarUra pacAra- 17.1 maheNAM mAravAM, ToNAM mAravAM, Thapako Apavo (apa. paccAra) paramAdhAmI 17.1 narakavAsIone zikSA karanAra devayoni (saM. parama+ -adhArmika)

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anusaMdhAna-17. 156 pari 18.1 peThe, jema (saM.prakAre) paMcAsa 6.7 pacAsa (saM.paMcAzat) pAya(yo) 16.6 pAka, agnithI pakavatuM te pAyaka 8.2 pagapALA sainika pAsa 11.AMcalI pAza, baMdhana pAhANa 37.1 paththara (saM.pASANa) pAhiM 5.8 -nA karatAM (saM.pArve) pudgalaparAvarta 36.5 jIva badhAM karmapudgalone sparzI rahe teTalo kALa, kALay eka moTuM mApa (saM.) puhutA 32.6 pahoMcyA (saM.prabhUta, prA.pahutta) pota 37.6 bhaMDAra, silaka poli 6.3 daravAjo (saM.pratoli) pramANa 37.5 parimANa, jaththo (saM.) pravahaNa 31.5 vahANa (saM.) praha 11.2 prabhAta, savAra baMdha- 31.2 bAMdhavU, joDavU (saM.badh) / bAhAra- 7.6 vALavaM, jhADu kADhavU (de.bohArI parathI) bAhAri 33.6 bahArano, bAhya (saM.bahir) buruja 6.5 buraja, killAne mathALe topa goThavavA mATernu agAzI jevU . goLAkAra bAMdhakAma (a.burja) bUjha- 9.8 samajavU, jJAna pAmavaM; samajAvaIM, jJAna Apaq, bodha karavo (saM. budhya-) bodhi 36.1 AtmajJAna, samyagdarzana bhakha- 24.2 bhakSa karavo, khAvU .

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anusaMdhAna-17 * 157 bhavIaNa 1.2 bhavijana, mokSano adhikArI jIva bhallaDI 19.2 nAno bhAlo (saM.bhalla) bhAva- 5.1 ciMtana karavU (saM.bhAvay) bhAvana 1.2 ciMtana, paryAlocana, tenA viSayarUpa tattvasiddhAMta (saM.) bholima 2.2 bhoLapaNa (de.bholau parathI) majhAri 16.1 madhye, -mAM (saM.madhya+kAra) mahaMta 39.1 uttama, zreSTha, moTu (saM.mahAnta) mAga 16.2 mArga, rasto mAjhima 21.1 madhya (saM.madhyama) mAya 5.3 mAtA mAyA 32.3 kapaTa (saM.) mAhA 21.1 mahA mahino (saM.mAgha) micchata 38.4 mithyAtva, satya tattva para azraddhA mila 18.1 meLavaq, mizrita ka, masaLavU ? (saM.) meSonmeSa 18.2 AMkhanA palakArA mokalaDau 31.5 mokaLu, khullu (saM.mukta, de.mokalla) mogara 17.2 hathoDAnA prakAraceM eka zastra (saM.mudgara) yathApravRtikaraNa 37.1 anAdithI cAlatI pravRtti temanI tema rahIne jIvamAM zubha pariNAma pravartavaM te rANima 8.3 rAjatva, rAjapada ritu 7.7 Rtu riSi 8.4 RSi rIra(ro) 20.2 cIsa, AnaMda laghukaramI 38.1 thoDAM karma bAkI rahyAM che tevo jIva

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anusaMdhAna-17. 158 laha- 29.8 meLavadyu, pAma, vakhANa- 9.4 kahevU (saM.vyAkhyAna parathI) vahiDa- 13.1 vighaTita thavaM, naSTa tharbu vAma- 36.4 dUra kavU (saM.vAmay) vAha- 5.7 vahana karavU; 36.6 kheMcavU, kheMcAvU (saM.vAhay) vinaI 33.7 vinaya, guNavAnonuM bahumAna vihi 7.6 vidhi, vidhAtA vRttisaMkhepa 33.5 khAvaM, pIvaM vagere bhogo ochA karatA javA te (saM. vRttisaMkSepa) ve- 9.7, 30.3 anubhavaq, bhogavaq (saM.ved) vaiyAvRtya 33.7 sevA, zuzrUSA (saM.vaiyAvRttya) sajhAya 33.7 svAdhyAya, dharmaciMtana sa-bArIa 6.3 dvAra - bAraNAM sAthe ? samakita 37.6 samyaktva, satya tattva para zraddhA sarala 32.3 niSkapaTa (svabhAva) sarasati 1.1 sarasvatI sarisA 12.1 sarakhA, jevA (saM.sadRza) sarUpa 30.1 svarUpa sahisa 6.4 sahasra, hajAra saMkaDa 16.6 sAMkaDu (saM.saMkaTa) saMghAtI 9.3 saMgAthI, sAthI (saM.) saMpaja- 39.2 nIpajavU, tharbu (saM.saMpadya-) saMbala 8.5 bhAthu (saM.zaMbala) saMlInatA 33.5 zarIra ane indriyo- saMgopana, potAmAM rokAvaM te (saM.)

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anusaMdhAna-17. 159 saMvara 32.2 karmo AvatAM - karmabaMdha thatA aTakAvavA te sAmala 23.2 zyAmala, kALu sAyara 31.6 sAgara sAra- 2.2 siddha kara, sAdhaq sukkha 39.2 sukha sujana 10.2 svajana surapati 7.2 indra (saM.) suhuNaDA, suhuNA 5.3, 12.1 svapna, soNAM sUjha- 38.3 zuddha tharbu (saM.zudhya-) sohilI 36.3 sahelI, saraLatAthI prApta (saM.sukha+illa) sovina 35.1 suvarNa sovinna 6.10 suvarNatuM (saM.sauvarNa) syuM 33.7 sAthe, vaDe (saM.samam) haya 34.4 ghoDo (saM.)

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siMhAvalokano-1 - madhusUdana DhAMkI saptAhAMtanI chuTTIomAM navarAze anusaMdhAnanA pAchalA aMko vizeSa dhyAnapUrvaka avalokana karavAno moko maLelo. e sauMmAM judA judA zodhakSetrone upayukta viSayo ane temanAM pAsAMonA abhyAsa mATe vipula pramANamAM sAmagrI apAyelI che. jema jema kramAMka AgaLa vadhato Ave che tema tema pragaTa thaI rahelI aneka sAhityAdi adyAvadhi ajJAta-alpajJAta prAkRta-saMskRtAdi vividha prAcInamadhyakAlIna kRtio, jUnI bhASAomAM maLatA viziSTa zabdonI carcAo vagerenI mAtrA vadhatI jatI dekhAya che, jenA thakI nAnakaDA vinamra prayatna rUpe thayelA prAraMbhathI AgaLa vadhIne anusaMdhAna have zodha-sAmayikanI kakSAe pahoMcI gayuM che. AcArya vijayazIlacaMdrasUri evaM prA. DA. harivallabha bhAyANInAM phaLadAyI sahiyArA saMpAdana tema ja temAM temanAM bannenAM tejasvI pradAMno mATe paNa banneno jeTalo AbhAra mAnIe teTalo ocho che. anusaMdhAna 'aMka 3'thI laI pachInA keTalAka aMko aMtargata pragaTa thayelI (ane mArA nijI zodhakSetranA rasavartuLa aMdara AvI jatI) keTalIka sAmagrI atirikta vibhAvo, vicAro, kathano, aitihAsika pAsAMo Adi para ahIM DhUMkANamAM avalokano rajU karIza. __(1) 'aMka 3'mAM AcArya vijayazIlacandrasUrie prakAzamAM ANela, tapAgacchIya vijayadAnasUriziSya sakalacaMdrakRta 'sImaMdhara jinastavana' (prAyaH IsvI 16mI sadI, AkharI caraNa)mAM padyaguccho para, pratyeka guccha je je rAgamAM gAvAno hato teno nirdeza paNa devAyelo che. A vastu saMgItazAstranA, ane temAMye purANA rAgonA itihAsanA abhyAsIone amuka aMze upayogI nIvaDe tema che. tadanusAra temAM rAga 'gauDI' (madhyakAlIna saMgItazAstro tema ja karNATaka saMgItano rAga 'gauDI'), 'husenI vaIrADI', 'malhAra'. 'mAlavA gauDI' (karNATaka saMgItano mAyA mAlavagauDa), 'dhoraNI' (ajJAta) ane 'dhanyAsI' (karNATaka saMgItamAM Aje paNa e .ja abhidhAna, paNa hiM. dhanAzrI), eTalAM rAganAmo maLe che. AmAM 'husenI vaIrADI' abhidhAna dhyAna kheMce tevaM che. 'vaIrADI e karNATaka saMgItamAM jJAta 'varADI' (jema ke pantuvarADI, kuMtalavarADI)

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anusaMdhAna-17.161 ane prAcIna vibhASA 'vArATI'nuM smaraNa karAvI jAya che. AgaLa joDelo 'husenI' zabda batAve che ke muslima ustAdo dvArA kaMI nahIM to ye mogala jamAnAthI navA rAgo banAvI temAM sarjakanuM vyaktigata arabbI vA phArasI abhidhAna joDI devAnI prakriyA = prathA cAlu thaI gayelI. vartamAne pracalita 'vilAsakhAnI toDI', 'husainI kAnaDA', 'husainI yamana' vagere AvI prakriyAnA phaLarUpe udbhavelAM che. 'malhAra' rAga Aje paNa. e ja nAme oLakhAya che; paNa madhyakAlIna saMgItazAstromAM 'vibhASA' (rAginI) darzaka nAma 'mallArI' maLe che. alabatta prAcIna saMgItazAstromA AvatAM e ja (ke tenAM pUrvaja samAna) nAmavALA rAgo, mogala yuganA jaina sAhityanA uparyukta rAgo, ane AjanAM e ja (ke pachI tanniSpanna) nAmo dharAvatA rAgonI svarAvalI tema ja saMcAra eka yA samAnarUpI haze ke kema teno vizeSa vigatonI prApti na thAya tyAM sudhI nirNaya karavo muzkela che. anusaMdhAna 'aMka 10'mAM munivara mahAbodhivijaya dvArA saMpAdita tapAgacchIya muni puNyaharSa viracita 'lekhazrRMgAra' (IsvI. 1582)mAM paNa thoDAMka rAganAmo maLe che : jemake 'asAurI' (hiM. AsAvarI), 'madhumAdha' (hiM. madhumAdhasAraMga, karNATakI saMgItano rAga 'madhyamAdi'), 'desAkha' (dezAkhya, eTale ke hiM. deza), 'mAlavIguDu' (karNATakano mAlavagauDa), 'dhanyAsI', 'goDI', (gauDI) ane 'guDIdhanyAsI' (gauDadhanyAsI). . (2) 'aMka 3'mAM munivara vimalakIrtivijaya dvArA vi.saM. 1165 (IsvI 1109)mAM bharucamAM rANI zrAvikAe paurNamika dharmaghoSasUri pAse dhAraNa karela dvAdazavrata saMbaMdhanuM prAkRtamAM maLI Avela varNana virala vastu che. A prakAranA thoDAka dAkhalA A agAu prakAzamAM AvelAM. jemake chADA zrAvake saM. 1216 (IsvI 1160)mAM mAnatuMga (bRhadgacchIya ?)pAse, saM. 1254 (IsvI 1188)mAM ratnAdevI zrAvikAe bhadraguptasUri pAse, e ja rIte e madhyakALamAM zrIyAdevI zrAvikAe (bhadraguptasUri pAse ?), yazomatI zrAvikAe bhadrabAhusUri pAse, anya koIe caMdrasUri pAse, vagere. (mo Catalogue of Palmleaf manuscripts in the Santinatha Jain Bhandara, Cambay, Pt. 2 GOS. 149, Comp. Muni Punyavijaya, Baroda 1966, pp. 218220.)

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anusaMdhAna - 17* 162 " (3) prastuta 'aMka 3' mAM ja TUMkI carcA (pR. 28 - 29) aMtargata " (9) 'ghaDaMlI' zabda para bhAyANI sAhebe sasAra carcA karI che. saurASTranA kaMThALanAM zaheromAM 'la'ne badale 'ra' bolAto hoI tyAM, mULabhUta svastika AkAra gharaM vaDe ( kyAreka cokhA vatI paNa ) bAjoTha para (ke jamIna para) karavAnI kriyAne 'ghaDaMlI puravI' ema kahevAne badale 'ghauMrI kADhavI' evo zabda prayoga sAMbhaLavA maLe che. ghaDaMlI, 'svastika' uparAMta tenA koNomAM parivardhita bhujAothI sarjAtA 'akSaya svastika' (jIvAjIvAbhigamasUtra AdimAM AvatAM 'akkhaya sothiyA' ) nA AkAre paNa ALekhavAmAM Ave che. ahIM A khAsa saMdarbhamAM eka anya haitavanI spaSTatA karavAnI jarUra che. jainomAM ghaNAkALathI 'akSaya svastika'ne 'naMdyAvarta' mAnI levAmAM Avyo che, je moTo bhrama che. bIjI vAta e che ke sadIothI 'naMdyAvarta' nA uccAra ane joDaNI (munio paNa madhyayugathI laI Aja divasa sudhI) 'naMdAvarta' sarakho kare che je bhUlabhareluM che. 'naMdyAvarta' e 'akSaya svastika thI judI ja AkRti che, Aje lagabhaga 1500 varSathI tenI asalI AkRti bhulAI gaI che. kozakAro anusAra tene jalacara 'mahAmatsya' ke 'aSTapAda' (giant squid, octopus) vA 'karoLiyA' ke pachI 'tagara'nA kulanI AkRti samAna gaNe che. A saumAM pAda (ke pAMkhaDIo) vaLelI hoI, te upamAnanA AdhAre asalI naMdyAvartanI pIchAna thaI zake che. tenI AkRti mauryakAlIna calaNI mudrAo ( kArSApaNa) para ane mathurAnA zakakAlIna jaina AyAgapaTTo para-- ane Ama IsvIsan pUrve trIjI sadIthI laI IsvIsananI pahelI sadI sudhI aMkita thayelI jovA maLe che. svastika, akSaya - svastika, ane naMdyAvartanI AkRtio A sAthe rajU karUM chaM (juo pR. 165) te uparathI traNenA dekhAvamAM raheluM aMtara spaSTa thaze. 'svastika' ane 'naMdyAvarta'no samAveza aSTamaMgalomAM thAya che. 'naMdyAvarta'ne sthAne zilpacitrAdi aMkanomAM jainomAM 'akSaya svastika' nI citraNA TheTha 11mI sadIthI to thatI AvI che. jemake kuMbhAriyAnA zAMtinAtha jinAlaya (prAyaH IsvI 1082 ) nA gUDhamaMDapanA dvAra uparanA aSTamaMgalapaTTamAM asalI naMdyAvartane badale akSaya - svastika korelo che--je bhUla zocanIya che. vartamAnamAM paNa jainomAM akSaya - svastikane ja naMdyAvarta tarIke kUTI mAravAnI pravRtti rahI

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anusaMdhAna - 17* 163 che. 'naMdyAvarta 'mAM naMdInA Avartanano, dhurIne AdhAre goLa goLa pharavAno bhAva rahelo che; jema arahaTa (reMTa) athavA ghANIno baLada cakkara cakkara phare tema. meM upara je citra ApyuM che te mathurAnA IsvIsannI prathama sadImAM aMkAyela AyAgapaTTamAM vacce moTAM mAMgalika cihna rUpe koreluM che. tenI caturbhujAo mAchalInA uttarAMga jevI batAvI hoI kozakAroe kahela 'mahAmatsya' nuM pratimAna paNa tyAM sArthaka banatuM joI zakAya che. uparyukta traNe AkRtio keTalIka vAra apasavyakramathI (eTale ke UlaTA kramathI) paNa AlekhavAmAM Ave che. khoDIdAsa paramAre 'ghaDaMlI' ane 'svastika'nI AkRtio viSaya paranI carcAne AgaLa dhapAvatAM anusaMdhAna aMka 4 (pR. 86-88 para) vizeSa kahyuM che ane tyAM bhAyANI sAhebanI paNa e para vizeSa noMdha che, je abhyasanIya che. 6. zrIparamAre " gaumUtrika" zabda ane teno vartamAne pracalita gujarAtI paryAya " baLada mUtaraNAM" viSe paNa vAta karI che. zilpamAM paNa "gaumUtrika" bhAta maMdironA dvArabaMdhamAM 'patrazAkhA' para koravAmAM AvatI ane vRddha somapurAo to Aje paNa e bhAtane bolacAlamAM baLada-mUtaraNAM ja kahe che. (4) 'aMka 4' mAM AcArya vijayapradyumnasUrie haribhadrasUrinA 'paMcAzaka' prakaraNanuM sadIothI 20 muM vilupta thayeluM prakaraNa kADhI pragaTa karyu che, je eka apUrva upalabdhi che. AcAryazrIne dhanyavAda. joke tenuM zailI, vastu, ane saMdarbhonI dRSTie vizeSa parIkSaNa thavuM jarUrI che. (5) 'aMka 5 'mAM (pR. 1 - 3) mAM AcAryavara vijayasUryodayasUri dvArA prakAzamAM AveluM "dhumAvalI-prakaraNa" eka sarasa ane manohArI racanA che. temAM AvatA aMtima 'bharaviraha' zabda parathI temaNe te (yAkinIsUnu) haribhadrasUrinI racanA hovAnuM je sUcana kartuM che te asthAne nathI. bhASA - kalevara ane saMgaThana jotAM te racanA IsvIsananA 10mA zatakathI pahelAMnI hoI zake che : ane te AThamA saikA pachInI ane koI caityavAsI jatinI na hoya to haribhadrasUrinI paNa hoI zake che. A aMge vizeSa adhyayana karIne AkharI nirNaya levo ghaTe (mane to te prathama dRSTie haribhadrasUrinI ja hoya tema lAge che.)

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anusaMdhAna - 17* 164 (6) uparyukta aMkamAM (pR. 40 - 41 para) munizrI bhuvanacaMdrajIe "zatruMjayamaMDana RSabhadeva - stuti" prakAzita karI che, je racanA tIrthanAyaka saMbaMdhamAM eka vizeSa ane pazcAtkAlIna hovA chatAM kAmanI kahI zakAya tevI, upalabdhi che. 34mAM padyamAM kartAnuM nAma 'vijayatilaka' ApyuM hovA chatAM temaNe 'jaina gUrjara kavio' tema ja 'gujarAtI sAhitya koza'nA AdhAre tene tapAgacchIya vijayadAnasUriziSya 'vAsaNA'nI kRti hovAnuM kaheluM; paNa 'aMka 6' (pR. 114 ) para " 'zatruMjaya-maMDana RSabhadeva stuti 'nI prApta vadhu hastaprato" aMtargata AgaLanA sAMpratakAlIna lekhakoe karelI bhUla, tenI TIkAnA AraMbhanA ullekha anvaye, munizrIe sudhArI lIdhI che, te yogya thayuM che. prastuta vijayatilaka sUri tapAgacchanA ja hatA ane temano sattA samaya saM. 1673 - 1676 ( IsvI 1617 - 1620 ) hovAnuM mo. da. dezAIe jaina sAhityano saMkSipta itihAsa aMtargata noMdhyuM che. - (7) anusaMdhAnanA pAMcamA aMkamAM ja munimahodaya zrI ratnakIrtivijayajI dvArA be sarasvatI stotra prakAzita thayAM che. jemAMnuM prathama to sArAbhAI navAba dvArA 'mahAprabhAvika navasmaraNa' (amadAvAda 1937) mAM pragaTa thaI cUkyuM che. tenA kartA che bhadrakIrti aparanAma bappabhaTTisUri ( kavikarmakAla prAyaH IsvI 770-839). zrIlakSmaNa bhojake paNa emaNe e saMbaMdhamAM munijInuM dhyAna doreluM tema mane vAta karelI. jyAre bIju zrutadevatAnuM sarasvatyaSTaka navIna jaNAya che. racanAmAM gUMthAyelA paJcatriMzadguNopetA, saMsRSTivigamadhrauvyadarzikA, jJAnadarzanacAritra - ratnatritayadAyikA, syAdvAdihRdayAmbhojasthAyinI, syAdvAdavAdinI jevAM viziSTa saiddhAMtika - dArzanika ghacarakAMo uparathI saMgrathananI Adata digaMbara kartAnI hovAno bhAsa karAve che. kyAMka kyAMka brAhmaNIya khayAlAtano paNa sparza varatAya che. jemake manupUrvasvarUpiNI, bhuvanezvarI, brahmabIjadhvanimayI, hRjjADyAndhakArasya haraNe taraNiprabhA, ityAdi.

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anusaMdhAna-17* 105 svastika - akSaya svastika naMdyAvarna

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jaina sandhyAvidhi - saM. muni jinasenavijaya brAhmaNa dharmamAM trikALasaMdhyA prasiddha che. paraMtu jaina dharmamAM saMdhyApUjA thatI hovAnuM kyAMya jANavA ke sAMbhaLavA maLyuM nathI. Ama chatAM navAInI vAta e che ke moTA copaDA AkAranA saM. 1964mAM lakhAyelA phuTakara evAM 4 pAnAM mArA hAthamAM AvyAM to temAM 'jaina saMdhyA vidhi' tathA 'jaina gAyatrI maMtra' jovA maLyAM. apUrva lAgavAthI te yathAmati saMpAdita karI atre mUkavAmAM Ave che. . jaina sandhyA atha zrI jainasandhyA likhyate / atha sandhyA upadeza AcamanaM-auM hI samyagdarzanAya namaH svAhA / auM hauM samyagjJAnAya * namaH svAhA / o hI samyakcAritrAya namaH svAhA / iti trIn vArAn AcamanaM kRtvA netraM pavitraM kuryAt // atha gAyatri likhyatesaptaviMzatiu(ru)cchvAsAH saMsAronmUlanakSama:(mA:) / evaM paMcanamaskAro navadhA cintite sati // namo arihaMtANaM, namo siddhANaM, namo AyariyANaM, namo uvajjhAyANaM, namo loe savvasAhUNaM // jApye nava ucchAsa // apavitraH pavitro vA susthito duHsthito'pi vA / dhyAyet paMcanamaskAraM sarvapApaiH pramucyate // 1 // apavitraH pavitro vA sarvAvasthAM gato'pi vA / / yaH smaret paramAtmAnaM sa bAhyAbhyantaraH zuciH // 2 // cauvIsa tIrthaMkara nAma lIjai / upara zrIRSabha kahIje // covIsamA zrIvarddhamAnAya namaH // auM bhUH auM bhuvaH auM sva: auM janaH auM tapaH auM satyaM auM tat

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anusaMdhAna-17* 167 savituH auM bhurbhuvaH svAhA / asiAusA arhan devasya dhImahi / dhiyo yo naH pracodayAt // iti // atha tarpaNamantraH likhyate tarpaNa(NaM) pIThikAmantraiH kusumAkSatacandanaiH / mizrAmbupUrNaiH pANibhyAM kurvantu parameSThinA(nAm) // auM hA~ arhadbhyaH svAhA, auM hI siddhebhyaH svAhA, auM hU~ sUribhyaH svAhA, auM hauM pAThakebhya: svAhA, auM huH sarvasAdhubhya: svAhA // ___ auM hA~ hA~ hU~ hrauM huH asiAusA mama sarva zAnti kuru kuru puSTiM kuru kuru svAhA // 1 // iti atha prANAyAmamantraH - auM bhUrbhuvaH svaH asiAusA'rhatprANAyAmaM karomi svAhA // trIn vArAn japet // iti zrIjainasandhyA sampUrNA //

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vihaMgAvalokana muni bhuvanacandra anusaMdhAna - 16 daLadAra grantha jevuM banyuM che. eka saMpUrNa grantha AmAM prakAzita thayo che. A rIte jJAnabhaMDAromAM dharabAyelI jaina zramaNonI jJAnasaMpatti 'anusaMdhAna' dvArA bahAra AvatI rahe to saravALe kevuM moTuM kAma thAya enI kalpanA je karI zakaze te 'anusaMdhAna' jevuM sAmayika zarU karavA pAchaLanA uddezya tathA parizramanI kadara paNa karI zakaze. - A aMkamAM chelle mAhitI vibhAga apAyo che. te niyamita apAvo joie. jaina sAhitya ane prAkRtavidyAnA kSetre koNa, kyAM zuM kArya karI radhuM che tenI jANakArI saMzodhanakAryamAM paDelA vidvAnone AzIrvAda samI thaI paDaze. A kSetre kAma karatA vidvAno potAnA hAtha para je kAma lIdhuM hoya tenI eka noMdha 'anusaMdhAna'ne mokale to ja A zakya bane. 'vijJaptikAlekha' madhyayugIna zramaNasaMghanI gati-vidhi, gurubhakti, sAhityasRSTinI jhAMkhI karAve che. saMpAdaka jaNAve che tema, AnA kartA vivekaharSa gaNi hovAno pUro saMbhava che. bhuja (kaccha) ane moTI khAkhara (kaccha) nA zilAlekhomAM vivekaharSa gaNinI vidvattA, pratibodhazakti ane rAjAo / navAbo pAsethI jAhera karAvela amAri ghoSaNAnI je vigato che, temAMthI niSpanna thatA temanA vyaktitvanI sAthai prastuta racanA susaMgata che saMpAdake A lekhamAMthI paryuSaNane lagatI ane bIjI paNa keTalIka vigato tAravI che, temAM eka muddo hajI umerI zakAya ema che. nava vyAkhyAna, tapasyA, pUjA, amArighoSaNA, dAna vagere kartavyono ullekha karanAra kavi svapnadarzana, vIrajanmamahotsava ke tene mATenI ghRtanI uchAmaNIno ullekha karatA nathI. AnA sUcitArtho, jaina paraMparAonI vicAraNA karatI veLAe dhyAnamA rAkhavA jevA kharA. 'vijJasilekha 'mAM keTalIka zuddhivRddhi karavA jevI lAge che : na caika pAttvaM...(12) samaloka pAlakAH (45) payodharavrajAn (47)

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anusaMdhAna-17* 169 vakSeja [nisRjat payo0 (49) / vitaraNaguNAtprodyatpANiM vacaHzravaNAcchRti (62) zloka 63mAM 'dharmakriyAsu dakSAH' che, AmAM 'kriyA' zabdanA kAraNe chaMdobhaMga thAya che. lekhakadoSa ke mudraNadoSa na hoya to anavadhAnavaza kavinA hAthe ja cUka thayAnuM mAnavU paDe. ____ zloka 69mAM 'bibhyanti'' pachI praznacihna che. ahIM koI azuddhi jaNAtI nathI. "upAzrayanI bahAranI bhIto para cItarelA hAthIone joine tyAMthI pasAra thatA sAkSAt hAthIo bI jAya che''-Ama artha barAbara bese che. dvijA yathAsyAt...... (89) "jarAvasthAnA AgamanathI jema dAMta moDhAmAMthI cAlyA jAya...." zraddhAlubhirbhImaguNaiH smayollasad - kvo nikRtto mRdutAsidhArayA / (105) "baLavAn zrAvako dvArA mRdutArUpI khaDgadhArA vaDe garvarUpI capaLa bagalo kApI nakhAyo." 0da sAtanivahAttityakSu..... (123) zloka 125mAM 'kutkutaH'nA sthAne 'tatkutaH' pATha kalpI zakAya. zlo. 126mAM 'puSpavratAn'ne sthAne 'puSpavrajAn' pAThanI saMbhAvanA karavAnI AvazyakatA nathI jaNAtI. 'puSpavrata' eTale 'bhamaro' levAthI artha besI jAya che. 0 vidhuntudamukhAgrAsa: (130) yadrAtrau svakaraprasAraNapara0 (131). A zlokamAM 'naGkakasyA0 che tyAM avagrahacihna na joie. pragrahAn + aGkasyA0 ema saMdhi thaI che. svarbhANostu bibhemi (132) . steyaM kartumiva prasArayati [vai] naktaM .... (133) 1. bibhyati evaM rUpa thAya che. saM. //

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anusaMdhAna - 17 * 170 'bhuvanasuMdarIkathA' mAMnA zloko sAmudrikazAstranA abhyAsIo mATe rasaprada bane evA che. zlo. 11mAM 'visamabaliNo', 'samabaliNo' che tyAM valiNo hovAnI pUrI saMbhAvanA che. udara pradeza para 'vali' - vaLa hoya che teno phaLAdeza A zlokamAM che. 'lalitavistara'no kakko ane ' vyaMgyahIyAlI' ucca sAhityika AnaMda pUro pADe che. prakAzanonA paricayamAM 'bArahakkhara kakka' nA racayitA 'mahamaMda muNi' chapAyuM che, te mudrArAkSasanI mAyAthI thayelI garabaDa che ke je che te barobara che ? mahamaMda nAma vicitra lAge che. 'dezInAmamAlAuddhAra' bhASAzAstrIya abhyAsanA kSetre jainAcAryonA rasa- ruci tathA parizramanA eka manohara udAharaNa jevI kRti che. A. hemacandre dezI bhASAne paryApta mahattva ApyuM te pachI anya AcAryo munioe e kAma AgaLa vadhAryu. prastuta grantha koI Adhunika koza jevo lAge che. cheka caudamI - paMdaramI sadIthI varNAnukramathI koza racAvA zarU thai gayA hatA ema kahI zakAya. prAcIna gujarAtIno vidhisara abhyAsa khUba thayo hato e tathya A kozamAM 'anye' 'eke' 'kecit' jevA ullekho parathI jaNAI Ave che. samaya pasAra thavAnI sAthe zabdonA arthomAM saMkoca / vistAra / parivartana thatAM hoya che, kSetrabhede arthabheda pracalita thatA hoya che, tethI vividha kozakAronA kozomAM bhinna bhinna artho jovA maLe e svAbhAvika che. gujarAtI, marAThI vagere bhASAonA ghaNA zabdonAM mULa de. nA. mA. u.mAMnA zabdomAM joI zakAya che. jeno bahu ocho abhyAsa thayo che tevI kacchIbhASAmAM AmAMnA keTalAka zabdo asala uccAra/ arthamAM ja Aje paNa bolAya che. A hakIkata kacchI bhASAnA abhyAsa mATe mahattvanI che, tema de.nA.mA.u.nI AdhArabhUtatAnI dRSTie paNa dhyAnapAtra che. A zabdakozamAMthI pasAra thatAM prathama najare kacchIbhASA sAdhe saMbaMdha dharAvatA je zabdo dhyAnemAM AvyA te ahIM noMdhuM chaM. ( prathama de. nA. mA. u.no zabda, pachI kacchI zabda, te pachI kacchImAM pracalita arthaevo krama rAkhyo che.)

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anusaMdhAna - 17* 171 be akSaravALA zabdo : kullo- kullo : khabho khaDDa - khaDDa : khADo khutto- khutto : khUMpI gayelo caMgo - caMgo : suMdara (junI kacchI) chaMTo- chaMDho : chAMTo cikkA- cikka : DhoLAIne bheguM thayeluM thoDuMka pANI chaDDaDi chaDDaNuM : choDaM cheo- che : cheDo jhaMTo (jhaMTA ? ) - jhaMDhA : nAnA bAlakanA vAla Dhallo - Dhallo : khAlI, nirdhana DhaMDho - DhaMDha : chIcharuM pANI bhareluM hoya tevuM sthAna thakko - thAka : avasara, moko thakko- thakko : thAkI gayo pakko- pakko : pAko baMbho - bAMbha : marelA DhoranAM hADa-cAma maTTho - mADho : dhImo; ochI buddhino maDo- maDo : marelo; kaMjUsa rolo- rolo : vighna, kharAbI vaDDo - vaDDo : moye hittho hiTu : tiraskArasUcaka udgAra traNa akSaravALA : utthallA- uthala : eka cAsa jeTaluM haLa phare te cavadR- coM baheta. bolavaM

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1 anusaMdhAna - 17* 172 cikkhilla - cikkala - cikalANa : kAdava chavaDI- choDI : jhADanI chAla uDDo-neDo : sneha paraDA - peDa : sApanI eka jAta paiyaM - pAiyo : paiDuM bohArI - boArI : sAvaraNI kheliyaM khilaNuM : hasavuM khaNusA - khuNasa lhasai - lasaNuM likkaI-likaNuM : saMtAvuM sUDaI - sUDa kaDhaNuM : nakAmA choDa-velA- kAMTA vagere khetaramAMthI kADhavA te : DaMkha, dveSa. : sarI paDavuM (vastra) cAra-pAMca akSaravALA : avaDao - oDo : cAr3iyo NiArai - nyAraNuM : jovuM vavvaDo - vAvaDa : samAcAra pakkhaDiaM-pakheDaNuM : pahoLaM-chUTuM karavuM vikhekhuM : anAjanI dukAna peDaiDa - piDI viAruA - vyArU : sAMjanuM bhojana ugguluMchiA - ugacha : moDhAmAM moLa AvavI ullupuMTiaM-ullophullo : veravikhera thai javuM nakAmuM veDaphAi javaM.

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zubhatilakopAdhyAya-racitA // gAyatrI mantra vRttiH // : - saM. muni ratnakIrtivijaya gAyatrI maMtra e hindu dharmano eka atyanta pavitra ane sAttvika maMtra manAyo che. Aje paNa uga maMtranAM japa, purazcaraNa, yajJa ityAdi vyApaka pramANamAM thatAM jovAM maLe cha. ane have to gAyatrInAM maMdiro paNa TheraThera racAyAM che. keTalAka maMtro sakalAgamopaniSadbhUta hoya che. arthAt sarva dharmomAM tene mAnyatA maLI zake tevA hoya che. dA. ta. siddhahemacandrazabdAnuzAsana vyAkaraNamAM zrIhemacandrAcArye prayojelo aha~ evo bIjamaMtra. evaM u gAyatrImaMtra- paNa che. evaM atre prakAzita racanAnuM avalokana karatAM samajAya ne ___atre prakAzita racanAnuM nAma che gAyatrImaMtravRtti. tenA katA eka jaina muni che : zubhatilakopAdhyAya. 16mA zatakanA prAraMbhakALamAM lakhAyelI pratanA AdhAre 20mA zatakamAM lakhAyela tADapatra pothI (saMbhavataH pATaNa-bhaMDAra)nI prAMta puSpikA jotAM jaNAi Ave che ke A racanA 16mA zatakanI to che ja; te pahelAMnI hoya to ya nA nahi. ____ A racanAmAM kartAe brAhmaNadharmamAM prasiddha evA gAyatrImaMtra- judAM judA (sarva) darzanonI mAnyatA anusAra arthaghaTana-vyAkhyAna karyu che, temAM anukrame 1. jaina darzana, 2. naiyAyika, 3. vaizeSika, 4. sAMkhya, 5. vaiSNava, 6. bauddha, 7. jaiminIya (mImAMsaka-bhATTa) ATalAM darzanono samAveza thAya che. A badhAM arthaghaTana patyAM pachI dhyAnasAdhanAnA, maMtra-taMtra sAdhanAnA tathA vaidakazAstranA saMdarbhamAM paNa maMtra- arthaghaTana kartAe ApyuM che, je kartAnI vilakSaNa pratibhAnuM sUcana kare . che. ___ eka vAta noMdhapAtra che ke jaina munionI kalama sarvavyApI hatI, ane akutobhayasaMcariSNu hatI. bIjA dharmanAM tattvo, maMtro, kRtionuM adhyayana karavU, te para vivaraNa lakhavU e jainamunione mATe atyaMta priya tathA sahaja hatuM. A racanA A vidhAnanI vadhu puSTi karI Ape che.

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anusaMdhAna-17 * 174 A vRttinI be pratio maLI che. eka-tADapatra pratinI jherokSa. A tADapatra prati, prAMta puSpikAmAM nirdezyA pramANe saM. 1962mAM lakhAi cha ane bIjI prati traNa pAnAMnI kAgaLanI che. .temAM sAla saMvat ke lekhakanAma nathI, paraMtu te ghaNA bhAge 19mA zatakamAM lakhAi hovAnuM lAgyuM che. banne pratio azuddha che. tenA AdhAre yathAmati A saMpAdana karyu che. TippaNImAM tADapatra pratine tA. saMjJA ApI che tathA kAgaLanI pratine ne. saMjJA ApI che.

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// namo brahmaNe // cidAtmadarza saGkrAnta- 'lokAloka vihAyase / pArevAgvatirUpAya praNamya paramAtmane // 1 // "gabhIrArthAmapi zrutvA kiJcid gurumukhA mbujAt / pareSAmupa yogAya gAyatrI vivRNomyaham // 2 // imAM hyanAdinidhanAM brahmA-jIvAnuvedinaH / "Amananti pare 'mantraM manana-trANayogataH // 3 // gAyantaM trAyata yasmAd gAyitrIti tataH smRtA / AcArasiddhAvapyasyA ityanvartha udAhRtaH // 4 // mantrazca sa pramANakoTisaMTaGkamATIkate yaH sarvapArSado bhavati, arhamityAdivat 101 iti hetorgAyatrImantrasya sarvadarzanAbhiprAyeNa vyAkhyA kartumupakramyate / sA ce sUtrata:-, iti parameSThipaJcakamAha / kathamiti cet? ucyate, a iti arhanta ityadyAkSaram, a iti azarIrA ityasya siddhavAcakasyA-- ''dyAkSaram, A ityAcAryasyAdyam, u iti upAdhyAyAdyAkSaraM ma-munItyAdyAkSaraM 12asvaramiti / tataH sandhivazAt iti padaikadeze pdsmudaayopcaaraadevmuktiH| 1. 4 namaH zrI zrIzAradAyai namaH // -- ne. / 2. lokAkAza0 tA0 / 3. 0vRttiH ne. / 4. gambhIrA. ne. / 5. khAlloke tA. / 6. bhogAya tA. / 7. 0bIjA- taa.| 8. Atmananti tA. / 1. tantraM tA. / 10. vaditi sarvadarzanAbhiprAyeNa gaaytriivyaakhyaanaayopkrmytene.| 11.0te-arhanta ityAdyakSaraMaH,azarIrA iti siddhAstadAdyakSaraM aH, AcAryA ityAdyakSaraM AH, upAdhyAyA ityAdyakSaraM OM ne. / 12. asvaram sandhivazAt padaikadeze'pi ne /

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anusaMdhAna-17. 176 tadeva asAdhAraNaguNasampadA vizinaSTi bhUrbhuvaHsvastaditi / bhUrityavyayaM bhUloke, bhuva iti 'pAtAlaloke, svariti svarloke / trayANAM dvandve bhUrbhuvaH svaH - adhastiryagUrdhvarUpaM lokatrayam / * tat tanoti-jJAnAtmanA vyApnoti bhUrbhuvaHsvastat / prasiddhArhatsiddhAnAM sarvadravyaparyAyaviSayeNa kevalajJAnAtmanA lokatrayavyAptiH jJAnAtmanoH syAdabhedAt / zeSatrayasyA'pi zraddhAnaviSayatayA, "savvagayaM sammattaM" ityAdi vacanAt, sAmAnyarUpatayA jJAnAdvA / ata eva saviturvareNyaM sahasrarazmeH pradhAnataraM tadudyotasya dezaviSayatvAt prastutapaJcakasambandhino bhAvodyotasya sarvaviSayatvAt / Azca zrIpUjyAH - "caMdAiccagahANaM pahA payAsei parimiaM khittaM / kevaliyanANalaMbho loAloaM payAseire // 1 // " na cA''cAryAdi parameSThitrayasya kaivalikajJAnalambho nAstIti vAcyam / teSAmapi 'kaivalikajJAnalambhopalabdhAnAM bhAvAnAM sAmAnyena jJAnasadbhAvAdityuktam / bhargode iti / bharga 'IzvaraH u riti brahmA, dayate pAlayati jagaditi do-viSNuH / 'kvaciditi De rUpam / loke hi jagad brahmA utpAdayati rajoguNAzritaH, viSNuH sthApayati sattvaguNAzritaH, IzvaraH saMharati tAmasabhAvAzritaH iti / bhargazca zca dazca bhargodaM dvandvaikavadbhAvAt, tasmin / kiMviziSTe ? vasi / vasatIti vas, "vicpratyaya rUpam, tasmin vasi / kva vasi ? ityAkAkSAyAmAha___adhImahi asyA'patyaM i: kAmaH, tasya mahyaH 10-kAminyaH, tA adhikRtya adhImahi strISu / tiSThamAne strayAyattA''tmanItyAzayaH / pratItaM ca hi brahmAviSNu mahezvare]Su kAminIparavazatvam, pArvatyanunayArthaM Izvarasya tANDavAraDambarazruteH / brahmANamadhikRtya vede'pyuktam-"prajApatiH svAM duhitaramakAmayadi" ti / viSNostu gopyAdivallabhatvopadarzakatattadvacana zravaNAt / paThyate ca - 1. bhUloke taa.| 2. 0i gAhA 2 gAhA ne. / 3. na vA''cAryAditrayasya keva0 ne. / 4. kevalikajJAnopalabdhAnAM ne. / 5. itIzvaraH ne.| 6. 0vAt / kiMvi0 taa.| 7. vicirUpam. ne.| 8. .0rUpam / kva 0 tA. / 9. ityAha ne. / 10. bhUmayaH kAmi. ne / 11. caitadIzvarabrahmAviSNuSu ne. / 13. tANDavADambara0 ne. /

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anusaMdhAna-17. 177 rAdhA punAtu jagadacyutadattadRSTi-manthAnakaM vidadhatI dadhiriktabhANDe / tasyAH stanastabakalolavilocanAli-devo'pi dohanadhiyA vRSabhaM nirundhan // 1 // ityAdi / ziSyaM prati zikSAmAha - he naH !-nara ! nRzabdasyA''mantraNe rUpam / sabahumAnaM hyAmantritaH ziSyaH prastutArthazravaNe 'sotsAho bhavatIti / ato vizeSaNamAha - dhiyo yo iti / 'yuk mizraNe' ityayaM parairamizraNe cetyabhidhIyate, ato yauti-pRthagbhavati iti yuH, vici chAndasatvAd guNAbhAvaH / na yuH - ayuH, tasyA''mantraNaM hegyo ! - apRthagbhUta ! / kasyAH ? dhiyaH', yatastvaM buddherapRthagbhUto buddhimAn-prekSApUrvakArI, atastvaM ziSyase, anyasya "mUDhAderupadezAnarhatvAt / punarvizeSaNAntaramAha - praca iti / prakRSTaM cinoti / prakRSTAcAro mArgAnusAri-.. pravRttiriti yAvat / 'kvaciditi De rUpam / yathA vAce hiMsa iti. (?)| prakRSTAcAre hyupadezasAphalyam, AcAraparAGmukhAnAM zAstra pratipAdane pratyuta pratyapAyaprasaGgAt / kiM ? udayAt / udayaM prAptaM - ananyasAmAnyaguNAtizayasampadA pratiSThitamArAdhyatvena parameSThi paJcakam / ___ ayamiha tAtparyArthaH - Izvara-brahma-viSNuSu upalakSaNatvAdanyeSvapi kapilasugatAdidaivateSu madhye bhoH puruSa ! jJAnavat prakRSTAcAra(raM) parameSThi-paJcakameva pUrva pradarzitadigmAtraguNAtizayayogAdArAdhyatayA pratiSThitamatastadevA''rAdhanIya tadvyatiriktArAdhyAntarasya asadbhAvAt / sadbhAve vA vastutastattvAnupatteH / tadoSANAM lezata ihaiva nirNItatvAt, tathA ca satyapi ArAdhyatAyAmatiprasaGgaH / uktaM ca - 1. utsAhito bhavati ne. / 2. cetyadhIyate ne0 / 3. 0mantraNe'yo ne0| 4. dhiyo buddhitaH ne0 / 5. tadanyatra hi raktadviSTamUDhapUrvavyudgrAhitAdAvupadezAnarhatvAdandhakAra trAnukArI prayAsa iti ne0 / 6. punaryutpAdyasyaiva vize. ne. / 7. zAstrasadbhAvaprati0 ne / 8. vyasambhavAt ne0 / 9. paJcakakartRbhUta iti ne0| 10. pUrvadarzita0 ne| 11.0yaM tadevopAsanIyaM tadeva zaraNatayA pratipattavyaM tadAjJAmRtarasa eva [ta?] thA''svAdanIyaH ne0 / 12. bhAve'pi ne0 13. tadvattvenA'pi vA''rAdhya. ne0 /

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anusaMdhAna-17* 178 kAmAnuSaktasya ripuprahAriNaH prapaJcino'nugrahazApakAriNaH / sAmAnyapuMvarga'sadharmadhAriNo mahattvaklaptau sakalasya tadbhavet // 1 // iha cA'dhImahi vasI ti vizeSaNena rAgasUcanam, tatsAhacaryAt dveSamohAvapyavaseyau, teSAmAyudhAdisadbhAvAt pUrvAparavyAhatArthAgamAdyabhidhAnAcca / yadAha - "rAgo'GganAsaGgamanAnumeyo, dveSo dviSaddAraNahetigamyaH / mohaH kuvRttAgamadoSa sAdhyaH' ityAdi // AcAryAdInAM na sarvathA rAgAdikSaya iti cet ? na / teSAmapyApto padezAnusAre[Na] tatkSayArthameva pravRtteH tathAvidharAgAdyasadbhAvAt, tadatyantakSayasya ca bhAvitvAt 'bhAvini bhUtavadupacA raat|' teSAmapi vItarAgataiveti bhAvAcAryAdibhireva cA'trA'dhikAra iti sarvaM samaJjasam / / iti jainAbhiprAyeNa vyAkhyA // 1 // athA'kSapAdAH svaM devamIzvaraM praNidadhAnAH prArthanApurassaramevamabhidadhatibhUrbhuva ityAdi / OM iti sarvavidyAnAmAdyabIjaM sakalAgamopaniSadbhUtaM 1degsarvavighnavighAtanighnamakhiladRSTAdRSTaphalasaGkalpakalpadru mopamamityasya praNidhAnasyAdAvupanyastaM paramamaGgalam / na caitadvyatirikta manyattattvamastIti / he bhUrbhuvaHsvastaditi lokatrayavyApin ! | akSapAdAnAM hi zivaH sarvagata iti / __ tathA saviturbhAsvato vareNya pradhAnatarasarvajJatvAt / vareNya iti anunAsikasya 'aiuvarNasyAnte'nunAsiko'nIdAde'riti lakSaNavazAd; yathA- sAmaM sAma / vizeSyamAha - he bharga ude iti / tata utkRSTa i. - kAmo yasya udistasyA''mantraNaM he ude ! / arvAcInAvasthApekSayA vizeSaNamidam / 1. samAnadharmiNo ne0 / 2. tArthAbhi0 tA. / 3. yaduktam ne. / 4. 0padezena rAgAdikSayArthaM ne.| 5. 0rAdvItarA. ne. / 6. ityArhatAbhiprAyeNa mantravyAkhyA ne. / 7. 0dadhate ne. / 8. 0bhuveti ne. / 9. samastAgamo0 ne. / 10. azeSa vina0 ne. / 11. 0manyattattvamasti vastu iti ne. / 12. sAma dhruvaM 1 iti / vizeSakamAha ne. /

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anusaMdhAna - 17 * 179 prArthanA avasya iti / kriyApadadvayaM yathAsaGkhyamuttarapadadvayenA'bhisambandhyate / tatra ava - rakSa, 'pAlayeti yAvat / kimityAha dhImiti karmapadam / dhIH buddhistattvAdhigama iti yAvat / tasyA I: - zrIrdhIH, tAM dhIm / yuktA cezvarataH prArthanA jJAnasya / "IzvarAt jJAnamanvicchet" iti vacanAt / tathA sya-vinAzaya / 'SoMc anta:karmaNi' ityasya rUpam / kimityAhaahidhiyaH karmatApannAH, 'ahe. sarpasyeva dhiyaH "krUratAdyA: no'smAkaM buddhi varddhaya kubuddhIMzca vidhvaMsayetyarthaH / punarvizeSA (SaNA)ntaramAha- he yo ! mizrita ! sambaddha ! / 'yuk mizraNe' ityasya vici rUpam / kayA ? ityAha pracodayA / 'cudaN saJco'dane' codanaM codaH zRGgArabhAvasUcakam / prakRSTazcodo yasyAM sA pracodA, arthAt pArvatI, tayA saha iti vAkyazeSaH / arvAcInAvasthAyAM pArvatIpInapayodharapraNayItyAkUtam, 'muktAvasthAyAM pracodayA'yA (yo ) - 'mizrita ! iti vyAkhyeyam / SaDindriyANi SaDviSayAH SaD 'buddhayaH sukhaM duHkhaM zarIraM cetyekaviMzati-bhedabhinnasya duHkhasyA'tyantocchedo mokSa iti naiyAyikavacanaprAmANyAt / kAmAn at vizeSaNam, tathA ude iti prAcI [na] vizeSaNamapi / utkrAnta e ityudistasyA''mantraNaM" he ude ! iti yojyam / tathA atti bhakSayati jagaditi sRSTisaMhArakatvAt / uktaM ca - akSapAdamate devaH sRSTisaMhArakRcchivaH / vibhurnityaikasarvajJo nityabuddhisamAzritaH // 1 // - > - atha iti naiyAyikAbhiprAyeNa 12 mantrasya vyAkhyA 2 // vaizeSikAbhiprAyeNA'pyevameva 1 tairapi zivasya devatayA'bhyupagamAt / navaraM tanmate paramapadAvasthAsvarUpamevam- 'buddhisukhaduHkhecchAdveSaprayatnadharmAdharmasaMskArarUpANAM navAnAM vizeSaguNAnAmatyantocchedo mokSa' iti / 13 1. pAlaya varddhayeti ne / 2. buddhirjJAnaM tattvAdhigamaM ityanarthAntaram ne / 3.dhiyaH IH ne. / 4. ahi: - sarpastasyeva ne / 5. krUratAdyA parA'pacikIrSakAdiva tA: ne. / 6. varddhaya krUratAdyAH kubuddhIMzca ne / 7. 0codane tatazco0 ne. / 8. paramapadAvasthAyAM tu ne. / 9. zuddhayaH tA. / 10. 0tiprabheda ne / 11. 0 mantraNaM u ! ne. / / 12. mantravyA0 ne. / 13. iti / atha sAMkhyAH ne. /

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anusaMdhAna - 17 * 180 iti vaizeSikAbhiprAyeNa mantravyAkhyA // 3 // he atha sAGkhyAH svaM devaM kapilaM praNidadhAnA idaM vadanti dhIma ! dhIrbuddhistattvam, tanmimIte zabdayati prarUpayati iti dhIma:- bhagavAn kapilastasyA''mantraNam / OM bhUrbhuvaH svastaditi pUrvavat / amUrtazcetano bhogI nityaH sarvagato'kriyaH / - akartA nirguNaH sUkSma' [ AtmA kApiladarzane // 1 // iti vacanAt / saviturvareNyamityakSa] pAdapakSavat / kapilamevopayogasampadA vizeSayati-bhar iti / ' 'TuDubhRMgak' bibhartIti bhar vici guNe rUpam / kasya ? ityAhagodevasya / gozabdenA'tra kharakakuda viSANasAsnAlAGgUlAdyavayavasampannaH pazurucyate / tena ca vidheyatA lakSyate / tato gauriva vidheyAni vazyAni yAni devAnIndriyANi yasya sa tathA tasya jitendriyasyetyarthaH / na ca govidheyatA kavInAM na rUDhA / 'gauriveti vidheyatA' miti prayogadarzanAt / dhIma iti vyAkhyAtameva / hi sphuTam / dhiyoyo iti - he buddhitattvAt pRthagbhUta ! / prakRtipuruSavivekadarzanAnnivRttAyAM prakRtau puruSasya svarUpAvasthAnaM mokSa iti vacanAt / prakRtiviyoge ca buddhyAdInAmapi vigamAt kAraNAbhAve kAryAbhAvAt / dhiya iti padaM punarAvRttyA paJcamyantaM pracodayetyanena sambadhyate / tatazca dhiyo- buddhitattvAt no'smAnapi pracodaya' - vyapanayetyarthaH / SaSThyantaM vA dhiya iti / SaSThI ca karmaNi zeSajA / yathA mASANAmaznIyAt / tathA-"na kevalaM yo mahatAM vibhASate 5 / tatazca no'smAkaM dhiyaM-prakRtihetukAM vyapanayetyarthaH / svayaM mukto'smAnapi mocayeti yAvat / at iti / aditi dAntamavyayaM 'AzcaryArthe / tatazca aditi AzcaryarUpaH tatkAraNe''nivRttatvAt / tasyA''mantraNe he ad ! 'virAme vA' iti dasya tH| 1. [ ] etadantargataH pAThaH tA. pratau lekhanadoSAt truTitaH pratibhAti / ca rUpam ne. / 2. 'TuDubhRMgak poSaNe ca' bibhartIti bhar poSakaH, vici guNe 3. 0dasAsnAlAGgUlaviSANAdyA( dya ) vaya0 ne. / 4. 0daya - preraya ne. / 6. 0panayeti bhAvaH ne. / 7. AzrayArthaM ne. / 8 0 nivRttitvAt ne. / 9. vyapa0 ne. / 5. 0 Sate'tra tatazca he0 tA. /

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anusaMdhAna - 17* 181 N iti sAGkhyAbhiprAyeNa mantrasya vyAkhyA // 4 // zrIH // atha vA vaiSNavAH svaM devaM hariM praNidadhAnA idaM vadanti bhUrbhuvaH svastadityAdi / iti prAgvat / bhUrbhuvaH svastaditi loktry| vyApin' ! | Ahazca te-'jale viSNuH sthale ' viSNu ' rityAdi / athavA bhUrityA zrayo bhuvaH pRthivyAH svastaditi 'svarge pare ca loke sva' rityamarakozavacanAt svaH - paralokaM tanoti - svastat paralokaheturgatimicchejjanArdanAt / bhavetyadhyAhArotra, ityagretanapadasyeha sambandhAdasmAkamArAdhakAnAM paralokasukhAvaho 'bhava ityarthaH / tathA saviturvareNyamiti / savitu- 'rjanakAd vareNyataraH / prajAnAM Ayati sukhapAlanAt pituradhikatarapremannityarthaH / anunAsikastu prAgvat / tathA bhargodeveti / bhargazca uca tayorapi devaH pUjyatvAt / bANAhavAdau pArvatIpateH parAjayazravaNAt brahmaNastu 'hare'rnAbhipadmajanmatayA prasiddheH / tathA sya itityadastadarthasyA''mantraNe'sau prayogaH / tatazca he sya !hesa ! smRtipraviSTatvAdevaM vizeSaNopanyAsaH / 'saMskAraprabodhasambhUtamanubhUtArthaviSayaM tadityAkAraM saMvedanaM smaraNam' iti tallakSaNAt / anena praNidhAnaika " tAnatA dhvanyate / 1 I tathA matuplopAdabhedopacArAdvA dhiyaH- paNDitA: / 'arha - maha pUjAyA' miti dhAto: kvipi maha iti rUpam / mahatIti mahaH pUjaka ArAdhaka iti yAvat / dhiyAM mahaH - dhImahaH / tathAvidhavidvajjanaparyupAsakaH puruSastasminnAdhAro (re) yakA dhIrbuddhirvijJAnaM tasyA yurapRthagbhUtastasyA''mantraNaM he yo ! sadgurusevAtatparANAM buddhergocara iti bhAvaH / na hyanupAsitasadgurUNAM laukAyatikAdInAM paramAtmA jJAnagocaratAmaJcati / " 1. 0 prAyato mantravyAkhyA ne / 2. idamudgiranti ne. / 3. 0vyApin ! | jale viSNu. ne. / 4. viSNu. 1 athavA ne. / 5. 0nAditi vacanAt ne. / 6. bhaveti hRdayam ne. / 7. janakAn ne / 8. hari0 tA. / 9. nAbhipuNDarIkatayA ne. / 10. smRtilakSaNAt ne / 11. naikatA tA / 12. kvibantasya maha ne. / 13. ityarthaH ne. /

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anusaMdhAna-170 182 yo na' ityantarakAraprazleSAt ha aviSNo ! / na iti yojitameva / pracodayAdityAdi prakRSTazcodaH zRGgArabhAva sUcanam, yasyAM sA pracodA cAsau yA ca lakSmIzca pracodayA, tAM "atati-gacchati-sAtatyena sevate iti yAvat, sa pracodayAt / tasya sambodhanaM he pracodayAt / yadvA pUrvaM na iti yojyate / sAmarthyAdeva-asmAkamiti pratIteH / tatazca AnaH pracoda iti jJeyam / he anaH pracoda, 5 anaH zakaTaM pracodayati prerayatItyanaH pracodastada mantraNam / zeSavahi (zaizave hi) viSNunA caraNena zakaTaM paryastamiti zrutiH / tataH 'samAnAnAM tena dIrghaH' iti sandhau AnaH pracoda iti jJeyam / ___ nanu 'yo' padAtpare 'AnaHpracoda 'pade-yavAnaHpracoda iti bhAvyam / kathamatra yonaHpracoda iti ? naivam / kAtantre 1 'edotparaH padAnte lopamakAra' iti sUtre edobhyAmiti siddhaM yatparagrahaNaM tadiSTArtham / tena kvacidAkAro'pi lopa mApadyate / tato'trA''kAralopAt siddhaM yonaHpracodeti / na caivaMvidhA prayogA nopalabhyante iti vAcyam / 'bandhupriyAM bandhujano juhAve'tyAdi mahAkaviprayogadarzanAt / ___ athavA svastaditi vizeSaNamAha, pracodeti punaH kriyApadam, ana iti karmapadam, antarAtmasArathinA pravartanIyatvAdana ivA'naH zarIraM tat pracoda 'cudaN saJcodane' tasmAzcarAdeNico'nityatvAttadabhAve hau rUpam / saJcodanaM ca nodanamiti dhAtupArAyaNakRtA tathaiva vyAkhyAnAt / tatazca pracoda-prakarSaNa nuda sphoTaya / nahyamuM dagdhakAya"mutsRjya kvacidapi paramasukhalAbhaH / uktaM hai . vedeSu - 'azarIraM vA vasantaM priyApriye na spRzataH na ha vai [sa]zarIrasya priyApriyayorapahatirastI'ti / / 1. iti yo na ityantarA0 ne. / 2. diti ne. / 3. stavanam ne. / 4. atati sAtatyena gacchati pracodayAt, tasyA''mantraNaM he pracodayAt ! ne. / 5. anatu ne. / 6. 0nArAya caraNena ne. / 7. zruteH ne. / 8. samAnAnAmiti tA. / 9. iti sandhau na pracoda iti bhavati ne. / 10. bhavitavyam ne. / 11. kAtantreNa tA. / 12. 0mApatate ne. / 13. na caivaM prakArAH ne. / 14. tuSTane tasya curAdirNico ani0 ne. / 15. 0kAyaM kaligatasRjya ne. / 16. kvaciditi tA. / 17. vede ne. / 18. na hi vai tA. / -

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anusaMdhAna-17* 183 iti vaiSNavAbhiprAyeNa 'mantrasya vyAkhyA // 5 // yadi vA saugatAH svaM devaM buddhabhaTTArakaM praNidadAnA evamAhuH3-iti prAgvat / he bhurAdhAra ! bhuvo bhavyalokasya svaH - paralokam, tanoti "prajJApayatIti yAvat svastat / Atma nAstitve paralokAbhyupagamAt / AtmA(tma)nAstitvaM ca - 'paJcemAni bhikSavaH ! saMjJAmAtraM pratijJAmAtraM saMvRttimAtraM vyavahAramAtram / katamAni paJca ? atItAddhA-anAgatAddhA-pratisaGkhyAnirodhaH AkAzaM-pudgalaM' iti buddhoktiprAmANyAt / atra pudgala ityAtmA / savituH-ravevareNyaH -pradhAnaH, ravibuddhatvAt saptamasya buddhasya zAkyasiMhAbhidhAnasya / bhargodevasyeti bibhartIti bhar poSaka: / kasyetyAha-godevasya / gobhirbhUtArthagarbhAbhirvAgbhirdIvyati stautIti godevastasya / yadi nAmAsaMvedayatA'pi Dimbhena bhagavate bau(bu)ddhAya kalpitaH pAMzumuSTI rAjyaM phalati tadA kiM nAmA''zcarya bhAvastutiparANAM manISitasiddhividhAne ? / tathA he dhIma ! / dhiyaM-jJAnameva mimIte-zabdayati prApayatIti dhaumaH / bahirardhAkAra(rA)NA mavidyAdarzitatvAdavidyA(dya)mAnatvena jJAnAdvaitasya tanmate prAmANyAt / 'uktaM ca taiH - grAhyagrAhakanirmuktaM vijJAnaM paramArthasat / nA'nyo'nubhAvo buddhyA'sti tasyA nA'nubhavo paraH // 1 // grAhyagrAhakavaidhuryAt svaya saiva prakAzate / / bAhyo na vidyate hyartho yathA bAlairvikalpyate // 2 // vAsanA"luThitaM citta-marthA bhAsaM(se) pravartate / - 1. mantravyAkhyA ne. / 2. saugatAH svaM ne. / 3. 0mAha:- bhUrbhuvaHsvarityAdi ne. / 4. vistArayati prajJA. ne. / 5. AtmA nAstitve tA. 6. 0bhyupagamAt / AtmA nAsti punarbhA(bha)vo'stItyAdi dhAnA (?) evamAvacanAt ne. / 7. prayati ne. / 8. rANAM avidyAdarzitatvAdavastutvena jJAnAdvaitasya tanmate pramANatvAt ne. / 9. uktaM ca munIndrapAdopajIvibhiH ne.| 10. prakAzyate ne. / 11.0luMThitaM tA. /

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anusaMdhAna-17. 184 'ityatra bahu bahu vaktavyaM tattu granthagauravabhayAnocyate, gamanikAmAtraphalatvAdisya / hi - sphuTam / he yo ! - padaikadeze padasamudAyopacArAt he yogin ! / 'buddhe tu. bhagavAn yogI'ti zeSavacanAt yogI-buddhastasyA''mantraNam / no'smAkaM dhiyo - buddhIrabhipretatattvajJAnaM prati codaya vyApAraya / atatati sAtatyena gacchati / 'gatyarthA jJAnArthA' iti vacanAt, atati-gacchatIti at-sarvajJaH / iti bauddhAbhiprAyeNa 5 mantrasya vyAkhyA // 6 // 6atha jaiminIyAH punaH sarvajJa devatvena na pratipannAH', nityebhyo vedavAkyebhya eva teSAM tattvanizcayaH, sAkSAdatIndriyArthadarzina stanmate 'bhAvAt / yaduktam atIndriyANAmarthAnAM sAkSAt dR(dra)STA na vidyate / / "nityebhyo vedavAkyebhyo yathArthatvavinizcayaH // 1 // ataste vedavAkyaprAmANyAdeva vaizvAnaraM gurutayAra prapannAH tatstutiM vedagarbhAmitthaM kurvanti / tatrA'syAH padavibhAgaH kriyate - bhUrbhuvaH svastat saviturvare ANyaM bhargo devasya dhImahi dhiyo'yo naH pracodayArthaH( t)13 iti / dhiyo-buddhayo no-'smAkaM, bhavantiti vAkya zeSaH / kiMbhUtA:14 ? ayaH - ayanti gacchantIti ayaH - gAminyaH / kva5? re - agnau, tadArAdhanAdAviti grAhyam / tadArAdhanAdAvasmAn pravartayetyarthaH / 16kiMbhUte re? bhargode- avatIti U-rdAhakaH / avate rdhAtupAThe dAhArthatayA pAThAt / bharga-IzvaraH U-dohako yasya sa bhargo-kAmaH / 1ityAdya0 tA. / 2.0tvAt prayAsasya ne| 3.0tyabhidhAnacintAmaNizeSa0 ne.| 4.0ti iti at / gatyarthAnAM sarvajJAnArthatvAt sarvajJa ityarthaya ne.| 5.mntrvyaane| 6. jaima0 ne| 7.devatAtvena ne.| 8.0nnAH kintu ne| 9.0darzinaH kasyAcidapi ne| 10.vacanena hi nityena, yaH pazyati sa pazyati ne| 11.0tayA paryupAsate / iti tatprANidhAnArthaM vedastutigarbhamidaM paThanti-bhUrbhuvaH svarityAdi / tatra sukhAvabodhAya padavibhAgaH 0ne| 12.dhiyaH naH prco-ne.| 13.0yAt / adhunA'kSarArthaH kathA thya te ne| 14.kiMbhUtA bhavantu ? ne| 15.kva? ityAha re-'gnau / agnizabdenA'tra tadArAdhanAdi grAhyam / Ana (?)zA'gnyArAdhanAdAvasmanmatayaH pravartanazIlA bhavantvityayamarthaH sampanna: ne. / 16.ki viziSTe re ? bhargode-'vantIma( tyu)-hakaH / avate: zrIsiddhahemadhAtupAThe dahanArthatayA paThitatvAt ne| 17. yasya yA )'sau ne. / -

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anusaMdhAna-17. 185 yatkAlidAsaH - krodhaM prabho ! saMhara saMhareti yAvagiraH khe marutAM caranti / tAvat sa vahnirbhavanetrajanma(nmA) bhasmAvazeSa madanaM cakAra // 1 // taM dadAtyArAdhakebhya iti bhargodaH' / tathA ca zivadharmottarasUtram pUjayA vipulaM rAjya-magnikAryeNa sampadaH / tapa: pApavizuddhayarthaM dhyAnaM jJAnaM ca muktidam // 1 // punaH kim ? dhImahi - dhiyaH - paNDitAH mahaH - pUjakA yasya sa tathA / tatra kiM svacchandenA'smatayaH pravartantAm ? netyAha-pracodayAcodanaM-codayA-codanA ityarthaH / 'Ni vettyAsazrantheti sUtreNAre'naprAptAvapi 'zaMsi pratyayA' diti sUtreNa bAhulakAdaH Nerluk prasaGga iti cet ? na / Ni luko'nityavAt / tathA ca dhAtupArAyaNaM bhISmAdibhyo'no(nA)pavAdaapratyeya'pi Niluki bhISA dirUpasiddhyai advidhAnaM Niluko'nityatvajJApanArtham / tena suprakampA ityAdi siddham / codanA ca kriyAM prati pravartakaM vAkyaM, yathA- 'agnihotraM juhuyAt svarga kAmaH' / "yathA''ha haribhadrasUriH SaDadarzanasamuccaye codanAlakSaNo dharmo codanA tu kriyAM prati / / pravartakaM vacaH prAhuH svaH kAmo'gni yathA yajet // 1 // prakarSeNa codayA-pracodayA'deg / pracodayA ca asminnastIti 'abhrAdibhya' iti gaNasyA''kRtigaNatvAt apratyaye pracodayo-vedaH, tasmAt-vedopadezamAzrityetyarthaH / 'gamyayapaH karmAdhAre' iti paJcamI / kiMbhUtAdvedAt ? sviturvH| "kAdambakhaNDitadalAni va paGkajAni" ityAdau vasya upamAnArthe rUDhatvena AdityAdiva, samastArthaprakAzakatvAt / tasmAdvedAdasmanmatayo'gnyArAdhanAdau pravartya(tIntAm / 1. bhargodaH tasmin / agnitarpiNAM zAstre sampatsaMprAptAbhidhAnAt sampadAM ca kAmahetutvAt / tathA ca0 ne. / 2. 0matayaH pAvakatarpaNAdau ne. / 3. veNA'prAptA0 taa.| 4. bhISAdInAM sidhAnaM Niluko0 ne / 5. siddhamiti ne. / 6.vacanaM ne / 7. 0kAma iti ne. / 8. vyAcakAra SaDdarzanasamuccayakAraH ne. / 9. iti ne. / 10. 0dyaa'sminnstiiti| 'abhrAdibhya' iti bahuvacanasyA''kRtigaNajJApanArthatvAt apratyaye codayo vedaH ne.| 11. vazabdasya kAdambakhaNDitadalAni ca va) paGkajAnI 'tyAdiH upamAnArthasyatvA( rthatvA )dAdityAdiva samastArthaprakAzakatayA bhAskaratulyAdityarthaH / ne. /

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anusaMdhAna - 17* 186 yatra yattadornityAni (bhi) sambandhAdvidyate omityakSaraM chandasAmAdibhUtatvAttasya kiM vi0 ? bhUrbhuvaH svastat bhuvanatrayavyApi / tarhi kiJcidabhidheyasattAsamAviSTaM vastu gurusampradAyayuktyA'nviSyamANamatra' kAre zAbdaparyAyeNA'vApyate / sarvavAdibhiravigAnenA'sya sakalabhuvanatrayakamalAdhigame bIjatayopavarNitatvAditi paribhAvanIyametat / ata evA'syA'sAdhAraNaM vizeSaNa' mAha ANyamiti / aNya uccAryate iti ANyaM-praNidheyam / kasya ? ityAha vasya / ' u brahmA, uH zambhuH, azca viSNuH samAhAravazAt-vam, tenA'pi dhyeyam / vasta karttari SaSThI kRtyasya veti / yadvA vedAt kiM0 ? saviturutpAdayituH vyApyamAha ityAdi prAgvat / zeSaM prAgvat / navaraM va zabdo vAkyAlaGkAre jJeyaH / re ANyamityAkAralopaH 'prAktanayuktito jJeyaH / iti bhATTadarzanAbhiprAyeNa mantrasya vyAkhyA // 7 // zrI // 'atha ke cit paramezvarasya praNidhAnamAha:- D ityAdi / iti prAgvat / he bhUrbhuvaH - he sarvavyApin ! vede'pyuktam- 'puruSa evedaM yadbhUta'mityAdi / vareNyeti pUrvAnunAsikarItyA / " bhargodeva iti bhargazca uca 12 teSAmapi sandhyAdizravaNAt / tathA hi 1. 0sA Adi0 ne. / 2. 0matrokArazabdaparyAye naiva nA'pyate ne. / 3. sarvairapi pravAdibhiravigA. ne. / 4. 0SaNAntaramAha ne. / 5. uzca brahmA, uzca zaGkaraH, azca puruSottamaH sandhivazAt vam - puruSatrayam, tenA'pi dhyeyamiti bhAvaH / ne. / 6. veti lakSaNAt ne / 7. 0pAdayituriti yAvat / kiM tat vyApya0 ne. / 8. prAktanavAcoyukterevAvaseyaH / tadayaM samudAyArtho - yasma (smi )n vede AdAvaskhalitajagattrayavyApi devatrayeNA'pi praNidheyaH yazca udgIryate yazca samastArthaprakAzane (nai) kabhAskarastasya vedasyopadezamAzritya kAmasampatkaraNe vidvajjanAH abhyarcanIyeva ArAdhane A( A )smAkInA buddhayaH pravarttantAm / iti bha( bhA ) TTadarzane mantravyAkhyA // 7 // 9. atha sAmAnyena sarvapravAdi saMvAdizva ( sva ) svarUpasya paramezvarasya praNidhAnamidambhUrbhuvaH svastadityAdi ne. / 10. evedamiti ne / 11. bhargo bharga0 ne. / 12. teSAmapi deva ArAdhanAtvavAcyam, teSAM sandhyA nAsti teSAmapi sandhyAdizravaNAt, tathA ne. / -

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anusaMdhAna-17. 187 aSTavargAntagaM bIjaM kavargasya ca pUrvakam / vahninopari saMyuktaM gaganena vibhUSitam // 1 // etaddevi ! paraM 'tattvaM yo'bhijAnAti tattvataH / saMsArabandhanaM chittvA sa gacchet paramAM gatim // 2 // iti vacanaprAmANyAt / __sya-antaya / kamityAha- 3 dhiyaH- dhIzcittaM-tasya / i:-kAmastaM manaH kAme hi dhvaste dhvastAveva vAkkAyakAmau / ahidhiyaH- krUratAdyAstAdyapi vinAzaya / caM vinA'pi 5 samuccayo'tra gamyaH / aharaharnayamAno gAmazca(mazvaM) puruSaM pazum / vaivasvato na tRpyati surAyA iva durmadI // 3 // ityAdAviva / tathA yoni saccittAdikAM ca caturazItilakSasaGkhyAvacchinnAM karotIti NyantAt vipi Ni luki ca "yon - saMsArastasmAd yona:- "saMsArAt pracodaya, asmAniti zeSaH / 'kAmAdidhvasanapUrvamasmAn mukti prApaya itybhipraayH| "na tu yonaH pracodayetyanenaiva kAmAdidhvaMsanamaryAdApannam, muktatAyAstannAntarIyakatvAditi cet / satyam, muktyarthinA pUrva kAmAdi jayo vidheyaH, ityupAyopeyabhAvajJApanArthamityadoSaH / tathA at ita saugatapakSavat / 1'iti sarvadarzanAbhiprAyeNa mantrasya vyAkhyA // 8 // athA'sau 2 gAyatrImantraH sarvabIjAkSaranidhiH iti dvijapravAdamAzritya katicinmantrAkSarabIjAni pradarzyante / tadyathA- muiti bIjAkSaraM akSapAdapakSapradarzitaprabhAvadigmAtram / tatra ca 13bhargoMda iti dhyAnakAryApekSaM varNasUcanam / tathAhi- 14bharga 1. tantraM ne.| 2. ityAdi ne.| 3. dhI dhIzca(cittaM tayaH ne.| 4. dhvaMsite ne.| 5.samuccayasya gama( mya)mAnatvAt ne. / 6. 0dikaM caturazItilakSasaGkhyAvicchinnApAkarotI0 ne. / 7. yonaH taa.| 8. saMsArodadheH ne.| 9. kAmakrodhAdi0 ne.| 10.yoH naH pracodayetyanenaiva kAmAdidhvaMsama(na)marthApannaM muktatAyA sUtrantarAyakItvAtrArthasya dhImahi dhiya ityanenaiveti cenna. ne.| 11. iti sarvadarzane mantra-vyAkhyA ne. / 12. 0 gAyatrI sarvajJabIjA0 ne.| 13. bhargode ne. / 14. bharga itIzvara0 ne. /

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anusaMdhAna - 17 * 188 Izvarastena ca zvetavarNoM lakSyate / zAntikapauSTikAdau uriti brahmA, sa ca pIta'varNaM vyajayati / stambhAdau pItaraktayozca kavirUDhyA aikyAt raktavarNasyA'pi grahaNaM vazyAkarSaNayoH / da iti kRSNaH, tena ca kRSNavarNo 'lakSyate vidveSoccATanA' - vasAneSu / ityAdiranyo'pi zrImato'sya bIjAkSarasya praNidhAnavidhiryathAmnAyamavaseyaH / ityanena 7 vaTTakalA arihaMtA niuNA siddhA ya loDhakala sUrI ( ? ) / 'uvajjhAyA suddhakalA dIhakalA sAhuNo 6 bhaNiA // 1 // iti gAthoktarahasyena parameSThipaJcakameva mahAnandArthinA dhyeyamiti / athavA bhUrityanena pRthvItattvamucyate / bhu ityanena bhuvanaM - jalatattvam, va iti vahnitattvam, svastatsavi ityanena vAkhAkAze / tatra sa ityanena vAyutattvam, svarurdhvalokaM mukhamastaka rUpam vi ityanena viyattattvam tanoti - vyApnoti iti svastat / nyAyazcaiSAm tattvapaJcakamidaM vidhiyogAt smaryamANamaghajAtivighAti / yathA - kalpavRkSa iva bhaktiparANAM pUrayatyabhimatAni na kAni ? // 1 // atha vareNyaM dhImahi iti / hi hakAre rephe ca, dhI iti IkAre yaM iti bindau ca yojite mAyAbIjam / tadapyacintyazaktiyuktam, "sarvamantra - sArvabhaumatvAt / idameva ca udgIthAditattvam / mahidhiyoyona iti / nAtparasya visargasya mAdyojanena ma iti bhAvAttadantaM sanmantraH varNAnteti (?) ityAdi vacanAt / tathA vareNyamiti vasthA ( ? ) vakArAtpare 14 ekAre Nyamiti bindau ca vAgbIjaM aiM / adhImahi ityatrA''rhataH pakSeiH kAma uktaH, 15 atastaddhIH / kimAha - sarveSAM mantrANAM sAMyogikatvAt / 0varNaM dhvana ka ( ? ) ti ne / 2. gamyate ne / 3. 0nAvasAdaneSu tA. / 4. yadi vA ne. / 5. uvajjhAya visuddha tA. / 6. suhyA ne / 7. bhu ityanena vAyuAkAzatattve / tatra sa ityanena vAyutattvam, vi ityanena viyattattva svarUrdhvalokaM mukhamastakarUpaM tanoti - vyApnoti0 ne| 8.0mastakatattvam tA / 9. iti hakAre rephe0 ne. / 10. vaNyaM ne. / 11. sarvamantreSu sArvabhaumAdhinatvAt ne. / 12. ca udgIthAdikam ne. / 13. 0 pareragaMta ne. / 14. ekAro tA. / 15. atastadvIjasmarabIja zrIbIjapramukhAkSarANAM saMyoga zrIpadmAvatItripurAdidevatArAdhanA mahAmantrA si( ? ) di nibandhanaM bhavantIti p( ? )kAreNa baddhaddhiH svaprajJAnusAreNa vAcyam / sayogikA amI arthA iti cet kA ? ) / kimAha ne. /

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tathA ca paThyate - anusaMdhAna - 17 * 189 amantramakSaraM nAsti nAsti mUlamanauSadham / adhanA 'pRthivI nAsti saMyogAH khalu durlabhAH // evaM rakSAdiyantrANi 1 yathA'tra mAyAbIjamuktaM tadupari yantranyAsaH kriyatapa / `vazyayantraM tathA vazyAdi prayogA apyatra jJeyAH / yadvA bhargozabdAdrorocanA mahIti manaHzilA deva iti pracodayAditi dAddalAni ebhi: savituriti vA zabdAdvizeSako vilepanaM vA yo iti yo zabdAdvizeSayonimatInAM strINAM nRzabdAt narANAM prItikaraM tathA pracodayA pradIyamAnAnAM viSANAmasAdhyatA nidAnamityAdi / adhImahItira ajAmeSazRGgI tasyAH pracodayA, dAddalAni patrANi bhA 1 bhargodeti gozabdAdgodhUmasaktavaH bhA 1 mahIti mAn madhulibhA 2 savituriti sarpiSA saha, bhargo iti bhAt bhakSayet / vareNyamiti vAd balavIryakaraM, pracoda iti prAt prabhaJjana harantyAdyoSadhavidhayo'pyatra jJeyAH / vyAkhyAbhivrvyAkhyA // asau gAyatrImantraH I cakre zrIzubhatilako - pAdhyAyaiH svamatizilpakalpanayA / gAyatryAH krIDAmAtropayogamidam // 1 // vyAkhyAnaM iti gAyatrImantravRttilikhitA saMvat nayana - 2)sA - (1)Gka- za (1) zi varSe ASADhA'site pakSe SaSThamyAM bhomavAsare / zrImadaNahillapurapattananivAsIyazrImAlijJAti (tI) ya zrIlakSmIzaGkarAtmajena govarddhanenedaM sUtraM likhitam // A pustaka saMvat 1555nA varasamAM aiMdrIgrAme gaM. saMyamaratnagaNinuM lakheluM hatuM te parathI lakhyuM che. 1. pRthvI ne. 2. vatsayantraM tA / 3. 0ti akArAdajAmeSa0 ne. / 4. pracodayati ne. /

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lokatattvanirNaya : eka samIkSAtmaka adhyayana - jitendra zAha AcArya haribhadrasUri viracita lokatattvanirNaya nAmanI saMskRta bhASAmaya vividha chaMdobaddha kRtimAM vividha darzanasaMmata jagatanI utpatti ane tattat darzanasaMmata tattvanI carcA karavAmAM AvI che. A kRti kadamAM laghu hovA chatAM mahattvapUrNa che. temAM aneka matonI mULabhUta mAnyatA aMge carcA karavAmAM AvI che. dArzanika kSetre jaina tattvajJAnIo apekSA kRta bahu moDA pravezyA paNa eka vAra dArzanika kSetre praveza karyA pachI to bhAratanI aneka vicAradhArAonuM pUrvapakSarUpe nirUpaNa karavAmAM AvyuM ane tenI sakSama samAlocanA paNa karI che. Agamika yuga pachI sarvaprathama AcArya siddhasena divAkarasUrie dvAtriMzat dvAtriMzikA ane sanmatitarka jevA graMthomAM gaMbhIra dArzanika ciMtana rajU karela che. tyAra bAda jinabhadragaNi, svAmI samantabhadra, mallavAdI, siMhasUri, Adi jaina dArzanikoe mahattvapUrNa kheDANa karyu che. te ja paMraparAmAM A. haribhadrasUrinuM nAma jaina darzanamAM khUba ja prasiddha che. paraMparAnI mAnyatA anusAra temaNe kula 1444 graMtho racyA hatA. A graMthomAM temaNe aneka dArzanika, saiddhAntika matonI carcA karelI tethI ja temane zrutakevalInI upamA paNa ApavAmAM AvI che. A. haribhadrasUrie aneka graMtho racyA che. temAM dArzanika kSetre zAstravArtAsamuccaya, anekAntajayapatAkA ane SaDdarzana samuccaya vidvatjanamAM sarvatra prasiddha graMtho che. jyAre dharmasaMgrahaNI, lokatattvanirNaya, sarvajJasiddhi Adi graMtho alpajJAta che. A uparAMta temaNe aneka Agamo upara vizALa TIkAgraMtho racyA che. Agamika prakaraNa, AcAra ane upadeza-viSayaka graMtho racyA che. yoga upara to temaNe cAra mahattvapUrNa graMtho racyA che. kathA, jyotiSa ane stutiviSayaka sAhityanI paNa racanA karI che. A tamAma kRtiomAM temanI sarvatomukhI vidvattA jhaLake che. teo koI paNa viSayanI carcA kare che tyAre tenAM saMpUrNa pAsAMo rajU karI samyak samAlocanA to kare ja cha paraMtu teno khUba ja suMdara rIte samanvaya rajU kare che te temanI potAnI AgavI zailI che. A. haribhadrasUrinAM jIvana ane sAdhanA vize tathA temanA graMtho vize

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anusaMdhAna-17* 191 paM. sukhalAla saMghavIe samadarzI A. haribhadrasUrimAM tathA pro. hIrAlAla rasikadAsa kApaDiyAe zrIharibhadrasUri nAmaka graMthamAM vistArathI carcA karI che. tethI te aMge ahIM carcA karavAnuM yaLyuM che. tathA temano samaya vikramanI AThamI sadInA uttarArdhano paM. jinavijayajIe A. haribhadrasUri kAlanirNaya graMthamAM aneka pramANo rajU karI nirdhArita karyo hovAthI ahIM te vize paNa carcA karI nathI. ___ A. haribhadrasUrinA graMthonI vizeSatA e che ke teo jaina darzananI carcA karatA hoya tyAre paNa aneka anya darzanakAronI vAto ane temanA graMthonAM uddharaNo rajU karI teno nirNaya kare che. sAthe sAthe anya darzano sAtheno samanvaya paNa karI Ape che. AthI ja temane samadarzI evaM vizeSaNa ApavAmAM AvyuM che. graMthanAma :___ a kRti lokatattvanirNaya nAme prasiddhi pAmela che. paraMtu graMthakAre svayaM A nAma prayojyuM nathI. tethI ahIM prastuta laghukRtinA nAma vize carcA karavI asthAne nahIM gaNAya. graMthakAra maMgalAcaraNamAM jaNAve che ke : praNipatyaikamane kaM kevalarUpaM jinottamaM bhaktyA / bhavyajanabodhanArthaM nRtattvanigama pravakSyAmi // arthAt eka-advitIya, anaMtarUpa, kevaLajJAnarUpa ane sAmAnya kevaLImAM uttama zrIvItarAga prabhune praNAma karI bhavyajananA pratibodha mATe A nRtattvanigamane kahIza. ahIM graMthakAra prastuta graMthatuM nAma nRtattvanigama jaNAve che. jyAre pracalita nAma lokatattvanirNaya che. 1902mAM jainadharma prasAraka sabhA - bhAvanagarathI prakAzita thayela graMthamAM prastuta zlokano anuvAda karatAM nRtattvanigamano artha lokatattvanirNaya ko che. Avo anuvAda kayA AdhAre karavAmAM Avyo te eka vicAraNIya prazna che. bIjA eka anuvAdamAM jaNAvyu che ke lokatattvanigama eTale lokasvarUpano nirNaya kahIza. nano artha manuSya thAya paraMtu teno artha loka evo karI lokatattvanirNaya nAma prayojyuM che te aMge paM. hIrAlAla kApaDiyA jaNAve che ke A nAmAMtara puSpikAmAM

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anusaMdhAna-17 * 192 apAyeluM che. A. haribhadrasUrinA uttaravartI koI graMthakAre A kRtino nAmanirdeza karyo hoya to te zI rIte karyo che ane e karanAra keTalA prAcIna che e bAbato dvArA jANavA maLe ke lokatattvanirNaya nAma kyArathI pracalita banyu. tyArabAda teno nirNayAtmaka uttara ApI zakAya. jo puSpikA e graMthakAranI . kalamathI udbhavelI hoya to graMthakArane baMne nAma abhipreta hatAM ema kahevAya. vaLI lokatattvanirNaya evo zabdaprayoga padyamAM utArAyo na hovAthI nRtattvanigama nAma prayojyu hoya. jo. ema ja hoya to A kRtinuM nAma lokatattvanirNaya gaNAya. paMDita sukhalAla saMghavI ane mo. da. desAI prastuta kRtinA lokatattvanirNaya nAmane ja svIkAre che. jyAre paM. hIrAlAla kApaDiyA bane nAmono ullekha kare che. pro. rameza beTAI nAma aMge carcA karatAM uparokta maMgalAcaraNano artha karatAM jaNAve che ke-(sAmIpyamAM prakAzita lekha A. haribhadrasUri kRta lokatattva nirNayamAM graMthanAma aMge jaNAve che ke-) "haribhadrasUri maMgala zlokamAM jinazreSTha mahAvIrane vaMdana kare che. mAnavonA jIvananA tAttvika rahasyane nirNIta karavA mATe huM zAstra rajU karUM chu ke jethI sau mAnavo bhaviSyamAM (tenA satya) bAbata jAgrata rahe. maMgala rUpe jinazreSThane vaMdana karatAM temane jinazreSTha, eka chatAM aneka ane kaivalya svarUpa tarIke oLakhAve che ane spaSTatA kare che. tenI ahIM apekSA e che ke e bAbata jagatanA loko jAgrata thAya ane te mAnavajIvananA mULabhUta tattvano sAco bodha pAme temaNe A zAstra te mATe ja racyu che. jinazreSTha pratyenI bhaktithI ja, temanI kRpA jItIne ja mAnavo A jIvananu, sRSTirnu rahasya pAmI zake. viSayanI A rIte rajUAta karIne haribhadrasUri zIrSakanI spaSTatA karI de che." __ lekhaka mahodaya graMthanAmanI spaSTatA karatAM maMgalAcaraNarnu uparokta vivecana kare che te temanI svakalpanA baLe ja karatA hoya tema jaNAya che. bhavyajana bodhanArthaM nRtattvanigamaM pravakSyAmi // no artha mAnavonA jIvananA tattvarahasyane nirNIta karavA mATe huM zAstra rajU karUM chu ke jethI sau mAnavo bhaviSyamAM (tenA satya) bAbata jAgrata rahe. Avo artha ko che teno kayo AdhAra ? te to lekhaka mahodaya svayaM ja jANe. bhavyajana e jaina darzanano

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anusaMdhAna - 17* 193 pAribhASika zabda che. teno artha mokSa prApta karavAnI yogyatA dharAvatA jIvo thAya che. arthAt yogya jIvonA pratibodha mATe prastuta graMthanI racanA karUM chaM. AvA sIdhA-sAdA arthane atyaMta toDamaroDa karIne rajU karyo che tethI mULa vAta ja marI jAya che. eTaluM ja nahIM paraMtu lekhaka zuM kahevA mAMge che te paNa spaSTa thaI zakatuM nathI. graMthakAra svayaM A graMthane nRtattvanigama kahe che. nR arthAt mAnava ane te AdhAre manuSyalokanA tattvano nigama arthAt nirNaya karanAra graMtha eTale lokatattva nirNaya yA nRtattvanigama ema kahI zakAya. SaDdarzana samuccaya zloka 1nI tarkarahasyadIpikA nAmanI TIkAmAM taduktaM haribhadrasUribhireva lokatattvanirNaye / evA ullekhapUrvaka lokatattvanirNayanAM be padyo uddharyAM che. eTale moDAmAM moDI vikramanI paMdaramI sadImAM to A kRti lokatattvanirNaya tarIke prasiddhi pAmI ema kahI zakAya che. svarUpa : saMskRta bhASAmAM 147 padyamAM vividha chaMdomAM racAyelI A kRti, sahu prathama prakAzita (sane 1902) AvRttimAM traNa vibhAgamAM vibhakta karAI che. e traNeya vibhAgonAM padyonI saMkhyA anukrame 75, 35 ane 37nI rAkhI che. prathama vibhAgamAM zloka 42-75 dvArA sRSTinuM svarUpa AlekhatI veLA enI utpatti vizenI vividha mAnyatAo rajU karAI che. bIjA vibhAgamAM 1 - 11 zlokamAM AtmAnuM svarUpa vicArAyuM che. zloka saM. 12 - 35mAM ajaina dRSTie karmanA siddhAntanuM nirUpaNa che. ahIM jeo svabhAva, niyati ke pariNAmane aghaTita mahattva Ape che temanA vicAro darzAvAyA che. trIjA vibhAganA zlo. 1- 37mAM ajaina maMtavyonuM nirasana karavAmAM AvyuM che dArzanika kSetre jIva, jagata ane Izvara A traNa mukhya carcAnA viSayo che. jIva, jagata, IzvaranA svarUpa vize vibhinna darzanomAM bhinna-bhinna mAnyatAo pravarte che. A mAnyatAonI samAlocanA prastuta graMthamAM karavAmAM AvI che. A badhI carcAo pUrva haribhadrasUri vaktAne / upadezakane sabhAnI parIkSA

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anusaMdhAna - 17 * 194 karavAnI salAha Ape che. teo jaNAve che ke bhavyA bhavya - vicAro na hi yukto'nugraha-pravRttAnAm / kAmaM tathApi pUrvaM parIkSitabyA budhaiH pariSad // upakAra karavA mATe pravRtta thayela mahAtmAoe zrotA yogya che ke ayogya che tevo vicAra karavo ucita nathI chatAM buddhimAna puruSoe pahelAM sabhAnI parIkSA sArI rIte karavI joIe. A nAnakaDI kRtinA keTalAka zloka bhagavadgItAmAMthI uddhRta karavAmAM AvyA che. bhA. zloka a. zloka 01 52 13-01 01 53 15-01 02 02 15-16 02 06 05-14 02 08 02 - 23 02 9 02-24 02 13 06-05 pra. zloka 70-71 sAMkhyakArikAmAMthI ( zlo. 22, 3) uddhRta karavAmAM AvyA che. bIjA vibhAgano prAraMbhika bhAga zvetAzvatara upaniSad sAthe (A. 3. 15) sAthe yasmAt paraM ( 3.9) sAthe sAmya dharAve che. tadejati tannaijati tad dUre tadu antike / tadantarasya sarvasya tadu sarvasyAsya bAhyataH 11 padya IzAvAsya upaniSad ( zlo. 5) mAthI levAmAM Avela che. bIjA bhAgano etAvAneva loko'yaM thI zarU thato 33mo zloka SaDdarzana samuccayano 81 mo zloka che. graMthanA bAhya svarUpa saMbaMdhI ukta carcA bAda have graMthanA AMtarika svarUpa

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anusaMdhAna - 17* 195 saMbaMdhI carcA karIzuM. graMthakAre AdimAM maMgalAcaraNa karyA bAda tarata ja zrotAnI yogyatA aMge carcA karI che. Ano sIdho saMbaMdha adhikArI sAthe che. teozrI jaNAve che ke upakAra karavAne tatpara mahAtmAoe bhavya - abhavyano vicAra karavo yogya nathI chatAM sabhAnI parIkSA karavI Avazyaka che. kema ke ayogya zrotAne upadeza Apavo eTale jaLane valovavuM baherAne upadeza Apavo ane aMdha samakSa nATaka bhajavavA jevuM che. tethI ja jeo vraja jevA kaThaNa hRdayavALA hoya, cAlaNInI peThe haMmezA khAlI thaI jatA hRdayavALA hoya, pADAnI mAphaka upadezane DahoLI nAkhanAra hoya, gaLaNInI mAphaka mAtra doSagrAhI hoya tevA zrotAne upadeza na Apavo. paraMtu yogya zrotAne upadeza Apavo. ayogya zrotAne upadeza Apavo te AcAryanI ja ajJAnatA gaNAya, mATe zrotAnI parIkSA bAda e ucita upadeza Apavo ja kuzaLa vaktAnuM kartavya che. naMdIsUtramAM zrotA - vaktanA prakAro mATe AvA prakAranI ja vAta jaNAvavAmAM AvI che. 2 1 pakSapAta rahita upadeza Apavo ja vaktAnuM kartavya : zrotAnI parIkSA karyA bAda yogya zrotAoMne vaktAe Agraha ke durAgraha rahita upadeza Apavo joIe. pakSapAta choDIne yuktiyukta vacano dvArA ja Atmahita karanArI vAto jaNAvavI joIe. te mATe temaNe be suMdara zloka rajU karyA che. Agamena ca yuktyA ca yo'rthaH samabhigamyate / parIkSya hemavad grAhyaH, pakSapAtAgraheNa kim // Agamane AdhAre ane yuktine AdhAre je artha samajAya te artha jevI rIte sonAnI parIkSA karAya che tevI parIkSA karI grahaNa karavo. temAM pakSapAta zA mATe karavo ? te uparAMta jaNAve che ke : pratyakSato na bhagavAnRSabho naM viSNu rAlokyate, na ca haro na hiraNyagarbhaH / teSAM svarUpaguNamAgamasampra bhAvAt, jJAtvA vicArayata ko'tra parApavAdaH // "

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anusaMdhAna-17* 196 atyAre to sAkSAt RSabhadeva, viSNu, mahAdeva ke brahmA dekhAtA nathI. mAtra temanAM svarUpa ane guNa- varNana te te zAstromAM varNavavAmAM Avyu che. te jANI temAM devatvano vicAra karavo joIe. temAM niMdAno Azraya zA mATe levo ? Ama AcAryazrI pakSapAta rahita thaI yuktiyukta vicAraNA karavAnuM jaNAve che. ane tevI vicAraNAne aMte je niSpanna thAya te grahaNa karavU joIe. Ama temaNe dArzanika kSetre samadarzI banavA ane anyanA vicArAne jANavA samajavAyU~ AhvAna ApyuM che. potAnA darzanasammata vicArone satya mAnI vaLagI na rahetAM tenI paNa vicAraNA karI pachI ja svIkAra karavo joIe. devasaMbaMdhI vibhinna vicAradhArAo : dArzanika kSetre carcAnA mukhya viSayo jIva, jagata ane Izvara che. jIva, jagata ane Izvara eka che ke aneka, nitya che ke anitya ? jevA aneka prazno upasthita karavAmAM AvyA che. temAMthI vibhinna vicAradhArAo udbhavI che. A. haribhadrasUrie ahIM temanA samaya sudhInI aneka vicAradhArAono ullekha karyo che. samyak vicAraNA karavI joIe ema jaNAvyA pachI te darzana sammata devonI mAnyatA aMge khUba ja saMkSepamA ullekha ko che. devatattva- svarUpa dayALu, kRpALu, saMrakSaka jevA divyaguNo yukta che. te devatattvamAM bhayaMkaratA, saMhArakatA, nirdayatA, krUratA kema ghaTI zake ? jo AvAM bhayaMkara tattvo temAM hoya to tene deva kema kahI zakAya ? te ja vAtane ahIM graMthakAre jaNAvI che. viSNu, mahAdeva, zakrAdi devo, balabhadra, kArtikasvAmI, aMbikAdevI, gaNapati, sUrya, agni, caMdra, Adi devonuM svarUpa ja rAgayukta ke dveSayukta jaNAya che to temane deva kema kahI zakAya ? jenAmAM rAgarahitatA, doSa-virahitatA, sarvajJatva, samabhAva Adi guNo hoya te ja sAcA deva che. devanuM svarUpa jaNAvatAM kahe che ke jeo hamezA prANIo, kalyANa icchanAra che, jeo niraMtara upakAra karanAra che, ghaNI badhI vyAdhio ane pIDAothI vyApta A jagatane sukhI karavAnI eka mAtra kAmanAvALA che, jJeya padArthane sAkSAt joI zake che, je yathArthavAdI hoya tene ja deva mAnavA joIe. Ama devanI vyAkhyA karI AvA guNo

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anusaMdhAna - 17 * 197 dharAvanAra koIpaNa hoya te amArA mATe deva che tema jaNAvyuM che. A ja vAtane temaNe nIcenA be zloka dvArA rajU karI che. pakSapAto na me vIre, na dveSaH kapilAdiSu / yuktimadvacanaM yasya tasya kAryaH parigrahaH // mane mahAvIra svAmI pratye pakSapAta nathI ke kapilAdi pratye dveSabhAva nathI paraMtu jenuM vacana mane yuktivALu lAge che te devono mAre svIkAra karavo yogya jaNAya che. tathA yasya nikhilAzca doSA, na santi sarve guNAzca vidyate / brahmA vA viSNurvA, haro jino vA namastasmai // " je devomAM sarva doSono abhAva hoya, ane sarva sadguNo hoya tevA deva pachI te brahmA hoya, viSNu hoya, mahezvara hoya ke jina arihaMta hoya tene mArA namaskAra ho. Ama deva mATe ukta guNonI AvazyakatA darzAvI devatattva saMbaMdhI prakaraNa samApta kartuM che. jagata saMbaMdhI vividha mAnyatA : dArzanika kSetre bIjo mahattvano prazna jagatanA svarUpa saMbaMdhI che, jagata kevuM che ? sAdi che ? sAMta che ? nitya che ? anitya che ? kRtrima che ? ke akRtrima che ? jevA aneka praznomAMthI aneka aneka vicAradhArAo udbhavI che. te vicAradhArAono ullekha karI A. haribhadrasUri temanI samabhAvayukta dRSTinI parIkSA kare che. paurANika mato ane dArzanika matono ahIM saMgraha karavAmAM Avyo che. sRSTivAdI jagatane kRtrima mAne che. mAhezvarAdi matavALA samasta jagatane sAdisAMta mAne che. IzvaravAdIo jagatane IzvarakRta mAne che. paurANikamata mAnanArAo jagatane caMdra ane agnithI niSpanna thayeluM mAne che. vaizeSika dravyAdi cha bhedavALu mAne che. keTalAka kAzyapotpanna, keTalAka brahmA, viSNu ane mahAdeva kRta, keTalAka manuSya dvArA nirmita, keTalAka kALathI utpanna, sAMkhya matAvalaMbIo prakRti ane puruSomAMthI banela, bauddha matAvalaMbIo zUnyamAMthI udbhavela mAne che to keTalAka bauddho A jagatane vijJAnamAtra mAne che. keTalAka AtmAmAMthI banela, daivanA prabhAvathI utpanna,

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anusaMdhAna-17. 198 paMcabhUtanA vikAravALu ane keTalAka to A jagatane Akasmika utpanna mAne che. Ama jagatanI utpatti aMge aneka vicAro pravarte che.. ___AcArya haribhadrasUri uparokta tamAma siddhAMtonI samIkSA karatAM jaNAve che ke sahu prathama to e vicAra karavo joIe ke A jagatanI utpatti satmAMthI thaI che ke asatmAMthI , satmAMthI thayela mAnavAmAM Ave to tarka-bAdha Avaze, kema ke sat to traNeya kALamAM samAna rUpe astitva dharAve che. to temAMthI utpatti kema saMbhave ? asatmAMthI satnI utpatti to saMbhave ja nahIM. mATe jagatanA badhA ja padArtho sadA kALa hoya ja che. tenA mATe nirmAtAne mAnavAnI jarUra nathI. mAtra apekSAe utpatti ke vinAza thato hoya che. sarvathA utpanna ke nAza saMbhave nahIM. mATe ja padArthane utpAda-vyaya-dhrauvyayukta mAnavo joIe. IzvaravAdIonA matanI AlocanA karatAM jaNAve che ke A jagatanI utpatti koI kartAne AdhIna che to te kartAe arthAt Izvare jagatanuM nirmANa karyu che to Izvarane koNe banAvyA ? jo ema kahevAmAM Ave ke Izvara kartA vinA paNa hoI zake to pachI jagata paNa Izvara vagara kema na hoI zake ? A uparAMta kRpALu Izvare AvA duHkhI jagatanuM nirmANa zA mATe karyu ? vagaire aneka tarka dvArA IzvarakartRtvavAda- khaMDana karI jagatanA sahaja astitvanI siddhi karI che. temaja anya mato, nirAkaraNa paNa saMkSepamAM karavAmAM AvyuM che. tyArabAda Atmatattva ane karmatattvanI carcA karavAmAM AvI che. jevI rIte Izvara, jagata saMbaMdhI vividha mAnyatA pravarte che tevI ja rIte Atmatattva vize vibhinna mAnyatA pracalita che. temAMthI jIvana zAzvatapaNuM siddha karI saMsAracakranI avirata gatinI paraMparAmAM jIva svayaM potAnA karmane kAraNe sukha ke duHkha pAme che ane sarva karmano kSaya karI aMte mokSagati prApta kare che. tema jaNAvI graMtha samApta karyo che. ____ A laghu graMthamAM darzanazAstranA mukhya carcAnA viSaya jIva, jagata, Izvara ane karma upara vicAra karavAmAM Avyo che. pUrvapakSa rUpe aneka darzanonI mAnyatAo mUkavAmAM AvI che. tenuM yuktiyukta rIte khaMDana karI jainasammata ra ta cha tevI ja rIte au saMsAraca mAnyatA pracalita cha

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anusaMdhAna - 17 * 199 mAnyatAonuM maMDana karavAmAM AvyuM che. pUrvapakSa rUpe prarUpavAmAM AvelI aneka mAnyatAo Aje to nAmazeSa thaI gaI che. tethI aitihAsika dRSTie adhyayana karavA mATe prastuta graMtha atyaMta upayogI nIvaDe tevo che. A. haribhadrasUrie vaicArika samadarzitA darzAvavA aneka suMdara padyo prayojyAM che, te A graMthanI moTI vizeSatA che. & 2. naMdI. sUtra. 3. 4. 5. lo. ta. ni. zlo. 3-4. 6. 7. 8. lo. ta. ni. zloka 18. ejana. ejana, zlo. 23-31. ejana, zlo. 38. ejana, zlo. 40. ejana, zlo. 41-75. saMdarbha

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jaina paraMparAmAM paricAraNAbhedavicAra - eka tulanAtmaka noMdha - nagIna jI. zAha - jaina graMthomAM 'paricAraNA' zabdano prayoga maithunakriyAnA arthamAM thayo che. upaniSadomAM paNa A zabda A arthamAM vaparAyo che. ahIM upaniSadomAMthI be sthAno uddhRta karIe chIe. kaThopaniSad 1.2 mAM yama naciketAne kahe che : imA rAmAH sarathAH satUryA na hIdRzA lambhanIyA manuSyaiH / AbhirmatprattAbhiH paricArayasva maraNaM mAnuprAkSIH / chAndogya upaniSad (4.4)mAM jyAre satyakAma tenI mAtAne potAnuM gotra (pitRvaMza ke pitRkuLa) pUche che tyAre mAtA tene uttara Ape che : nAhametad veda tAta ! tadgotrastvamasi, bahvahaM carantI paricAriNI yauvane tvAmalabhe ... / bauddha paraMparAmAM paNa A zabda A arthamAM prayojAyelo maLe che. pannavaNAsUtranA 34mA padamAM (prakaraNamAM) paricAraNAnA nIce mujaba pAMca bhedo jaNAvyA che - manaHparicAraNA, rUpaparicAraNA, zabdaparicAraNA, sparzaparicAraNA ane kAyaparicAraNA. ___ manaHparicAraNAno artha che kevaLa icchAthI/saMkalpathI ja sAdyaMta samagra maithunakriyA pUrNa thaI jAya che ane pUrNa tuSTi thAya che. A paricAraNA ANata-prANata-AraNa-acyuta-kalpagata devomAM hoya che. rUpaparicAraNAno artha che kevaLa sakAma dRSTimAtrathI ja sAdyaMta samagra maithunakriyA pUrNa thaI jAya che ane pUrNa tuSTi anubhavAya che. A paricAraNA brahmaloka ane lokAMtakakalpagata devomAM hoya che. __ zabdaparicAraNAno artha che kevaLa zabdazravaNamAtrathI ja sAdyaMta samagra maithunakriyA pUrNa thAya che ane pUrNa saMtoSa anubhavAya che. A paricAraNA mahAzukra ane sahasrAragata devomAM hoya che. sparzaparicAraNAno artha che kevaLa hastAdinA sparzamAtrathI ja sAdyaMta samagra maithunakriyA pUrNa thAya che ane pUrNa saMtoSa prApta thAya che. A paricAraNA sanatakumAra ane mAhendrakalpanA devomAM hoya che. kAyaparicAraNAmAM deva-devI, mithuna racAya che ane gharSaNa dvArA maithunakriyA

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anusaMdhAna-17* 201 pUrNa thAya che. A paricAraNA saudharma ane IzAnagata devomAM hoya che. ___ mana:paricAraNA Adi pAMca paricAraNAono je jaina vicAra che tenu sAmya sAMkhya paraMparAmAM prApta saMkalpasiddhi, dRSTisiddhi Adi cha siddhio sAthe che. A cha siddhionuM varNana sAMkhyakArikA 39 uparanI yuktidIpikA TIkAmAM maLe che. te varNana nIce pramANe che. (1) saMkalpasiddhi - sRSTinA gAraMbhe jIvomAM sattvaguNa prabaLa hoya che. eTale teo zarIrasaMyoga vinA ke baLa saMkalpa dvArA ja pUrNa kAmasukha pAme che. kevaLa saMkalpa dvArA ja temanI maithunakriyA pUrI thAya che. (2) dRSTisiddhi - sRSTinA bIjA tabakke jIvomAM sattvaguNa kaMIka kSINa thAya che. eTale temane saMkalpasiddhi hotI nathI. temanI maithunakriyA kevaLa sakAma dRSTipAta dvArA pUrNa thAya che. atyAre paNa keTalAMka prANIomAM A siddhi jaNAya che. kAcabI kAcabA prati sakAma dRSTipAta karI garbha dhAraNa kare che. (3) vAsiddhi - sRSTinA trIjA tabakke sattvaguNamAM vadhu kSINatA Ave che. eTale jIvone pahelI be siddhio hotI nathI. temanI maithunakriyA kevaLa priyajananA zabdazravaNa dvArA pUrI thAya che. atyAre paNa zaMkhI zabdazravaNa dvArA garbha dhAraNa kare che. priyajana sAthe madhura AlApa karI manuSyavyakti pracura AnaMda pAme che te A siddhino avazeSa che. (4) hastasiddhi - sRSTinA cothA tabakke jIvagata sattvaguNamAM kaMika vadhAre kSINatA Ave che. eTale, jIvone pahelI traNa siddhio hotI nathI, teo kevaLa hAthanA sparza dvArA saMpUrNa kAmasukha pAme che. temanI maithunakriyA kevaLa sparzathI ja pUrNa thAya che. Aje paNa priyajananA hAthane dabAvavAthI atyanta AnaMda thAya che te A siddhino avazeSa che. (5) AzleSasiddhi - sRSTinA . pAMcamA tabakke jIvomAM sattvaguNa vadhu kSINa thAya che, eTale jIvone pahelI cAra siddhio hotI nathI. kevaLa AzleSa dvArA temanI maithunakriyA pUrNa thAya che. (6) dvandvasiddhi - sRSTinA chaThThA tabakke pUrvavartI sattvazaktimAM vadhu kSINatA

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anusaMdhAna - 17*202 Ave che eTale pUrA kAmasukha ane pUrNa maithunakriyA mATe jIvone zarIrasaMgharSaNa jarUrI bane che. saMkalpasiddhinuM manaH paricAraNA sAthe, dRSTisiddhinuM rUpaparicAraNA sAthe, vAksiddhinuM zabdaparicAraNA sAthe, hastasiddhi - AzleSasiddhinuM sparzaparicAraNA sAthai ane dvandvasiddhinuM kAyaparicAraNA sAthe sAmya che. jainoe paricAraNAvicAra devone anulakSIne karyo che. jyAre sAMkhye sarva jIvone anulakSIne karyo che. jainonI jema mahAbhArata paNa jaNAve che ke devavargomAM pAMca prakAre sAdyaMta samagra maithunakriyA pUrNa thAya che. mahAbhAratano zloka santi devanikAyAzca saGkalpAjjanayanti ye / vAcA dRSTyA tathA sparzAt saGgharSeNeti paJcadhA // 15. 38. 21

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kauzika : eka aprasiddha vaiyAkaraNa ___- nIlAJjanA su. zAha pANinIya dhAtupATha paranA vRttigraMthomAM, je keTalAka aprasiddha vaiyAkaraNonA matanA ullekho maLe che, temAMnA eka kauzika nAmanA vaiyAkaraNa che. temaNe pANinIya dhAtupATha para vRtti lakhI hovAnuM manAya che.' temanI e vRtti hAla upalabdha nathI, paNa temanA keTalAka matono ullekha kSIrasvAmIkRta 'kSIrataraMgiNI' (I.sa.nI agiyAramI sadI) 'daiva' * paranI 'puruSakAra vRtti' (I.sanI teramI sadI) ane sAyaNakRta 'mAdhavIyA dhAtuvRtti' (I.sa.nI caudamI sadI)mAM maLI Ave che.* temanA dhAtusUtro vizenA mata sahuprathama ApaNane kSIrataraMgiNI (kSIta)mA upalabdha thAya che tethI teo agiyAramI sadI pahelA thaI gayA haze e cokkasa che. tamanA dhAtuo vizenA A matone 'kSIta'nA kramAnusAra ahIM darzAvyA che jethI eka samartha dhAtuvRttikAra tarIkenI temanI pratibhAno paricaya saMskRta vyAkaraNazAstranA abhyAsIone thAya. 1. dadha dhAraNe / kSIta (pR. 15).. 'kauzikastu dada dhAraNe dadha dAne iti pAThaM vyatyAsthAt / dadate maNim, dadhate dhanamarthibhyaH iti' / kSIrasvAmI lakhe che ke sAmAnya rIte moTA bhAganA dhAtupAThomAM 'dada dAne ane dadha dhAraNe hoya che tene badale kauzika 'dada'no artha 'dhAraNe' kare che ane 'dadha'no 'dAne' kare che. kauzikanA matanA samarthanamA je 'dadate maNim' evaM vAkya kSIrasvAmIe ekyuM che te pUruM vAkya 'nirukta'mAM maLe che temAM dada dhAraNenA samarthanamA 'akrUro dadate maNim' / 'vizve devAH puSkare tvAdadantA' (R. 7. 33. 11)-A bane vAkyo ApyAM che. TIkAkAra durge paNa A bAbatanuM samarthana karatAM kaDaM che : loke'pyaM dadatirdhAraNArthe bhASyate / mAdhavIyA dhAtuvRtti (mAdhAvR pR. 55)mAM A ja dhAtusUtranA saMdarbhamAM sAyaNa lakhe * yudhiSThira mImAMsaka (saM)kSIrataraMgiNI (bahAlagaDha, hariyANA) dvitIya AvRtti, saM. 2082; yudhiSThira mImAMsaka, daiva-puruSakAravArtika, ajamera, prathama saMskaraNa, saM. 2019; dvArikAdAsa zAstrI, mAdhavIyA dhAtuvRtti, vArANasI, dvitIya saMskaraNa, 1983.

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anusaMdhAna-17. 204 dAna iti kecitpaThanti, 'dada dAne' ityatra dhAraNe iti tadayuktam / temaNe kauzikanuM nAma ApyuM nathI. te pote A matane ayogya Therave che ane tenA samarthanamAM zizupAlavadhanA zlo. 19. 114ne temaja kAvyaprakAzanA zlo. 10.593ne TAMke che jemAM anukrame dada dhAtu dAnanA ane dadha dhAtu dhAraNanA arthamAM prayojAyo che. dAdado duddaduddAdI dAdAdo dudadI dadoH..... dadaH ||(shishu 19. 114) tadveSo'sadRzo'nyAbhistribhirmadhuratAbhRtaH / dadhate sulabhAM zobhAM tadIyA vibhramA iva // (kAvyaprakAza, 10. 593) , eka noMdhapAtra bAbata e che ke kSIrasvAmIe kauzikano A mata ApyA bAda eka taTastha vivecakane zobhe tevo sarasa khulAso karyo che : yuktAyuktatve tvatra sUrayaH pramANam / vayaM hi matabhedapradarzanamAtreNaiva kRtArthAH / munimukhyAnAM vAkyaM kathaMkAraM vikalpayAmaH, vayamapi hi skhalanto'nyaiH kiyan nopalapsyAmahe / yogyAyogyatvanI bAbatamAM munio pramANa che. ame to mAtra matabheda- pradarzana karIne kRtArtha thaIe chIe. mukhya munionAM vAkyonI ame kevI rIte chaNAvaTa (sAcuM zuM khoTaM zuM ?) karIe ? amArI bhUla thAya to zuM ame paNa keTalA ThapakAne pAtra nahIM thaIe ? (puruSakAra vRtti (pR. 12)mAM kRSNa lIlAzuke kauzikanA mata sAthe A khulAso paNa Apyo che. mAtra bopadevanA dhAtupATha, kavikalpadruma (pR.34)mAM dadha dade evo pATha maLe che je kauzikanA matanuM samarthana kare che... ___2. yutR jutR bhAsane / kSIta (pR. 20) ..... kauzikastu jyotiH siddhaye jurti jyuti manyate / jyotizca dhuterasijAdezca / (u. 2. 110) iti siddham / jutiriti durga: / kauzika jyoti: zabdanI siddhi mATe juti uparAMta jyuti evo dhAtu paNa sUcave che. moTAbhAganA badhA dhAtupAThomAM kSItanI jema ja bhvAdi gaNanA A dhAtuono pATha che. 'kSIta'kAra uNAdi sUtra dyuterasijA0 (2-110)thI A zabdanI siddhi darzAve che. eno artha e thayo ke emane 'jyuti' jevo dhAtu mAnavAnI jarUra lAgatI nathI. 'kSIta'nA saMpAdaka yudhiSThira mImAMsake darzAvyuM che ke kSIrasvAmIe 'amarakoza' paranI 'amarakozodghATana' TIkAmAM 'jyotiH' (3-3.231) zabdane samajAvatAM 'jyotate

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anusaMdhAna-17* 205 jyotiH' kahyu che, to zatapathabrAhmaNa (1.5.3.1)mAM 'avajyotyamAnam' prayoga maLe che ane nirukta (2-28-16)mAM jvalatinA karmomAM 'dyotate jyotate'e be dhAtuno pATha maLe che. tethI mImAMsakanuM mAnavaM che ke arvAcIna AcAryoe potAnA samayamAM A dhAtuno prayoga nahIM joyo hoya tethI 'dyuta dIptau'-e dhAtumAMthI jyotiH niSpanna kare che.2 A saMdarbhamAM ga. bA. palsuleno mata noMdhavA jevo 2.2 teo mAne che ke maLa dhAtu to jyut ja haze paNa pAchaLathI prAkRta bhASAnI asarane lIdhe jut thaI gayo. A dRSTie joIe to kauzike prAcIna dhAtune darzAvyo jaNAya che. bopadevanA kavi. (pR. 29)mAM jyut bhAsane' maLe che e noMdhavU ghaTe. ___3. vitha vetha yAcane / kSIta. (pR. 21)..... kauzikastu avithurasiddhaye yAtana ityAha, nanna vyatheH samprasAraNaM kicca / (u. 1. 39) iti siddheH / A bAbatamA kSIrasvAmI noMdhe che ke kauzika vithuraH ne vitha vethU parathI siddha karavA A bane dhAtuono artha yAcanAne badale yAtanA sUcave che. kSIrasvAmI A matano asvIkAra karatAM kahe che ke A dhAtuo sAthe vithuraH (pIDA ApanAra)ne sAMkaLavAnI jarUra nathI. kAraNake uNAdi sUtra vyatheH (u. 1. 39)thI bhvAdi dhAtu 'vyatha bhayasaJcalanayoH'nuM saMprasAraNa thaI vithuraH rUpa thayuM che. noMdhaq ghaTe ke mAdhAvR (pR. 191)mAM paNa vyatha ne lagatA dhAtusUtramA ja vithura:nI uparyukta uNAdisUtrathI ja vyutpatti darzAvI che, kSIrasvAmIe kauzikanA A matanuM spaSTa khaMDana karyu che... 'mAdhAvR' (pR. 63)mAM maLato kauzikano mata A dhAtuone lagato che paNa te temanA arthanI bAbatamAM nahIM paNa svarUpane lagato che. sAyaNa vithavethU yAcane / dhAtasUtranI vRttimAM kahe cha : dvitIyo dAntaH Adyo dhAntaH iti kauzikaH * kauzikanA mata pramANe vidhR ane vedR ema AmanuM svarUpa joIe. temanA A matane koI paNa dhAtupAThanuM samarthana maLatuM nathI. sAyaNe vadhArAmAM ema paNa noMdhyu cha ke kauzikanA matano kSIrasvAmIe asvIkAra karyo che. dhAtunA svarUpa aMgenA A matano nirdeza ja kSIrasvAmIe karyo nathI, to tene doSita TharAvavAno prazna kyAM rahe ? sAyaNa kSIrasvAmIe A dhAtunA artha aMgenA kauzikanA matanA kSItamAM karelA asvIkAranI vAta

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anusaMdhAna-17 * 206 karatA jaNAya che. __4. zcyutir kSaraNe / kSIta. (pR. 23)..... kauzikastu zrutimayopa, manyatezcotati / kauzika bhvAdi gaNanA A dhAtuno 'thuti' e rIte 'ya'kAra vagarano pATha kare che. 'mAdhAvR'mAM (pR. 67)sAyaNe kauzikanA nAma vagara A matano nirdeza karyo che ane tenA matanA samarthanamAM, bhaTTabhAskare TAMkelI RgvedanI RcAo ApI che : atra thutirityayakAramapi paThanti / tathA ca 'madhuzcutaM ghRtamiva supUtam .. / [R. 4. 57.2], zcotanti te vasoH .... [R. 3. 21. 5] ityAdau bhaTTabhAskaraH / tathA ca maitreyo'pi - zrutirityapyeke paThanti / sAyaNe noMdhyA pramANe maitreye paNa 'dhAtupradIpa' (pR.7)mAM keTalAkano kahIne nAma ApyA vagara kauzikanA A matano nirdeza karyo che. mAdhAvR.mAM, dhAtusUtronA saMdarbhamAM bhaTTa bhAskara ke je potAnA abhiprAyanA saMdarbhamAM vaidika RcAo TAMke che temanA keTalAka mata maLe che.. ___ kauzikane bhaTTa bhAskara uparAMta hemacaMdranA dhAtupAThanuM samarthana paNa maLI rahe che, kAraNake hemacaMdra hemadhAtumAlA (pR.33)mAM cuta, zcuta, zcyuta kSaraNe -ema traNe Ape che. kavi (pR.29)mAM cut cyuti kSare-bane maLe che. noMdhavU joIe ke bhaTTikAvyamAM to Azcyotadrudhiram.....(17.11)-ema zcyut dhAtuno prayoga maLe che. 5. drA AyAse ca / kSIta. (pR. 33) AyAsaM kadarthanam / kauzikastvAyAme / dairghyaviziSTAyAM kriyAyAmityAkhyat / kauzika drAghunA arthanI bAbatamAM kSIrasvAmIthI judA paDIne AyAma e artha darzAve che ane AyAmano artha paNa dIrghatAthI viziSTa evI kriyA kare che. 'mAdhAvR' (pR. 80) paNa 'drAghu AyAme AyAmo dairghyakriyeti kaushikH|' kahIne kauzikano uparyukta mata ja Ape che. kSIrasvAmI, cAndra, jainendra, kAtaMtravyAkaraNakAra, zAkaTAyana-AmAM moTAbhAganA dhAtuvRttikAro AyAsaH artha ja Ape che. kauzikanA matane sAyaNa uparAMta bopadevatuM samarthana maLI rahe che. jo ke bopadeve kavi. (pR. 16)mAM drAghRG zramAyAmAzakitaSu / ema traNe artha ApyA che. zrI. ga. bA. palsulee jaNAvyu che ke hastapratomAM amuka akSaromAM, ekane badale bIjo vaMcAvAno saMbhava yAmA rahe che. jo ke bAda zrI. ga. bA. palsulee saMbhava

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anusaMdhAna-17* 207 rahe che tevI rIte mano sa vaMcAvAne lIdhe ja AyAmanuM AyAse vaMcAyu cha.5 kharekhara drAghR dhAtuno sAco artha AyAma: che kAraNake drAdhimAna, drAdhiSTaA badhA zabdoceM mULa drAgha dhAtu ja che. Ama dhAtuonA arthanI bAbatamAM kauzikanI dRSTi sAcA arthane pakaDe che, evI chApa paDe che.. 6. heDa vibAdhAyAm / 'kSIta'. (pR. 56)- kauzikastu naitAnAha / kSIrasvAmI lakhe che ke kauzika A dhAtuono pATha karatA nathI. A parathI paNa spaSTa thAya che ke kauzike samagra dhAtupATha para vRtti lakhI hovI joIe. kSIrasvAmIe ahIM 'etAn' ema bahuvacanano prayoga karyo che tethI 'heDa vibAdhAyAm' ane te pahelAMnA ochAmAM ochA be dhAtuo 'piTa zabde' ane "viTa Akroze' ema traNa dhAtuono kauzika dhAtupAThamA samAveza karatA nathI evo artha thayo. 'mAdhA', ane 'dhApra'mAM heDa vibAdhAyAm ane viTa Akroze nathI. piTa zabdasaMGghAtayoH dhAtu banemAM-mAdhAvR (pR.104) ane dhApra(pR.23)mAM ane bIjA dhAtupAThomAM maLe che. heDa vibAdhAyAm bhAgye ja koI dhAtupAThamAM maLe che, jyAre moTebhAge heTha vibAdhAyAm maLe che. AkrozanA arthamAM viTa mAtra kavi(pR.23)mAM maLe che. A saMdarbhamAM ga. bA. palsuleno mata evo che amuka dhAtuo amuka arthamAM bhASA ane sAhityamA prayojAyA nathI ke pachInA samayamAM anArya gaNAIne dhAtupAThamAM samAvAtA bAdha thayA tethI keTalAka dhAtuvRttikAro temano pATha karatA nathI. 7. kuDi vaikalye / kSIta (pR.57) kuTi iti kauzikadurgoM / kuNTati / kauzika ane durga bhvAdi gaNanA kuDine badale kuTi ema pATha kare che. mAdhAvR (pR.114)mAM A ja pramANe kauzikane durganA matano ullekha che. sAyaNe tyAM noMdhyaM che ke dhAtupAThamAM ahIM DAnta dhAtuonA pATharnu prakaraNa cAle che mATe zAkaTAyana prakaraNanA anurodhathI kuDi dhAtune ja mAne che. daiva paranI puruSakAra vRtti (pR. 67) kuThIti kauzikadurgoM / ema mata Ape che. kuDinuM kuNDati, kuTinuM kuNTati ane kuThinu kuNThati rUpa thAya che. maitreya, kAtaMtrakAra, ane kAzakRtsna vaikalyanA arthamAM, kuDa dhAtu Ape che, cAndra jainendra zAkTAyana ane hemacaMdra kuTa dhAtuno pATha kare che jyAre bopadeva kavimAM kuDa (pR. 26) kuTa (pR.22) ane kuTha

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anusaMdhAna-17. 208 (pR. 24) ema traNe Ape che evo saMbhava che ke puruSakAra vRttimAM kuTane badale kuTha vaMcAyuM hoya kAraNake hastapratamA Tane Thano goTALo thavAno saMbhava che. 8. muDi khaNDane / kSIta (pR. 57)-muTi iti kauzikadurgoMmuNTati / bhvAdigaNanA muDi khaNDane dhAtuno kauzika ane durga muTi pATha kahe che. mAdhAvR (pR. 113)mAM, dhA. pra. (pR. 26) ane lagabhaga badhA ja dhAtupAThamAM muDi ema dhAtu maLe che. daiva paranI puruSakAra vRtti (pR. 64)mAM muDi khaNDane-nA saMdarbhamAM zuThIti kauzikadurgau / zuNThati maLe che. temAM muTine badale zuThi kadAca vaMcAyuM hoya tema kSItanA saMvAdo yudhiSThira mImAMsakanu mAnavaM che. prakaraNanI dRSTie paNa zuThi ahIM baMdha besatuM nathI. 9. zuThi zoSaNe / zrIta (pR. 60)-enaM kauziko nAdhyeSTha / kSIrasvAmI jaNAve che ke bhvAdi gaNanA A dhAtuno kauzika pATha karato nathI ke ene svIkArato nathI. mAdhAvR (115)mAM, dhApra (pR. 28)mAM, puruSakAravRtti (pR. 63) ane kavi (pR. 25)mAM zuTha zoSaNe dhAtu Ape che. zuTha dhAtu paranI Avelo zuNThI (sUMTha) zabda pracalita che (mAdhAvR. pR 115). A dhAtuno pATha karavA kema kauzike nA pADI haze teno khyAla Avato nathI. cAndra vyAkaraNamAM A dhAtuno pATha nathI.- tene anusarIne kadAca Avo mata kauzike darzAvyo hoya. . 10. mepa repR lepa gatau / kSIta. (pR. 63)-hep ca iti kauzikaH / ___mAdhAvR (pR. 117)mAM paNa uparyukta dhAtusUtranI vyAkhyAmAM Ama kauzikano nAma vagara nirdeza che : kvacit paDhyate hepa dhepR iti ca / A he dhAtu, vartamAnakALa tR. pu. ekavacana- rUpa hepate thAya che, A dhAtu koI dhAtupAThamAM maLato nathI, te noMdhaq ghaTe. 11. barpha, rapha, raphi, arba, barba, karba, kharba, garba, dharba, zarSa, Sarba.... narba gatau / kSIta.. (pR. 68) - a.tyAdau rephasthAne nakAraM kauziko manyate / mAdhAvR (pR. 125)mAM A ja mata bIjA zabdomAM maLe che. arbAdiyo nopadhA iti kauzikaH' ane kauzika bhvAdigaNanA A dhAtusUtranA arbathI

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anusaMdhAna-17* 209 narba sudhInA bAre dhAtuone nopadha mAne che eTale ke temanuM svarUpa anba, banba, kanba, ema tharbu joIe. noMdhaq ghaTe ke mAtra kavi. (pR. 39)mAM A dhAtuonA arba ane anba, barba-banba, karba-kanba-ema bane rUpo ApyA A dhAtuonA saMdarbhamAM, ga. bA. palsulee ema jaNAvyuM che ke zAradAlipimAM ra ane na baMne lagabhaga sarakhA vaMcAya che tethI lipi vAMcavAnA goTALAne lIdhe Ama banyuM haze. kavi. sivAyanA badhA ja dhAtupATha arba-barba ema pATha Ape che. 12. vana bhaNa dhaNa zabde / kSIta. (pR. 72) dhaNati / kauzikastu dantyAntamAha / kauzika A dhAtusUtramAMnA dhaNa zabde e bhvAdi gaNanA dhAtuno dhana ema pATha kare che. mAdhAvRmAM ane dhApramAM A dhAtuno nirdeza nathI. mAtra kAzakRtsna dhAtupATha (pR. 25)mAM dhana zabde maLe che jyAre bopadevanA kavi. (pR. 36)mAM dhan rakhe ema maLe che. kavi. paranI dhAtudIpikA TIkAmAM tenA dRSTAMta tarIke 'dhanati mRdaGgaH / ' ema paNa ApyuM che Ama kauzikane kAzakRtsna vyAkaraNanA kartA ane bopadeva banenuM samarthana maLI rahe che. 13. tsara chadmagatau / kSIta. (pR. 85)-tsama ityapIti kauzikaHtsadmati / kauzike bhvAdi gaNanA dhAtu tsara ne badale tsama sUcavyo che ane tenuM vartamAnakALanuM rUpa tsadmati darzAvyuM che. koI dhAtupAThamAM A dhAtuno pATha maLato nathI.. 14. kava zabde / kSIta. (pR. 103)- kazeti kauzikaH / kauzika ahIM kaza zabde no pATha kare che. 'kSIta'nA saMpAdaka yudhiSThira mImAMsaka noMdhe che ke ahIM zakArAnta dhAtuonA pAThamAM vacce kava dhAtu Ave che, te baMdhabesato nathI. prakaraNanA anurodha pramANe kaza dhAtu yogya che. 'mAdhAvR' ke 'dhApra'mAM A kaza zabdano pATha nathI. hemadhAtumAlA (pR. 52) ane kavi. (pR. 48)mAM kaza zabde maLe che. ga. bA. palsulenA mata pramANe A dhAtu pAchaLathI umerAyelo lAge che. kAraNake prAcIna dhAtupAThamAM A dhAtu maLato nathI.10 kazA (cAbUka) zabdane amarakoza (2-10-31) paranI

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anusaMdhAna - 17*210 'vyAkhyAsudhA' nAmanI TIkAmAM kaza zabde parathI vyutpanna karavAmAM Avyo che A kaza dhAtu adAdi kasa ( kaza) gatizAsanayoH dhAtu karatAM judo che. 15. sranbhu vizvAse / (pR. USmAntaprastAvAt / bhvAdi gaNanA 108 ) sranhu iti kauzika:- saMhate, khanbhu ne badale sanhu dhAtuno pATha kare A dhAtu mAtra kavi. (pR. 56) Ape che ane tenA paranI TIkA dhAtudIpikAnA kartA durgAdAsa lakhe che : dhAturayaM kaizcinna manyate / sAmAnya te moTAbhAganA dhAtupATho sambhu vizvAse ema A dhAtuno pATha Ape che. kauzikane A bAbatamAM kavinA kartA bopadevanuM sabaLa samarthana maLI rahe che. che - 16. kSaji gatidAnayoH / kSIta. (pR. 112) kSIra noMdhe che ke kSajeti kauzikaH / A ja pramANe mAdhAvR. (pR. 192) mAM paNa kauzikano A mata maLe che ke bhvAdi gaNanA A dhAtuno pATha kSaja thavo joIe. jo kSaji pATha karIe to idito num dhAtoH / (pA. 7. 1. 58) sUtrathI kSaJjate vartamAnakALanuM rUpa thAya ane jo kSaja karIe to kSajate ema rUpa thAya. bopadeva kavi. (pR. 18) mAM kSaji kSaja baMne Ape che. kauzike bhASA ke sAhityamAM kSajate vagere evAM A dhAtunAM rUpo joyAM haze, tethI teo A sUcana kare che. 17. dAzR dAne / kSIta. (pR. 132) - dAyR dAna iti kauzikaH / bhvAdi gaNanA A dhAtuno pATha dAzR nahIM paNa dAyR thavo joIe ema kauzika mAne che. dAzR hoya to vartamAnakALanuM rUpa dAzate thAya che ane dAya hoya to dAyate thAya che. mAdhAvRmAM kauzikanA A matano ullekha nathI. mAtra bopadevanA kavi. (pR. 42 ) mAM dAyRJ dAne ema maLe che. 18. ziji avyakte zabde / kSIta. (pR. 179) ziji piji iti kauzikaH / piMkte piJjaraH / kauzika avyakta zabdanA artha darzAvatA dhAtu tarIke adAdigaNanA A ziji uparAMta pijine paNa A dhAtupAThamAM gaNAvavA icche che. mAdhAvR (pR. 335) mAM sAyaNa noMdhe che ayaM piJjizca dvAvavyakte zabde' iti kAzyapaH / Ama kAzyapano mata paNa kauzika jevo ja che

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anusaMdhAna - 17*211 ke A dhAtusUtramAM ziji sAthai pijino pATha thavo joIe. avyakta zabda e arthamAM piji dhAtu koI paNa dhAtupAThamAM maLato nathI. ga. bA. palsuleno A saMdabhabhAM evo mata che ke A dhAtu pramANamAM saheja pAchaLathI umerAyelo haze ke gabha nema paNa enI sAthe jyAre e umeyo tyAre eno artha saMkaLAyelo na hato. 11 jAnta hovAthI tene ziji joDe mUkIne koIe eno artha avyakta zabda karyo, to tenA pachInA dhAtu pRca samparke sAthe ene sAMkaLIne anyae samparke ke samparcane artha karyo to keTalAke piMgalaH piMgalaka: jevA zabdono mULa dhAtu kalpIne eno artha 'varNa' karyo, ane amuka vaiyAkaraNoe piJjalaH (ghAsano pULo) sAthe eno meLa besADIne teno artha 'avayava' paNa karyo. bopadevanA kavi. (pR. 28) mAM pijano artha varNapUjayoH ema maLe che, jenuM eka pAThAMtara varNakUjayo: maLe che ane kUjano artha avyakta zabda ja thAya che. kauzika ane kAzyapa pijino artha 'avyakta zabda' kare che, jenuM vartamAnakALanaM rUpa piMkte thAya che. gujarAtI bhASAmA rU ne piMjavuM, rUnuM piMjaNa vagere zabdo vaparAya che ane temano A pija dhAtu sAthe saMbaMdha kadAca darzAvI zakAya. (pR. 180 ) - pUci iti kauzika: 19. pRcI samparke I kSIta. pRGkate / mAdhAvRmAM (pR. 336) mAM adAdi gaNanA A dhAtusUtranA saMdarbhamAM sAyaNe noMdhyuM che ke idittRtIyAntaH iti kauzikaH / eTale artha evo thayo ke kauzika pRcIne badale pRji pATha Ape che. kSItamAM A bAbata koI carcA nathI, paNa sAyaNe spaSTa kayuM che ke sampRcAdi sUtra ( 3. 2. 142) mAM 'kAzikAvRtti 'mAM spaSTa lakhyuM che ke 'pRcI samparke' iti rudhAdirgRhyate na tvadAdiH / tethI pRcI e svarUpa barAbara che. vaLI uNAdivRttimAM parjanyaH zabdanI vyutpatti 'arjeH parja vA' e dhAtuthI anyaH pratyaya lagADIne karavAmAM AvI che (uNAdivRttimAM parjanya: 3-8-6 sUtra ja che ne siddhAMtakaumudImAM pRSu secane parathI tenI vyutpatti karavAmAM AvI che). A uparAMta zAkaTAyana paNa pRcai samparcane / sUtra Ape che. tethI pRcI ja barAbara che ane pRji e dhAtunuM svarUpa ayukta che tema sAyaNa dalIla kare che dhApra. (pR. 79 ) mAM ane kAzakRtsna (pR. 126) mAM pRjI che, kavi. mAM pRcI (pR. 17) ane

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anusaMdhAna - 17* 212 pUji (pR. 20) - e bane saMparkanA arthamAM ApyA che. puruSakAra vRtti (pR. 46 ) mAM sudhAkarano mata maLe che: atra bhUvAdi sUtre sudhAkaraH pRci iti dramiDA:, veti nandisvAmI / Ama kauzikanA pRci e dhAtu svarUpane dramiDAno ne jainendra vyAkaraNanA vRttikAra nandisvAmInuM samarthana maLI rahe che. to pUji e rUpane kavi nA kartA bopadevanuM samarthana maLI rahe che. 20. bila bhedane / kSIta. (pR. 298 ) bhila iti kauzikaH - bhelayati bhelaH bhilmam / kauzika curAdi dhAtu bilane badale bhila ema A dhAtuno pATha kare che. kavi. (pR. 45) mAM Avo pATha maLe che te sivAya badhA dhAtupAThamAM bila bhedane ema ja maLe che. kSIta. nA saMpAdake noMdhyuM che ke nirukta 1. 20 mAM bilmaM bhilmaM bhAsanamiti vA maLe che. 12 TIkAkAra durge A bhilmam no artha vedAnAM bhedanam / bhedo vyAsaH / ema Apyo che paNa enA mULa dhAtuno nirdeza karyo nathI. paNa bhilmam nA artha jotAM bhila bhedane e eno mULa dhAtu hovo joie. gujarAtI zabda bhelANano mULa dhAtu paNa kadAca bhila hovAnuM anumAna thaI zake. 21. vyaya kSaye / kSIta (pR. 301 ) - vyapa vyaya iti kauzikaH / kauzika 'kSaya'nA arthamAM curAdi gaNanA vyaya kSaye-e dhAtu uparAMta vyapa no paNa pATha kare che. A vyapa kSaye e dhAtu mAtra kavi. (pR. 38) mAM maLe che. 22. cuSira vizabdane / kSIta. (pR. 313 ) .... ghuSa vizabdane iti kauzikaH / kauzika curAdi gaNanA dhAtu ghuSir no ghuSa ema pATha kare che. ghuSira pATha karIe to irito vA (pA. 3. 1. 57) sUtrathI luG eTale ke adyatanakALanAM rUpomAM aG vikaraNa pratyaya vikalpe thAya. vaLI kSIrasvAmI jaNAve che ke iritvamanityaNyantatve liGgam / eTale ke ir anubandha anitya Nyantatvane darzAve che. tethI ghuSir nA luG mAM traNa rUpo thAya che : ajUghuSat aghuSat aghoSIt / jo 'ir' anubandha vinAnA 'ghuSa'no pATha, kauzikanA mata pramANe karIe to 'irito vA / ' lAgu na paDe ane tethI adyatana 'ajUghuSat aghuSat' e pramANe rUpa thAya. kauzike

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anusaMdhAna - 17* 213 A dhAtunAM adyatanakALamAM amuka ja rUpo prayojAtAM joyAM hoya tethI teo 'ghuSa' e pAThano Agraha rAkhe che ema bane. lagabhaga pANinIya paraMparAnA badhA dhAtupAThamA 'curAdi gaNamAM A dhAtuno pATha 'ghuSira' maLe che. A dhAtuno artha 'avizabdana' ke 'vizabdana' te vize vaiyAkaraNomAM matabheda pravarte che. paNa te bAbatamAM kauzika kSIrasvAmI sAdhe sahamata che tethI tenI carcA asthAne che. 23. luTa viloDane / mAdhAvR (pR. 111)..... etadAdayaH pAThatyantASTavargatRtIyAntAM iti kauzikakAzyapanandidramiDAH / mAdhAvRmAM noMdhAyelo kauzikano A eka ja mata evo che ke je 'kSIta. 'mAM nathI. sAyaNa vadhArAmAM noMdhe che ke te cAsmAdanantare piTahaTI ca peThuH / A parathI jaNAya che ke temaNe luTa pachI tarata piTa ane haTano pATha karyo haze ane luTa, piTa, haTa, viTa biTa (bemAMthI ekano pATha haze) iTa, kiTa, kaTI-A sAteka dhAtuo pachI tarata paThano pATha karyo haze kauzika; tenA jevo ja eka aprasiddha vaiyAkaraNa kAzyapa (vRttikAra ? ) jainendra vyAkaraNanA kartA nandisvAmI ane dramiDa vaiyAkaraNo A dhAtuono yantane badale DAnta pATha kare che. A dhAtuomAMthI mAtra viTa Akroze dhAtuno 'viDa Akroze' ema 'DAnta' pATha dhApra. (pR. 26) ane haimadhAtumAlA (pR. 31) mAM ane kavi (pR. 27) mAM maLe che. kSIta. (pR. 56 ) mAM 'luTa viloDane / ' sUtranI vRttimAM 'luDa iti dramiDA: ' ema nirdeza maLe che. sAyaNe e paNa noMdhyuM che ke bhUsUtre sudhAkara:- lula viloDane iti lAnto'yaM dRzyate, loladabhujAkAra bRhattaraMgam... / ( 3. 72) iti mAghaH / DalayorekatvasmaraNam iti pratividheyam / mAdhAvR mAM maLato sudhAkarano A ja mata puruSakAra vRtti (pR. 58) mAM maLe che. sudhAkaranA Da ane la ne eka mAnavAnA vidhAna parathI anumAna thaI zake ke te paNa kadAca luDa ne mULa dhAtu mAnavAno mata dharAvatA hoya. ema na hoya to paNa kauzikane nandisvAmI ane dramiDonuM samarthana to maLI ja rahe che. uparyukta vRttigraMthomAM kauzikanA judA judA dhAtuo vizenA kula 23 mata che, jemAMnA 22 (naM 1 - 22) 'kSIta 'mAM che. mAdhAvRmAM kauzikanA nAmathI

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anusaMdhAna-17. 214 apAyelA 7mAMthI 6 mata (naM. 3, 5, 7, 11, 16, 19) kSItamAM maLe che jyAre 4 (naM. 1, 4, 10, 18) mata evA che ke jemAM kauzikanuM nAma nathI, paNa kSItamAM te kauzikane nAme che. 'kSIta'mAM maLatA bAkInA 12 mata (naM. 2, 6. 8, 9, 12, 13, 14, 15, 17, 20, 21, 22)mAdhAvRmAM maLatA nathI. ____ 'daiva' paranI 'puruSakAra' vRttimAM je traNa mata kauzikanA nAme maLe che, te to 'kSIta'mAM noMdhAyelA che. Ama kauzikanA dhAtuo vizenA A mato sAcavavAnuM zreya kSIrasvAmIne phALe jAya che. __ temanA A matono abhyAsa karatAM evaM cokkasa lAge che ke temaNe pANinIya dhAtupATha para saLaMga vRtti lakhI haze. teo pANinIya paraMparA uparAMta emanA samayamA vidyamAna bIjI vyAkaraNaparaMparAothI sArI rIte paricita jaNAya che. temanA amuka mata kAtaMtra vyAkaraNanA TIkAkAra durga (isanI AThamI sadI) sAthe to koI mata cAndra vyAkaraNakAra sAthe to amuka bhata jainendra vyAkaraNanA TIkAkAra nandIsvAmI ane dramiDo sAthe maLatA Ave che. __dhAtuonA svarUpo mATenAM temanAM sUcano ziSTa saMskRta sAhitya uparAMta vaidika sAhitya para AdhArita jaNAya che. prAkRta bhASAnI asarane lIdhe badalAI gayelA dhAtuonA mULa svarUpane temaNe sUcavyAM che. keTalAka dhAtuonA DAnta pAThane TAnta sUcavavAmAM teo durgane anusaratA jaNAya che. dhAtuonA svarUpo vizeno temano abhigama maulika jaNAya che. dhAtuonA artha bAbatanAM paNa temaNe maulika vicAraNA darzAvI che. lipivAMcana doSane lIdhe badalAI gayelA dhAtunA mULa artha tarapha dhyAna doryu che. ___ emaNe sUcavelA navA dhAtuomAthI keTalAka dhAtu evA che ke koI dhAtupAThamAM maLatA nathI. eno artha e nathI thato ke e dhAtuo pramANabhUta nathI. agiyAramI sadInIye pahelAM thaI gayelA A vaiyAkaraNa samakSa evaM sAhitya vidyamAna haze ke jemAM A dhAtuo prayojAyA haze. e sAhitya atyAre lupta thaI gayuM hovAthI a e dhAtuo prayojAyA hovA- koI pramANa maLe nahIM ema banI zake.

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anusaMdhAna-17 * 215 A badhA parathI spaSTa thAya che ke kauzike pANinIya dhAtupAThano sAMgopAMga abhyAsa karIne potAnI vRttimAM dhAtusUtro aMgenA mahattvanAM sUcano karyAM hatA. temanA dhAtuonA svarUpa ane artha bAbatanA valaNane temaja amuka dhAtuo vadhAravAnA abhiprAyane sabaLa samarthana maLe tevA prayogo maLI AvavAnI AzA rAkhIe, kAraNake puruSakAranA zabdomAM joIe to vyAkaraNamA prayoga ja mukhya cha : pAThA vyAkhyAzca dhAtUnAM dRzyante svairiNaH kvacit / prayoga eva bhagavAMstAnavasthApayet pathi // (pR. 12) pAdaTIpa 1. yudhiSThira mImAMsaka-saMskRta vyAkaraNazAstrakA itihAsa, bhA.2. (bahAlagaDha, hariyANA), saM. 2041) pR. 91 2. yudhiSThira mImAMsaka, kSIrataraMgiNI, pR. 20, pA.TI.6 3. G. B. Palsule, The Sanskrit Dhatupathas, (Deccan College, Poona, 1961), p. 211 8. G. B. Palsule, A concordance of Sanskrit Dhatupathas, (Deccan College Poona 1955) p. 168. 5.G. B. Palsule, Op.Cit, p. 132. 6. G. B. Palsule, The Sanskrit Dhatupathas, pp 243-245. 7. yudhiSThira mImAMsaka, daivam puruSakAravArtikam, pR. 64, pATI 8. 8. G. B. Palsule, The Sanskrit Dhatupathas, p. 238. 8. G. B. Palsule, Ibid, p. 221. 80. G. B. Palsule, Ibid, p. 234. 88. G. B. Palsule, Ibid, p. 150. 12. yudhiSThira mImAMsaka, kSIrataraMgiNI, pR. 298, pA.TI. 3.

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kavi. kSIta anusaMdhAna-17 * 216 saMkSepasUci uNAdisUtra bopadeva racita kavikalpadruma (dhAtupATha) kSIrataraMgiNI dhAtupradIpa mAdhavIyA dhAtuvRtti dhApra mAdhAvR saMdarbha graMthonI sUci 1. ke. jI. oka (saM)kSIrasvAmIkRta amarakozaTIkA amarakozodghATana, pUnA, prathamAvRtti, 1913. 2. paM zivadatta dAdhimatha (saM) bhAnujI dIkSita kRta amarakozaTIkA, vyAkhyAsudhA, dillI, dvitIya saMskaraNam, 1995. 3. paM. Azubodha vidyAbhUSaNa (saM) kavikalpadruma-dhAtudIpikATIkA, prathama saMskaraNam, 1980, __ kalakattA. 4. yudhiSThira mImAMsaka (saM) kAzakRtstra dhAtuvyAkhyAnam, vArANasI, saM. 2022. 5. yudhiSThira mImAMsaka (saM) kSIrataraMgiNI, ajamera, dvitIyAvRtti, saM. 2016. 6. yudhiSThira mImAMsaka (saM) daiva-puruSakAravArtikam, ajamera, prathamAvRtti, saM. 2016. 7. yudhiSThira mImAMsaka (saM) dhAtupradIpa, bahAlagaDha, prathamAvRtti, 1986. 8. paMDita zivadatta zarmA (saM) niruktam, muMbaI, saMvata 1982. 9. zAstrI dvArakAdAsa, mAdhavIyA dhAtuvRttiH, vArANasI, dvitIyAvRtti, 1983. 10. muni guNavijaya : haima dhAtumAlA, ahamadAbAda, prathamAvRtti, 1927. 11. Theodor Autrecht (Ed.) The commentary on the Unadi Sutras, Bonn,1859 A.D. 12. G. B. Palsule, Kavikalpadruma, Poona, 1954. 83. G. B. Palsule, A Concordance of Sanskrit Dhatupathas, Poona, 1955. 14. G. B. Palsule, The Sanskrit Dhatupathas, Poona, 1961. 84. K. V. Abhyankar, A Dictionary of Sanskrit Grammar, Baroda, Third Edi tion, 1986.

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patracarcA madhusUdana DhAMkI anusaMdhAnano 16 mo daLadAra aMka rasapUrvaka joI gayo. temAM 'keTalAMka saMzodhano / prakAzano' vibhAga aMtargata nIce mujabanI noMdha vAMcI : "vi. saM. 975mAM nAgeMdrakulanA AcArya vijayasiMhasUrijIe racelI 'bhuvanasuMdarI kahA' nAmaka prAkRta bhASAbaddha mahAkathAnuM saMpAdana vijayazIlacaMdrasUri dvArA thatAM hAla te mudraNAdhIna che." (pR. 227). A noMdha uparAMta e ja aMkamAM "bhuvanasuMdarIkathAyAM varNitAni sAmudrikazAstrakathita lakSaNAni" zIrSakavALA lekhanA prAraMbhe A pramANe noMdha mUkI che. "vi.saM. 975mAM nAgeMdrakulanA AcArya vijayasiMhasUrie 8911 gAthApramANa prAkRtabhASAbaddha bhuvaNasuMdarIkahA nAme adbhuta kathAgraMthanI racanA karI che. adyAvadhi apragaTa A graMtha hAla mudraNAdhIna che." (pR. 28). AmAM graMtharacanAnuM je varSa apAyuM che te vicAraNIya che. mane smaraNa che te pramANe mULa graMthakartA racanAvarSano nirdeza dIdho nathI. IsvI 16mI sadInA AraMbhe, prAcInamadhyakAlIna jaina graMtho saMbaddha racAyelI eka mahattvapUrNa sUci - bRhaTTippaNikA - mAM e varSa jarUra ApavAmAM AvyuM che. temAM devAyeluM varSa '975' sAcuM hovAmAM koI saMdeha nathI; paNa teno saMvat te 'vikrama saMvat' ke 'zaka saMvat' te muddAno nirNaya thavo ghaTe kemake graMthakartAnI prazastimAM purANA kaviomAM pAlitta (pAdalipta), haribhadra, bappabhaTTi, kAlidAsa atirikta 'dhanapAla' nuM paNa smaraNa kartuM che. kavi dhanapAla dhArApati paramArarAja muJja ane bhojanA samakAlIna hatA. AthI bhuvaNasuMdarIkahAnA praNayitA vijayasiMhasUrino samaya IsvI 10 mIno aMtima bhAga ane 11mIno pUrvArdha ja hoI zake. e hisAbe '975 'nA varSane zaka saMvatsara anusAra ghaTAvatAM ja meLa maLe. ethI racanAkALa vi.saM. 975 ( IsvI 919) na hotAM za.saM. 975 ( IsvI 1053) mAnIe to barobara saMgati besI jAya. Ama A graMtha mATe mAnI che te mitithI 134 varSa pachIno che. ahIM mULa graMthaprazastino saMdarbhagata bhAga uddhRta karUM chaM.

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anusaMdhAna - 17 * 218 siripAlittaya-kaibappahaTTi - haribhaddasUripamuhANa / kiM bhaNimo jANa'jja vi na guNehiM samo jae sukaI // vAse virayammi jae kAlaMtarie ya kAlidAsamma / dhaNavAlo sukaittaNabhAruvvahaNammi jai dhavalo // (juo Catalogue of Palm-leaf Manuscripts in the santinatha Jaina Bhandara, Cambay, pt 2. GOS. 149, p. 363). agAu mArA "vAdI - kavi bappabhaTTisUri", Nirgrantha Vol 1, Ahmedabad 1955, p. 18 para paNa prastuta vijayasiMhasUrinI ukti mATe meM IsvI 1053nuM ja varSa svIkAreluM.

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amadAvAda - rAjanagaranA AMgaNe yojAyela zAsana samrATa zrIvijayanemisUrIzvarajI jaina svAdhyAya maMdira AgamaprabhAkara munizrI puNyavijayajI graMthAlaya paMDita dalasukha mAlavaNiyA prAkRta grantha pariSad Adino udghATana samAroha jainAcArya zrIvijayasUryodayasUrIzvarajI mahArAja tathA temanA ziSya AcArya zrIvijayazIlacandrasUrIzvarajI mahArAjanI punita preraNAthI zrI rAjanagara - amadAvAdanA AMgaNe eka anokhA, vividhalakSI svAdhyAyamandiranuM Ayojana tAjetaramAM thayuM, jenAthI mAtra jaina samAja ja nahi, paraMtu vyApakarUpamA samagra samAja svAdhyAya vaDe lAbhAnvita thaI zakavAno che. nimitta : A AyojananuM pAyAnuM nimitta banI prAkRta graMtha pariSad bhArata dezanA prathama rASTrapati DaoN. rAjendraprasAda tathA paMDita sukhalAlajI vagere mahAnubhAvoe, jaina AgamonI bhASA prAkRta hovAthI, prAkRta bhASAnA sAhityano uddhAra karavAnI zubha bhAvanAthI, I. 1953mAM A saMsthAnI sthApanA karI hatI. prathama banArasamAM ane pachIthI amadAvAdamAM pAMgarelI A saMsthAnA Azraye atyaMta mUlyavAna ane vizva prasiddhi pAmelAM 36 jeTalAM prakAzano thayAM che. Ama chatAM A saMsthAne potAnuM AgavuM kAryAlaya na hovAthI ghaNI badhI muzkelI anubhavAyA karatI hatI. saMsthAnA saMcAlaka paM. zrI dalasukha mAlavaNiyA tathA DaoN. harivallabha bhAyANIe A aMge AcArya zrIvijayazIlacandrasUrijIno sahakAra sAteka varSa agAu mAgyo hato. tenI phaLazrutirUpe, paNa jarAka moTA ane bahuAyAmI svarUpe, A svAdhyAya maMdirano udbhava thayela che. sonAmAM sugaMdha : vi. saM. 2055 (I. 1999) nuM varSa jainonA mahAna upakArI guru zAsanasamrATa jainAcArya zrIvijayanemisUrIzvarajInA svargArohaNanI ardhazatAbdInuM varSa hatuM. e varSe ujavaNI to vyApaka dhoraNe thaI, paraMtu amadAvAdamAM teonuM sthAyI ane samAjopayogI mUlya dharAvatuM smAraka thavAnuM bAkI rahI gayuM hatuM. A

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anusaMdhAna-17 * 220 jarUriyAta pU. mahArAjazrInA dhyAnamAM AvatAM teozrIe mULe nAnI yojanAnuM vistaraNa karIne ardhazatAbdI smRti nimitte eka bhavya bhavana UbhuM karAvI, temAM vividha dhArmika, sAhityika, zaikSaNika, sAMskRtika pravRttiono vyApa dharAvatI saMsthAoveM kendra racavAno nirNaya lIdho, jenuM pariNAma A svAdhyAya maMdira gaNAya. AthI A svAdhyAyamaMdira sAthe AcArya zrIvijayanemisUrIzvarajInAma joDavAmAM AvyuM che. . ___A svAdhyAya maMdiramAM yojAyelA kAyamI jJAna-yajJalAnI vigata : 1. "Agama prabhAkara zrutazIlavAridhi munizrIpuNyavijayajI graMthAlaya" ___ Agama prabhAkarajI ApaNA eka bahuzruta ane atyaMta UMcI kakSAnA saMzodhaka ane chatAM parama zraddhAvaMta munirAja hatA. bahu kA loko temane prIchI-parakhI zakyA che. teonI janma zatAbdI be varSa pUrve gaI, te prasaMge pUjya AcAryazrIe saMkalpa karelo ke AgamazAstroddhAra dvArA jaina saMghanA tathA vidyAjagatanI ananya sevA karanAra A munirAjanuM nAnuM paNa smAraka kara ja. tenA pariNAme svAdhyAya maMdiranA graMthAlaya sAthe teozrInuM nAma joDavAmAM Avela che. 2. "paM. dalasukha mAlavaNiyA prAkRta graMtha pariSad" Prakrit Text Society tarIke jANItI A saMsthAnI sthApanAthI laI 1999 sudhI, tene mATe sarva prakArano bhoga ApanAra paM. mAlavaNiyA inDolojI, bhAratIya (jaina-bauddha-vaidika) darzanonA vizvamAnya mUrdhanya paMDita hatA. temanI dIrghakAlIna sevAo tathA zrutopAsanAne lakSyamAM laIne pariSad sAthe temanuM nAma joDavAmAM Avela che. 3. "kalikAla sarvajJa zrIhemacandrAcArya navama janma zatAbdI smRti saMskAra zikSaNanidhi" zrIhemacandrAcAryanI smRtimAM racAyelI A saMsthAe DhUMkA gALAmAM paNa aneka prakAzano saha vividha sAhitya sevAnI pravRttio karI che. tenu kAryAlaya paNa ahIM sthApavAmAM Avela che.

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anusaMdhAna - 17* 221 4. " DaoN. harivallabha bhAyaNI saMzodhana kakSa " DaoN. bhAyANI e bhASAzAstra ane prAkRta vidyAnA kSetranuM eka antararASTriya darajjo dharAvatuM nAma che. hemacandrAcAryanAM vyAkaraNa vize DaoN. bhAyANIno zabda AkharI zabda gaNAya che. temanuM nAma joDIne thayelA A saMzodhana kakSamAM saMskRta-prAkRta bhASA tathA sAhitya vize mahattvapUrNa saMzodhana kArya karavAmAM Avaze. A uparAMta vividha saMsthAonI satpravRttionuM kendra paNa ahIM racavAmAM Avela che. AvAM vividhalakSI AyojanothI samRddha A svAdhyAya maMdiranA udghATanano zubha avasara pUjya AcArya zrIvijayasUryodayasUrIzvarajInA zubha AzIrvAda pUrvaka pU. AcArya zrIvijayazIlacandrasUrijInI zubha nizrAmAM sampanna thayela. A maMgala prasaMge atithivizeSa rUpe upasthita rahelA zeTha zrI zreNikabhAI ke. lAlabhAIe svAdhyAya maMdiranuM udghATana karela. munirAja zrIpuNyavijayajI graMthAlayanuM udghATana temanA antevAsI paM. zrI lakSmaNabhAI bhojaka dvArA karavAmAM AvyuM. paM. dalasukha mAlavaNiyA prAkRta graMtha pariSadnuM udghATana DaoN. ke. Ara. candrAnA haste thayuM. zrIhemacandrAcArya zikSaNanidhinuM udghATana DaoN. jitendra bI. zAhanA haste karavAmAM AvyuM. ane, DaoN. harivallabha bhAyANI saMzodhana kakSanuM udghATana DaoN. vijaya paMDyanA haste karavAmAM AvyuM hatuM. 1 A prasaMge munirAja zrI puNyavijayajI dvArA saMpAdita tathA prAkRta graMtha pariSad dvArA punaH prakAzita 'aMgavijjA' graMthanuM vimocana zeTha zrI zreNikabhAInA zubha haste karavAmAM AvyuM tathA te sAthe ja prabuddha jaina muni zrIbhuvanacandrajI dvArA saMpAdita tathA anuvAdita 'siddhasena zataka' granthanuM vimocana paNa prA. zrIjayaMta koThArInA varada haste karavAmAM AvyuM hatuM.

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anusaMdhAna - 17* 222 maiM kabhI bhUlU~gA nahIM rAjArAma jaina san 1949 kA paryUSaNa parva thA usa samaya maiM banArasa hindu yUnivarsiTI kA bI.e. kakSA kA chAtra thA / kSamAvANI ke pAvana divasa para maiM yUnivarsiTI - prAMgaNa meM sthita unake AvAsa para unake caraNa-sparza karane gayA thA / taba taka merA unase ghanA paricaya nahIM thA / maiM unheM kevala isalie jAnatA thA ki maiMne vArANasI sthita syAdvAda jaina mahAvidyAlaya, sanmati jaina niketana ( nadiyA ) tathA pArzvanAtha jaina vidyAzrama meM unake kaI bAra pravacana sune the aura unase maiM unake prati zraddhAnavata evaM bhAvuka ho UThA thA / unhoMne mujhe dekhakara merA paricaya pUchA, to atha se lekara iti taka maiMne apanI sArI vyathA-kathA unheM kaha sunAyI / merI ghora garIbI, Arthika vipannatA tathA jJAnArjana ke prati merA dRr3ha saMkalpa dekhakara ve prabhAvita hue aura usake bAda unhoMne mujhe jaisA sneha diyA, vaha mere jIvana ke lie eka zAzvata preraNA-srota banA rahA / unakI preraNA se agale varSa maiMne unake vibhAga meM bauddha-jaina- darzana kI zAstrI - kakSA meM bhI praveza le liyA / usake lie unhoMne mujhe chAtravRtti kI vyavasthA bhI karA dI, jo mere jJAnArjana meM vizeSa sahAyaka banIM / san 1954 meM maiMne ema.e. tathA zAstrAcArya kI upAdhiyA~ prApta kara lI, taba merI zodhonmukhI tathA laganazIlatA dekhakara unakI tathA unake parama mitra DaoN. vAsudevazaraNajI agravAla kI hArdika icchA huI ki maiM unake dvArA saMsthApita prAkRta TaiksTa sosAyaTI (vArANasI, jo bAda meM ahamadAbAda le jAI gaI ) meM zodhapadAdhikArI kA pada svIkAra kara lU~ / kintu merI hArdika icchA prAdhyApakI karane kI thI, ataH ukta saMsthA se na jur3a sakA aura banArasa ke bAhara zahaDola (madhyapradeza) ke gavarnameMTa kAleja meM prAdhyApaka kA pada prApta kara adhyApana kArya karane T -

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anusaMdhAna - 17* 223 lagA / isa prakAra unakI dRSTi se maiM ojhala jaisA ho gayA / dIrghAntarAla ke bAda jaba ve ela. DI. insTITyUTa, ahamadAbAda meM DAyarekTara pada para pratiSThita the, tabhI mere choTe bhAI ne jayapura se B. I. M. S. kI upAdhi prApta kI / gujarAta sarakAra ne usI samaya jAmanagara meM eka Ayurvedika vizvavidyAlaya kI sthApanA kI, jo bhArata meM apanI zailI kA prathama vizvavidyAlaya thA / maiM cAhatA thA ki hamAre bhAI ko yadi jAmanagara ke ukta vizvavidyAlaya meM kisI bhI prakAra praveza mila jAya, to vaha vahA~ acchI pragati kara sakegA / ataH maiMne usake lie zraddheya paM. mAlavaNiyAjI se AzIrvAda mA~gA aura unakI apratyAzita camatkArI kRpA se vaha ukta vizvavidyAlaya kA risarca skAlara hI nahIM, kucha samaya bAda prAdhyApaka bhI bana gayA aura Aja vaha variSTha yUnivarsiTI prophesara tathA rasAyanazAstra vibhAga ke adhyakSa ke rUpa meM kAryarata hai, sAtha hI yUnivarsaTI hospiTala kA adhIkSaka evaM lokapriya - udAra sahRdaya cikitsaka bhI / pUjya mAlavaNiyAjI madhurabhASI, sarala, udAra - hRdaya evaM sajjanottama vyakti the / sAdhana vihIna chAtra-chAtrAoM ke lie to ve kalpavRkSa hI the / jaina-bauddha darzana ke zodha kSetra meM to unhoMne maulika kArya kie hI, sAmAjika nava jAgaraNa ke kSetra meM bhI unake yogadAnoM ko bhulAyA nahIM jA sakegA / prajJAcakSu paM. sukhalAlajI saMghavI, pro. mahendrakumAra nyAyAcArya evaM paM. dalasukha bhAI mAlavaNiyAjI jaina darzana ke kSetra kI aisI ratnatrayI thI, ki jisakA apanA viziSTa prabhAvI yuga thA / sacce artha meM ye tInoM mahArathI yuga-pradhAna the aura usa kAlakhaNDa meM unhoMne jaina- darzana kI aisI sArvajanIna vyAkhyAe~ prastuta kIM, jinake kAraNa eziyA meM prathama samajhI jAne vAlI banArasa hindU yUnivarsiTI jaina darzana kA pradhAna kendra bana gayA / AcArya haribhadrasUri bhaTTa akalaMka, vidyAnandi evaM hemacandra jaise mahAna AcAryoM ko unhoMne rAjamahaloM se lekara jhopar3oM taka lokapriya banA diyA aura sAmAnya janatA kA bhI unheM kaNThahAra banA diyA / rASTrasanta AcArya zrIvidyAnandajI munirAja unake vyaktitva evaM agAdha nirbhIka pANDitya

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anusaMdhAna-170 224 se atyanta prabhAvita the / unakI preraNA se san 1974-75 meM bha. mahAvIra ke 2500 veM parinirvANa-varSa-samAroha meM "vIra nirvANa bhAratI" dvArA bar3auta meM unheM puraskRta sammAnita kiyA gayA thA / san 1974 meM Ala iNDiyA oriyaNTala kAnphreMsa kA 27 vA~ adhivezana kurukSetra vizvavidyAlaya (harayANA) meM Ayojita thA / usameM zraddheya guruvara paM. mAlavaNiyAjI, pro. DaoN. e. ena. upAdhye, apabhraMza ke mahApaNDita pro. DaoN. bhayANIjI tathA mitravara DaoN. sAgaramalajI, DaoN. ke. Ara. candrA, pro. zarada zAhA Adi bhI upasthita hue the / usa samaya maiM apabhraMza kI kucha durlabha pANDulipiyoM kA adhyayana kara rahA thA aura eka sacitra aprakAzita pANDulipi para hI maiMne nibandha-vAcana bhI kiyA thA / patA nahIM usa nibandha meM aisA kyA prabhAvI-tathya thA ki paM. mAlavaNiyAjI evaM upAdhyejIne merI prazaMsA kI aura usakA suphala yaha milA ki unakI preraNA se oriaNTala kAnphreMsa ke prAkRta evaM jaina-vidyA vibhAga ke AgAmI 28veM adhivezana ke lie adhyakSa pada hetu cunAva meM mere parama mitra bhAI DaoN. ke. Ara. candrA ne merA nAma prastAvita kiyA, bhAI zaradacandra motIcandra zAhA (pUnA) ne usakA samarthana kiyA aura AgAmI adhivezana (karnATaka vizvavidyAlaya, dhAravAr3a meM Ayojita) ke lie maiM adhyakSa nirvAcita ho gayA / mujhe bAda meM candrAjI ne batalAyA ki paM. mAlavaNiyAjI evaM DaoN. upAdhye Adi kA vicAra thA ki abhI taka vRddha loka hI kAnphreMsa ke prAkRta evaM jaina-vidyA vibhAga kI adhyakSatA karate Aye the / ataH aba kisI aise yuvaka ko adhyakSa banAyA jAya jo prAkRta ke kSetra meM lagana pUrvaka kArya kara rahA ho aura pANDulipiyoM ke sampAdana, saMzodhana jaise jaina-vidyA-vikAsa ke kArya meM bhI dattacitta ho / ataH unhIM kI preraNA se merA nAma prastAvita kiyA gayA aura unake AzIrvAdoM se maiM adhyakSa bhI nirvAcita ho gayA / parama pUjya upAdhyejI to karnATaka vizvavidyAlaya meM Ayojita usa adhivezana meM asAmayika duHkhada nidhana ke kAraNa upasthita na ho sake, kintu pUjya paM. mAlavaNiyAjI svayaM upasthita hue the aura unakI upasthiti

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anusaMdhAna - 17* 225 se maiMne vizeSa gaurava kA anubhava kiyA thA / usI samaya mujhe zraddheya DaoN. vAsudevazaraNajI agravAla kA kathana yAda A gayA, jo ve nirantara kahA karate the ki " saccA guru vahI hai, jo apane ziSya kI pragati se pramudita rahatA ho / " parama pUjya saMghavI jI, pUjya paM. mahendrakumAra evaM pUjya mAlavaNiyA rUpa ratnatrayI athavA paNDitatrayI maM se prathama do ke antardhAna ho jAne para bhI zraddheya pUjya mAlavaNiyAjI ke darzana kara sAntvanA milatI thI aura unake pUrva yuga kI sArasvata- jhA~kiyoM kA ahasAsa hotA rahatA thA, kintu aba unake bhI tirohita ho jAne se vaha jagata sUnA-sUnA ho gayA hai / vastutaH yaha eka aisI apUraNIya kSati huI hai, jinakI pUrti AgAmI sadiyoM meM bhI pUrNa na ho sakegI / pUjya paM. jI mere lie dharma pitA the, mere mahAna hitaiSI evaM saMrakSaka the / ataH unake dehAvasAna se merI vyaktigata kSati huI haiM / kintu vidhi kA vidhAna vicitra hai, vaha aTala hai / ataH yathArthatA ko svIkAra kie binA koI gati nahIM / unake bhAvuka banA dene vAle smRti-puMjoM ke lie mere zatazaH vandana praNAma /

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bhAratIya tattvavidyAnA ajoDa vidvAnane smaraNAMjali vijayazIlacandrasUri bhAratIya darzanonA adhikArI vidvAna paMDita dalasukhabhAI mAlavaNiyAnA tA. 28.2.2000nA roja thayela nidhanathI AMtararASTrIya vidvajjagate eka pracaMDa pratibhA gumAvI che. bhArata ane gujarAta rAMka banyA che, to mULathI ja vidvAnonI bAbatamAM kaMgALa evo jaina samAja have pUrNapaNe kaMgALa banyo che. varSo agAu ApaNA agraNI vidvAna zrAvaka paM. agaracaMda nAhaTAe vyathita hRdaye kaheluM ke dillImAM zvetAMbara - digaMbara ema banne dhArAonA jaina paMDitonuM eka saMmelana hatuM; temAM digaMbara pakSe zatAdhika vidvAnonI upasthiti sAme zvetAMbara pakSe ame be-traNa gaNyAgAMThyA mANaso ja hatA ! rUDhiparasta samAja ane tenA netAo icche yA na icche, paNa vidyAkIya ane sAhityika bhUmikAe rASTrIya temaja AMtararASTrIya stare anya saMpradAyo tathA dharmonI samakakSa, ApaNA siddhAMto vagerenuM yathArtha ane adhikRta pratipAdana karavuM e Aje anivArya banyuM che; ane e kArya AvA adhikArI vidvAno vinA karavAnuM rUDha mANaso mATe zakya ja nathI A saMdarbhamAM zrI dalasukhabhAIne mUlavavAmAM Ave to jaina zvetAMbara pakSanA samartha pratinidhi tarIke temaNe dezamAM paNa ane vizvastare paNa ApaNo pakSa rajU karyo che, eTaluM ja nahi, paNa anya dharmanA ke saMpradAyonA loko dvArA thatI ayogya ke viparIta rajUAtano sajjaDa prativAda paNa temaNe aneka vAra karyo che. vAstavamAM, temanI rajUAtane paDakArI zake, temane jUThA pADI zake athavA teonI upasthitimA asatya pratipAdana karI zake tevI kSamatA ja anyomAM na hatI. satyaniSTha ane anAgrahI evI pAradarzI vidvattAnI A niSpatti hatI. jIvananA chellAM varSomAM teo sthitaprajJabhAve ane lagabhaga jene sAkSIbhAva kahI zakAya tevA bhAve ja jAta-jagata ane kuTuMba sAthe vartatA rahyA hovAthI koI vizeSa lekhana ke ciMtana temaNe karyAM nathI. paraMtu tema chatAM jIvananA aMtima divaso paryaMta bauddhika ane mAnasika kSamatA eTalI to sajAgasabaLa ke koinI jUThI dalIla ke pratipAdanamAM bhadrabhAve jUThI hA hA na

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anusaMdhAna-17 * 227 karI de; ane maunabhAve jIvatA hovA chatAM temanI dhAka evI ke koI gappAM mAratAM lAkhavAra vicAra kare. ___ AvA samartha vidvAna sadgRhasthanI ciravidAya thatAM jaina samAja hato te karatAM vadhu rAMka banyo che, niHzaMka che. jo ke A vidvAnane jaina saMghe bahu svIkAryA nathI. jaina saMghamAM temanI chApa eka sudhAraka ane nAstika tarIkenI hatI. kharekhara to AvI chApa upasAvavAmAM AvelI ema kahevU vadhu ThIka gaNAya. ApaNA samAjanI ane dhurINonI eka khUbI e che ke koi muslima ke ajaina paTela Adi vyakti jo acAnaka upAzraye Ave, devadarzana ke guruvaMdana jevI pravRtti kare, ke aTThAi kare, to ApaNA haiyAmAM vadhu paDato ahobhAva umaTI AvavAno, 'zAsananI balihArI' anubhavAvA mAMDavAnI, ane je te sAdhu ke AcArya mahArAjanA puNya-prabhAvanAM gIto gavAvA mAMDavAnAM. have muslima ke paTela kAMI teno dharma, tenI mAnyatA, tenA vyavahAro choDatA nathI, choDavAnA paNa nathI. chatAM amuka vakhata koIka gamya ke agamya kAraNosara Aq banI jAya to samAjamAM AnaMda AnaMda chavAI jAya. AnI sAme zrImAlavaNiyAnI vAta juo : mULe sthAnakavAsI paraMparAmAM teono janma. anAtha AzramamAM uchera. pachI pAcho sthAnakavAsI sAdhusaMto dvArA jJAnAbhyAsa. ATalI bhUmikA pachI potAnI lAyakAta ane samAjanA mobhIonI parakhazaktinA pratApe zAMtiniketana sahita vividha sthaLoe adhyayana karIne jaina vidvAna tarIke adhikArI banyA. paNa te pachI mUrtipUjAnI yathArthatA ane muhapatti bAMdhavAnI ayathArthatA A be vAta temaNe sau pahelA svIkArI. muhapatti choDavAnI vAta A. tulasI jevAne moDhAmoDha karI paNa potAnI janmajAta paraMparAne ja prahAra karavAnI temanI A hiMmata ke kSamatAne ApaNe kyAreya samajavAno tathA navAjavAno vicAra suddhAM ko kharo ? ___ varSonA temanI sAthenA nikaTanA paricayane pariNAme temanAmAM jovA maLelAM mukhya subhaga tattvo A hatAM : anAgraha, samabhAva, kharAba karanAranuM paNa bhalaM karavAnI vRtti, potAnI bhUla svIkAravAnI tatparatA, mAnavIya saMvedanazIlatAthI chalakAtuM hRdaya, jJAna ane satya pratyenI anahada niSThA vagere.

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anusaMdhAna-170 228 temaNe varSoM pahelA amuka bAbata paratve potAnA vicAro jAheramAM vyakta karelA, jene kAraNe teonI bhAre TIkA thaI hatI ane te ja kAraNe jIvanabhara keTalAka lokoe temanI sAthe aspRzyatA jevo paNa vyavahAra ko hato. mArI temanA vize eka spaSTa chApa rahI che ke teone jo pramANo ane tarka sAthe samajAvavAmAM Ave ke tamArA A vicAro tathA vidhAno ayogya ke bhUlabharelAM che, to teo eka paLanoya vilaMba karyA vinA potAnI vAta pAchI kheMcI le, potAnA utAvaLA vidhAno badala kSamA mAMge, tathA bhUla sudhAranAranI pITha thAbaDe. paraMtu ApaNe tyAM temane A prakAre vALavAno udyama karavAne badale temane UtArI pADavAnuM temaja sAmAjika rIte aspRzya jevA gaNavAnuM ja valaNa apanAvAtuM raghu ! __temanA jIvananA eka mahattvapUrNa prasaMgano hu~ sAthI temaja sAkSI rahyo chu. bhagavAna mahAvIradevanI pacIsamI zatAbdInI ujavaNI nimitte amadAvAdamAM eka pravacanasabhAnuM Ayojana thayeluM. vaktA tarIke zrIriSabhadAsa rAMkA AvelA. Ayojana zrIdalasukhabhAI tathA ratilAla dIpacaMda desAIne soMpAyeluM. Ayojaka gujarAta rAjya kamiTInA vaDA lekhe zeTha kastUrabhAI lAlabhAI hatA. ___ A sabhAmAM tophAna thavAnI dahezata hatI. AyojakonuM dhyAna paNa dorelu ja. paraMtu dharma ane dharmI jano pratye niHzaMka niSThA dharAvatA, temaja virodha karanArA ahiMsaka virodha ja kare, hiMsaka nahi ja, tevA khyAlamAM ramatA Ayojakoe koI takedArI na rAkhI. phalataH virodha karanArA mitroe zrIrAMkAnI AMkhamAM maracAM chAMTyAM, temane lagabhaga nirvastra karI mUkyA tathA anya bhAMgaphoDa paNa karI, ne sabhA na thavA dIdhI. ___ tatkAla polisa AvI. tophAnIo paikI 4-5 pakaDAyA paNa kharA. ati vyagra evI te kSaNomAM paNa jevU Ayojaka be ya vidvAnonA dhyAna para Avyu ke polisa 4 yuvAnone pakaDI laI jaI rahI che ke tarata ja teo badhuM gaDatuM mUkIne doDyA, vAnane rokI ane pakaDAyelA yuvakone 'teo nirdoSa che' ema kahI jAmIna ApIne choDAvI mUkyA. pAchaLathI A aMge temane pUchyuM tyAre temaNe je kaDaM te temanA AMtarika pravAhone samajavA mATe bahu mahattva, che. temaNe karvA ke mahArAja !

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anusaMdhAna - 17*229 ame 'mahAvIrasvAmInI ahiMsA' vize vyAkhyAna mATe bhegA thayA hatA. temAM ame aparAdha karanArane paNa kSamA devAnI vAto karavAnA hatA. durbhAgye te pravacana to na thaI zakyuM, paraMtu te sAthe ja pravacanane AcaraNamAM mUkavAno moko to maLI gayo; eTale. ame yuvAnone nirdoSa gaNAvI choDAvI mUkyA ! kaho, ame bhagavAnanI vANInuM pAlana kartuM te yogya ke ayogya ? bIjo eka prasaMga bahu jANIto nathI. saMdarbha pacIsamI zatAbdIno ja che. mAlavaNiyA para eka dahADo ekAeka phona AvavA zarU thayA. ajugatI bhASAmA zatAbdInI ujavaNIno virodha karavAnI salAha, ane tema nahi thAya to mArI nAkhavAnI dhamakI, A e phonano saMdezo. be eka divasa pachI phona karanAre ugra bhASAmAM kahyuM ke huM tamArI hatyA karavAno chu, taiyAra rahejo. zrImAlavaNiyAe leza paNa vicalita thayA vinA tene kahyuM ke tame kyAre ane kyAM mAruM khUna karavA mAgo cho te kaho, to huM tyAM te samaye hAjara rahI zakuM, ne tamAre dhakko na paDe. ane huM ekalo ja AvIza, eTale bIjI ciMtA na karatA. Avo javAba apAyA pachI e phona AvatA to baMdha thaI gayA, e paNa eka camatkAra ja gaNAya. paraMtu, A vAtanA saMdarbhamAM meM teone pUchayuM ke jo pelI anAmI vyaktie tamane samaya Apyo hota to tame zuM karata ? tyAre pUrI gaMbhIratAthI temaNe mane kahyuM ke mahArAja ! to huM te jagyAe ane te samaye ekalo avazya jAta, ane tene premathI AvA khataranAka mArgethI pAcho vaLavA samajAvataM. jJAnopAsanAnI vAta karUM to temano paricaya ja mane jJAnAbhyAsanA saMdarbhe thayo hato. mArA adhyayanamAM AvatA tarkazAstranA amuka padArtha mane beThA nahi. thayuM : kone pUcheM to Ano ukela maLe ? bahu mathAmaNa pachI sUjhyuM ke mAlavaNiyAjI prakhara dArzanika gaNAya che temane pUchAvuM. meM patra lakhIne pUchAvyuM huM pAMjarApoLa upAzraye. teo inDolojInA nirdezaka. mArA patranA javAbamAM eka divasa bapore be vAge teo mArI sAme AvIne UbhA rahyA. kahe : huM dalasukha huM to tAjuba ! koI divasa joyelA nahi,

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anusaMdhAna-17.230 koI pUrvasaMdezo nahi, AvA moTA vidvAna A rIte AvI zake teo koI aMdAja paNa na hoya. pachI to teo beThA. mArI zaMkAonA ukela samajAvyA. kahe : patramA keTaluM samajAvAya ? mATe pratyakSa ja AvI gayo, tame bahu jhINavaTathI bhaNo cho tethI ghaNo rAjI thAuM chu. A rIte ja bhaNajo. . A pachI to evI AtmIyatA racAI ke je temanA pUrA parivAra sAthe adyAvadhi jaLavAI che. temane sudhAraka gaNanArA keTalAka mitro mane ghaNIvAra kahe ke mAlavaNiyA sAthe tamAre bahu bane, kharaM ? huM kahuM ke cokkasa bane. emanI badhI vAta sAthe sahamata na hoIe to paNa eka manuSya, eka sajjana ne eka mUrdhanya vidvAna tarIke temanI sAthe sumeLa rAkhavAmAM mane koI ApadA jaNAtI nathI. ___ inDolojI (L. D. Indology) mATe temane anahada lagAva rahyo. potAnI sarjanAtmaka pratibhAne temaNe inDolojInA sarvAMgINa vikAsa tathA pratiSThA kAje nyochAvara karI hatI. mAro e anubhava che ke vahIvaTa hamezAM sarjanAtmaka unmeSane grasI jAya che. dalasukhabhAi A vAta jANatA ane eno ekarAra paNa karatA. paraMtu munizrI puNyavijayajI, paM. sukhalAlajI tathA becaradAsa dozI, temaja zeTha kastUrabhAIe je AzA ane zraddhAthI inDolojI, sukAna temanA hAthamAM soMpyu hatuM tene niSphaLa kema javA devAya ? A ekamAtra vRttiprerita laganathI temaNe inDolojIne vikasAvyuM. tenI vizvavikhyAta graMthamALA UbhI karI. nAmAMkita diggaja vidvAnone temAM sakriya rasa tathA bhAga letA karyA; ane tethI ye vadhu inDolojInA prathamavargathI laIne cothAvarga sudhInA karmacArIomAM inDolojI mATe eka mAtRsaMsthAnI mamatA temaNe jAgRta karI ApI. inDolojInA potAnA kAryakALa daramyAna ja keneDAnI ToronTo yunivarsiTInuM AmaMtraNa maLatAM eka varSa mATe tyAM darzanazAstranA prAdhyApaka tarIke javAnu banyu. tyAM evI khyAti tathA cAhanA prApta karI ke yunivarsiTIe kAyamI prAdhyApaka tarIke rahevA ophara karI ane AkarSaka pralobhano paNa ApyAM. paraMtu A vidvAna to vidyAmaMdirane ja varelA ! temaNe te pralobhanano nirmama inkAra karyo ane inDolojIne ja samarpita rahyA. vidyAkIya nItimattAno

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A autihAsika dAkhalo che. inDolojImAMthI sarvathA nivRtta thayA tyAre, mArI saratacUka na thatI hoya to, temano pagAra kula daraso rUpiyA hato. nivRtti pachI penzana ke anya koI ja lAbho nahi. nivRtti sAthe ja AjIvikAnI ciMtA paNa AvI paDI. saMsthAnuM makAna pArchu soMpavuM anivArya, to potAnuM ghara paNa hovuM anivArya. vidyAne varelA A mANase potAnuM ghara kevA kaparA saMjogomAM banAvyuM che, tenI vaLI eka kathanI che. paNa na dInatA, na parAdhInatA, na anIti, na apramANikatA. jANe mAnavIya sAttvika guNonI umadA AvRtti ! anusaMdhAna - 17*231 keneDAnI yunivarsiTIe eka varSanI sevAnA badalAmAM temane jIvanaparyaMta mAsika penzana mokalyA karyaM jIvana homyuM tyAMthI kAMI na maLe, ne eka varSanA badalAmAM jIvanabhara maLe, A vAta, svadezI-videzI samAjavyavasthA vacceno temaja vidyApuruSo pratyenA sanmAnanI vRtti vRtti vacceno taphAvata sUcavI jAya che. - temanI nivRtti pachIno eka prasaMga yAdagAra che. teo nivRtta thayAnA khabara maLatAM ja AcArya zrItulasIe temane jaina vizvabhAratI- lADanU mATe nimaMtraNa pAThavyuM. nivAsa sahitanI sarva suvidhA, saMsthAmAM te icche te hoddo, icche te vetana temaja pachInI paNa vyavasthA, uparAMta dalasukhabhAI je zarata kare teno svIkAra; A prakAranaM te nimaMtraNa hatuM mane tenI jANa thaI. meM temane kahyuM : dalasukhabhAI, tame zuM nakkI karo cho ? javAnA ? saMzodhana javAba lagabhaga hakArAtmaka hato. mAna, vidyAkIya sarjana sanmAnanI pUrI tako uparAMta jIvananirvAha badhuM ja siddha thatuM hatuM, eTale sahaja mana thayuM haze meM temane kahyuM : dalasukhabhAI, mArI eka vAta sAMbhaLo, tamAre lADanU ke paradeza jyAM javuM hoya tyAM jarUra jajo. mahino rahI Avajo. varSamAM traNa vAra jajo. paraMtu tamAruM kAyamI raheThANa to amadAvAdamAM ja rAkhajo. gujarAtI cho, ne gujarAtamAM raho to ghaNuM uttama - ucita thaze. amArA jevAne kyAreka vidyAlAbha paNa thaze. temaNe te vakhate kAMi uttara na Apyo. paraMtu pachI teo kyAMya gayA -

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anusaMdhAna - 17*232 nahi, ne cheka sudhI amadAvAdamAM ja rahyA. ame operA sosAyaTImAM cAturmAsa karyu. tyAre to teo vyAkhyAna sAMbhaLavA paNa AvatA. na avAyuM hoya to zrotA mitra indubhAI jhaverI dvArA badhuM jANatA. te comAsAmAM saMghamAM kaMThAbharaNa tapa thayeluM. te nimitte bhagavAnane sonAno hAra caDAvavAno utsava hato. bhAre Azcarya vacce meM joyuM ke e utsavamA dalasukhabhAI paNa sAmela hatA, derAsaramAM paNa badhA sAthe bhAga letA hatA. pachI to temaNe ja kahyuM ke huM vAraMvAra darzana mATe jato ja houM chaM. AvI to aneka vAto che, jemAM nAstika manAyelA A vidyApuruSanA UjaLA AMtara- pravAhono paricaya maLI rahe, 'amuka mANase tamArA mATe AvI AvI kharAba vAto/niMdA karI' AvuM temane kahevAmAM Ave to teo nirdoSa hAsya veratA, ane kahetA ke emane mArAmAM evaM lAgyuM haze to kahetA haze ane pachI e ja vyakti koI kAma laine temanI pAse Ave to koI ja aruci, napharata ke durbhAva vinA tenuM kAma karI ApatA. A rIte vartavAnuM bhalabhalA sAdhupuruSa mATe paNa, ghaNIvAra, agharuM hoya che. AvA sajjana vidvAnanI ciravidAyathI gujarAtanuM vidyAjagata niHzaMka darida banyuM che. bhArate eka dArzanika pratibhA gumAvI che, ane jaina samAje eka pratibhAsaMpanna paMDita puruSane khoyo che.

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(sva.) paMDitapravara dalasukhabhAI mAlavaNiyAnI sAhityopAsanA - jitendra zAha mahAmanA paM. zrI dalasukhabhAI mAlavaNiyAe AjIvana vidyAnI upAsanA karI keTalAye graMthonuM saMpAdana ane aneka lekho lakhyA che. temanI viziSTa prajJAne kAraNe jainadarzanano anekAntavAda khUba ja suMdara rIte rajU thayo che. jainAgama ane tenA upara racAyelA sAhityanA teo prathama kakSAnA marmajJa vidvAn hatA. mAtra jainadarzana ja nahIM, purANAM tamAma bhAratIya darzano, paNa talasparzI jJAna dharAvatA hatA. bhAratIya darzananA prauDha graMthonAM gahana rahasyone saraLatAthI ane sahajatAthI ukelatA joIe tyAre ema lAge ke teo bhAratIya darzananA maharSi che. nyAyavatAravArtikanI vistRta prastAvanA ane tulanAtmaka TippaNo to bhAratIya darzanazAstranA adhyetA mATeno mahAmUlyavAn khajAno che. sthAnAMga-samavAyAMgasUtrano anuvAda jainadarzananA vizvakozanI garaja sAre tevo che gaNadharavAdanI prastAvanAmAM jainadarzananI anyadarzano sAthenI tulanA vAMcatAM temanA bahuzrutatvano sahaja paricaya thAya che. A uparAMta temaNe aneka graMthonAM saMpAdano karyAM che, e ane emanA vividha lekhomAM dArzanika ane Agamika viSayonI UMDANapUrvaka carcA thayelI che. sAthe sAthe temAM samakAlIna ghaTanAo, viziSTa prasaMgo Adinu mArmika ciMtana paNa jovA maLe che. bhAratabharanI suprasiddha zodhapatrikAomAM temanA lekho prakAzita thayA che. gujarAtI, hindI, temaja aMgrejI bhASAmAM paNa A lekho lakhAyelA che. eka lekha temaNe prAkRta bhASAmAM paNa lakhyo che. A samagra lekhanono prakAzanArthe saMgraha thaI rahyo che. A lekhanA saMgraha-prakAzananuM kArya karatA temanA jIvana daramyAna karela kAryonI sUci taiyAra thaI che te atre sAmela karavAmAM AvI rahI che. te uparathI ja temanI viziSTa prajJAno khyAla Avaze.

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krama lekha 1 2 krama lekha 4 6 7 8 9 10 11 12 13 14 15 16 gaNadharavAda sthAnAMga - samavAyAMga 17 Jainism-Its place in Indian Thought AcArya hemacaMdraeka ciMtaka AdipurANa Izvara-paramAtmA kAlagaNanA guru japajI jaina sthApatya kalAtattvanI dRSTi jainadharma kA bhAratIya vicAradhArA para prabhAva tibeTa ane bhAratIya saMskRti dhammapada nyAya-saMpanna vaibhava paMcazIla pravrajyA bhagavAna mahAvIra ane ahiMsA bhagavAna mahAvIrano gaNadharabAda bhAratIya saMskRtiyo strota anusaMdhAna - 17*234 anuvAdo bhASA gujarAtI gujarAtI AkAzavANI vArtAlApa bhASA aMgrejI gujarAtI gujarAtI gujarAtI gujarAtI gujarAtI gujarAtI gujarAtI hindI gujarAtI gujarAtI gujarAtI gujarAtI prakAzaka gujarAta vidyAsabhA gujarAta vidyAsabhA gujarAtI gujarAtI gujarAtI prakAzaka AkAzavANI, muMbaI arat Reco. aprakAzita amRtadhArA( aprakAzita) amRtadhAga Rea broDakAsTa amRtadhArA apramANitA amRtadhArA( apakAzita) aprakAzita sudhAbiMda aprakAzita amRtadhA Reco brADakAsa amRtadhArA aprakAzita amRtadhArA ReoDakA amRtadhArA (aprakAzi aprakAzita aprakAzita anekatAmA ekatA prakAzanavarSa 1952 9155 prakAzanavarSa 1975 1989 1566 1975 1987 175 4.24 VO 1975 100 4982 1977

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anusaMdhAna-17. 235 18 raNamA eka rAta gujarAtI raMga raMga vAdaLiyA 1971 19 raso vai saH gujarAtI amRtadhArA (aprakAzita) 1986 20 vardhamAna mahAvIra gujarAtI amRtadhArA Reco. broDakAsTa 1988 21 vizvamaitrInuM sAMvatsarika gujarAtI . parva 22 visarjana gujarAtI amRtadhArA (aprakAzita) 1965 23 vedomAM jIvikA, udyoga gujarAtI aprakAzita 1965 ane jJAnavijJAna samaNasutra ane saMvatsarI gujarAtI sa. 7.30thI 7.40nI vArtA 1982 25 samyaka gujarAtI amRtadhArA (aprakAzita) 1986 26 sarvadharma samabhAva gujarAtI amRtadhArA (aprakAzita) 1978 27 syAdvAda gujarAtI aprakAzita 1974 bhASA p.468 graMthAvalokana krama lekha prakAzaka prakAzanavarSa Atmanusasana aMgrejI JOI Baroda, Vol.12 1963 (Review) Critique of Indian aMgrejI / JOI Baroda, Vol.16 1967 Realism (Review) p. 389 Early Madhymika aMgrejI . by Richard H. 1976 in Indian and China Robinson. (Review) Motilal Banarasidass Literary Heritage aMgrejI / Sambodhi Vol. 8, 1976 of the Rulers of No. 1-4 Amben and Jaipur by Gopal Narayan Bahura, Jaipur (Review) Padinananda- aMgrejI . (Review)J.O.I.Baroda 1963 Panovimsati - Vol.12 p. 461 Prasastapada- aMgrejI JOI Baroda, Vol.15 1965 bhasya (Review). p. 108 Socicly at the time aMgrejI JOI Baroda, Vol. 18 1969 of Buddha(Review) p.265

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krama lekha 8 10 11 12 13 14 1.5 16 17 18 19 20 21 22 The Canonical Niksepa Studies in Jaina Dialecties by Bansidhar Bhatt (Review) 'AyAro' kI samAlocanA abhiSeka le. hindI hindI zrI ratilAla dIpacaMda A. zrI vijayavallabhasUri gujarAtI smAraka graMtha ApaNA phAgu kAvyo hindI le. ramaNalAla cI. zAha kalyANa - hindu saMskRti hindI aMka cetanA kA UrdhvArohaNa hindI muni nathamala cetanA kA UrdhvArohaNa - hindI jainadharma ke prabhAvaka AcArya le. sAdhvI saMghamitrA jJAnodaya muni nathamala cetanA kA UrdhvArohaNa - hindI muni nathamala jaina dRSTie yoga hindI mo. cI. kApaDIyA jainadarzana - le. munizrI hindI nyAyavijayajI hindI nigaMTha jJAtaputa-le. jJAnacaMda jaina anusaMdhAna - 17*236 prakAzaka Pub: Indologia nigaMTha jJAnapu-le. jJAnacaMda jaina bhASA aMgrejI hindI hindI hindI Berolinensis, Band-5 E.Y.Brill, Laiden, 1978, pp 164,Sambodhi Vol.8 Nos. 1-4 saMbodhi 6. 304 jJAnodaya samAlocanA pra.jI. Review. as above samAlocanA, zramaNa-1 pra. Adarza, sAhitya saMgha prakAzana, cUru saMbodhi (vyu) aprila saMbodhi (rIvyU) janavarI samAlocanA, zramaNa-5 jJAnodaya prakA. jaina vizvabhAratI, lADanUM (rIvyU upara mujaba ) samAlocanA, zramaNa 1 eprila - 1979, janavarI pra. hindI samiti, saMbodhi (rIvyU) volyUma - 8, naM. 1,4 prakAzanavarSa 1978 1953 1956 1950 1978 1979 1980 1954 1953 1979 1950 1980 1977

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23 24 25 26 27 28 29 30. 31 32 33 34 35 36 37 38 nirgratha bhagavAna mahAvIra nyAya ane vaizeSika darzanonI samIkSA bhAratano lokadharma mahAvIra vANI mahAvIrakA antastala (satyabhakta) yogazataka gujarAtI gujarAtI hindI gujarAtI saM.indukalA jhaverI, rAmavilAsa kAvyam hindI vizvanAtha bhaTTa vinobAnuM adhyAtmadarzana gujarAtI hindI zrAvaka dharma darzana pravacanakAra zrI puSkara muni zrI morArajIbhAI desAI gujarAtI samayasundara - Do. ramaNa - hindI lAla cI. zAha sAMpradAyakitA se upara hindI uTho le. paM. udaya jaina sAhityArcana, le. mahendrakumAra hindI gujarAtI gujarAtI gujarAtI svAdhyAya - e mathALe graMthonA avalokano anusaMdhAna - 17*237 gujarAtI gujarAtI svAdhyAya - e mathALe graMthonA avalokano svAdhyAya - e mathALe graMthonA avalokano jayabhikkhu samAlocanA, pra. jI. Do. nagIna zAhanA nyAyavaizeSika graMthanI samAlocanA, pra. jI. Do. vAsudevazaraNa agravAla samAlocanA, pra. jI. samAlocanA, prabuddha jIvana samAlocanA, pra. jI. samAlocanA, pra. jI. Review.as above vinobA kRta 'adhyAtma darzana' nuM avalokana Reveiw. as above zrI jaina zikSaNa saMgha, kAnoDa nyAyAcArya jJAnodaya, janavarI saMbodhi - 4, 3-4 saMbodhi-4, 6-1-2 saMbodhi -4, 6-3-4 1956 1974 1965 1955 1955 1956 aMbAlAla jozI samAlocanA 1960 pra. jI. Review. as above 1965 I 1976 1957 1975 1977 1978

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krama lekha 39 svAdhyAya-e mathALe graMthonA avalokano anusaMdhAna-17. 238 bhASA . prakAzaka gujarAtI saMbodhi-4, 5-1. prakAzanavarSa 1976 prakAzanavarSa 1965 1960 1979 1956 1960 1964 nibaMdho krama lekha bhASA prakAzaka a.bhA.bhAvasAra kSa. gujarAtI bhAvasAra-baMdhu mahAsabhAnI kAryakAriNInI phalazruti akalaMka hindI hindI vizva koSa atratatra pUNenI vAkyArtha gujarAtI bhASAvimarza saMgoSThi adhikAravAda ane gujarAtI prabuddha jIvana / dayAdAna- pApa anuyoga hindI hindI vizva koSa / anekAntavAda aura hindI / jaina prakAza madhyamamArga-eka vizleSaNa anekAntavAdanuM dhyeya gujarAtI TorenTaye apUrva avasara gujarAtI bhAvasAra-baMdhu abhisamaya hindI vizva koSa abhyAsanuM varSa Ave che gujarAtI bhAvasAra mitra amadAvAdamAM ApaNuM gujarAtI utthAna chAtrAlaya 12 amArighoSa karanAra gujarAtI prabuddha jIvana cInano bAdazAha vu amUlya avasara gujarAtI bhAvasAra-baMdhu 14 avadhijJAna hindI hindI vizva koSa asaMyata jIvakA jInA hindI zramaNa 4.3, cAhatA rAga hai A.zrI tulasI dvArA navo gujarAtI prabuddha jIvana prayogaHmumukSu ane zramaNI saMghanI sthApanA hindI 1968 1967 1960 1976 1932 11 1968 1965 1960 1953 1980

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anusaMdhAna-17. 239 prakAzaka jaina prakAzanavarSa 1960 1957 zramaNa 8.6 prabuddha jIvana 1960 krama lekha bhASA 17 Agama graMthonA viccheda gujarAtI viSenI vicAraNA Agama jhUThe haiM kyA? hindI Agama prakAzana kArya- gujarAtI eka spaSTIkaraNa AgamayuganA vyavahAra gujarAtI nizcaya AgamoddhAra gujarAtI AcArAMga sUtra hindI mahAvIra vidyAlaya suvarNa 1968 mahotsava graMtha jaina prakAza 1932 zramaNa, aktU.57se agasta 1957 '58 taka prabuddha jIvana 1972 1957 zrImad rAjendrasUri smAraka graMtha jaina prakAza 1962 prabuddha jIvana 1954 28 AcArya tulasInI gujarAtI agniparIkSA AcArya mallavAdIkA hindI nayacakra AcAryazrI AtmarAmajI-hindI kA mArga AjanA samAjane gujarAtI bhikSAnirbhara sAdhu saMsthAnI jarUra che ke nahi ? AjIvika hindI AtmadIpo bhava gujarAtI / Atmahita banAma parahita hindI AtmAno dharma-ITa ane gujarAtI imArata Adhunika gujarAtI hindI sAhityakA digdarzana Adhunika yugakI dRSTi hindI se jaina AcAra ke niyama ApaNI sAdhu saMsthA gujarAtI ApaNe pAmara? gujarAtI AvaraNo dUra karI jotAM gujarAtI zIkho hindI vizva koSa jaina prakAza zramaNa 2-3. gujarAta samAcAra 1960 1956 1951 1972 1948 - 1974 prabuddha jIvana jaina prakAza prabuddha jIvana 1970 1934 1948 35

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krama lekha 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 upazamanakA AdhyAtmika parva ulaTI gaMgA UtI prajAmAM dhArmika saMskAro zI rIte sacavAya ? eka AvakAradAyaka zrI paraMparA, sadgata vIracaMdabhAI paMcALI ekAMta, pApa ane puNya ekAnta pApa aura puNya (guja. se anu.) audAryapUrNa dharmamImAMsA (AnaMdazaMkara bApubhAI dhruva) karakaMDu rAjA karuNAvicAra viruddha upayuktatAvAda kAnhaDade prabaMdha ane I.ra.da kuvalayamAlAkathA ane tenA saMdhyAvarNano konpharaMsa eTale ta pote ja kyA maiM jaina hUM kSamAparva kSamAzramaNa gAMdhIjI kSamAzramaNa gAMdhIjI anusaMdhAna - 17* 240 bhASA hindI gujarAtI gujarAtI gujarAtI gujarAtI hindI gujarAtI gujarAtI gujarAtI gujarAtI gujarAtI gujarAtI hindI gujarAtI hindI gujarAtI khodyo DuMgara ane (thoDA gujarAtI samaya pahelA bIkAnera bhInAsara khAte akhila hindI sthAnakavAsI jaina konpharansanaM adhivezana prakAzaka zramaNa 5.11 jaina prakAza jaina prakAza 18-2-37, 25-2-37, 4-3-37 bhAvasAra mitra prabuddha jIvana jaina bhAratI zramaNa 6.12 ApaNo dharma ( trIjI AvRttinuM puna:mudraNa) graMtha savitA zatAMka jaina prakAza guja. samAcAra jaina 30-4-60 svAdhyAya aMka 1 - 1 jaina prakAza zramaNa 3.10 prabuddha jIvana nayA samAja akhaMDa AnaMda prakAzanavarSa 1954 1945 1937 1973 1955 1955 1964 1956 1961 1960 1963 1934 1952 1952 1948 1949

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anusaMdhAna-17. 241 53 56 57 bharavAmAM Avyu hatuM ane tenA anusaMdhAnamA yojAyelA sthAnakavAsI sAdhuonA saMmelana aMge karavAmAM AvelI AlocanA) gujarAta bhAvasAra gujarAtI bhAvasAra-baMdhu 1971 samAjanuM Arthika saMkaTa gujarAtake lokakavi hindI janapada 1952 meghANI gujarAtamAM saMskRta- gujarAtI guja.mAM bhAratIya bhASAono prAkRta bhASAo vikAsa, guja. vidyApIThamAM adhyayana-adhyAyana semInAra, 3-5-mArca 73 cAturmAsa hindI zramaNa 1950 cAlo karIe pratikramaNa gujarAtI prabuddha jaina 1947 chAtrAlaya mATe sahakAra gujarAtI bhAvasAra-baMdhu 1965 chAtrAlayane svarga gujarAtI bhAvasAra-baMdhu 1969 banAvIe jaINo a ajaINo a gujarAtI __ prAkRta jaina prakAza 1929 jaina ane jainetara janma ane mRtyu gujarAtI jaina prakAza 1935 62 jIvana ane adhyAtma gujarAtI prabuddha jIvana 1953 ___ jIvo jIvasya jIvanam gujarAtI prabuddha jaina / 1953 jaina AcAranA mULa gujarAtI prabuddha jIvana 16-7-59 1959 siddhAMto jaina ekatA aura mahAvIra hindI mahAvIra jayantI samArohake 1970 jayantI avasara para prakAzita smArikA jaina aura hindu hindI zramaNa 1950 jaina guNasthAna aura hindI vAsaNaseya saM.vi.vi. ke 1971 bodhicaryA bhUmi . bauddhayoga aura anya bhAratIya sAdhanAoMkA samIkSAtmaka adhyayana seminArakA nibaMdha saMbodhi 1.2 68 jaina jIvananI kalpanA gujarAtI jaina prakAza 1934

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anusaMdhAna-17* 242 prakAsa : prakAzaka premI abhinaMdana graMtha 1946 prabuddha jIvana 1-12-56 prabuddha jIvana prabuddha jIvana 15-5-58 prabuddha jaina 1957 1957 1958 1946 janasattA 1974 paryuSaNa parvanI vyAkhyAnamALA 1937 mahAbhArata semInAra, guja. yuni. -- 18-5-75 jaina prakAza 1944 krama lekha bhASA jaina dArzanika sAhitya hindI kA siMhAvalokana jaina dharma gujarAtI jaina dharma gujarAtI 72 jaina dharma ane bauddhadharma gujarAtI jaina dharmanA ucca gujarAtI zikSaNano prazna jaina dharmanA kendravartI gujarAtI siddhAMto-ahiMsA, aparigraha ane anekAMta jaina dharmamA vizvadharma gujarAtI bane tevA tattvo che kharA? 76 jaina mahAbhArata kathA: gujarAtI / sAhitya jaina mahAbhArata kathA:AsvAda 77 jaina yunivarsiTI-eka gujarAtI svapna jaina saMskRti kA saMdeza hindI 79 jaina sAhitya gujarAtI 80 jaina sAhitya ke itihAsa hindI kI pragati jaina-Agama sAhitya para hindI eka dRSTi ___ jainajIvana prabuddha kyAre gujarAtI banaze? jainadharma ane zaivadharma gujarAtI / 84 jainadharma aura jAtivAda hindI / jainadharmanA ArAdhya devo gujarAtI jainadharmano prANa gujarAtI 87 jJAnopAsanA gujarAtI / jhAMjhavAnA jaLa gujarAtI 89 DabhoDA, vaDanagara ane gujarAtI mahesANAno pravAsa 1942 jaina yuga 1958 1954 zramaNa 6.2 jaina prakAza 1962 1978 pra.jI.suvarNajayaMtI mahotsava-vizeSAMka 1949 85 jainadhana zramaNa 1-2 vidyA Vol.XIV No.3 prabuddha jIvana jaina prakAza utthAna bhAvasAra-baMdhu 1973 1934 1933 1965

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krama lekha 90 91 92 93 94 95 96 97 98 99 bhASA tatvArthasUtra dhyAnalakSaNa- gujarAtI mAMnA 'ekAgra ciMtA nirodho' vize noMdha tapasI vaDe lapasI gujarAtI tIrtha zabdano bhAvArtha gujarAtI tIrthonA saMgharSa miTAvavA- gujarAtI no ucita mArga thoDA zikSaNa gujarAtI thoDAka sAhitya gujarAtI dakSiNa hindusthAna aura hindI jainadharma dakSiNa hindusthAna aura hindI jainadharma darzana ane jIvana darzana aura jIvana anusaMdhAna - 17*243 103 dharmanI kasoTI 104 dharmasamanvayanI bhAvanA 105 dhArmika parAdhInatA 106 nayavAdano prAraMbhika itihAsa (guja. se anu.) 100 divALI 101 dharmakA punaruddhAra aura saMskRtikA navanirmANa 102 dharmakA punaruddhAra aura hindI saMskRtikA navanirmANa 107 naye kA prAcInIkaraNa 108 navA varSanA abhinaMdana 109 navAnuM prAcInIkaraNa 110 navAvicArako ane dAna 111 navI duniyAmAM gujarAtI hindI gujarAtI hindI gujarAtI gujarAtI gujarAtI gujarAtI hindI gujarAtI gujarAtI gujarAtI gujarAtI prakAzaka vidyA utthAna jaina prakAzamUrti vizva vijJAna jaina prakAza jaina prakAza jaina prakAza zramaNa zramaNa prabuddha jIvana 1-4-61 vijayAnaMda jaina prakAza zramaNa nayAsamAja prabuddha jaina ciMtana parAga jaina prakAza jaina prakAza 22-7-34, 5-8-34, 12-8-34 jaina jagata smAraka prabuddha jIvana -prakAzanavarSa 1972 1932 1962 1966 1931 1931 1950 1950 1961 1962 1934 1950 1949 1955 bhAvasAra mitra 1979 prabuddha jIvana 1954 mahAvIra jaina vidyAlaya rajata 1940 1943 1966 1934 1934 1968

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anusaMdhAna-17. 244 krama lekha bhASA prakAzaka prakAzanavarSa 112 nigraMthakA cAturyAma dharma hindI jarnala-gaMgAnAtha jhA kendrIya 1971 ___ 'sarvavArivArito'kA saM. vidyApITha artha 113 nivRtti ane pravRtti gujarAtI prabuddha jaina 1943 114 nivRttinA cakanuM bhedana gujarAtI prabuddha jaina 1951 115 nyAyasaMpanna vibhayaH hindI zramaNa 2-2 1950 116 paM. sukhalAlajInAM gujarAtI paraba 1978 viziSTa saMpAdano: sanmatitarkanuM saMpAdana 117 paMjAba saMghano phaisalo- gujarAtI jaina prakAza 1949 eka krAMtikArI pagaluM 118 paMDita sukhalAlajInI gujarAtI prabuddha jIvana 1957 vicAradhArA 119 paMDita sukhalAlajInI gujarAtI prabuddha jIvana hindI-taruNa 1957 vicAradhArA 120 paMDitajInA graMtho gujarAtI prabuddha jIvana 1978 121 patanane paMthe gujarAtI jaina prakAza 1934 122 pArzvanAtha vidyAzrama hindI prajJA, 58 zramaNa 11.2 1956 Adi vidyAsaMsthAo 123 pArzvanAtha vidyAzramanI gujarAtI jaina prakAza 1944 Tela (samAjamAM vidvAno UbhA karavA mATenI eka Adarza saMsthAne vidyArthIo pUrA pADavA) 124 perisanI saMskRta gujarAtI paraba 1977 pariSadamAM perisano pravAsa, gujarAtI paraba 1977 iMTa ane imArata 126 prajJAcakSu paM. sukha- hindI rASTrabhAratI 1956 lAlajI 127 pratikramaNa gujarAtI jhAlAvADa, dazA zrImALI sthA.jaina samAcAra, amadAvAda 1988 128 pratyAgamana gujarAtI jaina prakAza 125

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139 anusaMdhAna-17. 245 krama lekha bhASA prakAzaka prakAzanavarSa 129 prAkRta TeSTa sosAyaTI gujarAtI jaina yuga 1957 130 prANazakti kahAM gai hindI taruNa jaina 1948 131 prAyazcitanA saraLa mArga gujarAtI jaina prakAza 1934 132 banArasameM eka hindI zramaNa 1-1 1949 sAMskRtika anuSThAna 133 banArasase jaino kA . hindI zramaNa 2-7 1951 saMbaMdha 134 bAladIkSA gujarAtI prabuddha jIvana 1956 135 bAladIkSA hindI taruNa 1956 136 bAladIkSA mata do hindI taruNa 1949 137 bihAranAM tIrthonI yAtrAe gujarAtI prabuddha jaina 1951 138 bIjamAMthI vaTavRkSa gujarAtI bhAvasAra baMdhu 1964 borDiMgane sthira karavA gujarAtI bhAvasAra-baMdhu 1970 zuM karavU? 140 bauddha dharmarnu sarvekSaNa gujarAtI graMtha 1978 141 bauddha yogAcAra saMmata gujarAtI saMgoSThi, 1-6-77nuM vyAkhyAna -- vijJAnAdvaita 142 bauddhadharma hindI zramaNa 1950 143 bha.mahAvIra kA dharma- hindI vIra parinirvANa 1-10 1975 sAmAyika nizcaya aura vyavahAra-puNya aura pApa 144 bha.mahAvIra kA dharma- hindI 1974 sAmAyika nizcaya aura vyavahAra-puNya aura pApa bha.mahAvIranu kArya- gujarAtI prabuddha jIvana 1960 eka vicAraNA (mahAvIranuM kArya-zrI zaMkaragava devanA vyAkhyAnanI vicAraNA) 146 bha. mahAvIrano saMgha utthAna 1933 ane pAzrvApatyiko zramaNa 145

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lekha bha. mahAvIra ane mahAtmA gAMdhI bha. mahAvIra aura mArkasavAda 149 bhakti mArga aura jainadarzana 150 bhaktimArga kA siMhAvalokana krama 147 148 151 bhagavAna buddha ane mahAvIra 152 bhagavAna buddha aura bhagavAna mahAvIra 153 154 155 156 157 158 159 160 161 (guja. se anu.) bhagavAna mahAvIra bhagavAna mahAvIra kA jIvana bhagavAna mahAvIra kA mArga anusaMdhAna - 17* 246 prakAzaka taruNa jaina zramaNa (jJAnodaya) janavANI bhagavAna mahAvIra hindI bhagavAna mahAvIra hindI samatAdharma ke prarUpaka bhagavAna mahAvIra hindI samatAdharma ke parUpaka bhagavAna mahAvIra ane gujarAtI mahAtmA gAMdhI bhagavAna mahAvIra ane gujarAtI mahAtmA gAMdhI bhagavAna mahAvIra ane gujarAtI mahAtmA gAMdhI bhASA hindI hindI hindI hindI gujarAtI hindI gujarAtI hindI hindI zramaNa 2.6 prabuddha jIvana zramaNa vijayAnaMda jaina, sa.saM. patrikA naM. 8 no guja. mAM anuvAda, jaina dha. ciM. jaina siddhAMta jaina jagata bha. mahAvIra smRti graMtha, lakhanau zramaNa jaina sabhA, 25-5-85 prabuddha jaina prabuddha jIvana jhAlAvADa dazA zrImALI sthAnakavAsI jaina samAcAra, amadAvAda jaina prakAza mahAmAnava mahAvIra apraila prakAzanavarSa 1947 1950 1959 1952 1964 1965 1947 1953 1975 1974 1947 1970 1985 1962 1950

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krama 162 163 165 164 bhagavAna mahAvIra kI ahiMsA 166 168 bhagavAna mahAvIra ke gaNadhara 167 bhagavAna mahAvIra ke prAcIna varNaka 169 lekha bhagavAna mahAvIra kA mArga 150 bhagavAna mahAvIra kA mArga 500 bhagavAna mahAvIra kI ahiMsA bhagavAna mahAvIranA prAcIna varNako bhagavAna mahAvIranI jIvanakathAno vikAsa bhagavAna mahAvIrano anekAMta ane bhagavAna buddhano madhyamamArga bhagavAna mahAvIranoM anekAMtavAda 672 bhAratIya saMskRtinA pokAra 173 bhoga- yogAsa 174 bhautikI dRSTino samanvaya 175 bhautikatA aura AdhyAtmakA samanva 176 maladhArI abhayadeva hemacandrAcArya anusaMdhAna - 17*247 bhASA, prakAzaka hindI zramaNa 6.6.7 hindI hindI hindI hindI hindI gujarAtI gujarAtI gujarAtI jaina saMdeza muni dvayaM abhinaMdana graMtha 'saMprasAda' zrI caturbhuja pUjArA abhinaMdana graMtha jaina udayapura yuni. semInAra Seminar of "Contribution 1975 of Jainism to Indian Culture" Ed. Dr. R.C.Dwivedi-Motilal Banarasidass Delhi. zramaNa 5.5 jaina gujarAtI dharmaloka gujarAtI gujarAtI prabuddha jaina 'zAMti', muMbaI zramaNa 4.6 zramaNa 4.2 prakAzanavarSa 1955 1973 1973 1954 1973 1977 1964 1964 1978 1951 1973 1950 1953 1953

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krama lekha bhASA 177 mahAna sudhAraka zrImAna hindI lokAzAha kI eka kRti 178 mahAvIra kA gujarAtI hindI gujarAtI gujarAtI 181 mahAvIranA zrAvakone 182 mahAvIranI eka vizeSatA gujarAtI gujarAtI hindI antastala 179 mahAvIra bhUle 180 mahAvIra vANI anusaMdhAna - 17*248 183 mAnavatA pAchI lAvo 184 mujhe zIghra bhUla jAnA 185 maitrI sAdhanA 186 moDAsAno amAro utsAhavardhaka pravAsa 187 loMkAzAha aura unakI hindI vicAradhArA 188 lokAzAha aura unakI hindI vicAradhArA 190 vivAdanAM kAraNo 199 vizva saMskRti saMmelana 192 vyaktiniSThA kA pApa 193 vyaktine samAjanI pArasparika prabhutA gujarAtI gujarAtI 189 lokAzAha matakI do hindI pothiyAM gujarAtI gujarAtI hindI gujarAtI 194 vyavahAra ane nizcaya gujarAtI 195 vyavahArika anekAMta gujarAtI 196 zAstrAjJAono hetu gujarAtI 197 zubha avasara ane samAja gujarAtI 198 zraddhA kA kSetra hindI 199 zraddhA gujarAtI prakAzaka samyag darzana prabuddha jIvana zramaNa prabuddha jIvana jaina prakAza jaina dIpotsavI aMka jaina taruNa jIvana mAdhurI bhAvasAra-baMdhu gurudeva zrI ratnamUni smRtigraMtha gurudeva zrI ratnamUni smRtigraMtha munizrI hajArImala smRtigraMtha jaina prakAza 15-1-33 prabuddha jIvana taruNa prabuddha jIvana prabuddha jIvana prabuddha jaina akhaMDa AnaMda bhAvasAra-baMdhu zramaNa 3.5 gujarAta samAcAra prakAzanavarSa 1966 1955 1956 1955 1934 1961 1948 1951 1958 1966 1964 1964 1965 1933 1973 1953 1962 1942 1944 1952 1967 1952 1965

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anusaMdhAna-17 * 249 prakAzaka jaina prakAza prakAzanavarSa 1964 prabuddha jIvana 1-12-56 zramaNa jainayuga jina saMdeza 1956 1949 1956 1982 bhAvanagara 1960 svAdhyAya aMka 2-2 1965 krama lekha bhASA 200 zramaNa-saMskRti ke hindI unnAyaka mahAzramaNa mahAvIra 201 zramaNa ane brAhmaNa gujarAtI 202 zramaNa mahAvIra kA saMgha hindI 203 zramaNa-brAhmaNa hindI 204 zrI aMtarikSajI tIrtha gujarAtI vivAda samApana mATe samAdhAna-sUcana 205 zrI bAvanagAma bhAvasAra gujarAtI keLavaNI maMDaLa pariSada (bhAvanagara pariSadamAM pasAra karela TharAvo tathA baMdhAraNa 206 zrI lokAzAha ane gujarAtI temano mata 207 saMgha aikya e eka ja gujarAtI kArya 208 saMgha bhedanA pApanA gujarAtI bhAgI na banIe 209 saMghabheda ke pApa ke hindI bhAgI na bane 210 saMgharSa vi.samanvaya gujarAtI 211 saMthArA AtmahatyA / nahIM hai 212 saMvaikyano prazna gujarAtI 213 saMnyAsa mArga-utthAna, gujarAtI patana ane parivartana 214 saMprasAda gujarAtI 215 saMmelananI saphaLatA gujarAtI * 216 saMyamamArga gujarAtI jaina prakAza 1949 jaina prakAza 1966 jaina prakAza . 1966 jIvana mAdhurI zramaNa 1957 1962 jaina prakAza jaina 1962 1947 saMprasAda utthAna utthAna 1978 1933 1932

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krama lekha 217 satarahavIM zatI ke sthAnakavAsI jaina kavi 218 sadAcAra : sAmAjika ane vaiyaktika 219 sanyAsamArga - utthAna, patana aura parivartana 220 sanyAsamArga aura mahAvIra 221 samayadharma 222 samAja kA pratikramaNa 223 samAjanI samasyA ane tenA ukela mATe vinaMtI 224 samAjanuM pratikramaNa 225 sarakAra ane dhArmika zikSaNa 226 sarvamAnya pratikramaNa 234 siddhivinizcaya aura akalaMka 235 sukhI samAja 236 sudhArAnA rAha para anusaMdhAna - 17* 250 bhASA hindI gujarAtI hindI hindI gujarAtI hindI gujarAtI 227 sAMvatsarika pratikramaNa hindI hindI 228 sAMvatsarika pratikramaNa 229 sAMskRtika pracArano gujarAtI avasara 230 sAdhu saMmelana 231 sAdhu- saMmelana 232 sAdhusamAna aura nivRti hindI 233 sAhitya-satkAra hindI hindI gujarAtI gujarAtI gujarAtI gujarAtI hindI gujarAtI gujarAtI prakAzaka jIta abhinaMdana graMtha jayadhvaja prakAzana samiti, madrAsa janakalyANa sadAcAra vizeSAMka taruNa jaina, mUla guja. jaina 23-1-47 Aja utthAna jaina prakAza bhAvasAra - baMdhu jaina prakAza jaina prakAza jaina prakAza 19-2-34, 25-2-34, 4-3-34, 1-3-34, 18-3-34 taruNa jaina taruNa jaina jaina zramaNa jaina saMdeza, zramaNa 5.4 jaina prakAza jaina prakAza prakAzanavarSa 1986 1948 1952 1933 1960 1966 1960 1974 jaina prakAza 1952 zramaNa 1952 zramaNa 3.2 1952 "jJAnodaya vizva-zAMti aMka " - 1950 1934 1948 1948 1949 1954 1934 1929

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krama lekha 237 strioMko unake adhikAra do 238 sthAnakavAsI 239 svapna sAkAra bane che tyAre 240 have ja kharuM kArya karavAnuM che 241 hindu dharma ane jaina dharma krama lekha 1 2 jJAnapracAra ane pArzvanAtha vidyAzrama 3 4 6 7 anusaMdhAna - 17*251 bhASA hindI gujarAtI gujarAtI bhAvasAra -baMdhu gujarAtI bhAvasAra-baMdhu gujarAtI prabuddha jIvana 1 - 12-63 bhASA aMgrejI A Note on Jain Mythology (Presnented in the Seminar of Jain Logic and philosophy A Study of Jainism aMgrejI in Indian Uni. Dharmakirti-Cultu- aMgrejI ral Leaders of India Sears and Thinkers Dharamakiti-His Life and Works Epithets of Lord Mahavira in Early Jaina Canons aMgrejI Estratto da Fundamentals of the aMgrejI Jain Code of Conduct prakAzaka jaina prakAza aMgrejI jaina prakAza aMgrejI pustaka- pustikA prakAzaka Poona Uni. 1975 Ede: 1975 M.P. Marathe. A Kelkoar, P. P. Gokhale. Pub :I.P.O. Publication Pune Hindi-Jain Sandesh Gujarati-'Jain' Editor-V. Raghvan Publication Division Govt. of India for Govt. of India Proceeding AIOC Ujjain saMbodhi 1.4 Reprinted from K.P. Jayaswal Commemoration Vol.Patna prakAzanavarSa 1929 1946 1968 1969 1963 prakAzanavarSa 1967 1979 1968 1981

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3 -89 * 252 prakAzaka prakAzanavarSa Vol. XIV Professor 1988 Collette Caillat feliciation Volume Edizioni Jollygrafica-Torino (Italy) 88198 Bom. Uni. Seminar on Prakrit Studies Bombay krama lekha bhASA c Indologica aMgrejI Taurinensia official organ of the International Association of Sanskrit Studies Jain Calagories in 3pusit Sutrakrutanga Jain Parsva in aMgrejI Jain Canonical Literature Jain Theory and aMgrejI Practice of Nonviolence Jaina Concept 315 of Deity 834 Life of Lord 3DS Mahavira 8888 Sambodhi'2.2 written for Seminar on Nonviolence, Delhi Uni. Aspects of Jaina Art 1977 88198 Paper Contributed to the Seminar in Prakrit Studies, Bombay Uni. Jain Yug 14 1960 Andhra Uni. 1975 Lord Mahavira's Bills Anudharmika Conduct Nothing is dead 31051 in Indian Philosophy (Seminar on "What is living and what is dead in Indian Philosophy) On Bhadresvara's 31151 Kahavali Padmanandi-Panca-etusit vimsatiwith a Sans. commentary and Hindi Translation ge: Indologica Taurinensia 9863 Vol.XI Jain Yug 1962 20

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BILET-869 * 253 prakAzaka prakAzanavarSa Reprinted from Journal 1963 of the Oriental Institute Baroda Vol.XII J.O.I. Baroda, Vol. 193888 8889 Edited by Pt. Dalsukh malvania and Published by Lalbhai Dalpatbhai Reprinted form Journal of the Oriental Institute Col. XVIII No. 4. krama lekha bhASA 18 Padmanandi-Panec- aMgrejI vimsatiwith a Sans. and Hindi Translation Praynapana and aMgrejI Satkhandagama 20 Ratnakaravatarika aMgrejI A Commentary on Pramanaya tattavaloka of vadi Devsuri with Panyika by Rajasekhar suri, a tippana by Pt. Jnanacandra and Gujarati translation by Muni Sri Malayavijayaji Seminar on the 31351 study of religion in Indian Uni. 22 Some of the common features in the life Stories of the Buddha and Mahavira 73 Study of Tittogalia aMgrejI Bangalor 1967 1965 Proceeedings of AIOC Gauheti 28 The Jain theory of aMgrejI Symbol (Presented in the Seminar on "Jain Logic and Philosophy" The story of Bharata 3iusi and Bahubali-paper read at the third International Sanskrit Conference held at Paris bhAratIya purAtattva : muni 1971 jinavijaya abhinaMdana graMtha Poona Uni.(1975) 98994 Editors:-M.P.Maratha M.A.Kelkar. P.P. Gokhale Pub:I.P.O. Publication Pune. Sambodhi Vol.6. No.3- 481949

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anusaMdhAna-17* 254 krama lekha bhASA prakAzaka prakAzanavarSa 26 The Word Puja and aMgrejI Its Meanings 27 Though an ethical aMgrejI Punjabi Uni. Patiala, 1971 System, Jainism is a Seminar on Approaches religion to the Study of Religion Tirthankara J.O.I., Baroda, Vol.24, 1974 Mahavira p.11 Sources of Panec- aMgrejI Seminar on Life and 1977 istikaya n Jain Canon Works of Kundakunda charya Mysore Uni. AgamayugakA hindI je. saM. saM. maMNDala patrikA- 1947 anekAMtavAda AgamayugakA hindI sanmati vidyApITha, AnA 1966 jainadarzana 32 Atma mImAMsA gujarAtI jaina saM.saM.maMDala patrikA 1953 jaina Agama hindI jai.saM.saM.maMNDala patrikA 1947 jaina darzana kA hindI 1979 AdikAla jaina dArzanika hindI jaina saM.saM. maMNDala patrikA-2 saihityake vikAsakI pra.A.1946, dU.A. 1952 rUparekhA 36 jaina dArzanika hindI jai. saM.saM.maMNDala patrikA-22 1949 sAhityakA siMhAvalokana premI abhinaMdana graMtha jaina dArzanika hindI jai.saM.saM.maMNDala patrikA 22 1946 sAhityakA siMhAvalokana premI abhinaMdana graMtha 38 jaina dharma ciMtana gujarAtI / jagamohana korA smAraka 1965 pustakamALA, azoka 39 nizItha-eka adhyayana hindI sanmati vidyApITha, AgrA. 1959 nizItha cUrNi bhA.8kI prastAvanA 40 prajJAcakSu paM.sukhalAlajI gujarAtI gujarAtI graMthakAra zreNI-7 1977 41 prabhu zrI mahAvIrano gujarAtI - saurASTra yunivarsiTI, rAjakoTa 1972 jIvana saMdeza

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anusaMdhAna-17.255 krama lekha 42 bhagavAna mahAvIra prakAzanavarSa 1952 bhASA - prakAzaka hindI jaina saM.saM.maNDala, banArasa hindU yuni. gujarAtI paricaya TrasTa saM.vADIlAla DagalI 43 hinduono dharma 1964 bhASA prastAvanA krama lekha prakAzaka prakAzanavarSa 'jaina dharmano prANa' gujarAtI "jaina" varSa 61 1962 nI prastAvanA aMka:33-34tA. 27-8-62 jaina sAhitya bRhat hindI banArasa 1966 itihAsa bhAga-2 dazavaikAlikacUrNi- hindI prAkRta TeSTa sosAyaTI 1973 saM. munizrI puNyavijayajI paM. mahendrakumAra hindI bhAratIya jJAnapITha, dilhI -- saMpAdita SaDdarzana samuccaya pramANamImAMsA gujarAtI hindI anuvAda bha. mahAvIra-eka gujarAtI mUlyAMkana 1974 anuzIlana prakAzanavarSa 1972 1959 vidvAna vyaktio vize noMdha krama lekha bhASA prakAzaka 1 Agamaprabhakara aMgrejI J.V.U.R.I.Vol.x Muni Punyavijayaji Dr. Mahendrakumar aMgrejI JOI Baroda, Vol 8. Shastri p. 449 anAgarika dharmapAla gujarAtI. pra.jI. abhinaMdana (Do. TATiyA) hindI zramaNa 2-7 amara yazovijayajI gujarAtI yazovijayajI smRtigraMtha ahiMsAkI vijaya- hindI mUla pra. jI. meMseM taruNa jaina 1965 1952 1957 1948

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krama lekha 7 8 9 10 11 12 13 14 15 16 17 18 ahiMsAno vijaya (gAMdhIjI viSe mRtyunoMdha) Agama prakAzana aura hindI AcArya tulasI AgamaprabhAkara sva. gujarAtI munizrI puNyavijayajI AcArya muni jina vijayajI gujarAtI AcAryazrI AtmArAmajI - hindI kA mArga hindI AcArya zrI tulasIke uttarAdhikArI yuvAcAryakA abhinaMdana tulasI prajJA yuvAcArya vizeSAMka eka Adarza mahilAsva. avantikA gokhale ke sevAmaya jIvanakI kahAnI kavi nahIM paNa saMta ziSya anusaMdhAna - 170 256 bhASA prakAzaka gujarAtI prabuddha jIvana jUnA-navAnA se (zrI cImanabhAI ca. zAha) jaina prajAsevaka zrI durlabhajI kesavajI tANInaM sanmAna jJAnatapasvI munizrI puNyavijayajI gujarAtI jaMgama Agama saMzodhana hindI maMdira gujarAtI hindI gujarAtI zramaNa 10-5 jaina prakAza jaina vizvabhAratI, lADanUM pra. jI. 1-7-71, AtmAnaMda 1974 prakAza, mu. zrI puNyavijayajI zraddhAMjali vizeSAMka graMtha jJAnodaya kavivarya zrI nAnacaMdajI janmazatAbdi smRtigraMtha zramaNa 2-4 zrI cImanalAla ca. zAha sanmAna samAraMbha smaraNikA jaina prakAza gujarAtI jJAnAMjali, abhivAdana prakAzanavarSa 1948 1959 1976 1962 1976 1952 1977 1952 1972 1946 1969

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krama lekha 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 bhASA DaoN. bAlakRSNa amarajI hindI pAThaka (smaraNAMjali) Do. vAsudevazaraNa anusaMdhAna - 17 * 257 gujarAtI agravAla Do. harivallabha bhAyANI gujarAtI ane temanuM sAhitya DaoN. hirAlAlako yathArtha hindI zraddhAMjali terApaMthane navI dizA nAra AcArya tulasI pU. sahajAnaMdajI dvArA dI gaI anupama dArzanika vidyAkI virAsata - sahajAnaMda mAnavatA poSaka (jayabhikkhu) mujhe zIghra bhUla jAnA (barnADazo) - taruNa munizrI nathamalajIne AcAryapadanI ghoSaNA prasaMge abhinaMdana gujarAtI hindI gujarAtI hindI gujarAtI gujarAtI gujarAtI gujarAtI yuga pradhAna prabhAvaka AcAryazrI vidyAniSTha DaoN. zAha vidyAniSTha rASTrabhakta AcArya jinavijayajI vidyAniSTha zrI karuNA- gujarAtI zaMkara mAstara vidyAniSTha samabhAvI gujarAtI paMDita becaradAsajI vidyAniSTha saujanyamUrti gujarAtI Do. hirAlAla jaina prakAzaka Ayu. koleja patrikA, banArasa yuni. dharmasaMdeza gujarAtI sAhitya akAdamI sanmati aktU-nava janasattA sahajAnaMda vANI aMka zrI jayabhikkhu SaSTapUrti smaraNikA gujarAta samAcAra durlabha dharma dRSTi prabuddha jIvana madhupArka prabuddha jIvana pra. jI. prakAzanavarSa 1949 1966 1990 1973 1975 1985 1968 1952 1979 1981 1972 1976 1973 1983 1973

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anusaMdhAna-17. 258 krama lekha bhASA prakAzaka prakAzanavarSa 34 vidyAniSTha saujanyamUrti gujarAtI jaina jagata (paricaya) 1971 DaoN. hirAlAla jaina 35 vidyAmUrti gujarAtI kumAra 1951 paM. sukhalAlajI 36 vidyAmUrti paM. hindI -- 1952 sukhalAlajI-taruNa 37 vidyAsaMgI zrI nAhaTAjI hindI agaracanda nAhaya abhinaMdana graMtha, bikAnera 1976 38 zo kA saMdeza-mujhe hindI zramaNa 1959 bhUla jAo 39 zrI paramAnaMdabhAI viSe gujarAtI pra. jI. 1971 zuM kahevU? satyaniSTha DaoN. hindI vaizAlI insTI. rIsa. buleTIna 1974 hirAlAlajI naM.2, Do. hirAlAla jaina memoriyala naM. 2 41 sAhitya tapasvI gujarAtI prabuddha jIvana 1960 sva. premajI 42 sevAniSTha saujanyamUrti hindI sAptAhika grAmavAsI u.pra.kA 1987 zrI zAntibhAI zeTha sabase prAcIna vartamAna sAptAhika 43 sva. bhairodhanajI zeThiyA gujarAtI pra.jI. hindI anu. jaina prakAza 1961 15-10-61 44 sva. bhairodhanajI zeThiyA hindI prabuddha jIvana hindI anu.jaina 1961 prakAza 45 sva. mohanalAla jhaverI hindI zramaNa 2-1 1950 46 sva.zrI bAlAbhAI gujarAtI pra.jI. 1970 vIracaMda desAI(jayabhikkhu) vyAkhyAno krama lekha bhASA prakAzaka Development of aMgrejI Philogie freie Uni. at, Jaina Philosophy Berlin (Seminar for Indische) prakAzanavarSa 1969

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bhASA anusaMdhAna-170 259 krama lekha prakAzaka prakAzanavarSa Life of Lord Maha- aMgrejI Bombay Uni. 27-30 1971 vira- Seminar on Prakrit Oct. Studies Prohibition and aMgrejI saMbodhi 2.2 1971 Indian Culture anekAMtavAda gujarAtI paryuSaNa vyAkhyAnamALA muMbaI, 1962 pragaTa pra.jI. 1963 / ArAdhanA gujarAtI (valasADamAM cunIlAla vorA ArAdhanA hola- udghATana vyAkhyAna) pragaTaH pra.jI 1974 6 karma siddhAMta gujarAtI (paryuSaNa vyAkhyAnamALA 9-9-69) pragaTaH pra.jI. 1970 7 gujarAtI sAhitya gujarAtI 1976nA porabaMdaranA adhivezanapariSada nA saMzodhana vibhAganA pramukhanuM vyAkhyAna 1976 jaina-AcAra hindI 1978 jaina-sAhitya hindI 1978 10 jaina adhyayanakI pragati hindI AIOC, dilhI meM prAkRta 1957 aura jaina vibhAgake adhyakSapada se vyAkhyAna 11 jaina adhyayanakI pragati hindI je.saM.saM.maNDala patrikA-33 1958 zramaNa mArca, '58 jaina AcArake mUla hindI pajusana vyAkhyAna mAlA 1950 siddhAMta me diyA gayA vyAkhyAna 13 jaina darzana ane gujarAtI prabuddha jIvana 193 jIvanasAdhanA 14 jainadharma hindI baMbaImeM paryusaNa ke avasara 1956 para diye gaye vyAkhyAna kA saMkSepa 15 jaina dharma ane prAkRta gujarAtI jaina 1967 bhASAnA adhyayananI sthiti 8 --

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anusaMdhAna-17* 260 krama lekha bhASA prakAzaka prakAzanavarSa 16 jaina sAhitya samAroha gujarAtI tattvajJAna vibhAganA pramukhanuM -- vyAkhyAna, pra. mahAvIra jaina vidyAlaya hIraka mahotsava prasaMge 21-23 jAnyu. 1977 17 jaina sAhityagata gujarAtI prabuddha jIvana 1979 prAraMbhika niSThA 18 jainadarzana kA prAraMbha hindI 1978 jainadarzana kA vikAsa hindI 1978 20 jainadharma aura bauddhadharma hindI pajusana vyAkhyAnamAlAse 1957 21 jainadharma aura bauddhadharma hindI 1978 22 jainadharma aura saMskRta hindI beMgalorameM 'bhAratake bhASA ke adhyayana kI vizvavidyAlayoM meM dharmoM kA sthiti abhyAsa' nAma se Ayojita jJAnasatra meM aMgrejI meM vaktavya diyA thA, usakA gujarAtI anuvAda jaina patrameM prakAzita huA. usIse hindI 19 ETTEER anuvAda 23 24 jainadharma kA udbhava jainadharmanuM prAcIna svarUpa hindI gujarAtI 1978 pATaNanI ArTasa ane sAyansa -- kolejamAM yuni. vyAkhyAna 3-2-78 paryuSaNa parvanI vyAkhyAnamALA 1937 jainadharmamA vizvadharma bane gujarAtI evA tattvo cha kharA? jainAgama sAhitya hindI jainAgama sAhitya - hindI jainadarzana kA udbhava aura vikAsa jainonI itihAsa dRSTi gujarAtI 28 1978 Do. e.ena. upAdhye smAraka -- vyAkhyAnamALA, zivAjI yuni., kolhApura, 7 ane 8-10-77 guja. yuni. itihAsa vibhAgamA -- tA. 13-2-75nuM vyAkhyAna citranA anAvaraNa prasaMge rAjArAma-- koleja, kolhApura tA.8-11-77 maukhika 29 DaoN. e.ena. upAdhye gujarAtI

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anusaMdhAna-17. 261 . krama lekha 30. dharma kI do prAcIna vyAkhyAeM bhASA hindI prakAzanavarSa 1960 prakAzaka ahamadAbAda kI prArthanA samAjameM gujarAtImeM die gae bhASaNakA anuvAda prArthanA samAjamAM gujarAtI 1960 31 * dharmanI be jUnI vyAkhyA 32 nayacakra 33 prabuddha jIvana gujarAtI gujarAtI hindI 34 prAcIna AgamoM meM jainadarzana kI bhUmikA AtmAnaMda prakAza 1967 rajata jayantI samAraMbha prasaMge- 1964 pra.jI. DaoN. AdinAtha neminAtha 1977 upAdhye kI smRtimeM zivAjI yuni.meM tA.7-10-77 ko diyA gayA prathama vyAkhyAna saMgoSThimA tA. 4-5-77 saMgoSThimeM udepura udghATana vyAkhyAna 2-10-76 35 36 bauddhasamaMta vijJAnAdvaita gujarAtI bha.mahAvIrakA upadeza hindI aura Adhunika samAjaAja ke saMdarbha meM bha. mahAvIra ke vicAroM kI saMgati bha.mahAvIrano jIvana gujarAtI saMdeza bhagavAna buddha aura hindI mahAvIra bhagavAna buddha aura hindI mahAvIra bhAratIya saMskRti gujarAtI prabuddha jIvana 1972 1964 baMbai pajusana vyAkhyAnamAlAse pra.jI.se anUdita 1964 40 gujarAtI bhAratIya saMskRtimAM gujarAtanuM sthAna 42 bhAratIya saMskRtimAM jaina-bauddha dharmanuM pradAna 43 zUnyavAda yuni.vyAkhyAna, lokabhAratI -- saurASTra yuni., 1975 . (lAyansa kalabamAM vyAkhyAna 1963 5-6-63) pragaTaH pra.jI.. (gujarAta vidyApIThamAM vyAkhyAna1972 'vidyApITha'julAI-ogasTa saMgoSThi vyAkhyAna, saMbodhi 1977 gujarAtI gujarAtI

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anusaMdhAna-17. 262 krama lekha bhASA prakAzaka prakAzanavarSa 44 zUnyavAda ane syAdvAda gujarAtI / (darzana pariSada- udghATana vyAkhyAna, amadAvAda. (27-12-73), AcArya pravara AnaMda RSi abhinaMdana graMtha 1975 35 zUnyavAda aura syAdvAda hindI akhila bhAratIya darzana pariSada kA udghATana bhASaNa-ahamadAbAda 1973 46 saMskRta adhyayana gujarAtI saMskRta dinanI ujavaNI nimitte bhASAbhavana guja.yuni.mAM vyAkhyAna tA. 5-9-74 47 saha astitva aura hindI prAcya vidyA pariSadameM zrI 1957 paMcazIla siddhAnta mAlavaNiyA kA bhASaNabhAratakA samanvaya hindustAna bhAvanA kA carama vikAsa hindu-jaina bauddha gujarAtI boTAdakara koleja, yuni. 1963 dharmanuM tattvajJAna . vyAkhyAna, boTAda 25-1-78 49 hindUdharma aura hindI pajusana vyAkhyAnamAlA se 1963 jainadharma hindUdharma aura hindI prabuddha jIvana jainadharma saMpAdana krama lekha bhASA prakAzaka prakAzanavarSa 1 . Dictionary of aMgrejI Vol. 1-2 1972 Prakrit Proper Names Sanmati Tarka aMgrejI Jain Svetambar 1939 (Eng. Edition) Education Board, Bombay dharmottara pradIpa gujarAtI ke. pI. jAyasvAla risarca 1955 insTITyUTa, paTanA 4 dharmottara pradIpa gujarAtI ke. pI. jAyasvAla risarca insTITyUTa, paTanA 1971

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anusaMdhAna-17 * 263 krama lekha bhASA prakAzaka prakAzanavarSa 5 nyAyAvatAravArtika vRtti hindI siMghI jaina graMthamAlA, naM.-20 1949 bambaI pramANa vArtika gujarAtI banArasa yunivarsiTI 1959 bhagavAna mahAvIra gujarAtI AcArya zrI tulasI, amadAvAda1975 ratnAkarAvatArikA 1-2 hindI lA.da.sirija 1968 9 vizeSavazyakabhASya 1-2 hindI / lA.da.sirija zrI lokAzAhanI eka gujarAtI (luMkAnA sadahiyA aTThAvana 1964 bola 'svAdhyAya 2) 1969 kRti prakAzanavarSa 1975 1964 m 1973 3 saha-saMpAdana krama lekha bhASA prakAzaka 1 AcAryazrI AnaMdaRSi hindI abhinaMdana graMtha gurudeva zrI ratnamuni gujarAtI ___ -- smRtigraMtha jaina sAhityakA hindI bhA.1-2 bRhad itihAsa jainadharmano prANa gujarAtI ___paM. sukhalAlajI jJAnabindu gujarAtI paM. sukhalAlajI sAthe tattvArthasUtra gujarAtI hindI tattvArthasUtra gujarAtI hindI tattvArthasUtra gujarAtI hindI tarkabhASA gujarAtI paM. sukhalAlajI sAthe darzana ane ciMtana-1,2 gujarAtI 11 darzana aura ciMtana hindI .. 12 naMdI-anuyogadvAra mUtra hindI 13 patrikA-saMpAdana gujarAtI / Journal of Indian Philosophy, Member Board of consulting editors u , voor 1962 1940 1939 1950 1952 1939 1957 1968

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anusaMdhAna-17. 264 15 krama lekha bhASA prakAzaka prakAzanavarSa 14 pAiyasaddamahaNNavo hindI 1964 (dvitIya AvRtti) Do. vAsudevazaraNa agravAla ke sAtha pUjya gurudeva kavivarya gujarAtI janma-zatAbdi smRti graMtha 1977 paM. nAnacaMdajI mahArAja (2033) 16 prajJApanA sUtra gujarAtI ... bhAga-1 1969 prajJApanA sUtra gujarAtI bhAga-2 1971 18 pramANamImAMsA gujarAtI paM. sukhalAlajI sAthe 1974 AtmAnaMda prakAza 19 muni zrI puNyavijayajI gujarAtI AtmAnaMda prakAza 1974 zraddhAMjali vizeSAMka 20 muni zrI hajArImala hindI -- 1965 smRtigraMtha 21 zramaNa gujarAtI 'Journal of Indian Philosophy, Member Board of consulting editors 22 zrI mahAvIra jaina gujarAtI -- 1968 vidyAlaya suvarNa mahotsava graMtha zrI rAjendrasUri smAraka hindI - - 1958 24 saMbodhi gujarAtI Journal of Indian Philosophy, Member Board of consulting editors saMskRta-prAkRta jaina hindI mahAmanasvI A. kAlU gaNi 1977 vyAkaraNa aura kozakI smRtigraMtha, chApara, paraMparA graMtha 25

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